Poetry for April?

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[This post is pinned to the top of my blog for April. Scroll down to read other stuff.]

Looking for some poetry to read during April? Consider buying the ebook of one of my collections of poetry:

screen-shot-2017-02-27-at-3-59-28-pmThe Mansions of the Moon

In this collection are a series of poems celebrating the twenty-eight angels and traditional astrological images of the positions that the Moon cycles through every month. In this collection, you receive twenty-eight poems in the traditional ode format.

Based in part on a close reading of Christopher Warnock’s Mansions of the Moon (a remarkable book in and of itself, with brilliant illustrations by Nigel Jackson), this is effectively a collection of hymns or prayers to the angels of the Mansions, asking for their assistance and focus in the life of the reader.  It can be read aloud as part of a magical and spiritual practice, or simply as a way of reflecting on the ways in which the Moon spoke to ancient and medieval peoples, and told them stories based on the sky.

I’ve found that this collection has been quite useful to me, personally, and not just because people have bought it.  It’s spoken to me personally, even though I wrote the poems — and part of it had to do with the process by which they were written. I waited until the Moon was in the part of the sky associated with the particular Mansion, and then wrote the poem while ‘listening’ to what the Moon seemed to say; I also made an effort to write each poem when the Moon was waxing or full, and depressed the particular power of the moon at that time of each month.

510f0dXWciLThe Sun’s Paces: Poems for the Decans

This is another collection of astrological poetry.  At least since ancient Egypt, the sky has been divided into twelve signs of the Zodiac… but also into thirty-six sub-signs called Faces or Decans (because they’re each ten degrees of arc across the sky).  The Sun’s Paces is a collection of thirty-six poems to the thirty-six Decans or faces of the Zodiac. About every ten days, the Sun passes from one of these decans to the next. More refined and subtle than the Zodiac, the Decans can help zero in more clearly and particularly on the elements of a horoscope; and they also demonstrate that some times of year are better for working on particular problems or issues than others.

And, of course, each planet is also in each Decan at some point during its ambulation around the Sun. Each planet also gets reflected through the powers and capacities of each Decan, and these are explored in gentle ways through the poems in this book.

Based in part on Austin Coppock’s elegant book, Thirty-Six Faces, you’ll find that this is a great collection of poetry to round out your poetic, magical or spiritual library.
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The Tai Chi Poem

Although you can download a copy of this for free, here, you can also also buy one for your Kindle reader. You’ll also be supporting my work as a poet.

This collection of poetry is not actually a collection — it’s a single poem, where each verse is a sonnet, running to some sixty-three poems describing the sixty-three movements of the Tai Chi form I learned at Star Farm in the late 1990s. I attempted to create a guide to the postures and positions based on my own practice of the form for four years.  I don’t know that you could learn Tai Chi by reading this poem and then doing it, but my goal was to create and celebrate the way in which martial arts manuals celebrate movement and spirituality through poetic language.  This book was an attempt to capture and realize that mindset in a standard form so celebrated in English-language poetry.

51zuU7LxzcL.jpg Festae: Poetry for the Roman Calendar

This is a collection of hymns or odes for deities associated with the Greco-Roman pagan calendar. Here you’ll find celebrations of Neptune and Salacia (the goddess of brine wells, used in ancient and medieval Italy for curing cheeses and making Parma hams, among other things).  There is a hymn for the Feast of All the Heras, and festivals for the three weeks in June dedicated to Vesta as the keeper of the hearth-flame.

The collection of poems is organized by month — Each of the twelve months of the year is marked with at least three festival dates that more or less match up with our own calendar.  There are several dates for Dionysius/Bacchus, both as the wine-god and as the patron of the theater; here are poems for Artemis as the goddess of the Moon, and as the patroness of trance-states achieved through music.

As with nearly all of the poetry in these collections, these are composed as odes: three-stanza poems of thirty lines in length, that speak to the gods and goddesses of old with an awareness of their traditional imagery, and their modern relevance.

51j6AYSu8zL-1.jpgPoems for the Behenian Stars

The last collection of astrological poetry I intend to create for a while, this was the first to be published in 2017 (this year!).

The Behenian (or ‘root’) Stars are a list of fifteen traditional stars from Arabic and European astrological and astronomical lore dating back at least a thousand years. Mostly, they’re the brightest and most distinctive stars in the northern hemisphere, all through the year: the terrifying Caput Algol, the head of Medusa; Aldebaran, the eye of the Bull; Sirius the Dog Star; Regulus the heart of the Lion; Algorab in the Crow’s wing; and many others.  In astrological lore, the presence of a planet in close conjunction with one of these stars signified a particular eminence in the person born at that hour.

Yet I’ve found that knowing and naming and celebrating these stars is a way of connecting to the sky above us, and a way of becoming both more human, and more humane.  The lore of the stars has extraordinary things to teach us about how ancient and medieval peoples saw the sky above their heads, and the world around them.  This collection of poems speaks to those truths.  As a special for April, I’m reducing the price of this collection from $9.99 to $2.99… You can also buy it in a printable format through my website at Etsy.com.

And thank you, always, for your support!

Magic: chops

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Owl chop

I recently read Benebell Wen’s brilliant book The Tao of Craft after hearing her on Gordon’s show.

One of the things that really caught my attention in the book was the idea that a Fu sigil or talisman should really be signed and sealed — that is, in the same way that a decree from the emperor would be signed and sealed, a Fu sigil carries the authority and mark of the creator. I explained this idea to my partner, who thought it was equally interesting. And so I decided to make a chop — a seal stick — for her, in part as practice for making my own. Which is part of the reason I made that captive ball a few days ago: I want to get better at wood carving, because it’s a useful skill to pair with woodworking generally, and because it will be a nice fit with the automata work I intend to do when the woodworking shop is up and functional again.

My partner frequently uses an owl as her emblem, so I went online and searched for how to carve an owl. This isn’t the one that I used, but it’s close enough — a series of photos of an owl carving.  I used basswood, because I don’t carve jade or soapstone (slightly different and sharper tools, more patience and care required); and I had the tools for this already. It’s a fairly simple procedure to carve an owl. It was also fairly simple to reverse and cut the runic-style emblem my partner uses for her magical sign, into the base of the chop. Except, I still screwed it up — and I’m going to have plane the bottom of her chop flat, and then cut it again.  I don’t have the tools out to do that yet, butI can certainly do something else while I wait to make that set of tools available.

img_3232From there, it was fairly simple to find a procedure for carving a bear. His advice about frequent sharpening is good — I sharpened my cutting tools about six times in the course of carving the bear, and I still wound up using too much force and chipping his right arm off.   I chose to do a statue against a pillar for my bear, because I want to have a place to practice chip carving, on the back of his pedestal; I already completed the small chip-carvings around the base, and I cut my own version of an emblem into the bottom of this seal.  I still think this won’t be my final seal, for me — the missing arm is a bummer.

So here we have an object that shares kinship with a magical-scribal-calligraphic tool from Chinese Taoist magic: a seal. But it’s carved in a Western style, with a Western character sign that indicates a person. And it could be used in western magic to do the same thing it does in Taoist magic: sign and authenticate and command the results in the name of the practitioner.

Is it cultural appropriation — Or cultural inspiration— to draw on the techniques and tools of other traditions to add to and build to the existing Western tradition? Ironically, I think this is part of the reason why I broke my bear at the last possible moment… because the character on the base of my chop is one I chose for myself from Chinese characters a decade or more ago.  But it’s not my emblem to use, nor my tradition. And so, this one is broken, and I’ll have to make it again.

But I still think it showcases what’s possible, what’s within the realm of workability.  The folk tradition of carving already exists in the West; the tradition of ‘enlivening’ statues and statuettes has been part of Western magic since Egypt; the idea of a personal seal to accompany a signature has fallen out of favor in the last two hundred years, but there are still signet rings in the Middle Ages, the Renaissance and early Enlightenment periods… and we have evidence of signets or seals all the way back into Babylon and Sumer, at least.

Maybe it’s time to re-awaken the idea of a personal seal.