September 29, 2017October 2, 2019 Mago WorkLeave a comment

(Art 1) Ishtar, Infancy the very beginning of by Megha

Ishtar, Protectress of Priestesses Infancy – the very beginning of Remember the earliest part of your life, when you were a baby!!! It is extremely rare for anyone to remember Read More …

September 28, 2017October 2, 2019 Mago Work AdminLeave a comment

(Song) We are walking in a circle by Genevieve Vaughan

I wrote this song before going to the UN Decade for Women Final Conference in Nairobi in 1985. We are walking in a circle We are walking hand in Read More …

September 27, 2017October 2, 2019 RTMeditorsKGLeave a comment

(Art) Initiation – Surrender by Susan Clare

Having soared on the energy of initiation, we eventually find the courage to let go and surrender to its purifying fire, only to find ourselves supported and buoyed up by Read More …

September 26, 2017October 2, 2019 Mago Work Admin2 Comments

(Book Excerpt 5) Single Mothers Speak on Patriarchy by Trista Hendren & Pat Daly

Becoming My Own Midwife Celeste Gurevich I learned to survive by quilting myself with breath, blood, bones, and stories. Panel by panel, saturated remnants of all of the Celestes I Read More …

September 25, 2017July 5, 2023 Mago WorkLeave a comment

(Videos) The Words Don’t Come by Shireen Qudosi

Beautiful yet terrifying: Midwives and Female Genital Mutilation (FGM) survivors launch haunting video series on the brutal cut. FGM victims share chilling accounts of physical brutality and psychological trauma. The Read More …

September 22, 2017October 2, 2019 Mago Work AdminLeave a comment

(Poem) Burning by Maya Daniel

Hearts are indeed, burning, Some with blazing torches Others with burning explosives Some with burning candles Others with fiery tongues Some with burning pens Flaming papers in red– There are Read More …

September 21, 2017October 2, 2019 Mago Work AdminLeave a comment

(Mago Almanac 3) Restoring 13 Month 28 Day Calendar by Helen Hye-Sook Hwang

[This and the following sequels are from Mago Almanac: 13 Month 28 Day Calendar (Book A), Years 1 and 2 (5, 6, 9, 10…), 5915-6 MAGO ERA, 2018-9 CE (Mago Books, Read More …

September 20, 2017October 2, 2019 Mago Work1 Comment

(Art & Poem) Autumn Equinox by Sudie Rakusin and Aphrodite Rose

Autumn Equinox by Aphrodite Rose Pomegranates and persimmons And fruits from the vine Persephone yields As we ponder the Divine Meet Mago Contributor Sudie Rakusin and Meet Mago Contributor Read More …

September 19, 2017October 2, 2019 RTM EditorsLeave a comment

(Poem) The Arisen Christ: A parable by Janie Rezner

Once upon a time, in a land not so far away, there lived a handsome prince, known far and wide for his beauty of spirit. One day, while riding in Read More …

September 18, 2017October 2, 2019 Mago Work1 Comment

(Prose) To Every Season by Deanne Quarrie

We are closing in on the last of the season of abundance. Wherever we look we see Her harvest around us. Purple grapes hang from their vines. Branches hang heavy Read More …

September 15, 2017October 2, 2019 Mago Work4 Comments

(Poem) Honouring Artist Pamela Colman-Smith by Andrea Nicki

She illustrated the Rider-Waite-Smith tarot deck, the world’s most popular tarot deck. Rider was the company that produced it, Waite was her collaborator. She received no money from the sales Read More …

September 14, 2017October 2, 2019 Mago Work3 Comments

(Prose) Water, Spiritual Source by Deanne Quarrie

We are creatures of water. Water is our original source as well as what makes up at least 70% of our bodies. It is part of every cell and fiber Read More …

September 13, 2017October 2, 2019 RTMeditorsKG1 Comment

(Essay) Once in Okinawa by Luciana Percovich

It’s a common trait of the most ancient religions in human history, that the cult could only occur in the open air – as still the Celts expressed, “in a Read More …

(Tribute 4) Barbara Mor, “Relentless Love”: Letters 1988-2002 from a Writer’s Best Friend by Jack Dempsey

More about Barbara’s evolving style near the end of this collection. Here below comes her next letter (June 4th, 1993)—including reference to her then-latest work in Trivia (Issue #20 1992, Part 1 of “the mirrors of her ice/eyes: After Reading Vagabonding: Feminist Thinking Cut Loose, by Christina Thurmer-Rohr”: Part 2 in Trivia Issue #21, 1993, and Part 3 in #22/Part 2, 1995). If you read Vagabonding yourself—first published in Germany in 1987 and likely then reaching Barbara via Monica Sjoo—you find a blistering critique of both the males who “guide” ecological destruction and nuclear weapons races, and of feminism’s “various New Age and ‘transformational’ theorists, whose embrace of ‘feminine’ values appears as yet another condescending, [self-enslaving] and exclusionary tactic” (quote from Kirkus Reviews). All of which, given Barbara’s 3-part and 3-year engagement with the work, has clear echoes in her letters. Barbara kept a conscientious eye on me through my years of privilege at Brown, and notes at the letter’s end below my clerking for Brown’s Copper Beech Press. I’d sent her a copy of the book I’d found most remarkable there, Kay Ryan’s Strangely Marked Metal (1985). To Ryan, another California poet then surviving by teaching English in its prisons, I’d written a note soliciting new work, and her reply asked why she should bother. Yet, she sent some, and her next book Flamingo Watching (1994) won multiple awards, leading to appointment as U.S. Poet Laureate (2008). I don’t know why since then, after letters so grateful for this turnaround, Ryan ceased our exuberant contact altogether: another measure of Barbara’s persistent friendship. Dear Jack, Thank you, and Bianca [Nebab, a brilliant fellow grad-student] for reading and sending your generous responses to [her latest work in] Trivia. You must read Vagabonding itself, for me it is the antidote to American feminism, New Age Airheads or PostModernist Prose Butts (i.e., the only thing worse than having prose in your head and air in your butt….) As I’ve said a few times, I wish you were writing all my reviews. In fact, yours is the only response I’ve had so far. I believe this is because you know how to READ. Feminists, even the best, don’t. So my genre as I’m inventing it going along (FemPolemoPoeticks: it is not SUPPOSED to be a Pretty Thought) just stops them cold, they can’t get through the first page. It is “indigestible”….Well this is my intention of course, not to be plagiarized cannibalized by the Hungry Ghosts. Did you watch Oliver Stone’s Wild Palms? Bad reviews, I thought it beat Rosanne…in fact it was full of fun quotes, e.g., Rebel Without A Cause and Blade Runner and Brazil, all my favorite flicks. Well, mental food is very thin gruel nowadays. Stone’s second episode was called “Hungry Ghosts” quoting Tibetan Buddhist ideas of afterlife…probably the world did end a few decades ago and we are all in the Bardo State but only a weird few of us Know It. Everyone else thinks this is still Life. “As if patriarchy’s over because the intellectuals are bored with it.” Great summation, Jack. The Troubadour and Trouvere elite in southern France were bored with Christianity, the Catholic Church and its moral restrictions on the flesh and spirit in the TWELFTH CENTURY. Their boredom followed by 500 years of Inquisition: on that flesh, on that spirit. So much for the Bardo State of the American Intelligentsia. The other side [of this letter] gives info on [the Detroit-based journal] Fifth Estate: I really recommend it as a news source of choice, they try to come out 3-4 times a year, just $6 a year. This is the group of people collected around Fredy Perlman, starting Black & Red Press and Fifth Estate: going 25 years [now, 50]. Excellent writing. The enclosed by Kathleen Rashid is one sample, it is all quality. Anarchist, eco-feminist, hip: they are NOT aware of the Thomas Morton Alliance, at least Loraine Perlman, Fredy’s widow, has not heard of it. I told her of it and sent copies made from Glory Here you sent, reminding her I had B&R Press send you a copy of Against His-Story. You should link up with them, subscribe to FE. As Situationists, Fredy was there live and reported from the student rebellion in France in 1967, they are from the actual French linguistic-anarchist mood, what American academics seem to be obsessively mouthing without a genuine experiential claim to. Faux French! I don’t know if all the puns matter to anyone but the writer, but there was one great one that Trivia missed in typography. Next to last page it is “slavealleyes” not “slavealleys.” Congratulations on Copper Beech Press, glad you are there. You apologize for temporary Funk episodes? It’s normal considering the Reality you face, and it probably won’t get better! The world, I mean: economy etc. UNM’s PBS station KUNM won numerous awards last year for series Surviving Columbus, their most acclaimed year of excellence, [and] they just got their budget slashed from $170,000 to $20,000, i.e., the rewards of achievement in Amerika. I am in a Permanent Funk, and don’t feel anything I’ve done holds together, not worth trying. When I die the Dumpster can collect my life’s work and make sense of it. In meantime, onward. [Added in cursive:] Ryan, I like her. “The Other Silence” is spooky. She is true of ear and mind. Thank you! Barbara Now comes an almost-two-year gap in my trove of Barbara’s letters, during which time Barbara had moved to Eureka, northern CA on the Humboldt coast (1995), enroute to her final home in Portland, Oregon (as of 1998). I know many letters are missing, but why? By the next one below (March 13th, 1995), I was near a Brown meltdown. While sinking into debt and teaching undergrad writing sections (80 brilliant students a year), the task of your third-year Oral Exams was to defend a list of 200 indispensable books against three gigantic professors—which of course meant you had read the rest of the library, in order to pick them. But truly reading even two books/articles per day per month was shredding my brain and others’ left and right. Such has to be the first layer of the typical …
(Essay 2) The Animal Mother Goddess, by Hearth Moon Rising

Excerpt from Invoking Animal Magic: A guide for the Pagan priestess Ishtar is the popular name of the fertility goddess originating in Mesopotamia. She became bridged with the goddess Inanna of the older Sumerian kingdom and was worshiped elsewhere under the name Astarte, which means womb. Ishtar controls the fertility of all things, including people, animals and plants. She has a multitude of lovers, but the bull and vegetation god Dumuzi is her most celebrated consort. She calls him her honeyman, her sweet shepherd, the one her womb loves best. She eventually kills her mates, as her would-be lover Gilgamesh complains bitterly when repelling her advances. Ishtar initiates life, so she must also take it. Though spells are addressed to Ishtar for protection in pregnancy and childbirth, she is not strictly speaking considered a mother goddess. Rather, she rules the sexual force that allows life to perpetuate itself. Nor is she a goddess of the wilderness: she is credited with bringing the many gifts of civilization to her city of Uruk—gifts like writing, building, irrigation, religious ceremony and medicine. Although she rules fecundity on earth, Ishtar bears the title Queen of Heaven. Ancient Mediterranean peoples did not see heaven and earth as disconnected spheres, since the movement of celestial bodies affects life on earth. Ishtar is identified with Venus, the biggest star of the morning and evening skies, or with the beautiful multicolored Sirius, known even in ancient times to be a twin star.
(Essay 1) From Heaven to Hell, Virgin Mother to Witch: The Evolution of the Great Goddess of Egypt by Krista Rodin

[Author’s Note: This series based on a chapter in Goddesses in Culture, History and Myth seeks to demonstrate how many of the ideas behind the Ancient Egyptian goddesses and their images, though changing over time and culture, remain relevant today.] From Cosmos to Mother The goddess in Ancient Egypt had many pictorial and ideological forms that changed according to era and location. She was the goddess of the sky, harboring the sun during the night and giving birth to the day; she was the mother of creation; the queen of the stars, while at the same time the avenger of Ra, destroying humanity on the great god’s order. She was the protector of childbirth as well as the queen of the Underworld and Afterlife. She protected those who followed Ma’at’s laws of universal justice and order, through the deceased’s ability to accurately respond to her 42 Negative Confessions. She was the winged woman, the lioness, the cat, and the hippopotamus. She was wisdom and cunning. One of the earliest Ancient Egyptian creation legends explain how air and moisture in the forms of the god Shu and the goddess Tefnut unite. The universal order and justice established in this process is overseen by the goddess Ma’at. The first couple’s offspring, Nut as sky, and Geb as earth, are held apart by Shu to form the world. Shu is depicted with an ostrich feather, as is the goddess Ma’at, showing their primordial connection. Over time, the sky mother Nut became associated with Hathor as the mother of humankind. Hathor takes a number of forms including a sun disk, a cow, or in her angry form, a lion, which is also one of Tefnut’s symbols. Hathor’s role changes depending on what she is needed for, from the vengeful Eye of Ra to the protector of childbirth. Isis, an ancient goddess who came into her own in the late Middle Kingdom and was prominent during the Ptolemaic and Roman periods, merged with Hathor in the iconography in the New Kingdom. She is primarily seen as the protecting mother watching out for the faithful in this life and the afterlife along with her sister, Nephthys. Isis, Orisis and their son, Horus form the Egyptian Holy Family. Isis with baby Horus is one of the most common models for Mary and the baby Jesus, but Isis is also the goddess who tricked Ra into telling her his secret name. She is the goddess of magic along with Heka. This dual role, that of mother protectress and cunning magician who understands and manipulates her opponent’s psychological makeup, is also seen in the legends and iconography of Greek goddesses, especially Athena, Aphrodite, Hera, Demeter, Persephone and Hecate. While there is not a direct correlation between the goddesses in the two traditions, the ideas they represent and the transition from sky goddesses to those of the Underworld through a psychological journey into unknowable and invisible worlds is similar and relates to the portrayal of modern day witches. This series based on a chapter in Goddesses in Culture, History and Myth seeks to demonstrate how many of the ideas behind the Ancient Egyptian goddesses and their images, though changing over time and culture, remain relevant today. There are three main creation stories from ancient Egypt, the oldest of which was recorded in the Pyramid Texts, the hieroglyphic and pictorial inscriptions in 5th-6th Dynasty Old Kingdom pyramids in Sakkara (ca. 2600-2200 BCE). In these early texts there are different versions for the appearance of the first god, but they all agree that the Sun-god emerged out of primeval chaos. The names of the primordial god differ by time and location. In one temple the text speaks of Ptah, who arose out of an egg, while others mention him as the winged beetle, Khepri; most commonly, though, he is Atum, who in later texts is also known as Ra, or Re, and even later as Re-Atum. Regardless of the particular name and attributes, the primordial Sun-god formed two children, Shu, air, and Tefnut, moisture. There is also a belief that Tefnut should be associated with fire rather than moisture, or both. The first pair, i.e., the combination of air, heat and moisture, gave birth to two children, Geb, the earth, and Nut, the sky. As Geb and Nut were inseparable, Atum insisted that Shu separate the two. In the inscriptions, Shu stands or kneels on Geb while supporting Nut’s arched body. Nut is the mother sky that eats the night giving birth to the day. Her body is illustrated as covered with stars indicating the Milky Way as a passageway through time and space. She is also likened to a cow, giving birth to life sustaining forces. Geb lies fallow until brought to life by Nut. Shu sustains the cycle by separating the two and supporting the heavens. Shu is usually depicted with an ostrich feather on his head, the symbol of Ma’at, which represents universal justice and order, which appeared at the creation of the world. This early legend clearly shows that ancient Egyptians understood the cycles not just of night and day, but also of the interaction of air, heat and moisture as elements of creating life on earth. They didn’t necessarily relate to these concepts as abstract ideas, however, as Lurker states: “The majority of ancient Egyptians didn’t live in a world of abstract concepts, they used images to convey their ideas of the cosmos, much the way modern Hindus do with their deities.”1 The ostrich feather as a symbol of justice is particularly interesting as ostrich parents share in the responsibility of caring for the eggs and the young. As ostrich eggs are the largest bird eggs, they represent wealth and fertility. This came to be seen as the symbol for renewal and rebirth. Shu and Ma’at’s ostrich feathers not only represent air, as many feathers in mythology do, but also the universal world order that holds the elements of the cosmos in place. If the elements become imbalanced, …
(Poem) The Original Trinity by Helen Hye-Sook Hwang

[Author’s Note: This poem was included in the journal, S/HE: An International Journal of Goddess Studies (Vol 3 No 2, 2024).] https://www.magoism.net/2013/07/meet-mago-contributor-helen-hwang
(Special Post 7) Nine-Headed Dragon Slain by Patriarchal Heroes: A Cross-cultural Discussion by Mago Circle Members

[Editor’s Note: This and the ensuing sequels are a revised version of the discussion that has taken place in The Mago Circle, Facebook group, since September 24, 2017 to the present. Themes are introduced and interwoven in a somewhat random manner, as different discussants lead the discussion. The topic of the number nine is key to Magoism, primarily manifested as Nine Magos or the Nine Mago Creatrix. Mago Academy hosts a virtual and actual event, Nine Day Mago Celebration, annually.] Helen Hye-Sook Hwang Ancient China attempted to overthrow the confederacy of Nine Goma peoples through a “divide and conquer” ideology, which gave rise to the Chinese thought “Five Phases,” a distortion/misunderstanding of Nine Numerology (the number five is deemed central, located at the center ruling over the periphery 8 numbers, refer to the Loshu Square also known as the Solomon Square in the West today). Ancient China eventually chased the Nine Goma away into the four directions and called them “barbarians” of the East, South, West, and North, while taking the center for itself by way of military campaign. http://m.photoviewer.naver.com/blog… In ancient Chinese wordview, the emperor (Son of the Heaven) at the center rules over barbarians in the four directions of “the land of outskirt.” Lizzy Bluebell Thanks for this nice juicy explanation of the FIVE! “a distortion/misunderstanding of Nine Numerology (the number five is deemed central, located at the center ruling over the periphery 8 numbers, refer to the Loshu Square also known as the Solomon Square in the West today). Ancient China eventually chased the Nine Goma away into the four directions and called them “barbarians” of the East, South, West, and North, while taking the center for itself by way of military campaign.” Helen Hye-Sook Hwang That is a summary of the Budoji’s critique of Yao’s calendar and the establishment of his patriarchal rule, ancient China. Helen Hye-Sook Hwang Lizzy Bluebell and all, please find the Mago Almanac: https://www.magobooks.com/…/2018-Mago-Almanac-for-Mago… Lizzy Bluebell Thank you for your gift Helen. May our interactions prove fruitful for all wombanhood. Upon reading the introductory pages, I am thrilled to discover this passage which cites the possible antiquity of the gynocentric calendar and hope, with your permission, that I may use it in quotations in my own work, because it succinctly confirms my own understanding; “The origin of the 28 day /13 month gynocentric calendar remains unknown. The 13 lunar cycle may have been already available as early as 25,000 to 20, 000 BCE, as shown in the relief of the “Venus of Laussel” in France, the Paleolithic Woman who holds in her hand a bison horn with 13 notches. Her people are possibly to have used the 28 day sidereal lunar cycle 3 in sync with the menstrual cycle for a monthly cycle, given that the 13 months is a consequential number of monthly 28 days in a year. Also the linguistic data supports. Many languages of the world share the same root for “moon”, “menstruation” and “month”. We simply don’t have more data beyond that.” Helen Hye-Sook Hwang Lizzy Bluebell The data that I explicated after that is what I want us to pay attention and discuss. We have a plenty of data to discuss that the Budoji and Goma data provide. Lizzy Bluebell I’ll have to finish reading and digest the Almanac for a bit in re: the numerology of nine. My own conception of the ROLL of numbers in the PATRIX we inhabit does not fit exactly like a glove here; simply because I DO LIVE IN THE NOW – FREE FLOWING ALWAYS OUTSIDE of the MAN-Made TIME CON-struckt. Fascinating that the ‘calends’ relates to TAX collection monthly – Wall Street definitely follows that pattern. Phrases in the Almanac that excited me are : “Collective Consciousness is the oldest archive of human affairs” << beautiful ! “Wombtime is embodied time”. “Measurer is me – I am the scale of time” << Reminds me of Egyptian Ma’at as holder of the scales and measures of time in her role as ‘Principle of Natural Balance’. “Reification of the female principle”. “Can a Gynocentric Consciousness co-exist with a logical mind?” << YES absolutely !! “The menstruant is the very embodiment to time and number…” Helen Hye-Sook Hwang Lizzy Bluebell Nine Numerology = the Nine Mago Creatrix = Nine Goddess Symbols = Inter-cosmic Time = The Womb Time = WE/HERE/NOW Sara Wright Wow, this is fascinating! Lizzy Bluebell “Chiu won the war, the first international/global war waged over the defense/overthrow of the Magoist throne.” My friend Ravinder has referred to this war !! I forget the details now – but he said it happened in India too. Helen Hye-Sook Hwang Leslene Della-Madre and Lizzy Bluebell, For the war between Magoists (Old Korea) and para-Magoists (ancient China to be) comes within a context. If one is aware of ancient Chinese mytho-history (ancient Chinese rulers and their accomplishments, for example), this is easy. I don’t know who is versed in such basic background. I am not expecting that anyone would read it from the perspective of Magoist Old Korea. There are a number of non-mainstream Koreanists who represent that voice but they are not publishing in English. I would say that the war between Chiu and Hwangje marks the archetypal war of sexes. Both parties were of the Goma descent. This war was remembered by ancient Chinese rulers and their supporters as the slaying of the nine-headed snake, one of Gongong’s ministers. Gongong was possibly one of the nine state queens. Chiu was aided by Gonggong and other nine state queens in her war against Hwangje and his allies, the forefathers of ancient China. This war was likely remembered or rather reenacted by patriarchal rulers elsewhere, in Greece for example. Thus, we have the myth of slaying Lernaean Hydra. Like China, they needed a fabricated story of this war. I bet the myth of slaying nine-headed snake monster is known in other ancient patriarchal states. I will keep pointing to such data. It is indeed a juicy topic but I don’t feel I am doing justice without laying out the context, which is …
Meet Mago Contributor, Maria Palacios

My name is Maria R. Palacios. I am a poet, author, spoken word performer, inspirational speaker, disability activist and workshop facilitator. In the artistic world, I am known as The Goddess on Wheels. https://www.facebook.com/goddessonwheels
Goddess as Religion by Glenys Livingstone Ph.D.

This essay is an edited excerpt from chapter 2 of the author’s book, PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Great Goddess of Laussel 20,000 BCE,Hallie Iglehart Austen, The Heart of the Goddess The Female Metaphor/Goddess is often stated as (given the status of) “cult”, as opposed to “religion”; that is, as opposed to having the status of any other “World Religion”, which is how all the current patriarchal, “historical” religions are known and understood. Goddess “religion” has for the past few millennia generally been referred to as “fertility cult”, and this has been understood to mean a more lowly status, because matter itself had been reduced to insignificance or backdrop. The reproduction of matter has been considered a trivial thing by most patriarchal religions themselves, and certainly by most Western philosophy (and we may note here that the word “trivial” itself is a term whose original meaning has been diminished: that is, once a “tri-via” was a common meeting place, a Goddess thing in my opinion, a 3 way possibility. It has been characteristic of the patriarchal mind to divorce itself from its embeddness in material reality. “Fertility” itself is a term that needs to be re-valued. There is no reason to assume that the ancients did not comprehend the multivalence – the depth dimensions, of “fertility”. It is the Creativity of Earth, of the Cosmos, and it is concerned with the Life in which we are immersed. The modern mind frequently assumes that “primitive fertility rituals” came from an insecurity about survival. This may in fact be a massive projection. Frequently, our ancestors of earliest times partook in the abundance of nature, so perhaps the “fertility rituals” were as much a celebration of regenerative cosmic power, as they were an invoking of it. Heide Göttner-Abendroth, scholar of matriarchal cultures, uses the term “faith of rebirth” rather than “fertility cult” to speak of Goddess centred faith/religiosity[i]. That does express the essence of Goddess religiosity, however I like to stick with a re-valuation of fertility. This re-evaluation may be developed in the restorying of the three faces of the Female Metaphor, such as I have done in PaGaian Cosmology, particularly in the re-storying of the Old One, that is, the post-menopausal elder. If the ancients were simply concerned with physical fertility (of which only a dualistic mind can conceive), why celebrate this “useless” phase? The “fertility cults” seemed to have some understanding of the integrity of life – birth and death; certainly they seem to hold more than the “primitive”, “unconscious” veneer they have been dealt by researchers of recent centuries, and by their conquerors of old. The word “religion” itself is problematic, as it tends to imply a rigid system of belief. Its roots are in the word religio which may be interpreted as “binding” in a negative sense, or as a connectedness in a positive sense of relatedness and bonding. There is argument for the case that Goddess imagery and language is not another religion, since She underlies and is threaded through all of them; She is a Metaphor, but so is “God”[ii]. It would seem more accurate to speak of “Goddess spirituality”, since that seems to indicate a fluidity and aliveness. Heide Göttner-Abendroth uses “matriarchal spirituality” for this reason[iii]. Göttner-Abendroth re-defines “matriarchal” as meaning “in the beginning was the mothers”, contending that ‘arche’ did not mean ‘dominance’ until later[iv]. However, I am keen to have Her understood with the dignity of an in-depth spiritual practice, a coherent worldview; and the word “religion” does that. There are many different varieties of ritual and form within Goddess religiosity it is true, but so there are in God religions. She does deserve to be listed as a “World Religion”, given that She was the main metaphor for Deity for so long and so pervasively, and still is revered in some form by millions of humans. Most minds on the planet, at this time in the human story, are so used to reducing the Female Metaphor/Goddess to cult, archetype, consort, wife of, that it seems necessary to dwell for a while on this issue. Most minds are non-plussed as to who else She might be, if not in relationship to, or secondary to, or even a danger to, a male “major player”. Was She ever anything else? At this point in time many scholars, artists and more have addressed who else She might be, both from past evidence and from present experience of cosmological dynamics. In my own work I have not directly addressed the “why” question – that is, if She was once something other than Her present reduced state, why did that change? I have preferred to focus on the present – who She is now, and, on what use that might be. What might be the consequences of changing our minds sufficiently, so that Medusa for instance, can be comprehended as metaphor for Divine Wisdom? Many scholars contend She once was understood this way. What might it mean for our minds to welcome Her back? Would that alter the way we relate to Earth, to Being? A “Home-ly” Religion My partner put forward the perception of Goddess religion being a “homely” religion, and he meant that with all the status that “homely” may have. It may be written as “Home-ly” to emphasize that it is connective to Home – as Earth, Self, Cosmos. Such a description as “Home-ly religion”, perhaps as a counter to “World religion”(!), is based on evidence of the ancient practice of every home being a shrine, a sanctuary to Her; when there was no separation between the secular and the sacred, when “religion was life, and life was religion”. This is described by Riane Eisler in The Chalice and the Blade[v], referring to the archeological work of Marija Gimbutas. A “home-ly” religion then is a “domestic” religion – one that may be known in the familiarity of one’s dwelling – bodymind, home, backyard, region, “country”, Earth, Solar System, Universe. NOTES: [i] Heide Göttner-Abendroth, The …
(Photo Essay) Matrix, Mother, Womb by Lena Bartula

Matrix can be described as ‘something in which something else develops or forms.’ Also as ‘something shaped like a pattern of lines and spaces.’ In Spanish, it translates to “Matriz: womb.” In several exhibitions since 2008, visitors to my exhibitions have been invited to choose a pre-cut paper huipil, i.e. a blouse or dress in Mesoamerica that served as a message bearer. They can then use a marker provided, to write a tribute, message, or poem to an important woman in their lives, whether human, divine, mythological, etc. The collection now includes approximately 700 – 800 notes in all languages, all in praise and support of the feminine. It is interactive only when I’m available in the gallery to keep refilling with blank huipils. Each huipil is 2-sided, so it can be installed in a window or in the center of a room where visitors can pass between the ropes that hold it. It’s usually presented on a grid like those used in construction, or strung on a fine clothesline across a gallery. The first time I made one was in Albuquerque; the original idea came from seeing the film of the same name. It was such a heavily patriarchal title, I wanted to know more, so I began researching the etymology of the word. This came about synchronistically as I was preparing an exhibition titled Mensajes Guardados / Saved Messages. I was already working with the theme of huipil, enjoying the natural amalgamation of text = textile. While considering the multiple meanings of the word Matrix, I happened on a junkyard with these construction grids, and the project was born. I decided I wanted to ask visitors to write messages to Mother, any mother, and I began cutting up recycled maps, gift wrap, any kind of paper, to fit the grid openings. Every so often, there are many who decline my invitation to participate in what I call “our” exhibition. They can’t bear to think of it, because of unloving memories it triggered. I say “thank you for sharing that, but this isn’t only about paying glorious tribute to your Earth Mother, it can be broader than that,” and we begin the exploration of Mother Earth, Mother Nature, Mother gods, Fairy Godmother, etc. and slowly easing into the Good Mother / Bad Mother syndrome. Sometimes then it becomes a deep conversation, and other times, it’s too intense and the woman will simply excuse herself. The large number of ‘walking wounded’ around this subject increases both my awareness and my compassion. On the other hand, there are some expected notes, some loving, some irreverent, some of course, that I can’t read because of the language, so in reality, they could say almost anything. In the midst of the writing, and the reading of what others write, I witness and participate in rich conversations about things like the correlation between La Virgen de Guadalupe and Green Tara, for instance. Or the need for earth goddesses to arise in our consciousness as we battle the corporations that further impact climate change, water and air pollution and our food supply. Then too, the talk can turn to the finding and nurturing of our inner mother, and even our inner daughter. Each time this interactive Matrix is displayed, it gifts us all with a deeper interconnectedness within the grid. Meet Mago Contributor Lena Bartula
(Poem) Summoning Silence by Carolyn Lee Boyd

Photo by Carolyn Lee Boyd When the shell of life cracks Crushing speech and song into rattles and gasps Infusing cold shock into your bones In time, your wounds close and elude Until, one day, drinking a glass of water, or sweeping the floor, or walking through woods The voices of those who were lost while you survived come unto you A breath whisper seeping from a rock fissure A strangled word hidden in a bird’s chirping A staccato heartbeat measured in a train’s thunder Cries you cannot hear with your ears and that do not come from you. Those who can no longer speak Find a voice in the Spirit of Silence She follows us until we can finally listen for her mercy In those noises we wish we had never heard. We cannot choose between our lives before or our lives after the crack For both dwell within us. She settles on your back and When you are ready, you return to the place of the execution of your illusions. Now you seek the wail that would not let you lie, The deepest harmony of the song of the Spirit of Silence. It is how you live in truth It is how you make yourself bud and bloom again, It is, ultimately, how you will finish what You first came to that place of rebirth to do. https://www.magoism.net/2016/08/meet-mago-contributor-carolyn-lee-boyd/

(Special Post 2) Multi-linguistic Resemblances of “Mago” by Mago Circle Members

Artwork, “The-great-mother” by Julie Stewart Helen Hye-Sook Hwang: On the word, Magi/Magus, from Magi – Wikipedia, the free encyclopedia. Magi (/ˈmeɪdʒaɪ/; singular magus /ˈmeɪɡəs/; from Latin magus) were priests in Zoroastrianism and the earlier religions of the western Iranians. The earliest known use of the word magi is in the trilingual inscription written by Darius the Great, known as the Behistun Inscription. Old Persian texts, predating the Hellenistic period, refer to a magus as a Zurvanic, and presumably Zoroastrian, priest. Pervasive throughout the Eastern Mediterranean and Western Asia until late antiquity and beyond, mágos was influenced by (and eventually displaced) Greek goēs (γόης), the older word for a practitioner of magic, to include astronomy/astrology, alchemy and other forms of esoteric knowledge. This association was in turn the product of the Hellenistic fascination for (Pseudo‑)Zoroaster, who was perceived by the Greeks to be the Chaldean founder of the Magi and inventor of both astrology and magic, a meaning that still survives in the modern-day words “magic” and “magician”. In the Gospel of Matthew, “μάγοι” (magoi) from the east do homage to the newborn Jesus, and the transliterated plural “magi” entered English from Latin in this context around 1200 (this particular use is also commonly rendered in English as “kings” and more often in recent times as “wise men”).[1] The singular “magus” appears considerably later, when it was borrowed from Old French in the late 14th century with the meaning magician. … An unrelated term, but previously assumed to be related, appears in the older Gathic Avestan language texts. This word, adjectival magavan meaning “possessing maga-“, was once the premise that Avestan maga- and Median (i.e. Old Persian) magu- were co-eval (and also that both these were cognates of Vedic Sanskrit magha-). While “in the Gathas the word seems to mean both the teaching of Zoroaster and the community that accepted that teaching”, and it seems that Avestan maga- is related to Sanskrit magha-, “there is no reason to suppose that the western Iranian form magu (Magus) has exactly the same meaning”[4] as well. But it “may be, however”, that Avestan moghu (which is not the same as Avestan maga-) “and Medean magu were the same word in origin, a common Iranian term for ‘member of the tribe’ having developed among the Medes the special sense of ‘member of the (priestly) tribe’, hence a priest.”[2]cf[3] Helen Hye-Sook Hwang: On the word, Gaia, from Gaia (mythology) – Wikipedia, the free encyclopedia In Greek mythology, Gaia (/ˈɡaɪə, ˈɡeɪə/ GHY-ə, GAY-ə;[1] from Ancient Greek Γαῖα, a poetical form of Γῆ Gē, “land” or “earth”),[2] also spelled Gaea (/ˈdʒiːə/ JEE-ə),[1] is the personification of the Earth[3] and one of the Greek primordial deities. Gaia is the ancestral mother of all life: the primal Mother Earth goddess. She is the mother of Uranus (the sky), from whose sexual union she bore the Titans (themselves parents of many of the Olympian gods) and the Giants, and of Pontus (the sea), from whose union she bore the primordial sea gods. Her equivalent in the Roman pantheon was Terra.[4] … The Greek name Γαῖα (Gaĩa)[5] is a mostly epic, collateral form of Attic Γῆ[6] (Gê), Doric Γᾶ (Gã, perhaps identical to Δᾶ Dã)[7] meaning “Earth”, a word of uncertain origin.[8] Robert S. P. Beekes has suggested a Pre-Greek origin.[9] In Mycenean Greek Ma-ka (transliterated as Ma-ga, “Mother Gaia”) also contains the root ga-.[9][10] Helen Hye-Sook Hwang: Greek mythology of Gaia’s family tree is remotely evocative of the Magoist genealogy written in the Budoji (Epic of the Emblem City), the principale text of Magoism. In Korean, “Mama” is also an honorary title referring to the royal family including ruler, ruler’s mother, father, grandmother and so on. This suggests that “ma” means “mother,” “ruler,” and “Goddess” all at once in gynocentric/gynocratic (Magoist/Magocratic) societies, pre-patriarchal in origin. Helen Hye-Sook Hwang: I came to search the etymology of “montgomery” in relation to Mt. Mago or Mt. Goya and am led to such related terms as Gomer, Gog, Magog. Montgomery (name) – Wikipedia, the free encyclopedia Montgomery or Montgomerie is a surname from a place name in Normandy.[1] Although there are many stories of its origin,[2][3][4][5] An old theory explains that the name is a corruption of “Gomer’s Mount” or “Gomer’s Hill” (Latin: Mons Gomeris), any of a number of hills in Europe named in attribution to the biblical patriarch Gomer,[2] but it does not explain the final -y or -ie (the phonetical evolution would have been *Montgomers) and it does not correspond to the old mentions of the place name Montgommery in Normandie : Monte Gomeri in 1032 – 1035, de Monte Gomerico in 1040 and de Monte Gumbri in 1046 – 1048.[6] More relevant is the explanation by the Germanic first name Gumarik,[7] a compound of guma “man” (see bridegroom) and rik “powerful”, that regularly gives the final -ry (-ri) in the French first names and surnames (Thierry, Amaury, Henry, etc.). Moreover, the name is still used as a surname in France as Gommery,[8] from the older first name Gomeri.[9] Helen Hye-Sook Hwang: On the word, Gomer below from Wikipedia. Gomer (גֹּמֶר, Standard Hebrew Gómer, Tiberian Hebrew Gōmer, pronounced [ɡoˈmeʁ]) was the eldest son of Japheth (and of the Japhetic line), and father of Ashkenaz, Riphath, and Togarmah, according to the “Table of Nations” in the Hebrew Bible, (Genesis 10). The eponymous Gomer, “standing for the whole family,” as the compilers of the Jewish Encyclopedia expressed it,[1] is also mentioned in Book of Ezekiel 38:6 as the ally of Gog, the chief of the land of Magog. Helen Hye-Sook Hwang: On the word, Gog and Magog from Wikipedia. Gog and Magog: They are depicted as monsters and barbarians from the East/Eurasia. Gog and Magog (/ɡɒɡ/; /ˈmeɪɡɒɡ/; Hebrew: גּוֹג וּמָגוֹג Gog u-Magog; Arabic: يَأْجُوج وَمَأْجُوج Yaʾjūj wa-Maʾjūj) are names that appear in the Hebrew bible (Old Testament), the Book of Revelation and the Qur’an, sometimes indicating individuals and sometimes lands and peoples. Sometimes, but not always, they are connected with the “end times”, and the passages from the book of Ezekiel and Revelation in particular have attracted attention for this reason. From ancient times to the late Middle Ages Gog and Magog were identified with Eurasian nomads such as the Khazars, Huns and Mongols (this was true also for Islam, where they were identified first with Turkic tribes of Central Asia and later with the Mongols). Throughout this period they were conflated with various other legends, notably those concerning Alexander the Great, the Amazons, Red Jews, and the Ten Lost Tribes of Israel, and became the subject of much fanciful literature. In modern times they remain associated with apocalyptic thinking, especially in the United States and the Muslim world. Helen […]
(Special Post 1) Nine-Headed Dragon Slain by Patriarchal Heroes: A Cross-cultural Discussion by Mago Circle Members

[Editor’s Note: This and the ensuing eight sequels (all nine parts) are a revised version of the discussion that has taken place in The Mago Circle, Facebook group, since September 24, 2017 to the present. Themes are introduced and interwoven in a somewhat random manner, as different discussants lead the discussion. The topic of the number nine is key to Magoism, primarily manifested as Nine Magos or the Nine Mago Creatrix. Mago Academy hosts a virtual and actual event, Nine Day Mago Celebration, annually.] Helen Hwang: I am thinking of the Nine Goddess/Mago Symbolism or Nine Numerology. Insights connect the data that I have collected, otherwise seemingly unrelated across cultures and periods. We have reasons to celebrate the nine symbolism among us. As seen in this discussion below, Hercules is most aptly equated with Huangdi (Yellow Emperor, 2698–2598 BCE), one of the forebear emperors of ancient China, who is alleged to have defeated Chiu (successor of Goma), the representative of Danguk’s Nine Giants (nine sub-states). The Magoist history writes the other way around. Chiu won the war, the archetypal international/global war waged over the defense/overthrow of the Magoist throne. Old Magoists (Danguk founded by Goma) of Nine Queen-led States defended the rebellion of the patrilocal force, represented by the Huangdi. With this victory, Old Magoist Confederacy of nine sub-states was able to maintain gynocentric peace of the ancient world for about five centuries longer until a man, Yao, rose to give a way for the establishment of the first patriarchal rule, ancient China of the Xia Dynasty (c. 2070 BCE – c. 1600 BCE). Nonetheless, patriarchal ethnocentric Sinocentric historiography has proliferated to this day. Yu, the founder of the Xia dynasty, is depicted as the hero who slains the nine-headed snake. What I am saying is here that the Nine Goddess/Symbolism is pre-patriarchal in origin and possibly speaks of the same event across cultures! The slain of nine-headed snakes or dragons indicates the usurpation of gynocentric rule by a patriarchal hero across cultures. Let me show you some available information and images to open the discussion. Lernaean Hydra 1 oz Copper | The 12 Labors of Hercules “Hercules was sent to slay the Lernaean Hyrda for his second Labor. The multi-headed, snake-like monster was defeated by Hercules after he sliced its one mortal head. The last day to purchase the 1 oz Copper Lernaean Hyrda was the November 12, 2014. There is, however, time to order the 5 oz Copper Hercules Round, and 5 oz Silver Hercules Round. To read about Hercules and his 12 Labors, check out our blog for more information. If you enjoy the 12 Labors of Hercules coin series, take a look at more Silver and Copper coin collections offered by Provident Metals. After defeating the Nemean Lion, Hercules was sent to slay the Lernaean Hydra for his second labor. The Hydra, a snake-like beast with multiple heads, was raised by Hera to destroy Hercules — making this an inevitable match up. In the face-off between Hercules and Hydra, the son of Zeus used a sword to slice off each of the creature’s necks, according to one popular tale. When the heads grew back, Hercules enlisted his nephew to burn each of the necks to halt regrowth. The Hydra had one mortal head, however; so Hercules used his golden sword to slay the mutant and complete his second labor. The beast is displayed on the Second Labor coin, to be released in the 12 Labors of Hercules Series. The reverse features the multi-headed Hydra in a striking position, displaying the daunting task Hercules faced. LERNAEAN HYDRA and II are inscribed. The familiar obverse portraying Hercules with the Nemean Lion draped over his head as armor is shown on this round, as it will be on each round in the powerful series. “1 oz CMXCIX (999 in Roman numerals) FINE COPPER” is also displayed. The 1 oz. Copper Lernaean Hydra rounds will only be available for one month from Oct. 12 through Nov. 12. Make sure to keep your 12 Labors of Hercules Series collection current before time runs out! 12 Labors of Hercules Driven crazy by Hera, Hercules slew his family — only regretful after recovering his sanity. King Thespius purified the son of Zeus, but to atone for his crimes, he was sent to serve King Eurystheus. Eurystheus ordered Hercules to execute 10 Labors, which were a series of tasks carried out as penance for his actions. Hercules successfully completed all 10, but because his nephew helped with one and he planned to accept payment for another, Eurystheus forced Hercules to finish two more Labors alone. Hercules’ Labors adhere to the traditional order of the Bibliotheca: Nemean Lion – Sept. 12, 2014 Lernaean Hydra – Oct. 12, 2014 Ceryneian Hind – Nov. 12, 2014 Erymanthian Boar – Dec. 12, 2014 Augean Stables – Jan. 12, 2015 Stymphalian Birds – Feb. 12, 2015 Cretan Bull – March 12, 2015 Mares of Diomedes – April 12, 2015 Girdle of Hippolyta – May 12, 2015 Cattle of Geryon – June 12, 2015 Apples of Hesperides – July 12, 2015 Cerberus – Aug. 12, 2015 Commemorate the historic battle between Hercules and the Lernaean Hydra with this 1 oz copper round from Provident Metals.” https://www.providentmetals.com/1-oz-copper-lernaean-hydra-the-12-labors-of-hercules.html Helen Hwang: I looked for the answer to this question: How many heads did the Hydra originally have? It is nine, which accords with its icons to be shared shortly. Helen Hwang: Check out Nine-fold or Nine-Headed Phoenix. Not all iconographies of pre-modern China vilify the nine symbolism, which indicates the influence/presence/revival of Magoism. This image is much reminiscent of the blue crane with nine feathers, a Magoist symbol that we have seen in Mago Stronghold, Mt. Jiri during Mago Pilgrimage (to be discussed in another space). “This Qing-dynasty (1644-1911) print shows the nine-headed phoenix, a being from Chinese mythology with a bird’s body and nine heads with human faces. It is one of several hybrid creatures mentioned in the Classic of Mountains and Seas (Shanhai jing), where it is […]
(Special post) Laurie Baymarrwangga, Senior Australian of the Year 2012

Posted with permission in Return to Mago on ‘Australia Day’, 26 January 2014 (Australian time), in recognition of the ill-treatment and misunderstanding of Aboriginal people that was set in train when, in 1788, white people first settled in the land now known as Australia.

(Slideshow) Summer Solstice Goddess by Glenys Livingstone Ph.D.

Sekhmet by Katlyn Each year between December 20-23 Sun reaches Her peak in the Southern Hemisphere: it is the Summer Solstice Moment. Poetry of the Season may be expressed in this way: This is the time when the light part of day is longest. You are invited to celebrate SUMMER SOLSTICE Light reaches Her fullness, and yet… She turns, and the seed of Darkness is born. This is the Season of blossom and thorn – for pouring forth the Gift of Being. The story of Old tells that on this day Beloved and Lover dissolve into the single Song of ecstasy – that moves the worlds. Self expands in the bliss of creativity. Sun ripens in us: we are the Bread of Life. We celebrate Her deep Communion and Reciprocity. Glenys Livingstone, 2005 The choice of images for the Season is arbitrary; there are so many more that may express Her fullness of being, Her relational essence and Her Gateway quality at this time. And also for consideration, is the fact that most ancient images of Goddess are multivalent – She was/is One: that is, all Her aspects are not separate from each other. These selected images tell a story of certain qualities that may be contemplated at the Seasonal Moment of Summer Solstice. As you receive the images, remember that image communicates the unspeakable, that which can only be known in body, below rational mind. So you may open yourself to a transmission of Her, that will be particular to you. https://www.youtube.com/watch?v=syTBjWpw3XU Shalako Mana Hopi 1900C.E. (Hallie Iglehart Austen, The Heart of the Goddess), Corn Mother. Food is a miracle, food is sacred. She IS the corn, the corn IS Her. She gives Herself to feed all. The food/She is essential to survival, hospitality and ceremony … and all of this is transmuted in our beings. Sekhmet Contemporary image by Katlyn. Egyptian Sun Goddess. Katlyn says: Her story includes the compassionate nature of destruction. The fierce protection of the Mother is sometimes called to destroy in order to preserve well being. And Anne Key expresses: She represents “the awesome and awe-full power of the Sun. This power spans the destructive acts of creation and the creative acts of destruction.”- (p.135 Desert Priestess: a memoir).A chant in Her praise by Abigail Spinner McBride: Sheila-na-gig 900C.E. British Isles. (Hallie Iglehart Austen, The Heart of the Goddess). From Elinor Gadon The Once and Future Goddess (p.338): “She is remembered in Ireland as the Old Woman who gave birth to all races of human…. In churches her function was to ward off evil”, or to attract the Pagan peoples to the church. From Adele Getty Goddess (p.66): “The first rite of passage of all human beings begins in the womb and ends between the thighs of the Great Mother. In India, the vulva “known as the yoni, is also called cunti or kunda, the root word of cunning, cunt and kin … (the yoni) was worshipped as an object of great mystery … the place of birth and the place where the dead are laid to rest were often one and the same.” Getty says her message here in this image “is double-edged: the opening of her vulva and the smile on her face elicit both awe and terror; one might venture too far inside her and never return to the light of day …” as with all caves and gates of initiation. In the Christian mind the yoni clearly became the “gates of hell”. And as Helene Cixous said in her famous feminist article “The Laugh of the Medusa”: “Let the priests tremble, we’re going to show them our sexts!” (SIGNS Summer 1976) Kunapipi (Australia) “the Aboriginal mother of all living things, came from a land across the sea to establish her clan in Northern Australia, where She is found in both fresh and salt water. In the Northern Territory She is known as Warramurrungundgi. She may also manifest Herself as Julunggul, the rainbow snake goddess of initiations who threatens to swallow children and then regurgitate them, thereby reinforcing the cycle of death and rebirth. In Arnhem Land She is Ngaljod …” (Visions of the Goddess by Courtney Milne and Sherrill Miller – thanks to Lydia Ruyle). More information: re Kunapipi. NOTE the similarity to Gobekli Tepe Sheela Turkey 9600B.C.E., thanks Lydia Ruyle.Lydia Ruyle’s Gobekli Tepe banner. Inanna/Ishtar Mesopotamia 400 B.C.E. (Adele Getty, Goddess: Mother of Living Nature) She holds Her breasts displaying her potency. She is a superpower who feeds the world, nourishes it with Her being. We all desire to feel this potency of being: Swimme and Berry express: “the infinite striving of the sentient being”. Adele Getty calls this offering of breasts to the world “a timeless sacred gesture”. Mary Mother of God 1400 C.E. Europe (Hallie Iglehart Austen, The Heart of the Goddess). A recognition, even in the patriarchal context that She contains it all. Wisdom and Compassion Tibetan Goddess and God in Union. This is Visvatara and Vajrasattva 1800C.E. (Sacred Sexuality A.T. Mann and Jane Lyle). Sri Yantra Hindu meditation diagram of union of Goddess and God. 1500 C.E. (Sacred Sexuality A.T. Mann and Jane Lyle, p.75). “Goddess and God” is the common metaphor, but it could be “Beloved and Lover”, and so it is in the mind of many mystics and poets: that is, the sacred union is of small self with larger Self. Prajnaparamita the Mother of all Buddhas. (The Great Mother Erich Neumann, pl 183). She is the Wisdom to whom Buddha aspired, Whom he attained. Medusa Contemporary, artist unknown. She is a Sun Goddess: this is one reason why it was difficult to look Her in the eye. See Patricia Monaghan, O Mother Sun! REFERENCES: Gadon, Elinor W. The Once and Future Goddess. Northamptonshire: Aquarian, 1990. Getty, Adele. Goddess: Mother of Living Nature. London: Thames and Hudson, 1990. Iglehart Austen, Hallie. The Heart of the Goddess.Berkeley: Wingbow, 1990. Katlyn, artist https://www.mermadearts.com/b/altar-images-art-by-katlyn Key, Anne. Desert Priestess: a memoir. NV: Goddess Ink, 2011. Mann A.T. and …
(Video) Imbolc/Early Spring Goddess Slideshow by Glenys Livingstone Ph.D.

On February 3rd at 19:45 “Universal Time” (as it is named), Earth our Planet crosses the midpoint of Her orbit between Solstice and Equinox, though the exact time varies each year. In the Northern Hemisphere it is the Season of Imbolc – the welcoming of the Light, post-Winter Solstice, after the fullness of the dark of Winter. Imbolc, and all of the light part of the cycle, is particularly associated with the Young One/Virgin/Maiden aspect of Goddess – or Urge to Be as I have named this aspect. Imbolc may be understood as the quintessential celebration of the Virgin/Young One quality for the year – the rest of the light part of the cycle celebrates Her processes, but this Seasonal Moment is a celebration of Her … identifying with Her. She is the New Young One, the Promise of Life, the Urge to Be. Her purity is Her singularity of purpose. She is spiritual warrior. Her inviolability is Her determination to Be … nothing to do with unbroken hymens of the dualistic and patriarchal mind. The Virgin is the essential “yes” to Being – not the “no” She was turned into. This is some Poetry of the Season: This is the season of the waxing Light … the feast of the Young One – who is the Urge To Be within All. The New One born at the Winter Solstice now grows. This is the time of celebrating the small self – each one’s Gaian uniqueness and beauty. We meet to share the light of inspiration, to be midwifed, by She who tends the Flame of Being, deeply committed to Self, and Who is True. The choice of images is arbitrary … there are so many more, and also, most ancient images of Goddess are multivalent – She was/is One: that is, all Her aspects are not separate from each other. These selected images tell a story of certain qualities that may be contemplated at the Seasonal Moment of Imbolc/Early Spring. Remember that image communicates the unspeakable – that which can only be known in body – below rational mind. You may regard it as a transmission of Herself, insofar as you wish – and particular to you. I offer you these images for you to receive in your own way. https://www.youtube.com/watch?v=oUPTKMork9s Artemis 4th Century B.C.E. Greece. (p.52 Austen) – a classic “Virgin” image – wild and free, “Lady of the Beasts”, Goddess of untamed nature. As such, in the patriarchal stories She is often associated with harshness, orgiastic rituals but we may re-story “wildness” in our times as something “innocent”: that is, in direct relationship with the Mother. She is a hunter/archer, protector, midwife, nurturing the new and pure essence (the “wild”) – in earlier times these things were not contradictory. The hunter had an intimate relationship with the hunted, and deep reverence. Aphrodite (p.132 Austen) 300 B.C.E. – often diminished to a sex Goddess in patriarchal narrative, but in more ancient times, praised as She who holds all things in form, which may be comprehended as embodying cosmic power of allurement, which may be identified with what has been named as “gravity”. Re-storied as one who admires her own Beauty, and the Beauty of All. Aphrodite (plate 137 Neumann) an earlier image 600 B.C.E. Brigid/Brigantia (p. 38 Durdin-Robertson) 300 C.E. – Her spear may be understood as the spear of Goddess: that is, as spiritual warrior, or Boadicea-like. Brigid – a later image of Christian times … dressed nun-like. Eurynome (Austen p.8) 4000 B.C.E. Africa. This image is named as Bird-Headed Snake Goddess. Austen stories Her as an image of Eurynome, Goddess of All Things who danced upon the waves in the beginning and laid the Universal Egg. She appears very self-expressive: perhaps a great image of a self-expressive Universe. She integrates animal and human, earth and sky, before dualism existed. I choose her as a Virgin image because of this integrity, and her ecstatic expression. Diana (Neumann Plate 161) Rome. She carries the Flame – is classically Her own person. … not so much “independent” as it may be thought of culturally, as “self-knowing”. She came to be associated with the Greek Artemis: they are sister Goddesses. The Horned Goddess (p. 138 Austen) 6000 B.C.E. Africa – associated with dance and healthy life-force – rain and fertility. She is of the ancient Amazon tribes of what is now known as Algeria. Even today amongst these people, Austen says: “the Tauregs, the women are independent, while the men only appear in public veiled”. Vajravarahi (p.124 Austen) 1600’s C.E. Vajravarahi, show me how to be powerful and compassionate at the same time – let me know that these qualities are one force. Teach me to feel the beauty, power and eroticism of my own being. Show me that I am an exquisite part of the life force, dancing with all other forms of life. and OM! Veneration to you, noble Vajravarahi! OM! Veneration to you, noble and unconquered! Mother of the three worlds! Mistress of knowledge!… OM! Veneration to you, Vajravarahi! Great yogini! Mistress of love! She who moves through the air! TIBETAN TEXT Radha (in my ritual space) … seeing Who She really is. REFERENCES: Austen, Hallie Iglehart. The Heart of the Goddess. Berkeley:Wingbow, 1990. Durdin-Robertson, Lawrence. The Year of the Goddess. Wellingborough: Aquarian Press, 1990. Livingstone, Glenys. A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Bergen: Girl God Books, 2023. Neumann, Erich. The Great Mother. Princeton: Princeton University Press, 1974. The music is “Boadicea” by Enya.
(Music) Songs for Samhain by Alison Newvine

The season of Samhain is upon us. This playlist is an offering for this descent into the sacred darkness, and a companion for the journey into the underworld. Invocation of Witches features music by Loreena McKennitt, Marya Stark, Inkubus Sukubus, Wendy Rule, my band Spiral Muse, and many others. It is a soundtrack for ceremony and each song expresses a different face of the spirit of the witch. May this Samhain season guide you gently into the dissolution of what no longer serves, the honoring of what is complete and the cultivation of the inner space that will gestate what is yet to come. https://open.spotify.com/playlist/2CFNoH9exhloz3w95P3Rlb?si=270cf01fabb8421c https://www.magoism.net/2023/10/meet-mago-contributor-alison-newvine/
(Mago Almanac Excerpt 5) Introducing the Magoist Calendar by Helen Hye-Sook Hwang

Mago Almanac: 13 Month 28 Day Calendar (Book A) Free PDF available at Mago Bookstore. THE 28-13-7 INTERPLAY How does the number, 28 (days), for the lunar cycle come about? Why is it 28 days and not 29 or 30, the latter implicated in the traditional lunar calendar of East Asia? It appears that 28 days is a value closer to the moon’s sidereal period (about 27.3 days) than the synodic period (about 29.5 days). Or is it that 28 days points to the median between the synodic lunar cycle and the sidereal lunar cycle? To answer these questions, it is important to note that a value in the Mago Time captures an inter-cosmic biological cusp/juncture derived from the matrix of sonic numerology. Distinguished from the patriarchal measure of time fixated into a solipsistic space, it makes visible the interconnectedness of all bodies. It never stands as an isolated single occasion. The 28 day, 13 month calendar has to do with how we perceive the moon. There are two ways of understanding the lunar cycle; the sidereal period and the synodic period (see Figure 2). The synodic period refers to the time, about 29.5 days, that we on earth see the moon complete one round of revolution, e.g. from the full moon to the full moon. In contrast, the sidereal period refers to the actual time, about 27.3 days, that the moon takes to complete one round of revolution. While the synodic time is measured relative to the Earth (the observer’s position is on earth), the sidereal time is measured relative to the distant “fixed” stars (the observer’s position is far out at the distant stars). Since the distant stars are considered at rest, the sidereal period is taken as a universal value, not affected by the location of the viewer, we on earth. There is, apparently, a discrepancy between the lunar cycle that we on earth see the moon return to the same phase and the lunar cycle that the moon actually completes a revolution. The former is based on our observation of the moon’s phases, whereas the latter is based on the moon’s actual orbital motions. The two differs basically because all celestial bodies, the moon, earth, and sun, in the solar system are in motion. It is not just the moon that we watch revolving but Earth also revolves around the sun. We are watching the movement of the moon on a moving vehicle, earth, so to speak. Therefore, the moon has to travel about 2 more days in order for us on earth to see it in the same phase (see the green portion in Figure 2 part). At the position A of the moon in Figure 2, the moon is in line with the sun and the distant stars, which is a new moon. In the position of B (the new moon), the moon is in line with the sun but not with the distant stars. The right hand line of the green portion in line with the distant stars is where the moon started as a new moon. The moon has traveled about 2 more days to be in line with the sun. That is why the synodic period is about 2 days longer than the sidereal period. When it comes to “the lunar calendar”, moderns tend to think of it as the waxing and waning phases of the moon (29.5 days, the synodic period). The problem lies in that, following the synodic period, people see nothing beyond the moon’s phases. They overlook the fact that the moon rotates and revolves on its own axis and around the earth approximately 13 degrees every day. The synodic lunisolar calendar is a navel-gazing vision. Attending to the moon’s phases may seem benign. However, that is a planned pitfall; the synodic lunisolar calendar with 12 months in a year is here to supersede the 28 day, 13 month gynocentric calendar. Its irregularity with the number of days in a month (29 or 30 days with about 11 extra days for intercalation) is an inherently critical flaw. Its inaccuracy when incorporated within the solar annual calendar (approximately 365.25 days) stands out. Seen below in the table, the synodic lunar track results in as many leap days as a total of 44 days for 4 years, whereas the sidereal lunar track has 2 days for 4 years. The synodic lunisolar calendar undercuts the moon’s given capacity – guiding earthly beings into the intergalactic voyage of WE/HERE/NOW. In it, both the moon and women are, glorified and objectified by the viewer, cast under the male voyeuristic eye. On the contrary, the sidereal lunisolar calendar, based on the cyclic synchrony between the moon and women, offers the lens to the interconnectedness of all bodies in the universe. Synodic Lunar Track (Patriarchal) Sidereal Lunar Track (Magoist) Focus Moon’s phases Moon’s motions Days of month 29 or 30 (irregular) 28 (regular) No. of months in a year 12 13 Women’s menstrual cycle Assumed sync Synced Luni-centric Astolonomy Unknown 28 Constellations Intercalations 11 days annually, a total of 44 days for 4 years 1 day annually & 1 day every 4 years, a total of 2 days for 4 years Sources prove that the sidereal lunation is, albeit esoterically, known across cultures to this day. Through the comparative study of ancient cultures of Babylon, Arabia, India and China, W. B. Yeats (1865-1939) observes the substantive difference in dynamic between the two lunation tracks, the synodic and the sidereal. He notes that the moon’s orbital motion, apart from the sun’s, charts out the celestial sphere as the 28 Mansions. I have learned that the 28 Mansions or 28 Constellations of the Moon is a popular form of the 28 day and 13 month Magoist calendar, widely circulated among East Asians especially Koreans from the ancient time. Yeats’ following insights corroborate the Budoji’s explication of the Magoist Calendar in general and the faulty nature of the patriarchal (ancient Chinese) calendar in …
(Poem) Samhain by Annie Finch

In the season leaves should love, since it gives them leave to move through the wind, towards the ground they were watching while they hung, legend says there is a seam stitching darkness like a name. Now when dying grasses veil earth from the sky in one last pale wave, as autumn dies to bring winter back, and then the spring, we who die ourselves can peel back another kind of veil that hangs among us like thick smoke. Tonight at last I feel it shake. I feel the nights stretching away thousands long behind the days, till they reach the darkness where all of me is ancestor. I turn my hand and feel a touch move with me, and when I brush my young mind across another, I have met my mother’s mother. Sure as footsteps in my waiting self, I find her, and she brings arms that hold answers for me, intimate, waiting, bounty: “Carry me.” She leaves this trail through a shudder of the veil, and leaves, like amber where she stays, a gift for her perpetual gaze. From Eve (Carnegie Mellon University Press, 2010) (Meet Mago Contributor) Annie Finch
(Essay and Video) Cosmogenesis Dance: Celebrating Her Unfolding by Glenys Livingstone

The dance begins with two concentric circles, which will flow in and out of each other throughout the dance, resulting thus in a third concentric circle that comes and goes. The three circles/layers are understood to represent the three aspects of Goddess, the Creative Triple Dynamic that many ancients were apparently aware of, and imagined in so many different ways across the globe. In Her representation in Ireland as the Triple Spiral motif, which is inscribed on the inner chamber wall at Bru-na-Boinne (known as Newgrange)[1], She seems to be understood as a dynamic essential to on-going Cosmic Creativity, as this ancient motif is dramatically lit up by the Winter Solstice dawn. It seems that this was important to the Indigenous people of this place at the time of Winter Solstice, which celebrates Origins, the continuing birth of all. Thus I like to do this Cosmogenesis Dance, as I have named it[2], at the Winter Solstice in particular. The three aspects that the dance may embody, and are poetically understood as Goddess, celebrate (i) Virgin/Young One – Urge to Be as I have named this quality – the ever new differentiated being (also known as Fodla in the region of the Triple Spiral)[3]. This is the outer circle of individuals. (ii) Mother – the deeply related interwoven web – Dynamic Place of Being as I have named this quality – the communion that our habitat is (also known as Eriu in the region of the Triple Spiral)[4]. This is the woven middle circle where all are linked and swaying in rhythm. (iii) Crone/Old One – the eternal creative return to All-That-Is – She who Creates the Space to Be as I have named this quality (also known as Banba in the region of the Triple Spiral)[5]. This is the inner circle where linked hands are raised and stillness is held. The three concentric layers of the dance may be understood to embody these. The Cosmogenesis Dance represents the flow and balance of these three – a flow and balance of Self, Other and All-That-Is. It may be experienced like a breath, that we breathe together – as we do co-create the Cosmos. Thomas Berry and Brian Swimme have named the three qualities of Cosmogenesis in the following way: – differentiation … to be is to be unique – communion … to be is to be related – autopoiesis/subjectivity … to be is to be a centre of creativity.[6] The three layers of the dance may be felt to celebrate each unique being, in deep relationship with other, directly participating in the sentient Cosmos, the Well of Creativity. The Cosmogenesis Dance as it is done within PaGaian Winter Solstice ceremony expresses the whole Creative Process we are immersed in. It is a process of complete reciprocity, a flow of Creator and Created, like a breath. There is dynamic exchange in every moment: that is the nature of the Place we inhabit. The dance may help awaken us to it, and to invoke it. The Cosmogenesis Dance on YouTube https://www.youtube.com/watch?v=dR73MDMM9Fk For more story: Cosmogenesis Dance for Winter Ritual For Dance Instructions: PaGaian Cosmology Appendix I Meet Mago Contributor Glenys Livingstone NOTES: [1] The Triple Spiral engraving is dated at 2,400 B.C.E. [2] This dance is originally named as “The Stillpoint Dance”, or sometimes “Adoramus Te Domine” which is the name of the music used for it. I learned it from Dr. Jean Houston in 1990 at a workshop of hers in Sydney, Australia. I began to use the dance for Winter Solstice ceremony in 1997, and it was only in the second year of doing so that I realised its three layers were resonant with the three traditional qualities of the Female Metaphor/Goddess, and also the three faces of Cosmogenesis. I thereafter re-named and storied the dance that way in the ceremonial preparation and teaching for Winter Solstice. See Glenys Livingstone, PaGaian Cosmology: pp. 280-281 and 311. [3] Michael Dames, Ireland: a Sacred Journey, p.192. [4] Michael Dames, Ireland: a Sacred Journey, p. 192. [5] Michael Dames, Ireland: a Sacred Journey, p. 192. [6] Brian Swimme and Thomas Berry, The Universe Story, p. 71-79. I have identified these qualities with the Triple Goddess, and the Triple Spiral in the synthesis of PaGaian Cosmology: see Glenys Livingstone, PaGaian Cosmology, particularly Chapter 4: https://pagaian.org/book/chapter-4/ References: Dames, Michael. Ireland: a Sacred Journey, Element Books, 2000. Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Lincoln NE: iUniverse, 2005. Swimme, Brian and Berry, Thomas. The Universe Story: From the Primordial Flaring Forth to the Ecozoic Era. NY: HarperCollins, 1992.

(Bell Essay 8) The Magoist Whale Bell: Decoding the Cetacean Code of Korean Temple Bells by Helen Hye-Sook Hwang, Ph.D.

[Author’s Note: This and ensuing sequels are excerpts of a new development from the original essay sequels on Korean Temple Bells and Magoism that first published January 11, 2013 in this current magazine. See (Bell Essay 1) Ancient Korean Bells and Magoism by Helen Hye-Sook Hwang.] Singing Humpback Whales, wikimedia commons Whales as the Cosmic Music Maker That whales (Gorae in Korean) are foundational to the Korean temple bell remains subliminal to this day. How do we assess the cetacean code of the Korean temple bell? What is the relationship between these two seemingly unrelated objects? We are given the whale-shaped mallet of the bell to begin with. Intriguingly, two Buddhist temples are noted today for the wooden whale-carved mallet of their bells: Sudeok-sa in Yesan, South Chungcheong, and Seonam-sa in Suncheon, South Jeolla.[1] Other temple bells reportedly have the whale mallet as well, although not as much distinctly carved as the two. The Divine Bell of King Seongdeok the Great is known as such. What is the significance of the Korean temple bell that has a whale as its striker? However, the whale-shaped wooden mallet is only a visible symbol of Sillan cetacean veneration. The whale motif is not just physically present in the mallet but also signified in its name or title. Among many alternative names of the Korean temple bell are cetacean names; Janggyeong (長鯨 Eternal Whale), Gyeongjong (鯨鐘 Whale Bell), Hwagyeong (華鯨 Splendid Whale), and Geogyeong (巨鯨 Gigantic Whale). Here the character “gyeong 鯨” means a whale.[2] These whale names suggest that the bell itself is conceived as a whale. Korean temple bells are the code of Magoist cetaceanism. By the very nature of a temple bell that is to awaken all beings to put it bluntly, we can establish that the sound of a whale is elevated to the purpose of a temple bell. Or vice versa. The sound of a temple bell is identified as that of a whale. At the outset, suffice it to say that whales are admired and revered for their vocal behaviors so much so that they are represented in Sillan temple bells. The cetacean representation of the Korean temple bell comes unexpected to us. Why is the song of a whale not the song of a bird or another animal? And what does it mean that the Korean temple bell employs cetacean names? These are no small questions. Answering them requires digging into the deepest layer of what has gone under the surface about Magoist Korean whale culture. I have discussed elsewhere in detail about how Korean cetaceanism is steeped in linguistics, myths, place-names, and custom.[3] For the immensity and complexity of the topic, this essay leaves out the discussion of such salient features of whales as their pre-human origin, evolution from land to sea, sizes and trans-oceanic migratory journeys. Summarily, whales connect and bridge the human mind beyond anthropocentrism. Here we will focus on how cetacean veneration is encoded in the Korean temple bell, in particular the sound tube. Ancient Korean Magoists deemed whales as the cosmic music makers. The cetacean names of Korean temple bells redefine the bell as the acoustic instrument that conveys the music of whales. Note the plural in bells and whales. Korean temple bells are meant to be recognized as a chorus, like whales in the sea, to respond to the sonic property of all beings. In fact, the Korean temple bell is never an isolated single sound wave, to be discussed below. What is emitted from both is harmonized music. It is noted that the music of whales can travel hundreds of kilometers underwater.[4] That the song of whales travel as far as hundreds of kilometers underwater is juxtaposed with the sound of the Korean temple bells that travel far. The former is transmitted through water waves, while the latter is transmitted through air waves. Humpback Whales Whales compose music. Among cetacean species, known for their vocalizations are the blue whale, the fin whale, the humpback whale, the minke whale, and the killer whale.[5] In particular, such baleen whales as humpback whales and blue whales have been relatively well studied for their vocalizing behaviors. The range of humpback whales’ sound frequencies is known as follows: The range of frequencies that whales use are [sic] from 30 Hertz (Hz) to about 8,000 Hz, (8 kHZ). Humans can only hear part of the whales’s songs. We aren’t able to hear the lowest of the whale frequencies. Humans hear low frequency sounds starting at about 100 Hz.[6] In comparisons, the vocalizations of blue whales are known to range from 10 to 40 Hz at a fundamental frequency (the lowest frequency of a periodic waveform). It is also noted that blue whales off the coast of Sri Lanka make music of “four notes duration lasting about two minutes each, reminiscent of the well-known humpback whale songs.”[7] To be discussed below, the frequencies of the two most noted Korean temple bells range from 65 Hz to 103.02 Hz, which fall within the range of these whales’ vocalizations. A significant volume of scientific research has been harvested on the music of humpback whales. Katy and Roger Payne are, according to an article by Bill McQuay and Alison Richards, the first scientists who identified the calls of male humpback whales as songs.[8] They report that humpback whales do not merely sing but compose music. McQuay and Richards describe the song of humpback whales as follows: Surprisingly researchers have noted that at any given moment all males in a group will sing the same version of a song, even when separated over large distances, while whales in another region or hemisphere will sing a completely different song, but in unison with other whales in their area. These sounds are loud, deep and low-frequency (20Hz – 10 kHz). They can be heard many miles away and may go on for hours or even days. Individual songs can last anywhere from a few minutes up to a half hour at which point they may then be repeated again. …
(Mago Almanac Planner Year 5 Excerpt 3) 13 Month 28 Day Magoist Calendar by Helen Hye-Sook Hwang

[Author’s Note: This and its sequences are a newly added portion in the Mago Almanac Planner Year 5, equivalent to the Gregorian Year 2022. Because the Budoji did not explain further about time units smaller than 1 day, I did not follow through some possible implications in previous Mago Almanac volumes. Next year’s Mago Almanac Planner for Personal Journey: 13 Month 28 Day Calendar Year 5 or 5919 MAGOMA ERA is forthcoming in Mago Bookstore (October 25, 2021). PDF version is available for purchase.] We set the new moon day of the Winter Solstice month in 2017 as the New Year of Year 1. With that, we are able to tap Magoist days into Gregorian days that we moderns use. Then, how do we bring down a Magoist time in the scheme of the Gregorian time? How do we determine the onset of New Year in the Magoist Calendar? When would be the midnight of New Year in Year 1? That requires a translation of Mago time into Gregorian time. We can designate midnight as a midpoint in time equidistant from the sunset of New Year’s Eve to the sunrise of New Year. As local times vary around the globe, the midnight of New Year varies in states and cities. In Los Angeles, California USA, the first Magoist midnight falls on 23:29 on December 17, 2017 for Year 1. That would be 07:29 on December 18, 2017 in UTC. Year 1Year 2Year 3Year 4Midnight12/17/2017 23:2912/17/2018 23:2912/17/2019 23:2912/16/2020 23:30Sunset16:45, 12/1716:45, 12/1716:45, 12/1716:44, 12/16Sunrise6:53, 12/186:53, 12/18 6:53, 12/186:53, 12/17 (Sunset and sunrise times in Los Angeles, USA) The below table shows the first Magoist midnight (around 0.33 AM) falls on December 18, 2017 in Gyeongju, South Korea. That would be 15:33 on December 17, 2017 in UTC. Year 1Year 2Year 3Year 4Midnight12/18/2017 0:33.512/18/2018 0:32.512/18/2019 0:32.512/17/2020 0:32.5Sunset17:11, 12/1717:11, 12/1717:11, 12/1717:11, 12/16Sunrise7:28, 12/187:27, 12/18 7:27, 12/187:27, 12/17 (Sunset and sunrise times in Gyeongju, South Korea) We can imagine a spiral progression of years from Little Calendar (one year) to Medium Calendar (two years) and to Large Calendar (four years). Every year has one leap day, whereas every fourth year has another leap day in the middle of the year. Cyclic time, as it progresses, creates rhythm and harmony in the human world. Little Calendar (1 year)13×1=13 months364 days+1 leap day=365 daysMedium Calendar (2 years)13×2=26 months2x(364 days+1 leap day) =730 daysLarge Calendar (4 years)13×4=52 months4x(364 days+1 leap day)+1 leap day=1,461 days (End of the series) https://www.magoacademy.org/virtual-midnight-vigil-to-new-year/ https://www.magoism.net/2013/07/meet-mago-contributor-helen-hwang/
(2014 Mago Pilgrimage Report 1) Sweat Lodge in Gyodong, Ganghwa Islands by Helen Hwang

[Author’s Note: Revised verison of this report is published in Celebrating the Seasons of the Goddess (Lytle Creek, CA: Mago Books, 2017). 2014 Mago Pilgrimage to Korea (Oct. 7-Oct. 20) was participated by a culturally mixed group of pilgrims from the U.S. Australia, and Korea. Among non-Koreans were Dr. Glenys Livingstone (co-facilitator), Mr. Robert (Taffy) Seaborne, and Ms. Rosemary Mattingly. For details, read 2014 Mago Pilgrimage. View the video on our visit to Ganghwa Islands by Robert (Taffy) Seaborne.] 2014 Mago Pilgrimage granted me ever unfolding revelations. The first of them that I would like to mention concerned the sweat lodge called Hanjeung-mak (汗蒸幕, Chamber of chill and steam).[1] Until we visited the traditional sweat lodge in Gyodong, Ganghwa Island, it did not occur to me that the origin of its modern variations[2] has to do with the rebirthing experience in the Womb of Mago. (Here Mago means the Great Goddess or the Primordial Mother.)

Month: September 2017

(Art 1) Ishtar, Infancy the very beginning of by Megha

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(Song) We are walking in a circle by Genevieve Vaughan

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(Art) Initiation – Surrender by Susan Clare

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(Book Excerpt 5) Single Mothers Speak on Patriarchy by Trista Hendren & Pat Daly

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(Videos) The Words Don’t Come by Shireen Qudosi

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(Poem) Burning by Maya Daniel

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(Mago Almanac 3) Restoring 13 Month 28 Day Calendar by Helen Hye-Sook Hwang

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(Art & Poem) Autumn Equinox by Sudie Rakusin and Aphrodite Rose

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(Poem) The Arisen Christ: A parable by Janie Rezner

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(Prose) To Every Season by Deanne Quarrie

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(Poem) Honouring Artist Pamela Colman-Smith by Andrea Nicki

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(Prose) Water, Spiritual Source by Deanne Quarrie

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(Essay) Once in Okinawa by Luciana Percovich

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Mago Almanac Year 9 Monthly Wheels

S/HE: IJGS V4 N1-2 2025 (B/W Paperback)

Mago Almanac Year 8 (for 2025)

Program Booklets

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