December 16, 2015October 2, 2019 Mago Work AdminLeave a comment

2015 Nine Day Solstice Celebration Program Details

Each day’s program is available for view in “Reading Room” at Mago Academy’s website (magoacademy.org)! Mago Academy and The Girl God Proclaims “Gathering At the Crossroad for Mago Time/Space” during Read More …

December 14, 2015October 2, 2019 RTM Editors2 Comments

(Essay 1) Body Prayer by Mary Petiet

‘All shall be well, and all shall be well and all manner of thing shall be well.’ Julian of Norwich I am laying in shavasana, corpse pose, the final assimilating pose of Read More …

December 11, 2015October 2, 2019 RTM Editor1 Comment

(Photo essay 2) Goddess Pilgrimage – Delphi by Kaalii Cargill

This year I travelled to Greece, Malta, Italy, and Turkey, seeking Goddess in archaeological sites and museums. Over six weeks, I walked the streets of ancient cities, stood in caves Read More …

December 9, 2015November 21, 2023 Mago Work Admin2 Comments

(2015 Mago Pilgrimage) Triad Seonghwang Shrines in Gangmun by Dr. Helen Hye-Sook Hwang

Our visit as well as my lecture in the northeastern coastal region of South Korea was arranged by Ms. Eungyeong Kim. Ms. Kim, lecturer at Gangneung Wonju University, had contacted Read More …

December 7, 2015October 2, 2019 RTM EditorsLeave a comment

(Essay) Guadalupe by Sara Wright

Last year on December 12th, Guadalupe’s Feast Day, I lit the retablo that sits in the one dark corner of the living room, yet I couldn’t feel Her Presence, Read More …

December 2, 2015October 2, 2019 Mago Work Admin3 Comments

(Poem) Just Remember WE in S/HE by Helen Hye-Sook Hwang

Just Remember WE in S/HE Remember the Universe is without the beginning or the end. Remember the Creatrix is the Music of the Universe.

December 1, 2015October 2, 2019 RTM Editors1 Comment

(Meet Mago Contributor) Arna Baartz

Arna is a painter, writer/poet, martial artist, educator and mother to eight fantastic children. She has been expressing herself creatively for 44 years and finds it to be her favourite Read More …

November 30, 2015October 2, 2019 RTM EditorsLeave a comment

(Video) Relaxing into Alignment by Marie de Kock

https://www.youtube.com/watch?v=aLmqdHdnmoY Author’s Note: “Relaxing into Alignment” is the first of a sequel under the banner of “Heal your Feminine Essence”. The first video is about coming into alignment with our Read More …

November 27, 2015October 2, 2019 RTM EditorsLeave a comment

(Poem) Wordless by Mary Saracino

There are places inside us where words are useless spaces where only silence dwells. Into these still, dark caverns seekers tumble sometimes meeting unexpected faces eyes wide with invitation.

November 23, 2015October 2, 2019 RTM EditorsLeave a comment

(Essay 2) The Snake Goddess Reborn by Harita Meenee

I am lucky enough to live in Kifissia, a lovely green suburb of Athens, Greece. Not far from my home there’s a quiet place with meadows and olive groves. I Read More …

November 20, 2015October 2, 2019 RTM EditorsLeave a comment

(Art) Birthing Woman by Lucy Pierce

Third time around, birthing my daughter, Bealah Moss. I am no longer young, a body rounded and made soft and pendulous with time, breasts well seasoned with the mouths Read More …

November 18, 2015November 15, 2019 RTM Editor1 Comment

(Essay) Mary as Christian Goddess by Glenys Livingstone Ph.D.

This is an edited version of a radio program by the author in 1994, on 2BLU 89.1 FM, Blue Mountains, Australia, in the context of a series called “Remembering the Read More …

(Prose) Earth Stories by Sara Wright

Photo by Sara Wright Every day I send a FB post into what feels like a Great Void including nature photos that I took around the house or in the woods that morning or the day before. There is always Something. Coalescing early morning thoughts with recent images helps me orient myself to the day to come, reminding me to be Present to Now. Now is my only Refuge. In these posts I also hope to capture an audience through image if not through words, introducing or reinforcing people’s positive relationship to nature before it’s too late. My intention is twofold. Help others to see nature in all her wonder, and to encourage folks who read the text to think creatively, to question, to challenge what has been normalized. Does anyone pay attention to these efforts? The answer is probably that few do, and yet I persist. I recall what Pulitzer Prize winning author Richard Powers states, namely that ‘hope is a willingness to engage with the future’. Outcomes are not the point. As a naturalist I am wed to the earth. That I am witnessing Earth’s sorrow, suffering and perhaps even her rage is reality. That we cannot separate the earth from our lives is also reality. Denial or not. That joy can still be felt sensed experienced by living in the present is a third reality. Sharing my little posts helps me to pass these ideas/feelings on. I include today’s post as an example. “WHAT IS THE EARTH ASKING OF US? Both author/scientist Robin Wall Kimmerer and scholar / author Amitav Ghosh ask the same question in different ways. Kimmerer answers that the earth asks to be thanked for the gifts that s/he brings us, and that Gratitude is key. Ghosh answers the question through the story of how one plant brought down a civilization and what this might be saying about the intelligence of nature that may be working under the radar -the fires the flood droughts colonization, wars, misogyny racism etc. cannot be separated and all are all telling us something… Both And. I wonder what would happen if every person queried this question to nature and then LISTENED to any answer that might materialize through a thought or an action – – – Do I hear thousands of responses? This is when I think that it might be possible to change the world. Yesterday when I stood under my beloved hydrangea whose pearl white blossoms rivel that of the moon’s blue light listening to the hum of bees, I heard the cosmos singing. The many and the one. There’s more to this story. Yesterday I also heard my almost 33 -year- old dove Lily b thrashing around his bathroom bower. Something had frightened him badly. Racing into his room – he is a free flying dove that has never been caged – I feared that he might have hurt himself accidently. Lily spends his days in a plant window that is open overhead. Although he is completely safe, he doesn’t feel that way if a predator is near. Hawks can see him from above and sometimes dive bomb the window sending him into a frenzy. After finding him huddled in a corner I picked him up, soothed him with words, and placed him on his protected night roosting perch to recover. Imagine my shock when I entered the living room, and a giant hawk was sitting in the nearby cherry tree. It took a second to identify the Red Tail before he flew directly at me, hovering in the air inches in front of the window tail feathered fanned out behind him. He repeated this behavior three times in all before flying away. Stunned almost senseless, my heart pounded involuntarily. I just stood there dumbly. This was personal and frightening; every cell was vibrating in my body. When a jumble of thoughts tumbled into awareness the hawk’s messenger aspect came first. Nature was communicating with me through one of her creatures, but what S/he was saying was not clear. Never in all these years had I witnessed this behavior in a hawk. Was this some kind of warning? It sure felt that way as my mind flew through all the times the hawk had come to me over the years… often in conjunction with family. Sometimes ‘his’ messages were benign; sometimes not (I only experienced hawk as male). But three times? This sounded mythical; in fairy tales happenings occur in threes. I have no answer to what this startling appearance might mean to me personally or even collectively, but I am on high alert because nature routinely communicates with me through plants, animals, and birds. Unfortunately, sometimes it is months, even years before I comprehend why a visitation occurred. The point of including this unfinished story is to demonstrate that developing an intimate relationship with nature in any of her aspects does weave a person into the uncanny tapestry of the whole if we are open to the reality that it is possible. In The Nutmeg’s Curse Amitav Ghosh suggests that human/animal communication is the oldest of our ‘animal’ traits, and that Nature was telling stories long before humans ever inhabited the earth. My life experiences indicate to me that he’s right. https://www.magoism.net/2014/12/meet-mago-contributor-sara-wright/
(Essay 3) Empress Influence on the Establishment and Rise in Popularity of the Virgin Mary and Kuan Yin by Krista K. Rodin, Ph.D.

Part 3: Common Threads Chang’an, like Constantinople, became “The” major metropolis during their empress’ reigns. Where Pulcheria built churches and hospices, Wu built the Daming Palace to showcase the power and majesty of the Tang Dynasty, pagodas for the people to worship in and granaries to feed them. In keeping with the Kuan Yin spirit of compassion for her subjects, the Empress established local granaries, not unlike Pulcheria’s “Steps”, that were insulated so that they could store rice for up to ten years, providing the populace with food in times of drought. So far upwards of 280 such granaries have been found in the former capital with archeologists suspecting there could be upwards of 500. During both women’s reign, life and status for women in their capitals noticeable improved. Both tried to create meritocracies, with Empress Wu starting the Imperial Exams, which were intended to identify the best qualified candidates for governmental offices rather than the previous system of heredity and nepotism. Under their leadership their empires flourished through trade as well as through conquest. They each were instrumental in strategic battles that increased the size of their territories. On the religious side, Pulcheria brought holy relics and jewels to Constantinople, while Wu commissioned, or had dedicated to her, Buddhist statues and paintings across her vast nation. Both were influential in the development of sacred texts for their respective faiths. Empress Pulcheria’s influence is apparent in the text that developed from the two Councils, and Empress Wu’s with the promotion of the Lotus Sutra as well as the “finding” of the Dayun Jing Sutra and the Treasury Rain Sutra. Empress Wu also influenced the gender change of the leading now-female deity in Chinese Buddhism, Kuan Yin. A brief list of some of their similarities includes: Empress Pulcheria and Empress Wu were the only truly long-standing ruling empresses for their respective cultures. They started out as co-rulers, but the main power was in their hands, and they continued to rule after the death of the emperor. Empress Wu was called “Emperor” when she was sole ruler from 690/691 to her abdication in 705. Both lived part of their lives as nuns within their respective traditions. Pulcheria was a nun by dedication, Wu by necessity as all imperial concubines who had not birthed a child were sent to a convent after their Emperor died. They were steeped in religious traditions that were not mainstream, and both spent their careers and lives promoting their faiths against what they believed to be heretical views. They both chose deities of compassion to associate with and to publically model themselves on; in Pulcheria’s case spiritually and physically, in Wu Zetian’s materially. They both used the deities to rally their soldiers in actual battles against enemies of their empires. Pulcheria and Theodosius II fought against the Persians and the victory was attributed to Pulcheria’s virginity as a sign of her association with the Virgin Mary, and Wu Zetian subdued a rebellious vassal state, Khitan, with the help of Buddhist and Taoist ceremonies and a specific public ceremony dedicated to Kuan Yin. They both commissioned sacred images, artifacts, and worship sites to glorify their chosen divine figure, thereby promoting their personal as well as spiritual images. They both established cults for their respective deities through the use of propaganda, and the creation of sacred texts and images. They both had philanthropic systems in place to take care of the common people, including the distribution of food and health care resources. The difference in their legacies is that the Roman Catholic Church made Pulcheria a saint for her efforts to promote the Virgin Mary, while Empress Wu had no such support. Primarily her ruthless acts within the Court and about those who opposed her will were transmitted to the future. It is only within the past few years, that archeologists and scholars are discovering another side to her story and to her reign and influence on bringing a feminine facet to Chinese Buddhism. In 2015 CCTV, the Chinese central television system, had a 96 part series on her trying to show a more human side of her story than earlier depictions had portrayed. Empress Wu is buried with her husband and her memorial stele remains blank. Her legacy is still unwritten. There is much more to be discovered about her influence on popularizing devotion to Kuan Yin and especially about her early foundational years in Taizong’s Court with Princess Wen Cheng. Conclusion The use of imperial power was instrumental in the establishment of the on-going devotion to sacred feminine figures of compassion in the Roman Catholic and Chinese Buddhist traditions. Empress Pulcheria and Empress Wu Zetian used their power to influence and change not only the political atmosphere they found themselves in, but also promoted the idea of a compassionate female “deity” that was an intercessor with heaven on behalf of the people. Both used this model in the public perception of themselves, while both were characterized as cut-throat to those who challenged them. Pulcheria has received better press from subsequent generations as she has been canonized by the Catholic Church. Empress Wu Zetian did not have such luck as the Confucian model of gender roles came back into force after her death. The records we have of her are all from men who were not necessarily in favor of a female ruler. Nonetheless, the development of devotion to Kuan Yin, can be attributed to her reign, as can the decisions about Mary at the Ecumenical Councils of Ephesus in 431 and Chalcedon in 451 to Empress Pulcheria. These two Empresses, the only female rulers from their long-standing empires, Byzantium and the Tang Dynasty, were instrumental in the development of devotion to sacred feminine compassionate figures, while at the same time promoting the well-being of the people of their empires. (End of the Essay) https://www.magoism.net/2018/09/meet-mago-contributor-krista-rodin-ph-d/ (Meet Mago Contributor) Krista Rodin, Ph.D. References Atanassova, A. (2010). Orthodox women’s defense of the Theotokos: The case of Empress Pulcheria and the …
[Short Story] A Story for Spring by Kaalii Cargill

It is Spring here in the Southern Hemisphere, the flowering season of the wheel of the year. In my house hangs a print of Flora, a Roman Goddess of Spring, found in the ancient city of Stabiae. She could represent any of the Goddesses of renewal – Artio (Swiss) Beiwen (Finnish) Blodewedd (Celtic) Brigit (Celtic) Dziewanna (Eastern European) Hare Ke (West African) Hebe (Greek) Ostara(Celtic) Kono-Hana-Sakuya-Hime (Japanese) Kostroma (Russian) Kore/Persephone/Prosperpina (Greek) Lada (Eastern European Maia (Greek) Olwen (Celtic) Prosepina (Roman) Rafu-Sen (Japanese) Sita (Hindu) – and others. Flora, fresco from Villa Arianna, Stabiae, 1st Century CE. Naples Archaeological Museum. In Nordic mythology, Idunn is a Goddess of Spring. Here is a story about Idunn and her life-giving power – an excerpt from my novel (with Kellianna Girouard) Tapestry of Dark and Light, Book One of The Warrior Queen Chronicles. Loki tricked Idunn into leaving Asgard and going into the forest with him. He told her that he had found apples that she would find to be of great worth and asked her to bring along her apples so that she might compare them . . . Skáldskaparmál: 1 Idunn walked softly through the wildwood, gathering berries from the bushes and trees growing beside the stream. She filled her basket with cranberries, blackberries, raspberries, lingonberries, blueberries, and strawberries, a feast for the Gods and Goddesses of Asgard. The sun moved past the mid-point of the sky, and Idunn sat for a while with her feet in the deliciously cold water. Birds flew down from the trees to rest near her, and from the forest strutted an elk, crowned with six-tined antlers. Idunn offered the elk a palm full of lingonberries and threw blackberries to the birds. Her allotted task was to feed the Gods and Goddesses, but what were the birds and animals if not Gods of the forest? Idunn left the stream and walked slowly back to Asgard, singing the spells that filled the berries with the spirit of Nature, the life force that kept the Gods and Goddesses young and strong. She had learned the spells from her mother, who had them from her mother, words of power passed down from mother to daughter since the beginning. Idunn’s long hair coiled around her body like golden snakes as she sang, and flowers bloomed where her feet touched the ground. So it had been since the dawn of Time, and so it might have continued except for the heedless greed and anger of three Gods. # Óðin, Loki, and Hoenir had left Asgard and traveled far in search of adventure and riches. Their journey took them into a barren mountain range where Iduna had never walked. “My life force is weakening,” said Óðin. “We must return to Idunn and her life-giving berries.” “Just a little further,” said Hoenir. “I want more to show for our travels.” His bag already bulged with gold and precious gems, but Hoenir always lusted for the next treasure. “We can slaughter an ox for our next meal,” said Loki, who never troubled with matters of property or ownership of herds. Óðin let it be, so they killed an ox, prepared the meat for cooking, and sat around the fire waiting to eat. Strangely the meat did not crisp and sizzle; no succulent smells arose from the fire. “It must be spelled,” said Hoenir, looking around warily. “It is I who, by my magic, prevent your meat from cooking!” They looked up. Perched in the tree was a huge eagle. Óðin muttered something about Loki and his thieving ways. “Give me my fill of your meat, and I shall release the rest for you,” said the eagle. Loki objected, but Óðin invited the eagle to eat his fill. The great bird glided down and took the choicest parts of the ox with his sharp talons and fierce beak. “That is enough!” cried Loki. “All the best meat is gone!” He grabbed a fallen branch and lunged at the eagle. The eagle moved faster than light and took the branch in its talons, carrying Loki into the sky. Loki screamed and cursed, but the eagle spiraled higher and higher. Loki threatened and begged, and finally the eagle offered Loki a choice. “Bring me the life-giving service of Idunn, or I will carry you to my children who will strip the flesh from your bones.” Loki agreed. The three travelers returned to Asgard, inventing glorious songs and stories about their journey. The longest story was about Loki’s encounter with the eagle and his escape, but only he knew the bargain he had made with the creature; only he knew that the eagle was the giant Thjazi in his bird form. When the travelers had been welcomed home, all the songs sung, the stories told, and the mead drunk, Loki crept away to the wildwood to find Idunn. He knew the way to her bower; her mother’s mothers had always welcomed him, feeding him the ripest berries, the sweetest nuts, the most succulent fruits. “Ah, Loki, you are returned safely. I dreamt of a giant who carried you away. I am glad to see you well.” Idunn smiled, and the World grew brighter. Loki ate some berries and spoke of his travels, offering to show Idunn a place he had found where cloudberries grew all year round. They left Asgard the next day, Idunn carrying her basket to fetch cloudberries for the Gods and Goddesses. They journeyed for three days and came to a barren mountain range. “Where is this place?” Idunn asked, but Loki had disappeared. A rush of wings, and Idunn was snatched up in Thjazi’s talons and carried to the giant’s lair; Thrymheim, he called it – Thunder Home – for the sound of the wind in the mountain peaks and the pounding avalanches that covered the World below with snow. “Feed me the elixir of Life,” demanded Thjazi. Iduna offered Thjazi berries from her basket, but he flung them away. “I can gather berries myself,” he growled. “I want the magic you give the Gods! I want to live forever!” Idunn …
(Essay) Winter Solstice/Yule within the Creative Cosmos by Glenys Livingstone Ph.D.

This essay is an edited excerpt from Chapter 5 of the author’s book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Dates for Winter Solstice/Yule Southern Hemisphere – June 20 – 23. Northern Hemisphere – December 20 – 23 This Seasonal Moment is the ripe fullness of the Dark Womb and it is a gateway between dark and light. It is a Birthing Place – into differentiated being. Whereas Samhain/Deep Autumn is a dark conceiving Space, it flows into the Winter Solstice dark birthing Place – a dynamic Place of Being, a Sacred Interchange. This Seasonal Moment of Winter Solstice is the peaking of the dark space – the fullness of the dark, within which being and action arise. It is the peaking of emptiness, which is a fullness. As cosmologist Brian Swimme describes: the empty “ground of being … retains no thing.” It is “Ultimate Generosity.”[i] In Vajrayana Buddhism, Space is associated with Prajna/wisdom – out of which Upaya/compassionate action arises. Space is highly positive – something to be developed, so appropriate action may develop spontaneously and blissfully.[ii] In Old European Indigenous understandings, the dark and the night were valued at least as much as light, if not more so: time was counted by the number of nights, as in ‘fortnights,’ and a ‘day’ included both dark and light parts … it was ‘di-urnal’. I have been careful with my language about that inclusion in the ceremonial ‘Statement of Purpose’ for each Seasonal Moment. This awareness is resonant with modern Western scientific perceptions about the nature of the Universe: that it is seventy-three percent “dark energy,” twenty-three precent “dark matter,” four percent “ordinary matter.”[iii] The truth is that we live within this darkness: it is the Ground of all Being. In Pagan traditions since Celtic times, and in many other cultural traditions, Winter Solstice has been celebrated as the birth of the God; and in Christian tradition since about the fourth century C.E., as the birth of the saviour. But there are deeper ways of understanding what is being born: that is, who or what the “saviour” is. In the Gospel of Thomas, which was not selected for biblical canon, it says: “If you bring forth what is within you, what you bring forth will save you.”[iv] This then may be the Divine Child, the “Saviour”: it may be expressed as the new Being forming in the Cosmogonic Womb,[v] who will be born. We may celebrate the birth of the new Being, which /who is always beyond us, beyond our knowing … yet is within us, burgeoning within us – and within Gaia. What will save us is already present within – forming within us. The Winter Solstice story may emphasize that what is born, is within each one – the “Divine” is not “out there”: it may be said, and expressed ceremoniously, that we are each Creator and Created. We may imagine ourselves as the in-utero foetus – an image we might have access to these days from a sonar-scan during pregnancy. This image presents a truth about Being: we are this, and it is within us, within this moment. Every moment is pregnant with the new. It will be birthed when holy darkness is full. Part of what is required is having the eyes to see the “new bone forming in flesh,” scraping our eyes “clear of learned cataracts,”[vi] seeing with fresh eyes. That is what the fullness of the Dark offers – a freshening of our eyes to see the new. And the process of Creation is always reciprocal: we are Creator and Created simultaneously, in a “ngapartji-ngapartji”[vii] way. We are in-formed by that which we form. In Earth-based religious practice, the ubiquitous icon of Mother and Child – Creator and Created – expresses something essential about the Universe itself … the “motherhood” we are all born within. It expresses the essential communion experience that this Cosmos is, the innate and holy Care that it takes, and the reciprocal nature of it. We cannot touch without being touched at the same time.[viii] We may realize that Cosmogenesis – the entire Unfolding of the Cosmos – is essentially relational: our experience tells us this is so. The image of The Birth of the Goddess on the front cover of my book PaGaian Cosmology expresses that reciprocity for me, how we may birth each other and the healing/wholing in that exchange. It is a Sacred Interchange. And it is what this Event of existence seems to be about – deep communion, which both Solstices express. Babylonian Goddess, Ur 4000-3500 BCE. Adele Getty, Goddess, 33. Birthing is not often an easy process – for the birthgiver nor for the birthed one: it is a shamanic act requiring strength of bodymind, attention, courage, and focus of the mother, and resilience and courage to be of the new young one. Birthgiving is the original place of ‘heroics,’ which many cultures of the world have never forgotten, perhaps therefore better termed as “heraics.” Patriarchal adaptations of the story of this Seasonal Moment usually miss the Creative Act of birthgiving completely, usually being pre-occupied with the “virgin” nature of the Mother which is interpreted as having an “intact hymen.” The focus of the patriarchal adaptation of the Winter Solstice story is the Child as “saviour”: even the Mother gazes at the Child in most Christian icons, while in more ancient images Her eyes are direct and expressive of Her integrity as Creator. NOTES: [i] Swimme, The Universe is a Green Dragon, 146. [ii] See Rita Gross, “The Feminine Principle in Tibetan Vajrayana Buddhism.” The Journal of Transpersonal Psychology 179-192. [iii] These figures as told by cosmologist Paul Davies with Macquarie University’s Centre for Astrobiology, Australia. [iv] Elaine Pagels, Beyond Belief: the Secret Gospel of Thomas, saying number 70. See https://www.pbs.org/wgbh/pages/frontline/shows/religion/story/thomas.html . [v] Melissa Raphael’s term, Thealogy and Embodiment, 262. [vi] The quotes come from a poem by Cynthia Cook, “Refractions,” Womanspirit (Oregan USA, issue 23, March 1980), 59. [vii] This is an Indigenous Australian term for reciprocity – giving and receiving at the same time. I explain it a bit further in PaGaian Cosmology, 256-257. [viii] An expression from Abram, The Spell of the Sensuous, 68. REFERENCES: Abram, David. The Spell of the Sensuous. New York: Vintage Books, 1997. Getty, Adele. Goddess: Mother of Living …
(Prose) A Gift from The Goddess by Luna Anna

Goku in his every day magnificence How many of us have got through life purely because we had a pet, a familiar by our side? I never really considered my pets to be gifts from Her and then there was Goku. Goku is my rescue cat. As the saying goes, he rescued me…. It was a dark time in my life when my gift arrived. My dad had died and my familiar, my cat Satoshi had also died. I was in an abusive relationship. I had financial troubles as I was too sick to work full-time and was being drained by my relationship. I had begun a path with the Goddess central to my life. I had awakened and was having guidance and shifts that came through Her. I suppose I was beginning my life of service to Her but didn’t know it at the time. Less than one week out of hospital, having had a breakdown, I was gifted a semi-feral kitten named Goku. The name comes from an anime where Goku is earths fiercest warrior and he certainly lived up to his name. I have the scars to prove it. As soon as this tiny five-week-old kitten was passed to me to care for, he said to me telepathically “Hello, I’m here to teach you about death.” Death. Not my favourite subject to be ‘taught’. That night, Goku was unwell, and needed vet care. At the emergency vets, the vet told us “He might die.” The words still ring through me five years later because for the entirety of his life, he has been at the edge of death with an incurable virus that requires close monitoring and if left unchecked can be fatal. Indeed, for two years, it was nearly fatal. He spent his time in and out of specialist vets who all agreed they had never seen anything so severe. Every day was a conscious decision whether to carry on or put him to sleep. These are not decisions you can take lightly. You know you are the custodian. You know you are borrowing them from Her. You know you must honour their choice, no matter how devastating that might be to you. Still, he chose life, and I chose him. I loved him more than I’ve ever loved any pet. The cleverness of this. I could see how She had made him into exactly the kind of cat I would fall for. Exactly the kind of cat, I would fight for. Exactly the kind of cat, I would live for. I devoted my life to keeping his life going. Oh, She planned it alright. She planned that I would break my heart open time again for him. Eventually I fled my old life and took him with me. She knew I would save him before I saved myself, so She brought him to me with the mission to do just that. We left together, once again, close to death. It was the start of the pandemic, and we didn’t know how we would survive. Slowly, he got better and just as we always dance together – I got sick. I had the worst breakdown I’ve ever had. Now, I was the one close to death and he was the one fighting to keep me alive. We clung to each other. He began his work as my therapy cat. He was bossy and demanding. I was exhausted and traumatised. He was insistent that I get up, get washed and dressed, eat, drink and that I move to play with him. He gave me a reason and he was such a high intensity cat, that he was able to organise the household and hold me through all the trials that came my way. Coming out of the deep fog of trauma, I looked at the beauty of him. She had made him exquisitely. The precision of Her brushstrokes to create such a creature with black smoke, charcoal streaks and soft white fine fur that blew in the wind like feathers on angel’s wings. His slow blinking green eyes staring up at me, I marvelled at how She comes up with these things. He fit my arms perfectly despite being a huge cat. His neck slotted into the creek of my elbow neatly. His paws are just the right length to wrap around my neck and his face the exact placement to give me kisses on my cheek. The wonder of the accuracy of it all, hit me. “You are the most beautiful cat in the world.” I’d tell him. “I love you so much. You are my best baby boy cat.” Love would pour out of me. Having lived a life of abuse, it was the first time my love could run free, and I would gush over him. He healed me. I healed him. We were a team. My most favourite team ever. Only Goddess could have known the recipe for this. Only She who knows all, sees all and is all, could bring this deep soul bond into being with such ease. As I write this, Goku is on the path to death. I’m bracing myself for his return to Her. I find myself pleading for him to stay with me, but I know I only ever borrowed him. He belongs to Her, not me. My lesson in death is just beginning as his life is ending – that dance again. What a gift. She, the creator of all things, gave me the greatest gift of all. And I am so thankful for that. https://www.magoism.net/2023/11/meet-mago-contributor-luna-anna/
(Budoji Essay 4) The Magoist Cosmogony by Helen Hye-Sook Hwang

Part 4: Magoist Origin of Immortals “I maintain that Immortals originally refers to Mago’s descendants in Mago Castle, the Primordial Paradise. They are the primordial clan community of the Mago Species, comprised of the divine, demigods, and humans.” [This is a translation and interpretation of the Budoji (Epic of the Emblem City), principal text of Magoism. Read the translation of Chapter 1 of the Budoji.] Magoist Origin of Immortals: All in the Mago Species are given the original nature of immortality or transcendence. Readers are advised to set aside the literal meaning in the English language of the words immortals or transcendents. Immortals is a translation of the East Asian term seon (仙, xian in Chinese). I choose the translation immortals over transcendents not because it is a better translation but because it is the most commonly used term by Western Daoist translators.[i] Although it is known as a Daoist term, I hold that it is pre-Daoist, namely Magoist, in origin. Primarily, it refers to the Mago Species (Mago and Her descendants) who dwelt in Mago Castle, the primordial home, to be discussed in detail in later chapters. Likewise, historical figures known as Immortals are Magoist rather than Daoist.
(Art 4) Gatekeeper by Megha

She who guards the entry to your sacred sanctuary – call upon her , “She- the Gate Keepers of all Gate Keepers” 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 their own infancy. An amazing amount of growth and development happens during that phase. This collection is aligned with the consciously heightened awakened growth that happened as Meghanaiyegee embarked on her own journey of remembering the Sacred Feminine. A journey to meeting HER, feeling HER, seeing HER, connecting with HER, whispering HER and becoming HER. Meet Mago Contributor Megha
(Meet Mago Contributor) Kerryn Coombs-Valeontis

Kerryn Coombs-Valeontis is an art and horticultural therapist working in mental health in Australia.. She is just emerging as a poet and is studying poetry therapy. Her poems and art are a response to life; nature as a healing force and a return to the feminine, are recurrent themes in her exploration. She is traversing more confidently the nexus between the two, and feels ready to share this now. You could say she is a late bloomer, but then again, we can only bloom when we are ready! She has a B. Ed. and Masters in Social Ecology.
(Essay) Being is the Language of the Goddess by Carolyn Lee Boyd

For almost 40 years, my feminist activism has been accomplished primarily through writing in the English language, until the day I learned that I was even more fluent in the Goddess language of being. During a drumming practice not long ago I was thinking about something my teacher had said — “All musical instruments come from drums” — and I thought, “When I play my drum, I speak the oldest of languages, the heartbeat of our mother in the womb,” a language that all share. But this language was older than that, beginning with the Big Bang and continuing in the waves that make up the reality of our universe, the masterpiece of She Who Creates. This was a language I profoundly knew but never thought of as a language till that moment. It is the language of being simply who we are, in all our sacred glory, in the most elemental way beginning with the most basic rhythm of our lives. The next day I was walking in the woods and heard a racket, frogs in a pond all warbling at once, then all silent, then all warbling again. Down the trail was a tree full of birds all chirping as they flew from branch to branch in a kind of syncopated rhythm. I suddenly thought of them as speaking to each other in their own language — “Let’s make some babies!” “There’s a human down there!” — but also to me in a language we both understood that came from our instincts to come alive in the season’s warmth and the return of abundance and life — “It’s spring! Time for renewal!” When I wandered down to my garden to see what plants were beginning to pop through the soil, the violet flowers of the periwinkle — that had come and gone on the same hillside for decades since, most likely, before my own childhood — spoke of the constancy of nature even as I move from youth to middle age to elderhood. Bloodroot has a red sap that is poisonous, but is traditionally used as a crimson dye, and small, simple, white flowers that have always reminded me that the new life of spring comes from blood and the hard work of giving birth, whether to baby beings, art works, relationships or anything else. The first leaves of the healing herbs in my garden assure me of the benevolence of the universe. All of these messages came from the plants’ expression of their gift of themselves, whether their beauty, their sap and simplicity of their flowers, or their healing properties. These beings, through their effect on me and other beings who encounter them, have an impact on the world just by expressing who they most essentially are. Do humans do the same? I began to think of my ancestors, especially my female ancestors, and wonder, what did they tell me through the language of their lives? Each of them, in her own way and within the constraints of her time and place, expresses to me that life is to be lived as an adventure on my own terms. My grandmother went to college at age 40 with small children at home at a time when women simply did not do that. My mother learned to fly an airplane in midlife because she wanted to see the world from heaven’s viewpoint. As I sat by my mother’s bedside as she died, and we looked into each other’s eyes, she traced a tear down her cheek with her finger and I knew that she was saying that she would miss being on this plane with me, but that love is eternal. All these actions that came deeply from the heart transformed me more than only words ever could. As I considered, I realized that the revolutions that shake the world come not just from what we say, but our expressions in deed that show the effects on ourselves of the changes we are making in the world. On my 25th birthday, I heard Merlin Stone speak about her experience writing “When God Was a Woman” and for the first time I understood that Divinity could look, and for most of human history had looked, like me, a woman. A few months later I witnessed Diane Wolkstein performing “Inanna” at the Museum of Natural History in New York City and I knew that the stories of Goddess had meaning for my own life and that I could center my spirituality around Her. Their words were important, but more essential to my new life-changing understanding was who Merlin and Diane were as women — Merlin’s passion and sureness that she was a messenger for the Goddess who was ready to re-emerge in the world and Diane’s willingness to move Goddess through her body and voice to speak again to the women of the world. Their language of being was what remade me by showing me that Goddess is alive and that I am part of Her just as they were. In the decades since then I have known many women who have changed the world, sometimes one person at a time, sometimes in ways that have moved society as a whole forward. In each case, it is not what they said or wrote alone, but rather who they were and how they affected those who came into contact with them that was their most effective activism. What will my true Goddess activism be? Will my life echo what I have comprehended Goddess saying to me — “Be free!”, “Know that you are loved always for who you are,” “Respect all beings, the Earth, and the universe,” “Understand in the deepest womb of your soul that you are sacred and deserving of happiness, joy, and peace”? How will I “be” to convey these things so that others see the Goddess within themselves who do not now? Now I know that every moment is precious and not to be wasted. Everything I …

(Special Post) BIOGRAPHICAL NOTE FOR EL PASO ARTIST MARIO COLÍN by Donna Snyder

Born in Juárez in 1959, Mario Colín lived his entire life in the Five Points area of Central El Paso, where he attended Houston Elementary and Austin High School. From the age of fifteen, he worked as a construction worker, building silos and other large construction projects across the U.S.A., at some point hitch hiking from the Pacific coast to the Atlantic shores. In his late twenties, he began to focus all his attention and energy on art, which had been an interest since early childhood, working as a muralist and portrait painter. Much of his art is of a religious nature, although he also painted secular art, portraits, and historical scenes. Colín painted his first mural of the Virgin of Guadalupe in collaboration with deceased artist Chuck Zavala in 1987 at Esparza’s Grocery, a small store in Central El Paso. It has now become a shrine, with community members building a stone arch and bringing flowers and candles, and has been pronounced a religious site by the parish church. Since that first mural, Colín has painted over 40 pieces of public art, many of which have become landmarks. Many of those murals are in that same Central El Paso neighborhood, on or near Piedras, including the House of Pizza, Los Alamos Grocery, The Elbo Room bar, the former Sanitary Plumbing at Piedras and Fort Boulevard. Colín twice painted a 25 foot mural of the Virgin of Guadalupe, at Alameda and Zaragoza, across from the Ysleta mission. The first version, painted in 1997, became decayed, but was a popular landmark. That mural has appeared in periodicals, art books, calendars, many newspaper articles, and in photographs exhibited in the El Paso Art Museum and galleries. In 2004, Señor José Villalobos donated and members of the community contributed money to pay laborers to replaster the wall of the century-old adobe building where it is located, and Colín repainted the entire mural for donations from passers-by and community members. Colín’s work has also been featured on the International History Channel and Canal 44, XHUI TV, in a Ford television commercial, and numerous times in the El Paso Times and the defunct El Paso Herald-Post, as well as in periodicals such as Texas Monthly, Dallas Morning News, Texas Observer, Austin American Statesman, Stanton Street magazine; literary journals such as Mezcla and GypsyMag.com; in documentaries including Walls that Speak: El Paso’s Murals, directed by Jim Klaes; in art books such as Colors on Desert Walls: The Murals of El Paso and Texas 24:7, and in various editions of Chicano Studies: Survey and Analysis, a text book used throughout the country.
(Special Post 8) Why Goddess Feminism, Activism, and Spirituality?

[Editor’s Note: This was first proposed in The Mago Circle, Facebook Group, on March 6, 2014. We have our voices together below and publish them in sequels. Special thanks to Trista Hendren, founder and author of The Girl God, who passionately and painstakingly promotes the message of each contributor via Facebook’s memes. Without Trista’s devotion to the advocacy, this collective effort would not have continued. It is an ongoing project and we encourage our reader to join us! Submit yours today to Helen Hwang (magoism@gmail.com). Or visit and contact someone in Return to Mago’s Partner Organizations.] Marija Krstic-Chin To remember who we really are (nature, cycles, network, creative force, one, infinite…) for the benefit of all of humanity and all living things; and to unite and unify as we broadcast, hand down, protect and defend this truth and each other against the oppressive intentions and actions of patriarchal perpetrators, puppets, and pawns who seek to enslave us by various old and new divide-and-conquer strategies.
(Special Post 1) "The Oldest Civilization" and its Agendas by Mago Circle Members

[Editor’s Note: The following discussion took place in response to an article listed blow by the members of The Mago Cirlce, Facebook group of Goddessians/Magoists from May 6 to May 10, 2016. Readers are recommended to read the original article linked below that has invoked the converation.] “The Danube Civilization: Oldest in the World” in The Ancient Ones upon the ruins of our ancestors, published April 3, 2016.

(Essay) Conceiving, Imagining the New at Samhain by Glenys Livingstone Ph.D.

It is the Season of Samhain/Deep Autumn in the Southern Hemisphere at this time. In the PaGaian version of Samhain/Deep Autumn ceremony participants journey to the “Luminous World Egg” … a term taken from Starhawk in her book The Spiral Dance[i], where she also names that place as the “Shining Isle”, which is of course, the Seed of conception, a metaphor for the origins of all and/or the female egg: it is the place for rebirth. Artist: Bundeluk, Blue Mountains, Australia. The “luminous world egg” is a numinous place within, the MotherStar of conception: that is, a place of unfolding/becoming. The journey to this numinous place within requires first a journey back, through some of each one’s transformations, however each may wish to name those transformations at this time. The transformations for each and every being are infinite in their number, for there is “nothing we have not been” as has been told by Celts and others of Old, and also by Western science in the evolutionary story (a story told so well by evolutionary biologist Elisabet Sahtouris, particularly in her video Journey of a Silica Atom.) Ceremonial participants may choose selves from biological, present historical self, or may choose selves from the mythic with whom they feel connection; from any lineage – biological or otherwise. Selves may also be chosen from Gaia’s evolutionary story – earlier creatures, winged or scaled ones … with whom one wishes to identify at this time. Each participant is praised for their “becoming” for each self they share. When all have completed these journeys/stories of transformation, the circle is lauded dramatically by the celebrant for their courage to transform; and she likens them all to Gaia Herself who has made such transitions for eons. The celebrant awards each with a gingerbread snake, “Gaian totems of life renewed”[ii]. gingerbread snakes Participants sit and consume these gingerbread snakes in three parts: (i) as all the “old shapes” of self that were named; and (ii) remembering the ancestors, those whose lives have been harvested, whose lives have fed our own, remembering that we too are the ancestors, that we will be consumed; and (iii) remembering and consuming the stories of our world that they desire to change, the stories that fire their wrath or sympathy: in the consuming, absorbing them (as we do), each may transform them by thoughts and actions – “in our own bodyminds”. When all that is consumed “wasting no part”, it is said that “we are then free to radiate whatever we conceive”, to “exclaim the strongest natural fibre known” – our creative selves, “into such art, such architecture, as can house a world made sacred” by our building[iii]. This “natural fibre” is a reference to the spider’s thread from within her own body, with which she weaves her web, her home; and Spider has frequently been felt in indigenous cultures around the globe as Weaver and Creator of the Cosmos. Spider the Creatrix, North America, C. 1300 C.E., Hallie Iglehart Austen, The Heart of the Goddess, p.13 In the ceremony, participants linked with a thread that they weave around the circle, may sail together for a new world “across the vast sunless sea between endings and beginnings, across the Womb of magic and transformation, to the “Not-Yet” who beckons”[iv]: to the Luminous World Egg whereupon the new may be conceived and dreamed up. Samhain/Deep Autumn ceremony is an excellent place for co-creating ourselves, for imaginingthe More that we may become, and wish to become. This is where creation and co-creation happens … in the Womb of Space[v], in which we are immersed – at all times: and Samhain is a good season for feeling it. References: Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. NE: iUniverse, 2005 Sahtouris, Elisabet. Earthdance: Living Systems in Evolution. Lincoln NE:iUniversity Press, 2000. Starhawk, The Spiral Dance: A Rebirth of the Ancient Religion of the Great Goddess. NY: Harper and Row, 1999. Swimme, Brian. The Earth’s Imagination.DVD series 1998. NOTES: [i]p.210 [ii]a version of this Samhain script is offered in Chapter 7 PaGaian Cosmology [iii]These quoted phrases are from Robin Morgan, “The Network of the Imaginary Mother”, in Lady of the Beasts, p.84. This poem is a core inspiration of the ceremony. [iv]“Not-Yet” is a term used by Brian Swimme, The Earth’s Imagination, video 8 “The Surprise of Cosmogenesis”. [v]note that creation does not happen at the point of some god’s index finger, as imagined in the Sistine Chapel – what a takeover that is!
(Book Excerpt) Held in the Womb of the Wheel of the Year by Glenys Livingstone Ph.D.

This essay is an excerpt from the Introduction of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Meditation cushion in circle of decorated stones My ancestors built great circles of stones that represented their perception of real time and space, and enabled them to tell time: the stone circles were cosmic calendars.[i] They went to great lengths and detail to get it right. It was obviously very important to them to have the stones of a particular kind, in the right positions according to position of the Sun at different times of the year, and then to celebrate ceremony within it. I have for decades had a much smaller circle of stones assembled. I have regarded this small circle of stones as a medicine wheel. It is a portable collection, that I can spread out in my living space, or let sit in a small circle on an altar, with a candle/candles in the middle. Each stone (or objects, as some are) represents a particular Seasonal Moment/transition and is placed in the corresponding direction. The small circle of eight stones represents the flow of the Solstices and Equinoxes and the cross-quarter Moments in between: that is, it represents the “Wheel of the Year” as it is commonly known in Pagan traditions. I have found this assembled circle to have been an important presence. It makes the year, my everyday sacred journey of Earth around Sun, tangible and visible as a circle, and has been a method of changing my mind, as I am placed in real space and time. My stone wheel has been a method of bringing me home to my indigenous sense of being. Each stone/object of my small wheel may be understood to represent a “moment of grace,” as Thomas Berry named the seasonal transitions – each is a threshold to the Centre, wherein I may now sit: I sense it as a powerful point. As I sit on the floor in the centre of my small circle of stones, I reflect on its significance as I have come to know the Seasonal transitions that it marks, over decades of celebrating them. I sense the aesthetics and poetry of each. I facilitated and was part of the celebration and contemplation of these Moments in my region for decades. It was always an open group that gathered, and so its participants changed over the years but it remained in form, like a live body which it was: a ceremonial body that conversed with the sacred Cosmos in my place. We spoke a year-long story and poetry of never-ending renewal – of the unfolding self, Earth and Cosmos. We danced and chanted our relationship with the Mother, opened ourselves to Her Creativity, and conversed with Her by this method. All participants in their own way within these ceremonies made meaning of their lives – which is what I understand relationship to be, in this context of Earth and Sun, our Place and Home in the Cosmos: that is, existence is innately meaningful when a being knows Who one is and Where one is. Barbara Walker notes that religions based on the Mother are free of the “neurotic” quest for indefinable meaning in life as such religions “never assumed that life would be required to justify itself.”[ii] I face the North stone, which in my hemisphere is where I place the Summer Solstice. From behind me and to my right is the light part of the cycle – representing manifest form, all that we see and touch. From behind me and to my left is the dark part of the cycle – representing the manifesting, the reality beneath the visible, which includes the non-visible. The Centre wherein I sit, represents the present. The wheel of stones has offered to me a way of experiencing the present as “presence,” as it recalls in an instant that, That which has been and that which is to come are not elsewhere – they are not autonomous dimensions independent of the encompassing present in which we dwell. They are, rather, the very depths of this living place – the hidden depth of its distances and the concealed depth on which we stand.[iii] This wheel of stones, which captures the Wheel of the Year in essence, locates me in the deep present, wherein the past and the future are contained – both always gestating in the dark, through the gateways. And all this has been continually enacted and expressed in the ceremonies of the Wheel of the Year, as the open, yet formal group has done them, mostly in the place of Blue Mountains, Australia. PaGaian Cosmology altar/mandala: a “Womb of Gaia” map Over the years of practice of ritually celebrating these eight Seasonal Moments – Earth’s whole annual journey around Sun, I have been held in this creative story, this Story of Creativity as it may be written – it is a sacred story. Her pattern of Creativity can be identified at all levels of reality – manifesting in seasonal cycles, moon cycles, body cycles – and to be aligned with it aligns a person’s core with the Creative Mother Universe. I have identified the placing of one’s self within this wheel through ceremonial practice of the whole year of creativity, as the placing of one’s self in Her Womb – Gaia’s Womb, a Place of Creativity. All that is necessary for Creativity is present in this Place. All may come forth from here/Here – and so it does, and so it has, and so it will. NOTES: [i] See Martin Brennan, The Stones of Time: Calendars, Sundials, and Stone Chambers of Ancient Ireland (Rochester Vermont, Inner Traditions, 1994). [ii] Barbara Walker, The Woman’s Encyclopaedia of Myths and Secrets (San Francisco: Harper and Row, 1983), 693. [iii] David Abram, The Spell of the Sensuous (New York: Vintage Books, 1997), 216. REFERENCES: Abram, David. The Spell of the Sensuous. New York: Vintage Books, 1997. Brennan, Martin. The Stones of Time: Calendars, Sundials, and Stone Chambers of Ancient Ireland.Rochester Vermont: Inner Traditions, 1994. Walker, Barbara. The Woman’s Encyclopaedia of Myths and Secrets. San Francisco: …
(Book Excerpt) Imbolc/Early Spring within the Creative Cosmos by Glenys Livingstone Ph.D.

This essay is an excerpt from Chapter 6 of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Traditionally the dates for Imbolc/Early Spring are: Southern Hemisphere – August 1st/2nd Northern Hemisphere – February 1st/2nd though the actual astronomical date varies. It is the meridian point or cross-quarter day between Winter Solstice and Spring Equinox, thus actually a little later in early August for S.H., and early February for N.H., respectively. Some Imbolc Motifs In this cosmology Imbolc/Early Spring is the quintessential celebration of She Who is the Urge to Be. This aspect of the Creative Triplicity is associated with the differentiation quality of Cosmogenesis,[i] and with the Virgin/Young One aspect of the Triple Goddess, who is ever-new, unique, and singular in Her beauty – as each being is. This Seasonal Moment celebrates an identification with the Virgin/Young One – the rest of the light part of the cycle celebrates Her processes. At this Moment She is the Promise of Life, a spiritual warrior, determined to Be. Her purity is Her singularity of purpose. Her inviolability is Her determination to be … nothing to do with unbroken hymens of the dualistic and patriarchal mind. The Virgin quality is the essential “yes” to Being – not the “no” She was turned into. In the poietic process of the Seasonal Moments of Samhain/Deep Autumn, Winter Solstice and Imbolc/Early Spring, one may get a sense of these three in a movement towards manifest form – syntropy: from the autopoietic fertile sentient space of Samhain, through the gateway and communion of Winter Solstice to differentiated being, constant novelty, infinite particularity of Imbolc/Early Spring. The three are a kaleidoscope, seamlessly connected. The ceremonial breath meditations for all three of these Seasonal Moments focus attention on the Space between the breaths – each with slightly different emphasis: it is from this manifesting Space that form/manifestation arises. If one may observe Sun’s position on the horizon as She rises, the connection of the three can be noted there also: that is, Sun at Samhain/Deep Autumn and Imbolc/Early Spring rises at the same position, halfway between Winter Solstice and Equinox, but the movement is just different in direction.[ii] And these three Seasonal Moments are not clearly distinguishable – they are “fuzzy,”[iii] not simply linear and all three are in each other … this is something recognised of Old, thus the Nine Muses, or the numinosity of any multiple of three. Some Imbolc/early Spring Story This is the Season of the new waxing light. Earth’s tilt has begun taking us in this region back towards the Sun. Traditionally this Seasonal Point has been a time of nurturing the new life that is beginning to show itself – around us in flora and fauna, and within. It is a time of committing one’s self to the new life and to inspiration – in the garden, in the soul, and in the Cosmos. We may celebrate the new young Cosmos – that time in our Cosmic story when She was only a billion years old and galaxies were forming, as well as the new that is ever coming forth. This first Seasonal transition of the light part of the cycle has been named “Imbolc” – Imbolc is thought to mean “ewe’s milk” from the word “Oimelc,” as it is the time when lambs were/are born, and milk was in plentiful supply. It is also known as “the Feast of Brigid,” Brigid being the Great Goddess of the Celtic (and likely pre-Celtic) peoples, who in Christian times was made into a saint. The Great Goddess Brigid is classically associated with early Spring since the earliest of times, but her symbology has evolved with the changing eras – sea, grain, cow. In our times we could associate Her also with the Milky Way, our own galaxy that nurtures our life – Brigid’s jurisdiction has been extended. Some sources say that Imbolc means “in the belly of the Mother.” In either case of its meaning, this celebration is in direct relation to, and an extension of, the Winter Solstice – when the Birth of all is celebrated. Imbolc may be a dwelling upon the “originating power,” and that it is in us: a celebration of each being’s particular participation in this power that permeates the Universe, and is present in the condition of every moment.[iv] This Seasonal Moment focuses on the Urge to Be, the One/Energy deeply resolute about Being. She is wilful in that way – and Self-centred. In the ancient Celtic tradition Great Goddess Brigid has been identified with the role of tending the Flame of Being, and with the Flame itself. Brigid has been described as: “… Great Moon Mother, patroness (sic … why not “matron”) of poetry and of all ‘making’ and of the arts of healing.”[v] Brigid’s name means “the Great or Sublime One,” from the root brig, “power, strength, vigor, force, efficiency, substance, essence, and meaning.”[vi] She is poet, physician/healer, smith-artisan: qualities that resonate with the virgin-mother-crone but are not chronologically or biologically bound – thus are clearly ever present Creative Dynamic. Brigid’s priestesses in Kildare tended a flame, which was extinguished by Papal edict in 1100 C.E., and was re-lit in 1998 C.E.. In the Christian era, these Early Spring/Imbolc celebrations of the Virgin quality, the New Young One – became “Candlemas,” a time for purifying the “polluted” mother – forty days after Solstice birthing. Many nuns took their vows of celibacy at this time, invoking the asexual virgin bride.[vii] This is in contrast to its original meaning, and a great example of what happened to this Earth-based tradition in the period of colonization of indigenous peoples. An Imbolc/Early Spring Ceremonial Altar The flame of being within is to be protected and nurtured: the new Being requires dedication and attention. At this early stage of its advent, there is nothing certain about its staying power and growth: there may be uncertainties of various kinds. So there is traditionally a “dedication” in the ceremonies, which may be considered a “Brigid-ine” dedication, or known as a “Bridal” dedication, since “Bride” is a derivative of …
(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) Summer Solstice/Litha Within the Creative Cosmos by Glenys Livingstone Ph.D.

This essay is an edited excerpt from Chapter 9 of the author’s book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. The dates for Summer Solstice/Litha are: Southern Hemisphere – December 20-23 Northern Hemisphere – June 20-23 A Summer Solstice altar The ‘moment of grace’[i] that is Summer Solstice, marks the stillpoint in the height of Summer, when Earth’s tilt causes the Sun to begin its ‘decline’: that is, its movement back to the North in the Southern Hemisphere, and back to the South in the Northern Hemisphere. This Seasonal Moment is polar opposite Winter Solstice when it is light that is “born,” as it may be expressed. At the peak of Summer, in the bliss of expansion, it is the dark that is “born.” Insofar as Winter Solstice is about birth, then Summer Solstice is about death. It is a celebration of profound mystical significance, that may be confronting in a culture where the dark is not valued for its creative telios. Summer Solstice is a time for celebrating our realized Creativity, whose birth we celebrated at Winter Solstice, whose tenderness we dedicated ourselves to at Imbolc/Early Spring, whose certain presence and power we rejoiced in at Spring Equinox, whose fertile passion we danced for at Beltaine/High Spring. Now, at this seasonal point, as we celebrate light’s fullness, we celebrate our own ripening – like that of the wheat, and the fruit. And like the wheat and the fruit, it is the Sun that is in us, that has ripened: the Sun is the Source of our every thought and action. The analogy is complete in that our everyday creativity – our everyday actions, and we, ultimately, are also “Food for the Universe”[ii] … it is all how we feed the Universe. flowers to flames – everyday creativity consumed Like the Sun and the wheat and the fruit, we find the purpose of our Creativity in the releasing of it; just as our breath must be released for its purpose of life. The symbolism used to express this in ceremony has been the giving of a full rose/flower to the flames.[iii] We, and our everyday creativity, are the “Bread of Life,” as it may be expressed; just as many other indigenous traditions recognize everyday acts as evoking “the ongoing creation of the cosmos,”[iv] so in this tradition, Summer is the time for particularly celebrating that. Our everyday lives, moment to moment, are built on the fabric of the work/creativity of the ancestors and ancient creatures that went before us; and so the future is built on ours. We are constantly consuming the work and creativity of others and we are constantly being consumed. The question may be asked: “Who are you feeding?,”[v] and consideration given to whether you are happy with the answer. It is the Sun that is in you. See how you shine. Summer Solstice is a celebration of the Fullness of the Mother – in ourselves, in Earth, in the Cosmos. We are the Sun, coming to fullness in its creative engagement with Earth. We affirm this in ceremony with: “It is the Sun that is in you, see how you shine.” It is the ripening of Her manifestation, which fulfills itself in the awesome act of dissolution. This is the mystery of the Moment. Brian Swimme has described this mystery of radiance as a Power of the Universe, as Radiance: the shining forth of the self is at the same time a give-away, a decline of the self – just as the Sun is constantly giving itself away. This Solstice Moment of Summer is a celebration of communion, the feast of life – which is for the enjoying, not for the holding onto. Summer and Winter Solstices are Gateways – between the manifest and the manifesting, and Summer Solstice is a Union/Re-Union of these, a kind of meeting with the deeper self. Winter Solstice may be more of a separation, though it is usually experienced as joyful, because it is also a meeting, as the new is being brought forth. The interchange of Summer Solstice may be experienced as an entry into loss – the Cosmological Dynamic of Loss, as manifestation passes. Beltaine, Summer Solstice and Lammas – the next Seasonal Moment, may be felt as the three faces of Cosmogenesis in the movement towards entropy.[vi] The light part of the annual cycle of Earth around Sun is a celebration of the Young One/Virgin quality of Cosmogenesis, with Her face gradually changing to the Mother/Communion quality; and through the Autumn, the dark part of the annual cycle, it is a celebration of the Old One/Crone quality, whose face will gradually change also, back to the Mother/Communion. They are never separate.In this cosmology, desire for full creativity has been celebrated as the allurement of the Cosmos, and being experienced as gravity, as relationship with Earth, our place of being, how She holds us. At both Solstices there is celebration of deep engagement, communion. REFERENCES: Livingstone, Glenys. A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Girl God Books: Bergen, Norway, 2023. Spretnak, Charlene. States of Grace: The Recovery of Meaning in the Postmodern Age. San Francisco: HarperCollins, 1993. Starhawk. The Spiral Dance: A Rebirth of the Ancient Religion of the Great Goddess. New York: Harper and Row, 1999. Swimme, Brian. Canticle to the Cosmos. DVD series. CA: Tides Foundation, 1990. NOTES: [i] As Thomas Berry named the Seasonal transitions. [ii] Swimme uses this expression in Canticle to the Cosmos, video 5 “Destruction and Loss.” [iii] This is based on the traditional Litha (Summer Solstice) rite described by Starhawk, The Spiral Dance, 206. [iv] Spretnak, States of Grace, 95. [v] As Swimme asks in Canticle to the Cosmos, video 5 “Destruction and Loss.” [vi] Just as Samhain, Winter Solstice and Imbolc may be felt as the three faces of Cosmogenesis in the movement towards toward form – syntropy.
A PaGaian Wheel of the Year and Her Creativity by Glenys Livingstone Ph.D.

This essay is an excerpt from Chapter 2 of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. for larger image see: https://pagaian.org/pagaian-wheel-of-the-year/ Essentially a PaGaian Wheel of the Year celebrates Cosmogenesis – the unfolding of the Cosmos, none of which is separate from the unfolding of each unique place/region, and each unique being. This creativity of Cosmogenesis is celebrated through Earth-Sun relationship as it may be expressed and experienced within any region of our Planet. PaGaian ceremony expresses this with Triple Goddess Poetry understood to be metaphor for the creative dynamics unfolding the Cosmos. At the heart of the Earth-Sun relationship is the dance of light and dark, the waxing and waning of both these qualities, as Earth orbits around our Mother Sun. This dance, which results in the manifestation of form and its dissolution (as expressed in the seasons), happens because of Earth’s tilt in relationship with Sun: because this effects the intensity of regional receptivity to Sun’s energy over the period of the yearly orbit. This tilt was something that happened in the evolution of our planet in its earliest of days – some four and a half billion years ago,[i] and then stabilised over time: and the climatic zones were further formed when Antarctica separated from Australia and South America, giving birth to the Antarctica Circumpolar Current, changing the circulation of water around all the continents … just some thirty million years ago.[ii] Within the period since then, which also saw the advent of the earliest humans, Earth has gone through many climatic changes. It is likely that throughout those changes, the dance of light and dark in both hemispheres of the planet … one always the opposite of the other – has been fairly stable and predictable. The resultant effect on flora and fauna regionally however has varied enormously depending on many other factors of Earth’s ever-changing ecology: She is an alive Planet who continues to move and re-shape Herself. She is Herself subject to the cosmic dynamics of creativity – the forming and the dissolving and the re-emerging. The earliest of humans must have received all this, ‘observed’ it in a very participatory way: that is, not as a Western industrialized or dualistic mind would think of ‘observation’ today, but as kin with the events – identifying with their own experience of coming into being and passing away. There is evidence (as of this writing) to suggest that humans have expressed awareness of, and response to, the phenomenon of coming into being and passing away, as early as one hundred thousand years ago: ritual burial sites of that age have been found,[iii] and more recently a site of ongoing ritual activity as old as seventy thousand years has been found.[iv] The ceremonial celebration of the phenomenon of seasons probably came much later, particularly perhaps when humans began to settle down. These ceremonial celebrations of seasons apparently continued to reflect the awesomeness of existence as well as the marking of transitions of Sun back and forth across the horizon, which became an important method of telling the time for planting and harvesting and the movement of pastoral animals. It seems that the resultant effect of the dance of light and dark on regional flora and fauna, has been fairly stable in recent millennia, the period during which many current Earth-based religious practices and expression arose. In our times, that is changing again. Humans have been, and are, a major part of bringing that change about. Ever since we migrated around the planet, humans have brought change, as any creature would: but humans have gained advantage and distinguished themselves by toolmaking, and increasingly domesticating/harnessing more of Earth’s powers – fire being perhaps the first, and this also aided our migration. In recent times this harnessing/appropriating of Earth’s powers became more intense and at the same time our numbers dramatically increased: and many of us filled with hubris, acting without consciousness or care of our relational context. We are currently living in times when our planet is tangibly and visibly transforming: the seasons themselves as we have known them for millennia – as anyone’s ancestors knew them – appear to be changing in most if not all regions of our Planet. Much predictable Poetry – sacred language – for expressing the quality of the Seasonal Moments will change, as regional flora changes, as the movement of animals and birds and sea creatures changes, as economies change.[v]In Earth’s long story regional seasonal manifestation has changed before, but not so dramatically since the advent of much current Poetic expression for these transitions, as mixed as they are with layers of metaphor: that is, with layers of mythic eras, cultures and economies. We may learn and understand the traditional significance of much of the Poetry, the ceremony and symbol – the art – through which we could relate and converse with our place, as our ancestors may have done, but it will continue to evolve as all language must. In PaGaian Cosmology I have adapted the Wheel as a way of celebrating the Female Metaphor and also as a way of celebrating Cosmogenesis, the Creativity that is present really/actually in every moment, but for which the Seasonal Moments provide a pattern/Poetry over the period of a year – in time and place. The pattern that I unfold is a way in which the three different phases/characteristics interplay. In fact, the way in which they interplay seems infinite, the way they inter-relate is deeply complex. I think it is possible to find many ways to celebrate them. There is nothing concrete about the chosen story/Poetry, nor about each of the scripts presented here, just as there is nothing concrete about the Place of Being – it (She) is always relational, a Dynamic Interchange. Whilst being grounded in the “Real,” the Poetry chosen for expression is therefore at the same time, a potentially infinite expression, according to the heart and mind of the storyteller. NOTES: [i] See Appendix C, *(6), Glenys Livingstone, A Poiesis of the Creative …

(Essay) The Mago Hedge School: Why Remember Mary Daly? by Helen Hye Sook Hwang

Prologue By writing this, I do not intend to defend Mary Daly’s position in any dispute. A controversial figure, Mary Daly never let go of her fight with those whom she thought on the other side of her feminist war. Like anyone else in history, Mary Daly belonged to her time and culture, and I leave her unresolved issues up to her. What I write here is my fond memory of her, whose feminist thought left an indelible mark on my being as well as humanity as a whole. Daly’s contribution remains to be reassessed from the fresh eye of new generations. In the meantime, I begin to speak for my part. Without Mary Daly’s thought, I would not have been in this place where I stand right now. It has empowered me to actualize my dreams to the fullest as a wo/man who was born and raised in Korea but had come from the One Home in origin. I first hear of the hedge school “Have you heard of the hedge school, Hye Sook?” asked Mary. “No, I haven’t heard of it,” I answered. This conversation took place during the conference called the Feminist Hullaballoo held in Santa Fe, New Mexico in 2007. We met there and spent three days as chums. Mary was with another friend, Yvonne Johnson, so the three of us hung out together. It was a very special time for me – I felt as if I were wrapped up in the eye of the storm. (In fact, my life feels so.) At the conference, someone asked me how I came to be invited as a featured speaker. I was among such renowned feminist speakers as Sonia Johnson, Paula Gunn Allen, and Mary Daly herself. They felt like giants to me. I told her that Mary Daly invited me. Mary had asked me if I would like to go and speak at that conference. I did not have an inflated ego. I would not have been hurt if I were not chosen. But I said “Yes” without hesitation. At the time, it felt like another one of the many “outlandish” adventures that I had undertaken throughout my life. In retrospect, however, this was a very special “Yes” to the beginning of my life’s new phase. It was my debut as a radical feminist, so to speak – the first time I spoke to such a large number of radical feminists. Mary sat in the front row and listened to my talk. She nodded her head saying “It was great,” when I finished and came down to sit next to her. Mary was just getting to know my research on Mago in that year; that was what she was referring to. Nonetheless, what mattered to me was not how well I presented my research, but that I managed to do it! The jitters were over! I was returning Home and had just been baptized in public as a Wo/man, the whole being. [This talk was later published in Trivia: Voices of Feminism.] My two dreams When I accepted Mary’s invitation, I was thinking of my two dreams. I am a dream-listener. Or to be more accurate, my dreams have led me through. These dreams with regard to Mary Daly are in fact old; I dreamt them before my arrival in Claremont, California, in 1997. In the first dream, I was in the crowd when Mary spoke to a large audience. The venue was an open plaza and the stage was far away from where I was standing. Then, out of the blue, Mary called my name and asked me to come up to the podium. It sounded like a call to my soul. So I did. Then, she passed the microphone to me. I blacked out, not knowing what to say, and woke up. This dream told me what I lacked, a message to deliver to the world, which I did not have for some years. The second dream was a brief but sweet one. Mary and I were standing in an old-style classroom as co-teachers. The dynamic between us was intimate and enjoyable. Honored and proud, I felt in the presence of my old friends. The classroom was a dream-like space within a dream, as if we were in a time machine! More than two decades have passed since I had those dreams, and now I see that they were indeed self-fulfilling dreams. The first dream was fulfilled through the event of my speech to the Feminist Hullaballoo conference. By then, it was clear that I was going to speak about the topic of Mago, which I had encountered for my Ph.D. dissertation. It was the topic that I had searched for without knowing and I found it. Now I see that it found me! It is the tradition of my ancestors that has beckoned me to come Home. In Mago, I found an anciently originated gynocnetric reality, which encompasses everyone regardless and named it Magoism. Mary and I meet in person The first time I met her in person was in early April of 1999, in Claremont, California. I had been in contact with Mary Daly for about four years before then. We had spoken over the telephone, faxed, and snail-mailed across the Pacific Ocean while I was living in Korea from 1994 to 1997. Mary was invited to speak by the committee of Claremont Colleges programs including the Women’s Studies in Religion Program at Claremont Graduate University, the program I was studying in. In fact, that was the program that Mary had suggested I apply for, and she had written a recommendation letter on my behalf. My first meeting with her is imprinted on my soul, and it feels as fresh as ever. It was an unusually cold spring day in Claremont. It even sprinkled some rain. She was staying at the Claremont Inn, only a couple of blocks away from my dormitory apartment. She had phoned me the day before her arrival. She called me …
Mago, the First Mother from East Asia by Helen Hye-Sook Hwang

[Excerpts from “Mago, the First Mother from East Asia,” Creatrix Media Live (CML) Roundtable Radio Talk with Dr. Helen Hye-Sook Hwang. May 23, 2011] Jayne DeMente: Welcome Helen, I was fortunate to read some of your research and I applaud you because, we in the Western WSE movement have long needed to hear more from Asian women spiritual leaders and feminists and your reference to the Neolithic timeline… For our listeners and participants online, let’s lead with the question of who is Mago, was she a mother figure, what is Magoism, does any other deity pre-date her? Helen Hye-Sook Hwang: *Mago is the great goddess known to East Asians throughout history. She is the first mother of all, cosmogonist, and ultimate sovereign/ruler. She has many names. Among them are Triad Deity (Samsin), Grandmother (halmi), Auspicious Goddess (Seogo), Evil (Magui), and Old Goddess (Nogo). She is also known as the Giantess who shaped the natural and cultural landscape. Her manifestations are so multivalent that one may think they do not refer to the same goddess. She was well loved, given high esteem, celebrated by East Asians in the past. She was almost completely forgotten, however in modern times, up until the 1980s in Korea, when the principle text of Magoism, the Budoji, re-emerged. *Mago is a mother figure in the sense that she bore two daughters, Kunghee and Sohee, and managed her household called the Castle of Mago, the primordial paradise of humanity. She is the ancestor of all races. She takes care of everything on earth via the equilibrium of cosmic music/sound/vibration. *Magoism is the term that refers to the totality of culture/civilization venerating Mago as the great goddess. It is a tradition largely unnoted but co-opted and distorted in major East Asian religions. The concept of Magoism helps one identify and understand Mago’s multivalent manifestations that are found trans-nationally. It also makes possible to name the female-centered original/primal civilization that gave birth to the forthcoming East Asian civilizations and religions. *Whether Mago is the earliest deity known to East Asia is unknown. In fact, there are goddesses unearthed from “pre-historic” archaeological sites without their names. The life-sized goddess statue was unearthed in the site of Hongshan Culture, northeastern region of present China dating from 4,700 to 2,900 BCE. The heavy use of jade along with the partly bear-figured female icon is congruent with the account of Magoism in the Budoji. Also, of course, there are numerous female figurines called dogu excavated in Japan’s “pre-historic” times. The ancient origin of Mago or Magoism has a merit to explain some facts that remain a mystery, so to speak. Korea is also known as the land of dolmens. Half of the world megaliths are populated in the Korean peninsula. There are numerous pyramids found in mainland China. There is a documentary film about the sunken temple beneath the sea of Okinawa Japan, etc. dating to 10,000 years ago. *Then, how early does Mago date to? It is difficult to date the earliest evidence of Mago or Magoism simply because written history does not exist in pre-patriarchal times. As you see here, when we talk about the earliest of something, everyone assumes it is of Chinese. So let me follow this line of thought: Ge Hong’s record on Magu from China dates to the early fourth century CE (Ge Hong 283—343 CE). However, Daoist scholar Robert Ford Campany states that the cult of Mago dates back to the Stone Age. It is more difficult to date Mago in Korean records simply because ancient written records did not survive. Two books, the Budoji and the Handan Gogi, alleged to have been written in the late 4th or early 5th century and subsequent later times, which refer to Mago otherwise known as Samsin (Triad Deity) remain controversial. Considering that the name Mago is embedded in Korean language as in “gom,” “geum,” and “gam,” whose meaning indicates ruler, sovereign, and head, the origin of Mago is as old as these words. Likewise, most materials that recount Mago as cosmogonist are of folklore, place names, literature, arts, and debris of historical and religious records, most of which are difficult to date for its origin. Anniitra Ravenmoon: Thank you Helen, you have done much academic research and hold several degrees, can you explain to us how your education or experience informed you regarding Mago? Helen: *I would say that encountering Mago as a doctoral research topic is ultimately prompted by my intellectual quest as a Korean feminist. Following radical feminism of Mary Daly, I wanted to seek spirituality that is not only non-patriarchal but also East Asian and Korean. This made me study feminism and East Asian religions, histories, and cultures, etc. I end up with so much to study over the past decade and a half. I did not take up graduate studies as a means to develop an academic career. I loved reading and studies from youth. This kind of attitude is not that practical in the job market. However, I believe this is the right path for me. To look back, I did not follow the ready-made conventional path of life. I was a dreamer and idealist. I still value those qualities in myself and others. I used to think to myself, if I had remained a Christian, I would not have sought Mago. How could I? Likewise if I had resorted to Buddhism, I would not have encountered Mago. Because I wanted to carve out my own spiritual path as a Korean feminist, I was able to encounter Mago. Another factor at work in my study of Mago is the cultural or spiritual tradition of cultivating the Dao, the Way, in East Asia. I wanted to find out what the truth was, how I could make the most out of my life and etc. So I tried the shoes of a Catholic overseas missionary for a while. Leaving Christianity behind, however, helped me realize the cultural heritage that I have within. It was …
(Essay 1) Making the Gynocentric Case: Mago, the Great Goddess of East Asia, and Her Tradition Magoism by Helen Hwang

Making the Gynocentric Case: Mago, the Great Goddess of East Asia, and her Tradition Magoism[i] This study documents and interprets a substantial body of primary sources concerning Mago [麻姑, also known as Magu or Mako] from Korea, China, and Japan. Much of this material has never been brought to light as a whole. In working with these various and sundry data including folklore, paintings, arts, literature, poetry, toponyms, rituals, historical and religious records, and apocryphal texts, I encountered an organic structure that relates these seemingly unrelated materials and named it Magoism. Magoism refers to an anciently originated gynocentric cultural and historical context of East Asia, which venerates Mago as supreme divine. Although “Magoism” is my coinage, its concept is not new. Magoism is referred to as the Way of Mago, the Origin of Mago, the Event of Mago, Reign of Mago, Heavenly Principle, or simply Mago in historical sources. In the West, its partial manifestation is known as the cult of Magu within the context of Daoism. One of the earliest verified records, the Biography of Magu (Magu zhuan) written by Ge Hong (284-364) dates back to proto-Daoist times.[ii] Nonetheless, “Mago” remains largely forgotten and misrepresented to the world especially in modern times. More incisively, her sublime divinity is made invisible despite strong evidence. No scholarship in the West has treated Mago as a topic in her own right. Mago’s multiple identities ranging from the cosmogonist to a grandmother, from the progenitress to the Daoist goddess, from the sovereign to a shaman/priestess in Korea, China, and Japan remain unregistered in modern scholarship. When mentioned, her transnational manifestation is not recognized cogently. She is often lumped together with other parochial goddesses from China. Other times, she is fetishized as a Daoist goddess of immortality. She is also known, among other representations, as the giant grandmother (goddess) who shaped the natural landscape in the beginning of time among Koreans. In any case, Mago is not deemed on a par or in relation with Xiwangmu (the Queen Mother of the West in Chinese Daoism) and Amaterasu, (the Sun Goddess of the Japanese imperial family), both of who represent the East Asian pantheon of supreme goddesses to the West. I hold that the paramount significance of Magoism lies in the fact that it redefines the female principle and proffers a gynocentric utopian vision to the modern audience. Its utopian cosmology is no free-floating abstract idea but imbedded in the mytho-historical-cultural reality of East Asia. I suggest Magoism as the original vision of East Asian thought. Put differently, Magoism is an East Asian gynocentric testimony to the forgotten utopian reality. In the sense that Magoism presents an East Asian gynocentric symbolic system, this study is distinguished from Western and androcentric discourse. In other words, its gynocentric universalism should not be subsumed under the discourse of Western or patriarchal universalism. Magoism prompts an alternative paradigm of ancient gynocentrism that redefine major notions of the divine, human, and nature in continuum. Mago, the great goddess, is the unifying and at the same time individualizing force in this system. Magoism enables a macrocosmic view in which all individualized parts are organically co-related and co-operating. As a religious system, it is at once monotheistic and polytheistic. That is, Mago is the great goddess in her multiple manifestations. Underlying the patriarchal edifices, the Magoist principle is the Source from which the latter is derived.

Category: Goddess

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