June 13, 2025June 13, 2025 Susun WeedLeave a comment

Celebrate Bees by Susun Weed

I love bees. I’m fascinated by native bees. My heart rejoices when I hear them buzzing. I love the carpenter bees that bumble around. Did you know that most wild Read More …

May 20, 2025May 7, 2025 Susun WeedLeave a comment

Betsy’s Garden #4 by Susun Weed

The desert sky is expressive, vast, incredibly textured at times. An arbor of medicinal cat’s claw (uno de gato) provides shade. Rattlesnake is hiding, fast asleep. Toad is at home, Read More …

May 9, 2025May 1, 2025 Susun WeedLeave a comment

Betsy’s Garden #3 by Susun Weed

Moonrise over the mountain behind Betsy’s house. Purple cactus. Palo verde. Bougainvillea. And, of course mitochondria. Let yourself be drawn into the quiet. Soon it will be cool, dark, quiet. Read More …

March 18, 2025February 24, 2025 Susun WeedLeave a comment

Betsy’s Garden #2 by Susun Weed

Oh, oh, oh. Spikes and thorns. Needles and spines. The plants of the desert protect themselves. Especially the edible ones. Like the nopal cactus, also called prickly pear, and, in Read More …

March 14, 2025February 24, 2025 Susun WeedLeave a comment

Betsy’s Garden #1 by Susun Weed

My friend Betsy lives in the Sonoran desert. Her garden is mostly native plants. Xeriscaping. With some roses, rosemary bushes, and heat-tolerant flowers. Here they are. Can you feel the Read More …

February 18, 2025January 2, 2025 Susun WeedLeave a comment

Bewitching Tree by Susun Weed

On a walk in the Catskill mountains of upstate New York, where I live, I came upon a huge old oak tree. I immediately wanted to be elf-sized — or Read More …

February 14, 2025January 2, 2025 Susun Weed2 Comments

Gather by Susun Weed

Moved by the colors of autumn, I chose mitochondria in vivid orange to dance with some of the winter squash from my garden, adding fiery flowers that had bloomed in Read More …

January 21, 2025January 2, 2025 Susun WeedLeave a comment

Over the Rainbow by Susun Weed

This collage is based on a photograph taken by a student of mine in Australia. The background is a close-up of a mitochondrion. I sensed the dance in the flower. Read More …

January 10, 2025January 2, 2025 Susun WeedLeave a comment

Winter Blessings by Susun Weed

Winter Solstice returns the light, but deepens the cold. The sun stands still, wordlessly. Then it turns. It returns. Silence reigns. The moon wanes. Breath freezes in icy clouds. Return. Read More …

(Book Excerpt 2) Inanna’s Ascent: Reclaiming Female Power, Edited by Trista Hendren, Tamara Albanna and Pat Daly

The Girl God Anthology Descent of the Dark Goddess for Personal Empowerment Sofia Wren Introduction During the Fall of 2017, I felt a calling stir in me to talk about the Dark Goddess. I had received an invitation to speak to members of a nonprofit’s leadership team because they wanted to serve more people from “untraditional spiritual paths.” I’m someone who came from a “nontraditional” spiritual path, that is, I grew up with a secular anti-religious upbringing only to find inspiration from Goddess mythology and spirituality as a solitary practitioner, and later as a member of women’s groups. So, there is much I could say about a voyage that began around age eight. In speaking about possible ways to conduct my talk with my advisor from the nonprofit, I found myself accepted with welcoming arms, but there was one snag. I felt the snag when I mentioned, “Hey wouldn’t it be helpful if I mentioned the Dark Goddess? Some of my classmates at Loyola have found my perspective to be very interesting and enlightening.” To the advisor, this was too advanced for the discussion, like a 300-level course when we were just at 101. I accepted this in the moment, but as time passed and I returned home from the meeting I began to feel the rumble of various emotions and doubts. Was this limitation really fair? It struck a pang in me. Why was it not okay to talk about Her? This dark mother that holds me in the dark when I cry, so that I know it is OK? The one who understands the pain of abuse? Who feels my anger of being oppressed by forces and people in my life? Who wants to tear apart the broken systems and structures and start over from scratch? Who wants to punch back? Who knows my struggle to do the right thing when there are no clear answers? Who knows the sorrow of grief and loss when it tears my heart apart? How could I hold in what I wanted to say about Her? It was a difficult rumbling. Over time, I came to agree with the decision that the explanation wasn’t necessary for that particular forum. After meditating and rumbling, I decided to instead embody the energy of the Dark Goddess during my talk by going into my own personal darkness along my unique spiritual journey, speaking about when I was bullied and called a witch during middle school and as a result, shut down spiritually for ten years. But I knew I would be diving into the topic of the Dark Goddess more deeply soon, not only because of how passionately I felt about the topic’s significance, but also because of what happened the same week. That very same week, a few days after the conversation with my advisor, I attended a group called Full Circle at the Unitarian Universalist Church of Annapolis (UUCA). It’s an open earth-based, spiritual women’s circle I’ve attended over the course of many years, which has different themes for different meetings. I didn’t know the meeting topic until I walked into the door, and behold my surprise when it was the Dark Goddess. In all my years of attending, I’m not sure we’ve ever had a richer group discussion. Somewhere between ten to fifteen women attended the meeting, and every woman had something to say about how she connected to the Dark Goddess for deep benefits to her own life. While for people who are not familiar with the Dark Goddess, it may seem “out there” or intense or very far along the path (and, no, it’s not evil). However, from what I heard and took away from the night’s discussion, it seemed to me that working with “dark” aspects of Goddess, divine feminine energy or feminine archetypes is more prevalent and less unusual among those women called to earth-based, neopagan or spiritual practice than I would have thought. In fact, considering the relative diversity and eclectic nature of the women involved in my group, it actually seemed one of the few things we could all agree on beyond appreciating nature and the elements. We nibbled on dark chocolate and sipped little cups of red wine as we talked into the night about our lives, the Goddess, and her journey descending into and ascending from the underworld. To me this was a sign; there was something here, something more. As my Masters in Spiritual and Pastoral Care at Loyola University Maryland rounded to a finish in the Spring of 2018, it seemed obvious to me what I would write about for my final thesis: the Dark Goddess, the one who descends into the underworld, and how to take the work with Her deeper. Given the depth of the discussion from my women’s group Full Circle at the UUCA, I was led through the thesis guidelines to conduct a thought experiment about what “taking it deeper” in that context might truly mean. I had to explain the Dark Goddess in layman’s terms so to speak: taking the explanation to the higher level I didn’t get a chance to explore before. To do so, I describe the Dark Goddess as an archetype rather than just a deity. Some people will see it differently, but I’m flexible; whether the divine is a part of my consciousness or external is not something I quibble about because to me All is One and it is all the same. I am divine and powerful, and so is Goddess, God and all the rest. By focusing on archetypes, I hoped to explain in the clearest of terms and be as inclusive of those in my community as possible—as some are atheist or agnostic. At the end of preparing the original paper I also proposed a group of 6-8 sessions as a possible way to take this work deeper. The women’s group I proposed is a sacred space with different introspective activities and discussion to explore collectively this descent into …
(Essay) Blood & Honey Icons by Danica Anderson, Ph.D.

Grabancijas (Serbo-Croatian): The restless spirit of a melancholic necromancer man- blind with money and ego that meets death and enters into a series of trails in the forest near bodies of water with a dead woman and the divine goddess Moist Mother Earth. Meeting witches (Bird Goddess, Baba Yaga/Mother Nature) and gibbuti (beings), he enters the Vrzino kolo only after attending 13 schools (female ways of knowing, wisdom, migration, memory, and apprenticeships). Eventually, the man has a profound dialogue with all sentient beings, animals, and persons manifesting his true spirit. Depicts how metamorphoses for males are accomplished with the goddess Baba Yaga/Mother Nature through the kolo.Artist Georgi Petrov Bioculinary recipeBioculinarySerbian Log Torte Sponge Cake:11 large organic eggs, separated10 TBs organic sugar1/2 cup ground (not chopped) walnuts or chestnutsZest of 1/2 lemon1/4 TS baking powder8 TBs all-purpose organic flour Filling:2 cups organic ground (not chopped) walnuts or chestnuts5 TBs organic milk1/2 cup sugar2 TBs cocoa powder8 ounces (2 sticks) softened butter Heat oven to 325 degrees—heating is gestation and sensuality within the kolo. Take parchment paper and put it in a 15″x10” pan. In a stand mixer or large bowl, beat eggs and sugar until thick and lemon colored. Add 1/2 cup ground walnuts or chestnuts with lemon zest. Thoroughly mix.Take baking powder and flour and add it to the egg yolk mixture in a bowl. Using a grease-free bowl, beat the egg whites until stiff but not dry. Add a large spoon size of egg whites to the flour mixture and stir. Fold in egg whites as we do with the kolo dance when dancers come to join it.Pour the batter onto the parchment-papered pan and bake 20-30 minutes or until edges begin to pull away from sides of the pan. Let it cool for 5 minutes. Dust another piece of parchment paper with sugar. Turn the pan upside down onto the parchment paper. Discard the baked parchment paper afterward. Roll (the kolo dance with food) the cake from the long side along with the sugar-dusted parchment into a cylinder and let it cool completely. Unroll the sponge cake and spread with 3/4 of the filling. Reroll it into a tight cylinder. The core is the female self, the creative, the healer, and female peace and harmony. (Meet Mago Contributor) Danica Anderson, Ph.D. Dr. Danica Andersonwww.kolocollaboration.org
(Meet Mago Contributor) Meghanaiyegee Venketasamy (Megha)

Meghanaiyegee Venketasamy (Megha), a daughter born and raised in Mauritius – an island loaded with a deep legacy of slavery, colonization, people of colors from around the globe. Such diversity could only enhance her growth, her believes, her values in the most profound way as she has come with an innate knowingness that deep within is a red thread that runs through each one of us, a Red thread that connects us all, whether we know it or not.
(Essay) The Triple Goddess and Whitehead’s “Threefold Creative Composition” by Glenys Livingstone Ph.D

This essay is an edited excerpt from Chapter 4 of the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Triple Hecate, Rome 1st century C.E., holding a sword, an ear of corn, and a serpent – Her jurisdictions of sky, earth and underworld. Lawrence Durdin-Robertson, The Year of the Goddess, Figure 15. Process philosopher, Alfred North Whitehead perceived the Universe as including a composition of a “threefold creative act”. He describes these three as (i) the one infinite conceptual realization, (ii) the multiple solidarity of free physical realizations in the temporal world, (iii) the ultimate unity of the multiplicity of actual fact with the primordial conceptual fact[1]. I note some congruencies of this threefold composition with the Female Metaphor/Triple Goddess, as well as some points of departure. Whitehead conceives his first and the third aspects as having a unity, which is also true of the Virgin/Urge to Be and Crone/Space to Be qualities of the Female Metaphor/Triple Goddess wherein the beginning and the end are barely distinguishable in their felt proximity to Source: that is, the continuity of the “Urge to Return” and the “Urge to Be” with Source of Being may be more obvious than the continuity of “Place of Being”/Mother quality with Source of Being. We are always returning to the unity – it is integral with life; and we are always being regenerated – reconceived: our bodyminds are in a constant state of dissolution and renewal, expressed in both the Virgin and Crone qualities. We are part of a great cycle of returning and renewal; and the manifest reality, the web of life – the Mother, the “physical realization” as Whitehead describes his second aspect, is the place of communion. However Whitehead puts the first and third aspects “over against” the second aspect. He admits the power of the second aspect, as he describes that the “sheer force of things lies in the intermediate physical process: this is the energy of physical production”[2], but his “God” is merely “patient” with it. Whitehead says that “God’s role … lies in the patient operation of the overpowering rationality of his conceptual harmonization[3]”. Whitehead’s point was that “God” did not create the world, that “he” was the poet of the world – leading it with “tender patience”, but the language that he uses invokes and indicates more dualistic thinking, as does his splitting of the “three-fold creative act” into this oppositional situation. The cosmology of the Female Metaphor/Triple Goddess has resonances with Whitehead’s philosophy, however he still speaks of a Deity/“God” as an entity as if external to creation, albeit at times also Creature and of “consequent nature” – that is, partly created by the world[4]. Theologian Nancy Howell notes that Whitehead’s “philosophy of organism”, as she describes it, does provide a cosmology that radically differs from “dominant mechanistic and patriarchal worldviews”, thus providing support for the constructing of a promising feminist theory of relations, a feminist ecological cosmology[5]. She describes how Whitehead’s process philosophy has provided a “helpful conceptual framework” for the interpretation of women’s experiences based as it is in relational, organic thinking that is systemically inclusive of an infinite range of experience, and promotes a continuity of the human with the cosmos/nature. Howell notes that Whitehead’s philosophy promotes and reflects change, and enables the reinterpretation of many dualisms – subject/object, body/mind, reason/emotion, God/world[6]. Feminist theologians, for whom in general “God” remains an indelible metaphor, find the reinterpretation of the last mentioned dualism particularly hopeful. Howell describes that “the genius of Whitehead’s metaphysics” is that “God and the world” truly affect each other, create each other, receive from each other – are “truly in relation”[7]: Howell is thus confident that this metaphysics feeds “a feminist vision of mutuality”. The Power of Three, Neolithic,Thessaly. Marija Gimbutas, The Language of the Goddess, p.91 This helps me clarify then that the cosmology I am describing in PaGaian Cosmology goes further than a “feminist vision of mutuality”. Howell still speaks of this “God” as a separate entity: to my mind this is still a “meta”-physics, not the “intra”-physics of the cosmogenetic dynamics of which I speak, and which is a gynocentric cosmology. Howell comes closest in her language to this “intra”-physics where she notes Rita Nakashima Brock’s metaphor of “God/dess as Heart, the present divine erotic power”[8]. Brock appears to have made the connection, the transition to an integral cosmology, where Whitehead’s metaphysics comes up short. As mythologist Joseph Campbell points out, “ ‘God’ is an ambiguous word in our language because it appears to refer to something that is known”; elaborating that “in religions where the god or creator is the mother, the whole world is her body. There is nowhere else[9]”. NOTES: [1] Alfred North Whitehead, “God and the World”, in Ewert H. Cousins (ed), Process Theology, p.91. [2] Alfred North Whitehead, “God and the World”, in Ewert H. Cousins (ed), Process Theology, p.91. [3] Alfred North Whitehead, “God and the World”, in Ewert H. Cousins (ed), Process Theology, p.91. [4] Charles Hartshorne, “The Development of Process Philosophy”, in Ewert H. Cousins (ed), Process Theology, p.53. [5] Nancy R. Howell, A Feminist Cosmology: Ecology, Solidarity, and Metaphysics, p. 13-14. [6] Nancy R. Howell, A Feminist Cosmology: Ecology, Solidarity, and Metaphysics, p. 22. [7] Nancy R. Howell, A Feminist Cosmology: Ecology, Solidarity, and Metaphysics, p. 31. [8] Nancy R. Howell, A Feminist Cosmology: Ecology, Solidarity, and Metaphysics, p. 32, quoting Rita Brock, Journeys by Heart: A Christology of Erotic Power, p.46. [9] Joseph Campbell, The Power of Myth, p.48-49. REFERENCES: Campbell, Joseph. The Power of Myth with Bill Moyers. NY: Doubleday, 1988. Cousins, Ewert H. (ed). Process Theology. NY: Newman Press, 1971. Durdin-Robertson, Lawrence. The Year of the Goddess. Wellingborough: Aquarian Press, 1990. Gimbutas, Marija. The Language of the Goddess. NY: HarperCollins, 1991. Howell, Nancy R. A Feminist Cosmology: Ecology, Solidarity, and Metaphysics. New Jersey: Humanities Press, 2000. Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. NE: iUniverse, 2005.
(Poem) Come Eat My Roses/ the Feminine Renewal Calls By Louisa Calio

I’ve seen the horrors of the wasteland yet to come
(Essay 5) The Animal Mother Goddess by Hearth Moon Rising

This is the final installment of “The Animal Mother Goddess,” an excerpt from Hearth Moon Rising’s book, Invoking Animal Magic: A guide for the Pagan priestess. This book is published by Moon Books, an imprint of John Hunt Publishing. http://moon-books.net. All five installments are copyrighted material used by permission. For ordering information go to http://invokinganimalmagic.com. The goddess Diana, who subsumed Artemis in Greco-Roman times, is sometimes portrayed as a black cat. Originally a local goddess of Lake Nemi, Diana’s a tough lady to sort out, because her history is complex. It’s easy to assume when a goddess is worshiped at a lake, mountaintop or grove that she’s a goddess of that particular waterhole, mountain or forest, but in forested regions these are also places that give worshipers an uninhibited view of the sky. Encyclopedia Britannica says Diana’s name is related to Latin words for sky and daylight. Others have translated her name as Queen of Heaven, Queen of Light, Holy Mother, or simply Goddess. It’s difficult to understand how Diana was first perceived, because the earliest Latin tribes had a rather abstract concept of their deities and did not produce statues or develop mythology. At any rate, their perception changed with Etruscan influence and then with more direct contact with Greek culture. The oldest known temple to Diana was built outside Rome in 540 BCE by the heroic King Servius Tullius. Servius was inspired by stories of the collective efforts of Greeks on the coast of Anatolia in rebuilding the ravaged temple to Artemis of Ephesus. He believed a similar project would unite the Latin tribes, and Diana was presumably chosen as a parallel goddess to Artemis. The statue of Diana inside the Roman temple was a replica of the statue of Artemis at Ephesus. Diana immediately absorbed the symbolism and legends of Artemis, although her structure of worship remained more Roman. Servius had been born a slave, and the temple was designated as a refuge for slaves. During the Roman occupation, the Temple of Artemis in Ephesus (renamed the Temple of Diana) also became a slave refuge. With few exceptions, Roman conquest resulted in local deities being renamed Apollo, Faunus, Mercury, Venus, Minerva or—especially—Diana. These gods grew in complexity as the boundaries of the Empire expanded. The Romans, like the Greeks, viewed deities with superficial similarities as manifestations of their own gods. The outcome of this view was that aspects of many local deities disappeared, even before the imposition of Christian theology.
Yia Alias

View all posts by Yia Alias. Yia Alias is a Transpersonal Counsellor, Artist, Writer, Ceremonial Facilitator and Women’s Mystery Mentor specialising in healing through ritual. She has diplomas in Transpersonal Counselling and Mask and Traditional Healing from the College of Complementary Medicine. Yia is passionate about healing the earth by supporting the consciously evolving woman to make Positive, Conscious and Creative Choices. She works from an old rural cottage nestled in the Hills District of Sydney. The old fruit picking shed has been converted to a woman’s sacred space which has birthed: The Hestia Heart Flowers Women’s Group. A weekly women’s circle spanning 13 years.
(Essay) Cups – Semeiosis is the act of creating signs by Danica Anderson, Ph.D.

Artist Erin Hilleary Tasseography (feminine divining) is the immersion of Ecology & Mnemonics. Prehistoric cup marks are dated at 80,000 years old. Archeological evidence of cup marks on stone memorials cite the cup marks been made by women’s breasts. The cup origins appear to be breast symbolic of nurturance. Bioculinary Mortar and pestle- experimental archaeology re-created the use of prehistoric essential oils of rosemary, wild marjoram, coriander, bergamot, laurel, myrtle, cinnamon, parsley, bitter almonds, turpentine, fennel, lavender, and anise. Cyprus Mortar & Pestle dated as being 4,000 years old having olive oil as the base. Limestone material, the mortar and pestle, was unusual with more than 18 multiple cupels. In 1998, the Italian Archaeological Mission of CNR Channel News Radio brought to light the oldest known scent factory in Mediterranean prehistory. Coriander roots grow wild over a wide area of the near east and southern Europe. Fifteen desiccated mericaps were found in the Pre-Pottery Neolithic B level of the Nahal Hemel Cave in Israel, which may be the oldest archeological find of coriander. Blood & Honey: Secret Herstory of Women Book Excerpt Just 10 days before U.S. President Bill Clinton and allies bombed the Republic of Srpska in 1999, I stood in a crowded, smoke-filled meeting room with Novi Travnik’ s middle-aged and older women who were war survivors and war crimes survivors. Some of the Bosnian Muslim women survived two wars. Cup readings—as a part of my trauma program—began with the overwhelming saturation of post-traumatic stress disorder (PTSD) I witnessed in Bosnia. No amount of money or material goods could erase the century of wars fought on South Slavic soil. Ingrained into genetic materials, trauma is the psycho-biological factor in that the body stores the memories and directs our brains—our neurological responses hard wired from perhaps older than Paleolithic bodies. We do not have 20,000 some years from which to practice random mutation and redirect our flight-or-fright response. Nor should we erase a staggeringly brilliant set of neurological responses to survive natural catastrophes, which in modern days and nights is vulnerably applied to stem man-made violence. Exposed to the aftermath of another major war on Bosnian soil, the Bosnian women who were middle-class or business owners before the war faced severe economic issues, escalated domestic violence pogroms and very real female human rights concerns. I founded my non-profit the Kolo: Women’s Cross Cultural Collaboration. The Kolo: WCCC since March 1999 implemented an engendered psychosocial educational trauma treatment and training format that also provided skills for Conflict Evolution leading to intimacy not violence. The Kolo: WCCC continues treatments and trainings to present day to stem the overwhelming chronic acute trauma situations, which rests on the women in their communities. The engendered Kolo format matured on the wisdom that the women were central as major caregivers and with an understanding of how trauma unless addressed will only continue the intergenerational trauma cycle and seed violence in war torn countries globally. https://www.magoism.net/2013/06/meet-mago-contributor-danica-borkovich-anderson/ (Meet Mago Contributor) Danica Anderson, Ph.D. Dr. Danica Andersonwww.kolocollaboration.org
(She Summons Excerpt) The Seed Who Summons (Part 1) by Claire Dorey

Were snake 1 by Claire Dorey There is a seed deep underground that the serpent knows about. Inanna knew. Isis did too. “What were they doing, our ancestral mothers, with their hands full of snakes?” I am standing quietly, resting my forehead on a cherry tree, talking to a viper. This summer has been a race against the birds – ‘sky watchers’ with their wasteful beaks, tearing holes in sacred flesh, cherries swinging like pendulums from the tree I planted forty years ago, when I was young and fit. The boughs hang red, ripe fruit rotting under foot – a decaying carmine carpet, nutrient rich. The tree I planted has blossomed into a fertile temple, whilst I flounder in my hot, dry, fat years – body violently rejecting all that is artificial, with flashes of heat. I have become a two headed, fire breathing monster – a dragon, incinerating my way though everything I find intolerable. My flame thrower is so deadly, I’ve had to retreat into nature, before I do real damage. I need to dig. I need dirt under my fingernails – that is my plug into sanity. When I’m in the garden I am like a pig, snuffling and rooting about in the earth. Something deep under the soil has summoned me. It is the Time Of Covid, and a portal has opened. Sophia the snake slithers up the cherry tree. She is dainty and delicate and sparkles like moire silk. Ever since Eve was expelled from the Garden Of Eden and her Wisdom Serpent, rendered legless, snakes have missed their special bond with women. ‘We serpents miss dancing with the descendants of Ishtar,” sighs Sophia, “our guts need to feel the vibration of the gyrating Goddess, stepping barefoot upon the Earth.” Snakes detest the biblical version of that story – with venom! They find it barbaric and hate that it twists woman into the villain of humanity. “Think.” says Sophia. “WOMEN ARE THE VILLAIN OF HUMANITY” “It is truly absurd. But that was the propaganda of the time and the closer ancient history got to Biblical times, the more demeaned women became – and what’s more, women are still having to live with the vestiges of this nonsense.” The light catches Sophia’s eye. It glimmers like obsidian. “I know how you like to dig,” she whispers. “You are opening up to the divine messaging of the female mysteries. Lean your back against the cherry tree, close your eyes and let your intuition answer my questions.” “Why do you think the Ancient Greeks believed that Hades had to abduct and rape Persephone so she could descend into the underworld, becoming Autumn and Winter, when she could go there of her own accord?” she asked. “Why does the patriarch think that Demeter mourned her daughter’s absence, as she wintered in the underworld, when it was the chilling effectiveness of the Rape Myth she was mourning? “I’ll tell you why,” interjects Sophia, before I can answer. “They wanted to subjugate the cycles of the seasons. They crushed our trust in the seeds of regeneration, just like they crushed Persephone, beneath their heavy hand-tooled boots. They wanted us to believe the reassurance, that life will burst forth each Spring, could only be given, if there was a rape, that violently put Mother Earth in her place, firmly under the iron shod boot of man. They dominated through ownership and marked their territory.” “Tell me more,” I urged. We are in lockdown. The pandemic is raging. Humanity is facing tough questions about where it can go from here. Divine Feminine energy is rising up through vents in the Earth, and it feels like patriarchy is in chaos, approaching its death throws and taking down a lot of people with it. I sense I am in the presence of great wisdom. I want to hear Sophia speak. I want to know what she knows.(To be continued) * About Claire Dorey Published in, Warrior Queen; Answering The Call Of The Morrigan – The Girl God Books, 2021: A Shriek Goddessy and Eel Kundalini, St Patriarch and the Wide Sargasso Sea – words and images Published in, She Who Summons – Mago Books, 2021: The Seed Who Summons – words and images Published in, In Defiance of Oppression – The Legacy of Boudicea – The Girl God Books: When The Colour Of Emotion Floods The Nervous System. Earth Mothers and daughters surviving invasion and the stereotypes of misogyny. Accepted for publication in, Re-Membering with Goddess: Healing the Patriarchal Perpetuation of Trauma – The Girl God Books: Revolutions Of Defiant Ecstasy: Stealing Kali And Goddess Wisdom From The Primordial Wave Of Feminism. Accepted for publication in, The Crone Initiation and Invitation: Women speak on the Menopause Journey – The Girl God Books: Fat is a Goddess Issue – Gateway to Khaos and Reframing the Menopause. [Editor’s Note: This piece is included in She Summons: Why… Goddess Feminism, Activism and Spirituality?” Volume 1 (Mago Books, 2021).]

(Special Post Isis 1) Why the Color of Isis Matters by Mago Circle Members

[Editor’s note: The discussion took place in Mago Circle during the month of July, 2013. Our heartfelt thanks go to the members who participated in this discussion with openness and courage.] Part 1 Is Isis White (European) or Black (African)? Harita Meenee What could Isis have to do with the political situation in Egypt? Read on to find out! Isis, Egypt and the Revolution For the past few years Egypt has felt like a second home to me. Some cherished friends and co-workers live there, to whom my thoughts often travel. Also, Isis, the Egyptian great goddess once worshiped all over the Mediterranean, has been an ever-present source of inspiration… By: Harita Meenee, Author https://www.facebook.com/notes/harita-meenee-author/isis-egypt-and-the-revolution/457348724361326 Rick Williams Isis and that picture for me is kind of offensive in 2013. KMT [Kemet, Egypt] and AUSET [Isis] “worship” is an oxymoron. Kahena Dorothea Can you explain, Rick Williams, how it is an oxymoron? I am curious. Rick Williams First, Auset as a deity was not a singularly honored symbolic personage. KMT taught principles of BALANCE and UNIVERSAL COSMOLOGICAL TRUTH. There are NO images from the dawn of that age depicting her as EUROPEAN. [Threads curtailed] Helen Hwang I would strongly suggest that Rick and others who see Rick’s point educate us in Mago Circle. I know this is very difficult but we are here to learn and express differences from each other. We are all centers and please share your perspective and knowledge so that others can learn. I am doing that with patience and tolerance as well. Thank you all! Rick Williams I try to be as honest and respectful when I can, Helen. I only personalize things when ONE person says something. Yet there are those who know that the people of that land now weren’t the same people who honored the deities of mythology and that image isn’t of Auset. When will folks stop promoting fictitious images and uneducated observations? I could have beat around the bush and politely asked about the statue, why that one isn’t truly the same of Auset’s time? Helen Hwang Okay, conflicts and contradictions are everywhere. Nonetheless, we can’t be beat by those. We are exploring ways to be empowered by addressing our differences in Mago Circle. We trust that we have good intentions and yet we are not perfect. I do Mago Circle and Return to Mago because I believe there is a way for us to meet and talk with our differences, I can’t let that hope go! Thank us for talking to each other. Naa Ayele Kumari I can see both points. Egypt has a long and ancient history… One filled with invaders.. wars.. people who stole the magic and manipulated it for their own purposes… Those invaders changed images to make them in their own reflections all the while slowly destroying the indigenous images of power and strength as well as the sacred tradition they were built on.. As a woman of African descent, it is sometimes difficult to see the Hellenistic images of our mother.. because her original images were a woman of color. Racism… whether we chose to admit it or not has played an immense part in our oppression as a people and that includes the struggle for Egypt today. It is especially a sensitive issue because those images play a role in how people see and view black women… even today. The dark goddess is stereotyped as being a part of our shadow while the white goddess is caste as being all that is good in the world. What black women struggle to tell the world is that those projections are simply racist projections… and so we reject them. Still, I recognize that people like to experience the divine in their own image and that our Mother has been taken around the world… and by extension absorbed many names and faces because after all, she is mother not to just Africans… but to the World. Right now, we have dominant tradition of Islam… that at its roots has a feminine basis… (Islam came from the word Isis) all the while oppressing women by its dogma. The indigenous people of Egypt, the Badarians and Nubians… are oppressed by Arab invaders who have taken control, projected their own religions all the while wanting to destroy the remainder of the images of the ancients. Injustice recognizes injustice… and all the ways that it shows up. At the root of Egypt…is Isis… called also Esi and Auset by the indigenous people. She has been oppressed by many layers of invaders… Her daughter’s voices have been muted… Timeless icon that she is, as the tides are turning, so are the heavy oppressions being lifted. Women are finding and re-remembering their power… and as they do… Mama Esi.. is taking back her throne. Naa Ayele Kumari This is the Isis on the walls and temples of Egypt. Harita Meenee Seeing the people of Egypt as all white or all Black means stereotyping them. In fact the inhabitants of Egypt are of different colors: some are white, others are Black and many others are something in-between. The same was true in antiquity and it’s reflected in Egyptian art. Rick Williams Harita, really? What does that have to do with your choice of misrepresentation of that image? Please enlighten me, thank you. Harita Meenee Τhere is no misrepresentation, dear Rick Williams. If you read my note carefully, you’ll see that it talks about Isis as a goddess who was worshiped all over the Mediterranean–I’m not referring to just her Egyptian manifestation. The statue depicted is in the National Archaeological Museum in Athens, Greece. I took this picture and processed it slightly so that it looks more like a painting than a sculpture. No change was made to the actual form or color of the statue. I’m attaching a photo of the museum label of this work of art. It may not be clearly visible, but it reads: Marble statue of the goddess Isis-Tyche-Pelagia. 1st-2nd century AD. The composite name means that, as was often the case in […]
(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 6) 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 Hwang Without knowing nine numerology, it is NOT possible for us to understand the depth of Magoism, an anciently originated tradition of Old Korea/East Asia that venerated the Creatrix. “Giants” are the hallmark for the Goma, the people of Danguk (nine-state confederacy led by Goma, the Magoist Shaman queen). Those giants are not described as a singular people. They come in “81 brothers,” as mentioned below. We know what “brothers” mean, it is 81 sisters! Changing or translating a female-connoted term to the male proves its agent to be patriarchal. And Chiyou or Chiu (in Korean) is the ruler of Nine Ris (Guri), another name for Nine Hans (Guhan). Check this out: “Chiyou (蚩尤) was a tribal leader of the Nine Li tribe (九黎) in ancient China.[1] He is best known as a king who lost against the future Yellow Emperor during the Three Sovereigns and Five Emperors era in Chinese mythology.[1][2][3] For the Hmong people, Chiyou[4] was a sagacious mythical king.[5] He has a particularly complex and controversial ancestry, as he may fall under Dongyi[1]Miao[5] or even Man,[5] depending on the source and view. Today, Chiyou is honored and worshipped as the God of War and one of the three legendary founding fathers of China.” “According to the Song dynasty history book Lushi, Chiyou’s surname was Jiang (姜), and he was a descendant of Yandi.[6]According to legend, Chiyou had a bronze head with a metal forehead.[1] He had 4 eyes and 6 arms, wielding terrible sharp weapons in every hand.[7] In some sources, Chiyou had certain features associated with various mythological bovines: his head was that of a bull with two horns, although the body was that of a human.[7] He is said to have been unbelievably fierce, and to have had 81 brothers.[7] Historical sources often described him as ‘cruel and greedy’,[6] as well as ‘tyrannical’.[8] Some sources have asserted that the figure 81 should rather be associated with 81 clans in his kingdom.[5] Chiyou knows the constellations and the ancients spells for calling upon the weather. For example, he called upon a fog to surround Huangdi and his soldiers during the Battle of Zhuolu. TRIBE Chiyou is regarded as a leader of the Nine Li tribe (九黎, RPAWhite Hmong: Cuaj Li Ntuj) by nearly all sources.[1] However, his exact ethnic affiliations are quite complex, with multiple sources reporting him as belonging to various tribes, in addition to a number of diverse peoples supposed to have directly descended from him.” https://en.wikipedia.org/wiki/Chiyou Helen Hye-Sook Hwang Below is from my article, “Goma, The Shaman Ruler Of Old Magoist East Asia/Korea, And Her Mythology,” included in Goddesses in Myth, History and Culture (Mago Books, 2018). Goma is also credited for designating queens of the bear clan to state rulers. Another account of the Goma myth reads, “She looked after numerous spiritual persons and wise persons. Accepting women of the bear clan, Hanung made them rulers (后). Goma chose queens of the bear clan to make them nine state rulers. Note that Danguk is a nine state confedearcy. That Danguk’s nine states were headed by the queens of the bear clan is, among others, corroborated by Chinese mythological accounts. Chinese myth informs that Chiu, Huangdi’s opponent in an epic war, was aided by “a tribe of giants from the far north.”[1] In Chinese mythology, Gonggong and her minister, Xiangliu, symbolized as a dragon with nine heads in the body of a snake, are depicted as an enemy of Emperor Yu of Xia (ruled c. 2200–2100 BCE). Such a story is aligned with Sinocentrism inscribed in Chinese mythology that antagonizes pre-Chinese history of Old Magoist Korea/East Asia. In Chinese mythology, Gonggong (龔工) is described as a sea monster whose minister Xiangliu (相栁 Mutual Willow) is told to have been defeated by Yu, the Great.[2] Assuming the character hu (后 xia in Chinese pronunciation) to mean a male ruler’s wife, androcentric scholars have translated the above account as “Hanung received his queen from the bear clan. And he instituted the rite of matrimony.” This proves to be a modern androcentric bias in that hu originally means a “ruler.” This is the case of the logographic character whose original meaning has changed from “a female ruler” to “a male ruler” and to “the wife of ruler” over time. Ancient Chinese texts betray ample evidence. For example, Xiahou (夏后 Ruler of Xia) and Houyi (后羿 Ruler of Yi) respectively refer to a male ruler. Xiahou refers to Yu of Xia. Other ancient Chinese texts include the Classic of Poetry (詩經商頌玄鳥), the Zuozhuan (左傳) and the Book of Document (書經).[3] [1] C. Scott Littleton, ed. Mythology: The Illustrated Anthology of World Myth & Storytelling (San Diego: Thunder Bay Press, 2002), 414. Cited in Hwang, Finding Mago, 239 in note 494. [2] Lihui Yang, Deming An and Jessica Anderson Turner, Handbook of Chinese Mythology (Oxford: Oxford University Press, 2005), 214-5. [3] Goma, “Goma, The Shaman Ruler Of Old Magoist East Asia/Korea, And Her Mythology” Goddesses in Myth, History and Culture (Mago Books, 2018), 272. Helen Hye-Sook Hwang I am realizing that even ancient Chinese people depicted Chiyou as female. When her image is cropped from the whole frame, it is hard to tell. But see her in the attached image of the whole frame. In comparison with Chinese heroes (supposedly including Yellow Emperor) on the left side, she and her ally are depicted as a figure in a curvy body line. Of course, Chiyou was pejoratively depicted as she was an opponent to the future Chinese emperor, […]

(Essay) Ceremony as “Prayer” or Sacred Awareness By Glenys Livingstone Ph.D.

This essay is an excerpt from Chapter 3 of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. MoonCourt Ceremonial Space set for Autumn Equinox ceremony, 2013 Ritual/ceremony is often described as “sacred space.” I understand that to mean “awareness of the space as sacred”: all space is sacred, what shifts is our awareness – awareness of the depth of spacetime, and of the depth of all things and all beings. I understand “sacred awareness” as an awareness of deep relationship and identity with the very cosmic dynamics that create and sustain the Universe; or an awareness of what is involved in the depth of each moment, each thing, each being. Ceremony is a space and time given to expression, contemplation and nurturance of that depth … at least to something of it. Ceremony may be both an expression of deep inner truths – perceived relationship to self, Earth and Cosmos, as well as being a mode of teaching and drawing forth deeper participation. Essentially, ceremony is a way of entering into the depth of the present moment … what is deeply present right here and now, a way of entering deep space and deep time, which is not somewhere else but is right here. Every-thing, and every moment, has Depth – more depth than we usually allow ourselves to contemplate, let alone comprehend. This book, this paper, this ink, the chair, the floor – each has a history and connections that go back, all the way back to Origins. This moment you experience now, in its particular configuration, place, people present, subtle feelings, thoughts, and propensity towards certain directions or outcomes, has a depth – many histories and choices that go back … ultimately all the way back to the beginning. Great Origin is present at every point of space and time – right here. In ceremony we are plugging our awareness into something of that. In this holy context then – in this mindframe of knowing connection, everything one does is a participation in the creation of the Cosmos: for the tribal indigenous woman, perhaps the weaving of a basket; for another, perhaps preparing a meal; for you, perhaps getting on the train to go to a workplace. It is possible to regain this sense, to come to feel that the way one breathes makes a difference – that with it, you co-create the present and the future, and you may even be a blessing on the past. In every moment we receive the co-creation, the work, of innumerable beings, of innumerable moments, and innumerable interactions of the elements, in everything we touch … and so are we touched by them. The local is our touchstone to the Cosmos – it is not separate. Ceremony may be a way into this awareness, into strengthening it. Ceremony is actually ‘doing,’ not just theorizing. We can talk about our personal and cultural disconnection endlessly, but we need to actually change our minds. Ceremony can be an enabling practice – a catalyst/practice for personal and cultural change. It is not just talking about eating the pear, it is eating the pear; it is not just talking about sitting on the cushion (meditating), it is sittingon the cushion. It is a cultural practice wherein we tell a story/stories about what we believe to be so most deeply, about who and what we are. Ceremony can be a place for practicing a new language, a new way of speaking, or spelling – a place for practicing “matristic storytelling”[i] if you like: that is, for telling stories of the Mother, of Earth and Cosmos as if She were alive and sentient. We can “play like we know it,” so that we may come to know it.[ii] Ceremony then is a form of social action. I have found it useful to describe ceremony using and extending words used by Ken Wilber to describe a “transpersonal practice,” which is needed for real change: he said it was a practice that discloses “a deeper self (I or Buddha) in a deeper community (We or Sangha) expressing a deeper truth (It or Dharma).”[iii] My extension of that is: ceremony may disclose a deeper beautiful self (the I/Virgin/Urge to Be/Buddha), in a deeper relational community (the We/Mother/Place of Being/Sangha), expressing a deeper transformative truth (the It/Old One/Space to Be/Dharma). This is the “unitive body,” the “microcosmos” that Charlene Spretnak refers to in States of Grace.[iv] Since ceremony is an opportunity to give voice to deeper places in ourselves, forms of communication are used that the dreamer, the emotional, the body, can comprehend, such as music, drama, simulation, dance, chanting, singing.[v] These forms enable the entering of a level of consciousness that is there all the time, but that is not usually expressed or acknowledged. We enter a realm that is ‘out of time,’ which is commonly said to be not the “real” world, but it is more organic/indigenous to all being and at least as real as the tick-tock world. It is a place “between the worlds,” wherein we may put our hands on the very core of our lives, touch whatever it is that we feel our existence is about, and thus touch the possibility of re-creating and renewing ourselves. NOTES: [i] A term used by Gloria Feman Orenstein in The Reflowering of the Goddess (New York: Pergamon Press, 1990), 147. [ii] As my doctoral thesis supervisor Dr. Susan Murphy once described it to me in conversation. [iii] Ken Wilber, A Brief History of Everything (Massachusetts: Shambhala, 1996), 306-307. [iv] 145. [v] As Starhawk notes, The Spiral Dance, 45. REFERENCES: Livingstone, Glenys. A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Girl God Books: Bergen, Norway, 2023. Orenstein, Gloria Feman. The Reflowering of the Goddess. New York: Pergamon Press, 1990. Starhawk. The Spiral Dance: A Rebirth of the Ancient Religion of the Great Goddess. New York: Harper and Row, 1999. Wilber, Ken. A Brief History of Everything. Massachusetts: Shambhala, 1996.
(Essay) Walking with Bb by Sara Wright

Walking with Bb: a story exploring the psychic connection between one woman and her bear. Preface: The black bear – hunting season in Maine is brutal – four months of bear hell – five if one includes the month where hunters can track bears for “practice” with hounds – separate mothers and cubs, terrorize them, tree them and do anything but legally kill them. During the legal slaughter, Hunters bait bears with junk food by putting old donuts etc. in cans and shoot the bear while he or she is eating. Most bears (82 percent) are slaughtered in this manner, the rest are killed by hounding and trapping. The season begins in August and lasts through December. Trapping, by the way, is illegal in every state but Maine. Black bears are hated, and that hatred will, of course, eventually result in their extirpation. I had a shy (male) year old black bear visiting my house this past summer with whom I developed a friendship, and what follows is part of our story: Last Saturday I was walking down the road when I remembered that I had not done my daily “circle of protection” imaging for Bb (standing as he was the day he visited me at the window early in August). When I began to do this another picture of Bb moving on all four feet with his face turned towards mine super-imposed itself over his standing image. I could almost see his expression, but not quite. I didn’t know what this imaging meant beyond that we were communicating in some unknown way, and he was in the area (not a good thing on hunting Saturdays). He had not been coming in most nights and I was worried… That night he came. He is still making nightly visits five days later, the most sequentially consistent visits since September 15th, the day I believed that he had been shot. This experience prompted me to write about telepathy and precognition. It is close to All Hallows and the full Hunter’s moon (Nov 3). I keep listening to Charlie Russell’ story which reminds me that loving bears (especially male bears) is hard, almost a sure recipe for disaster, and that I was not alone in this deep concern for and fear of losing Bb. I can barely stand to remember my other bear losses and I can’t stand feeling them. Even after I wrote about the incident with Bb, the experience seemed to carry a charge that didn’t dissipate. Had I missed something? Next I wrote “Root Healer,” exploring the possibility that as I continued to act as Bb’s “little bear mother” now employing psychic techniques to keep him safe (in some desperation as it was the only means left open to me to protect this very vulnerable yearling), that Bb’s presence might also include a gift for me and that it might involve some kind of root healing for my body because Nature thrives on reciprocity. One idea I missed completely, for it was so obvious. Bb’s image was communicating to me that we were having a psychic conversation in that very moment. It was the first time in three months of imaging protective circles that moved with him that I had confirmation from him that we were communicating effectively in this unknown way. This rarely happens. Normally when I do this kind of work, I just do it. I don’t get direct confirmation that it’s working from the animal itself (except with Lily b). Knowing this helped me make another decision I might not have made so intentionally. The hunting season will last into mid December, and I will be traveling during that last month. I keep thinking that putting actual physical distance between Bb and I might pose more of a threat for his life and I have to remind myself that psychic phenomena are not distance dependent. I should be able to image that protective circle every day and feel that it is working. Bb has already shown me that it can but I fear adding distance because I don’t completely trust my own perceptions.* I suspect believing might be an additional dimension of ensuring success when it comes to psychic protection for this bear. But how do I incorporate belief into a picture that is so clouded with personal/cultural doubt? Half the time I don’t believe myself and virtually no one except Rupert Sheldrake, Iren and Harriet have ever taken my experiences seriously. I have to remind myself that I have done this work many times dealing with doubt and it worked anyway. The point of writing this reflection might be to put me on a new edge of increasing Bb’s odds of survival. If it’s possible that an attitude that embraces believing in what I do could help me protect Bb more effectively until hunting is over and its time for him to den in peace I want to claim it. The question I need to answer now is how to go about moving into a more trusting self as a woman who continues to walk with a bear at her side? The night after I wrote the above paragraph I dream of the doubters in the roles of my parents, and in a friend. I take these dreams seriously as doubters inside me and out. These dreams may be telling me that it is unreasonable to expect me to believe that what I do works when no one else does? The problem with this idea is that on some level I do believe. I feel as if I am walking with this bear, every single day. I think about him constantly. The only thing that got me out of the house yesterday was that he was out of chocolate donuts. Something is intensifying my relationship with Bb although I never see him. I am caught in a field of bear energy and information, perhaps through some version of beauty and the beast. That an archetype is …
Imbolc/Early Spring – a Season of Uncertainty by Glenys Livingstone Ph.D.

Traditionally the Seasonal transition of Imbolc/Early Spring, celebrated in early February in the Northern Hemisphere, and in early August in the Southern Hemisphere, has been a time of nurturing the new life that is beginning to show itself, around us and within. It is a time of committing one’s self to the new life and inspiration – in the garden, in the soul, and in the Cosmos. We may include in our celebrations and contemplations of this Season the beginnings of the new young Cosmos as She was, that time in our cosmic story when She was only a billion years old and galaxies were forming; and also the new which has continually emerged throughout the eons, and is ever coming forth. The flame of being, as it has been imagined by many cultures, within and around, is to be protected and nurtured: the new being requires dedication and attention. In the early stages of its advent, there is nothing certain about its staying power and growth: it may flicker and be vulnerable. There may be uncertainties of various kinds. There is risk and resistance to coming into being. The Universe itself knew resistance to its expansion when it encountered gravitation in our very beginnings, in the primordial Flaring Forth[i]. The unfolding of the Universe was never without creative tension. The Universe knows it daily, in every moment: and we participate in this creative tension of our place of being. Urge to Be budding forth Imbolc/Early Spring can be a time of remembering personal vulnerabilities, feeling them and accepting them, but remaining resolute in birthing and tending of the new, listening for and responding to the Urge to Be[ii]of the Creative Universe within. Brian Swimme has said (quoting cultural anthropologist A.L. Kroeber) that the destiny of the human is not “bovine placidity” but the highest degree of tension that can be creatively born[iii]. many flames of being, strengthening each other These times are filled with creative tension, collectively and for most, personally as well; there is much resistance, yet there is promise of so much good energy arising. We may be witness to both. This Season of Imbolc/Early Spring may encourage attention, intention and dedication to strengthening well-being: in self, and in the relational communal context, and opening to our direct immersion in the Well of Creativity. We may be strengthened with the joining of hands, as well as the listening within to the sacred depths, in ceremonial circle at this time. NOTES: [i]As our origins (popularly named as “the Big Bang”) are named by Thomas Berry and Brian Swimme in The Universe Story. [ii]As I name this determined Virgin quality in PaGaian Cosmology. [iii]The Canticle to the Cosmos, DVD #8, “The Nature of the Human”. References: Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. NE: iUniverse, 2005. Swimme, Brian and Berry, Thomas. The Universe Story: From the Primordial Flaring Forth to the Ecozoic Era. New York: HarperCollins, 1992. Swimme, Brian. Canticle to the Cosmos. DVD series, 1990.
(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 …
(Art & Poem) Spring Equinox by Sudie Rakusin & Annie Finch

A SEED FOR SPRING EQUINOX . . . till I feel the earth around the place my head has lain under winter’s touch, and it crumbles. Slanted weight of clouds. Reaching with my head and shoulders past the open crust dried by spring wind. Sun. Tucking through the ground that has planted cold inside me, made its waiting be my food. Now I watch the watching dark my light’s long-grown dark makes known. Art and poem are included in Celebrating Seasons of the Goddess (Mago Books, 2017). (Meet Mago Contributor) Sudie Rakusin (Meet Mago Contributor) Annie Finch
(Essay) The Emergence celebrated at Spring Equinox by Glenys Livingstone Ph.D.

The Spring Equinox Moment occurs September 21-23 Southern Hemisphere, March 21-23 Northern Hemisphere. The full story of Spring Equinox is expressed in the full flower connected to the seed fresh from the earth; that is, it is a story of emergence from the dark, from a journey, perhaps long, perhaps short, through challenging places. The joy of the blossoming is rooted in the journey through the dark, and an acknowledgement of the dark’s fertile gift, as well as of great achievement in having made it, of having returned. Both Equinoxes, Spring and Autumn, celebrate this sacred balance of grief and joy, light and dark, and they are both celebrations of the mystery of the seed. The seed is essentially the deep Creativity within – that manifests in the Spring as flower, or green emerged One. the full story: the root and the flower As the new young light continues to grow at this time of Spring, it comes into balance with the dark at Spring Equinox, or ‘Eostar’ as it may be named; about to tip further into light when light will dominate the day. The trend at this Equinox is toward increasing hours of light: and thus it is about the power of being – life is stepping into it. Earth in this region is tilting further toward the Sun. Traditionally it may be storied as the joyful celebration of a Lost Beloved One, who may be represented by the Persephone story: She is a shamanic figure who is known for Her journey to the Underworld, and who at this time of Spring Equinox returns. Her Mother Demeter who has waited and longed for Her in deep grief, rejoices and so do all: warmth and growth return to the land. Persephone, the Beloved Daughter, the Seed, has navigated the darkness successfully, has enriched it with Her presence and also gained its riches. Eostar/Spring Equinox is the magic of the unexpected, yet long awaited, green emergence from under the ground, and then the flower: this emergence is especially profound as it is from a seed that has lain dormant for months or longer – much like the magic of desert blooms after long periods of drought. The name of “Eostar” comes from the Saxon Goddess Eostre/Ostara, the northern form of the Sumerian Astarte[i]. The Christian festival in the Spring, was named “Easter” as of the Middle Ages, appropriating Goddess/Earth tradition. The date of Easter, which is set for Northern Hemispheric seasons, is still based on the lunar/menstrual calendar; that is, the 1st Sunday after the first full Moon after Spring Equinox. In Australia where I am, “Easter” is celebrated in Autumn (!) by mainstream culture, so we have the spectacle of fluffy chickens, chocolate eggs and rabbits in the shops at that time. There are other names for “Eostar” in other places …the Welsh name for the Spring Equinox celebration is Eilir, meaning ‘regeneration’ or ‘spring’ – or ‘earth’[ii]. In my own PaGaian tradition, the Spring Equinox celebration is based on the Demeter and Persephone story, the version that is understand as pre-patriarchal, from Old Europe. In the oldest stories, Persephone has agency in Her descent: She descends to the underworld voluntarily as a courageous seeker of wisdom, and a compassionate receiver of the dead. She represents, and IS, the Seed of Life that never fades away. Spring Equinox is a celebration of Her return, Life’s continual return, and thus also our personal and collective emergences/returns.We may contemplate the collective emergence/returns especially in our times. I describe Persephone as a “hera”, which of old was a term for any courageous One. “Hera” was a pre-Hellenic name for the Goddess in general[iii]. “Hera” was the indigenous Queen Goddess of pre-Olympic Greece, before She was married off to Zeus. “Hero” was a term for the brave male Heracles who carried out tasks for his Goddess Hera: “The derivative form ‘heroine’ is therefore completely unnecessary”[iv]. “Hera” may be used as a term for any courageous individual: and participants in PaGaian Spring Equinox ceremony have named themselves this way. The pre-“Olympic” games of Greece were Hera’s games, held at Her Heraion/temple[v]. The winners were “heras” – gaining the status of being like Her[vi]. At the time of Spring Equinox, we may celebrate the Persephone, the Hera, the Courageous One, who steps with new wisdom, into power of being: the organic power that all beings must have, Gaian power, the power of the Cosmos. This Seasonal ceremony may be a rejoicing in how we have made it through great challenges and loss, faced our fears and our demise (in its various forms), had ‘close shaves’ – perhaps physically as well as psychicly and emotionally. It is a time to welcome back that which was lost, and step into the strength of being. Spring Equinox/Eostar is the time for enjoying the fruits of the descent, of the journey taken into the darkness: return is now certain, not tentative as it was in the Early Spring/Imbolc. Demeter, the Mother, receives the Persephones, Lost Beloved Ones, joyously. This may be understood as an individual experience, but also as a collective experience – as we emerge into a new Era as a species. Thomas Berry and Brian Swimme speak of the ending of the sixty-five million year geological Era – the Cenozoic Era – in our times, and our possible emergence into an Ecozoic Era. They describe the Ecozoic Era as a time when “the curvature of the universe, the curvature of the earth, and the curvature of the human are once more in their proper relation”[vii]. Joanna Macy speaks of the “Great Turning” of our times[viii]. Collectively we have been away from the Mother for some time and there is a lot of pain. At this time we may contemplate not only our own individual lost wanderings, but also that of the human species. We are part of a much bigger Return that is happening. The Beloved One may be understood as returning on a collective level: …

(Bell Essay 1) Ancient Korean Bells and Magoism by Helen Hye-Sook Hwang

Part I The bell as both a percussion instrument and an idiophone is one of the most pacific, sublime, and ingenious human inventions. It appears cross-culturally from the remote past. Its artistic and ritualistic aspects are fairly well recognized by many. However, many overlook that the bell is a female icon with functionality. Put differently, the bell symbolizes the Goddess, the female who has the purpose. This essay, to be written in parts hereafter, will examine the symbology of ancient Korean bells and explore its implications with regard to Magoist history, cosmogony, and soteriology. At the outset, I posit that ancient Korean bells cast in the form of a woman’s body are there to awaken humanity to the arcane reality of the Female, that is Mago. In East Asia, bell connotes two distinct types, the open ended and the enclosed. In Korean, the open ended bell is called jong (鐘, Chinese zhong), whereas the enclosed one is called bang-ul or ryeong (鈴, Chinese ling). Jong and bang-ul are also distinguished by size. While the former tends to be larger, the latter are commonly used by a shaman or diviner to hold and shake (a group of bang-uls) to invoke the spirit. However, these differences are not unbridgeable. Some bang-uls are open-ended, like jong. By definition, jong is a bell made of metal not stone. (The character jong 鐘 has the radical (basic element) of geum 金, metal or gold. The stone bell is called gyeong.) When jong is used in music, in particular as a musical instrument consisting of a set of bronze bells, it is called pyeon-jong (編鍾, Chinese bianzhong). Perhaps the invention of pyeon-jong follows pyeon-gyeong (編磬, Chinese bianqing), a stone musical instrument consisting of a set of L-shaped stone chimes. Discussing the differences between the two instruments goes beyond the purpose of this essay. Suffice it to say that jong was likely a metallic replica of gyeong presumably first introduced in the Bronze Age. (See the images below for comparison.) My primary focus in this essay is on jong, in particular the Korean bells cast in the 8th century CE and thereafter. The beauty and significance of ancient Korean bells shed a new light on ancient Korea to be re-dis-covered in relation to Magoism. Both scholars and the public appear to be unaware that the ancient bells of Korea symbolize the female principle as well as woman’s body. It is my hope that this essay allows the ancient bells of Korea to reverberate through time and call people to return to the female origin. Ancient Greek Bells as Woman’s Body A variety of jong from the ancient world appears across cultures. The most explicitly rendered bells which mirror the female form are the terracotta bell figurines of Greece (Thebes) dated circa the 8th century BCE. Both are housed in the Louvre Museum, Paris. Protruded breasts are placed on the upper part of the bell. The body of the bell is sculpted to resemble the skirt that she is wearing. Two arms annexed from her shoulders appear to be aesthetic rather than functional. The elongated neck is made as a handle to be held. Her neck is adorned with elaborate necklaces. Geometrical designs and swastikas are compelling in both figurines — rife with arcane meanings. The legs are made as mallets. Imagine, then, where the sound comes from upon being shaken! It is her belly, more precisely the vulva from which the sound originates. In the first, above, icon of the Greek bell, women are drawn on the bell’s body in a simplified and exaggerated manner. They are connected with each other hand in hand forming a circle, perhaps dancing a circle dance. As a whole, the bell depicts a dancing woman with her arms raised, standing on her toes. The women painting befits the spirited nature of the bell. In the second, above, icon of the Greek bell, 39.5 cm in height, her breasts are highlighted, encircled by the drawing of two circles. Thus, they appear to be more nipples than breasts. Her arms are laid downward as if pointing to the birds standing below on each side. Each bird is holding an elongated earthworm-like swirling thing at the tip of its beak. Geometric designs in the center of her body are catchily inviting to interpretations. The symmetrical balance is heightened. She appears to stand firmly or be ready to walk. As shown below, one leg when placed out to the side conveys to its viewer that the legs are mallets and at once creates a look that she is real, in motion. In my documentation, the Greek bell idols and ancient Korean bells are the only two groups that are explicitly made in the shape of a woman’s body. Yet, as to be shown shortly, these Greek bell idols, far smaller in size, date about a thousand years earlier than the ancient Korean bells. Furthermore, there is a vast geographical distance between the two bell icons. In comparing them, however, I have no intention to assume that the ancient Greek bell figurines are the earliest of their kind. (It is difficult to discuss the origin of bell as a woman’s body due to the nature of the task, too complex and daunting. It suffices to say that the Chinese bells, dated older than the Thebes bell figurines, have relevance to ancient Korean bells, a point to be discussed at a later part.) Ancient worlds appear not too heterogeneous to say the least, as moderns tend to think. Sillan Bells Let me begin with introducing some ancient Korean bells from the Silla period (57 BCE-935 CE) and their major features that are also uniquely ancient Korean (read Magoist). They sound beautifully and deeply when struck. Sounding waves are calculated in the structure of the bell upon being cast. It is known that there are eleven jongs extant from the United Silla period. Only five of them are currently located in Korea, whereas the rest are in Japan. These bells are known as beomjong, a term referring to a bell in Buddhist temples used for Buddhist …
(Mago Essay 2) Toward the Primordial Knowing of Mago, the Great Goddess by Helen Hwang

Part 2 Gynocentric Study of Mago’s Visual Representations [The following sequels including this one are a modified version of my paper presented to Daoist Studies, the American Academy of Religion (AAR) in 2010.] Mago [麻姑, also known as Magu or Mako] remains underrepresented if treated in modern scholarship. Little attention has been given to the topic of Magu in its own right. In the West a handful of scholars have mentioned Mago within the context of Daoism. Her transnational and trans-temporal manifestations in Korea, China, and Japan are largely unrecognized. That Magu is known as multiple identities throughout history in East Asia has gone unnoticed. In my study of Mago, that Mago’s supreme divinity as the Great Goddess has been rendered unintelligible over time under the rule of patriarchy offers a crucial insight leading to a befitting method. First of all, the perception of Her as the Great Goddess enables one to recognize a large volume of primary sources, otherwise left unattended, from across national, regional, temporal, and typological boundaries. Secondly, the primary materials in turn allow one to assess the supreme nature of the Great Goddess, Mago, apart from the theological framework of the monotheistic male god. By being a non-Western and non-patriarchal tradition, Magoism warrants a distinctive thealogy characterized by self-equilibrium and interdependence of components, part of which was discussed in Part I. Thirdly, a trans-disciplinary method is corollary in processing a variety of multi-genre materials that would not be neatly categorized in a mono-disciplinary data-pool. To say the least, it liberates itself from the tyranny of monolithic methodology, which dissects to take only a portion of data from the whole and treat it as if it is a single independent entity. In short, methodology and thealogy, being mutually supportive, lead the researcher to a rather unexplored conceptual territory, which I call gynocentrism. Gynocentrism takes the female principle as an operating system. Its system has been thwarted within the discourse of androcentric perspectives. Gynocentrism is a submerged mode of thinking in the patriarchically indoctrinated psyche. Made to be subliminal, the gynocentric mode of thinking elicits the Mago (Great Goddess) consciousness. Consequently, Mago consciousness upholds the infrastructures of gynocentric thinking. What distinguishes gynocentrism from feminism is that it redefines the male as a derivative of the Female. Gynocentrism reflects the principle of all mothers of living beings. In that sense, my study of Mago is a gynocentric endeavor to chart an alternative paradigm of doing thealogy within the context of East Asian history, mythology, and culture. It is a misunderstanding that Magoist thealogy or Magology (the study of the Great Goddess) concerns the divine only. Gynocentric thealogy is not locked into a separate domain apart from humanity, nature, and the universe. Put differently, Magology is not a mere conceptual tool that explains the divine. It summons gynocentric histories, myths, and cultures that are to be restored and rewritten. It calls for rethinking everything in a fresh light. In the sequels to follow, I bring to light a series of Mago’s visual representations expressed in paintings, ceramics, embroideries, woodprints, sculptures, and topographies, and examine Her multivalent identities in light of the large corpus of Magoist written and oral texts. Mago’s visual icons are beyond one’s documentation. They, especially those from China, are still a favored item in modern day’s auction markets. Several hundred images that I have documented are simply incomplete. Some sample images are chosen to show an array of historical/cultural/social productions, once honored and valued highly by many. Through the economy of commodification, these images have carried the cultural memory of the Great Goddess. While a number of her visual icons are undated, many are from the Yuan (1271 to 1368), Ming (1368 to 1644), and Qing (1644 to 1912) dynasties of China, the Joseon dynasty (1392-1910) of Korea, and certain historical periods of Japan. Also, many are from modern times. In them, Mago/Magu/Mako is depicted as: (1) An immortal/transcendant (仙 xian or seon, immortal or transcendant). (2) A mendicant. (3) A sea goddess. (4) A mountain goddess. (5) A crone. (6) The ancestor of shamans. And (7) A non-anthropomorphic identity or giantess as the nature-shaper or cosmogonist of local topographies such as mountains, rocks, caves, and seas. The notion of a giantess is employed to describe Her transcendental nature. In this case, Mago-named topographies alongside folk stories describe Her feature/identity of immeasurability. Needless to say, these identities overlap and merge, making up an overall picture of Mago as the Great Goddess. That is, She is each and all. These visual icons, stylized with symbolic objects, respectively demonstrate specific Magoist cultural memes once prevailing and favored among East Asians. A throng of objects such as medicinal herbs, especially lingzhi mushrooms, flowers, hoes, baskets, vessels, and animals, forms the coded syntaxes of the arcane language. In particular, a troupe of animals including deer, crane, dog, and monkey highlights the drama. Also, colophons carry not only the cultural meme but also prestige and authority for its producers and possessors. (To be continued.) [i] I have discussed this in detail in Helen Hye-Sook Hwang, Seeking Mago, the Great Goddess: A Mytho-Historic-Thealogical Reconstruction of Magoism, an Archaically Originated Gynocentric Tradition of East Asia, Ph.D. dissertation (Claremont: Claremont Graduate University, 2005), 335-342; 353-361.
(Tribute) In Loving Memory of Lydia Ruyle (1935-2016) by Mago Circle Members

We posthumously honor Lydia Ruyle (August 5, 1935-March 26, 2016) as Patron of Goddess Feminism, Activism, and Spirituality. Mago Circle Members on June 11, 2016. Glenys Livingstone I feel blessed to have known Lydia and to have been in occasional personal communication with her for several years … initially via the Goddess Scholars list. Lydia sent me great information of some of her journeys, was always encouraging and generously supported my CD crowdfunding project in 2015. I feel honoured to have carried her Goddess banners to Australia in 2014.

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