February 20, 2025February 21, 2025 Mago WorkLeave a comment

(Book Excerpt 4) Wounded Feminine: Grieving with Goddess Edited by Claire Dorey, Pat Daly, and Trista Hendren

[Editor’s Note: This and subsequent excerpt parts are from the anthology entitled Wounded Feminine: Grieving with Goddess, published by Girl God Books (2024).] Death is an Old Woman Jude Lally Read More …

January 16, 2025January 1, 2025 Mago WorkLeave a comment

(Book Excerpt 1) Wounded Feminine: Grieving with Goddess Edited by Claire Dorey, Pat Daly, and Trista Hendren

[Editor’s Note: This and subsequent excerpt parts are from the anthology entitled Wounded Feminine: Grieving with Goddess, published by Girl God Books (2024).] IntroductionClaire Dorey When state and religion collude Read More …

October 7, 2021October 4, 2021 Mago Work AdminLeave a comment

(She Summons Excerpt) The Seed Who Summons (Part 3) by Claire Dorey

Sophia has metamorphosised, from a slip of a viper, into a full grown python, patterned like a jaguar, coiling her visceral snake body around my ankle. She is immensely strong Read More …

September 29, 2021September 25, 2021 Mago Work AdminLeave a comment

(She Summons Excerpt) The Seed Who Summons (Part 2) by Claire Dorey

“Under the new rules set out by patriarchy, rape was seen as a good thing, so the spirit of the Sacred Feminine receded underground. Her only defence, as she retreated, Read More …

September 23, 2021September 25, 2021 Mago Work AdminLeave a comment

(She Summons Excerpt) The Seed Who Summons (Part 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 Read More …

(Poem) The Painting Of Silver Light by William Matthews

The Sunset Crater Volcano from Wikimedia Commons Crystals of frost in the air-I see my breath-Cascading vapors making shapes of imagined animals of anyone’s guess-The silver light of the moon illuminates the forest at the farthest reaches of my sight-The trees stand like evergreen brushes painting the sky-Dipped with the moons silver light-Perhaps the great artist painted the stars with the moons silver-And illuminated the canvas with flame of the sun-Perhaps we are the audience to the greatest artistry ever-But the canvass scale is titanic, we are struck dumb-What we can see as we gaze with enraptured eyes-Is a morsel of unbelievable beauty-In the swatch all of earth lies-Oceans, waterfalls, lands of fantastic majesty-Zebras, whales, elephants, on natures tapestry-The songbirds music,a dolphins song,and the howling wolfs nighttime call-How honored to be featured in this work at all-In a portrait so vast it’s easy to lose sight-But try to remember in the painting of a silver night- https://www.magoism.net/2024/01/meet-mago-contributor-william-matthews/
(Essay) Austeja: Goddess of the Sweetness of Everyday Life by Carolyn Lee Boyd

Photo by Fullingbote, By Ötykös – Own work, CC BY-SA 4.0. For all its sorrows, life is sweet. The Earth’s delightful honey is abundant in all its actual and metaphorical manifestations as nectar of the bees, compassion by and for all manner of living beings, the exquisite beauty of flowers, oceans, birds, and all beings, the mystery of the cosmos, and so much more. By our hands we humans can protect and nurture this delicate yet powerful aspect of the sweetness of our world if we choose. Such is the vision that Lithuanian goddess Austreja can offer our 21st century world by reminding us of the joys we could have if we will just do the hard work of meeting our responsibilities steadfastly while living joyfully. Marija Gimbutas calls Austreja “the ideal bee-mother, a responsible homemaker figure. She “ensures that the families (as every beehive community is commonly called) under her guardianship multiply and increase” (Gimbutas 1999, 204). Patricia Monaghan describes her as “an energetic housewife who watched over the safety of the farm and its occupants; a weaver whose bees created honeycombs; and a bride who drank mead or honey wine at her wedding” (Monaghan 2014, 168). She also oversaw the birth of new life as a patron of women at their marriage and during pregnancy and motherhood. These characteristics deeply embed her in traditional Lithuanian culture that venerates bees as almost human, but only the best of humans who are industrious for the benefit of all, truthful and virtuous, and dedicated to family and friends. Bee colonies are referred to using the same word as for human families. It was thought that bees would not allow anyone near them who did not have “good morals” and would sting those who were dishonest. The word bičiulis means an especially dear friend and is closely related to the word for bees. Bee goddess plaque, 7th cent BCE, possibly Artemis, in British Museum, By Unknown artist – Jastrow (2006), Public Domain In other Old European cultures, bees were associated with rebirth and regeneration, two concepts closely linked to pregnancy and motherhood. Marija Gimbutas notes that in Old Anatolia, Greece, and Ukraine images of bees were sometimes seen arising from a bucranium, the skull of a bull shaped like a uterus and fallopian tubes. In Rome, bees were believed to be human souls born from an ox. She also says that “a cave painting from Spain shows an hourglass-shaped goddess with bird’s feet and hands, bee’s eyes, and antennae, and three lines which mark the Bird Goddess. She is at once a bird of prey, a woman, and a bee – a manifestation of death and regeneration” (Gimbutas 1991, 246-248). Bees are also associated with healing, certainly connected to protection of the family and community, and ecstatic ritual, another element of the sweetness of life. Vicki Noble notes that “For thousands of years the wild honey fermentation process of the ‘bee priestesses’ was a balm to their communities, bringing much-needed anti-bacterial, antiseptic, antifungal qualities and making people ecstatic” (Noble 2003, 99). So, Austreja is firmly rooted in the traditional realm of both bees and bee goddesses, but, to me, what is uniquely important about her is her special perspective of appreciation for the everyday sweetness of life. Her nurturing of families and communities and drinking mead or honey wine at her wedding evokes the sacred delights of day-to-day happiness, which may also manifest in our own time in actions such as simply stopping into a neighborhood market to buy an orange, spending an afternoon playing silly games with friends, or sharing a holiday meal with biological or found family. There is an honesty, a concentration of essence, a cutting through of pretense and unnecessary spiritual clutter that comes with finding blessedness in ordinary moments that I think is too often overlooked but yet creates a powerful vision that all can share. But, of course, bees are currently teaching us that our world of everyday sacredness could soon be lost. According to researchers from Pennsylvania State University, “Several studies show that in the United States alone, beekeepers have lost about 30 percent of their colonies every year since 2006, with total annual losses reaching as high as 40 percent. Similarly, many populations of wild bees are also showing declines, with many species now threatened or endangered” due to climate change, use of pesticides, and habitat destruction. Acting to reduce these losses to bees and all living creatures, our planetary household, by making global changes in our relationship to the Earth is essential for 21st century reverence of Austeja. August, which will soon be upon us, is the time when Austeja was traditionally honored in Lithuania. Gimbutas says that “Offerings were made to her by jumping while tossing the oblation upward to the ceiling or into the air” (Gimbutas 1999, 204). This exuberant motion, to me, offers guidance as to what Austeja’s special role in our planet’s regeneration is. She is the one who reminds of what we are losing, not just the glaciers and rainforests, which can seem distant and easier for many people to forget, but also everyday pleasures of the morning songs of birds, the fresh and tasty fruits and vegetables that grace our tables, honey on toast as a child. She gives a vision not only of what we could have if we are willing to rethink our destructive lifeways, but guidance on how to achieve it — do the steadfast, often non-glamorous, work of healing, nurturing and protecting life, care for our families and communities, expect ecstasy as a part of daily life, and focus on birth and the regeneration of life rather than material gain and exploitation. May all our lives thus lived be honey-sweet. Sources: Barber, Elizabeth Wayland. 2013. The Dancing Goddesses: Folklore, Archeology, and the Origins of European Dance. New York: W.W. Norton and Co. Gimbutas, Marija. 1991. The Civilization of the Goddess: The World of Old Europe. New York: HarperCollins Publishers. Gimbutas, Marija. 1989. …
(E-Interview) Kaalii Cargill by Helen Hye-Sook Hwang

Helen Hye-Sook Hwang I have known Dr. Kaalii Cargill for more than a decade. Kaalii came to The Mago Work through the first volume of She Rises: Goddess Feminist Activist Spirituality trilogy and stayed as a volunteer throughout other major projects of The Mago Work thereafter. In fact, Kaalii, as co-editor with me, formatted the manuscript and published She Rises Volume 1 by Mago Books and taught me how to use Amazon’s publishing platform for the publication of Mago Books. I was attracted to her life’s project, Soul Centered Psychotherapy, but did not have an opportunity to learn more about it. I am grateful that you answered my question about it here. It is my honor and joy that we have completed this e-interview at this point in our life’s journeys.Your below account on Soul Centered Psychotherapy is a new perspective that I have not heard elsewhere when it comes to therapy. “In this sense, therapy is not about fixing something that is broken but about attending to the rich language of the soul as it manifests in our day to day lives. Part of this is being open to enchantment – the sense of mystery in which we find value, love, and union with the world around us by attending to the rhythms and cycles of nature, the moon, the seasons, and our own mind-body systems.” I can see that your Soul Centered Psychotherapy is aligned with my research and advocacy of Ceto-Magoism (the Cetacean-Caused Way of the Creatrix) referring to the mytho-historical-cultural expression of the matriversal (of maternally perceived universe) soteriology. Methodologically, Soul Centered Psychotherapy is a practical way of doing Ceto-Magoist research for individuals, which aim at solid and profound transformation. Hwang You have founded and operated The Kairos Center and Soul Centered Psychotherapy for many years. Tell us about them and how they have influenced your own life? Kaalii Cargill The Kairos Centre came into being as a response to dissatisfaction with the sort of counselling and psychotherapy that was most commonly available in the late 1980s in Australia. Kairos is a word from ancient Greek meaning ‘the right or critical moment’, in contrast with Chronos, which means ‘chronological or sequential time’. Kairos is the soul’s timing rather than the timing of the logical mind. I worked with my partner Andrew to develop a therapeutic approach that valued relationship, mindfulness, embodied experience, the energetic field, meaning, enchantment, and the sacred – we called it Soul Centred Psychotherapy. This was at a time when the word “soul” had not been used so ubiquitously in advertising and mainstream culture. Western culture has traditionally valued mind and spirit, as in science and organised religion, and neglected soul, as in the sacred, embodied experience of being human. We offered training in Soul Centred Psychotherapy for 30 years. Soul Centred Psychotherapy attends to the human experience through the everyday stuff of life: our thoughts, emotions, body sensations and symptoms, and the relationships we have with others and the world. Value, meaning, and healing emerge from within each person’s unique process of inner work rather than from any external ideal of health, wealth, or happiness. In this sense, therapy is not about fixing something that is broken but about attending to the rich language of the soul as it manifests in our day to day lives. Part of this is being open to enchantment – the sense of mystery in which we find value, love, and union with the world around us by attending to the rhythms and cycles of nature, the moon, the seasons, and our own mind-body systems. The sacred aspect of the work involves meaning, honouring, and enchantment. This is similar to Jung’s idea of the Self as the central organising principle of the psyche, as well as the idea of the Anima Mundi or World Soul. In Soul Centred Psychotherapy some of the great myths that have informed humanity are studied and brought present in the form of story, images, and enactment. This can take the form of rituals that develop spontaneously in a session or are planned over several sessions.Hwang You have written and published novels. Tell us about them, as you feel appropriate for our RTM readers. Cargill I have written and published 6 novels and one non-fiction book. My novels all incorporate elements of sacred traditions – Western Mystery Traditions, Goddess Spirituality, and Nordic Mythology. The Element Series is a young adult epic fantasy trilogy. The system of magic in these novels is based on the alchemical and Wiccan traditions of working with the elements of Air, Fire, Water, Earth. The Warrior Queen Chronicles is a fantasy trilogy based in Nordic mythology – co authored with Kellianna Girouard, an American Neo-Celtic singer and songwriter whose performances of song and chant are inspired by myth, magic, sacred places and ancient times. Daughters of Time is a speculative/historical novel that asks “What if . . .?” What if Abraham, father of the three faiths, had conceived a child with a priestess before the fall of ancient Sumer? What if the child’s descendants were prophesied to carry balance (Goddess) through two millennia to the present day? What if an ancient prophecy can save the World? Daughters of Time is interwoven with archaeological, historical, and mythological details that reveal the ancient world, following a line of daughters and the way of Goddess through ancient Sumer, Egypt, and Jerusalem, and into the modern world. My non-fiction book, Don’t Take It Lying Down: Life According to the Goddess emerged from my PhD thesis in which I explored mindbody birth control. Don’t Take It Lying Down invites readers to see through the collective beliefs, attitudes and practices that bind women to a world view that denies power, choice, and control in many aspects of our lives. It is about Goddess and what has been lost. It is about reclaiming our birthright. It is also a book about mindbody birth control. This radical approach challenges many of our culture’s assumptions about women …
(2015 Mago Pilgrimage) Neuk-do (Serpent Island) by Helen Hye-Sook Hwang

I wanted to visit Neuk-do because of the Mago story told in the region. Its name Neuk-do, which means the Serpent Island (구렁이섬), whispers a deep memory of the gynocentric past. However, people today seem to be oblivious to this. Our guides did not inform us of the meaning of the island’s name. I relished being surrounded by an air of mystery about the island during our visit. Also I was drawn to Neuk-do because it is under the administration of Sacheon City. The place-name, Sacheon (泗川 or 四川 Xichuan in Chinese), is no unknown place in the mytho-history of Magoism. Like many other place-names, “Sacheon,” recurs in both present-day China and the Korean peninsula. They, although written in slightly different characters, concern Magoism (stories, place-names, or topographies). In the case of the Chinese “Sacheon,” Magoism is systematically suppressed and replaced by Daoism. Today China boasts of Xichuan Province as a birthplace of Daoism. Mt. Qingcheng (青城山) in Dujiangyan City, is known as one of the ancient Daoist centers. Our data are, albeit often sketchy, ample to indicate the importance of Mt. Qingcheng in Daoist history. It is a place wherein Zhangling (34-156) or Zhang Daoling, the founder of Tianshi (天師 Celestial Master) Daoism, founded the doctrine of Daoism and died. Yellow Emperor, the pre-dynastic hero of the third millennium BCE, is commemorated. The Temple of Eternal Dao(常道觀 Changdao Guan) located in Mt. Qingcheng is noted for its oldest hall, the Shrine of the Yellow Emperor, built during the Sui dynasty (605-618).[i] Also the place-name, Dujiangyan(都江堰), reflects the ancient irrigation system originally constructed in circa 256 BCE during the Qin dynasty.[ii] Alongside a number of Daoist temples extant today, there are Magoist place-names and topographies, Magu Cave (麻姑洞 Magu-dong) and Magu Lake (麻姑池 Magu-chi) also known as Heavenly Lake (天池). Located adjacent to Shangqing Palace (上清宫 Supreme Clarity Palace), Magu Lake has a story that Magu collected water for her alchemical practice.[iii] “Mago” is alternatively used with “Cheon (Heaven, 天 Tian in Chinese),” as is in “Heavenly Lake.” As in other places, such Magoist place-names in Xichuan have survived Chinese mytho-historiography that has obliterated pre-Chinese Magoism and replaced it with Daoism. Note that Magu is never articulated as the Creatrix in Chinese historiography, whereas her supremacy is adumbrated in Chinese folklore and place-names. Chinese mytho-historiography has paid the price for its matricide: Its origin will never be explained. To say that Xichuan is a Daoist birthplace is a misleading. Xichuan is a pre-Daoist center of Magoism whose origin possibly dates to the time of Danguk (3898-2333 BCE). From the Korean sources, fortunately, we are able to assess that Xichuan was a place of significance from pre-Dangun times. According to the Handan Gogi (Archaic Histories of Han and Dan), Daeeup extant today near Mt. Qingcheng, Xichuan Province, was a place wherein Dangun began her career. The Handan Gogi reads, “Dangun began her career in Daeeup (大邑 Great Town, Dayi in Chinese). All people feared and obeyed her virtue as a divine being. When she was at age 14 in the year of Gapjin (2357 BCE), Sovereign Ungssi, upon hearing her divine virtue, appointed her as Biwang (Auxiliary Ruler) to administrate Daeeup (Great Town) [Female connoting words are mine].”[iv] Thomas Yoon points out that Daeeup is not a fictitious place-name but an actual site extant today in Chengdu, Sichuan.[v] Mr. Kigap Kang, former politician but now an orchard owner who experiments with nature-based farming for fruit trees in Sacheon City, arranged our meeting with the Director of the Sacheon City Cultural Center. The Director alongside his companion met us in his office. They told us Neuk-do’s stories of Mago Halmae. Then, we drove to the road off the shore where we could look out across the stepping stones in the sea that were said to have been placed by Mago Halmae. The tide was high and we could see only the tips of rocks. I could see the island across the adjoining water. Neuk-do had unusual topography as it was an elongated island conjoined by two mountainous isles. From such topography the name, the Serpent Island, may have derived. Houses are populated in the conjoined area. We drove to Neuk-do via a modern bridge with the hope of running into someone who could guide us to the site of Mago stepping stones. A native of Neuk-do, our guide-to-be, happened to be right there, when we got off the car. Mr. Gyeung Jang, a 61 year-old fisherman and native of Neuk-do, showed us the site in the sea where Mago is said to have placed stepping stones. Due to the high tide, we could only see the top parts of Mago’s stepping stones upper edge over the waterline. He also led us to peeking Mago Halmi’s washing laundry rock and estimated its size to be about two meters high at the low tide. He added, Mago Halmi was so tall and giant that she needed a tall rock. The motif that the giant Mago Hami carried a boulder to construct standing stones or dolmens and the story of Mago’s laundry rock commonly recur in other regions. During dinner at a seafood restaurant in Neuk-do, our conversations grew. Mr. Jang informed us of the fact that the whole island of Neuk-do is designated as a cultural and notable site by the province and the state. Its archaeological unearthing began in the early 1980s and has brought out numerous multi-period findings (about 13,000 items) ranging from the Neolithic to the early Iron Age. The unearthed include shell mounds, house sites, human and animal burials, pottery, and daggers that originated from not only Korea but also Yayoi Japan and Nangnang China. As such, Neuk-do has come to be known as a site of ancient transnational maritime centers in East Asia.[6] As I write this, the Mago story turns out to have several versions. I will share three versions here. In one account, Mago Halmae, so tall and giant, walked around the sea. She brought rocks …
(Poetry & Photography) Restoration by Sara Wright

At dawn I look for sign. You are orphaned – without a mother to guide you. Did you find my offering? Friendship for one wearing bearskin is a risk you can no longer take. To be shot at, trapped, run down by stupid men who fear their own black souls is no excuse. Murdering mothers and children constitutes atrocity – like Tree Slaughter I am forced to witness the horrors of human insanity. I wonder If you know That Nature Is starting to retaliate on your behalf? This virus is just the beginning… Humans will orchestrate their their demise through continued indifference selfishness… suffering and dying just as you have. Unlike your kind our old ones will meet death first, but the tide is shifting; Earth seeks wholeness, redressing imbalance, And S/he too can be ruthless when culling… You are wise in the ways of Nature called “Root Healers”- still reverenced by some. One day bears will thrive in newly forested landscape, raise yearlings in peace, live free of torment, because the species that once hunted you has finally been erased from the Book of Life, Her Evolving Story is a Fountain of Hope. https://www.magoism.net/2014/12/meet-mago-contributor-sara-wright/ (Meet Mago Contributor) Sara Wright.
(Essay) Good Morning Little Dove by Hearth Moon Rising

The Iseum (space of worship) chartered through me by The Fellowship of Isis is called The Temple of the Doves. Why doves? The dove is one of the feathery creatures most beloved of the goddess, and a particular favorite of a divinity close to my heart: the goddess Ishtar. Reverence for the dove is ancient and enduring, possibly extending back to the Stone Age. According to Marija Gimbutas, “Small birds were sculpted, engraved, and painted throughout prehistory. In Minoan Crete they appear perching on shrines, pillars, and the Goddess’s head. Unfortunately, it is not possible to recognize the species of birds portrayed, except in a very few cases.” Since doves and other pigeons like to roost in large buildings, and the first building complexes were places of worship, the religious significance of the dove may have grown up around the temple. Devotees would have assumed the doves came to bring messages from the sky gods or to carry prayers back to them. These doves would not have been exclusively the subjects and messengers of any god in particular, instead serving the deity of the temple where they lived.
(Poem) Can You Hear? by Jhilmil Breckenridge

A breeze wafts over ribbons and police barricades. Ambulances flash red but I cannot hear their wails. I see a woman’s back heave, her red dupatta1 fallen. A young girl clings to her, eyes spilling memories. A young man, his head against a wall, tries to be manly but the tears fall, silently. I cannot hear. I cannot hear. Rose petals over earth, trails of incense smoking above. A priest with a collar white like the lilies on graves. His arms rise and his lips move. He is speaking but I cannot hear. I cannot hear. Green leaves flutter under heavy clouds promising rain and a squirrel darts through blades of grass. For all mothers whose daughters were raped or carried away Forallforgotteninnocentsofgallis andcourtyards For all workers in brick kilns, factories and mines For all nameless, faceless voices in call centres For all girls whose faces bear love in the guise of acid For all children who sob, but will not reveal their night terrors For all the forgotten, for the ones left behind, for you, for me. Can you smell the roses? Can you smell the charred flesh? Can you smell the incense? Can you taste their tears? Can you? Can you? For all prisoners whose hearts carry their yesterdays For all students who want to learn, but schools sell dark, endless nights of learning by rote For all wives, beaten behind drawn curtains For the ones seeking dawn after a dark night For you. For me. For them. For us. Birds are starting to chirp and in the distance, a car. A train rumbles and a breeze gently rustles leaves of a mango tree, like a mother running her fingers through her son’s hair as he sleeps. Somewhere in the house, a door opens, and I hear the kettle being switched on. Tea is brewing, music is playing, and I can hear. I can hear. Meet Mago Contributor, Jhilmil Breckenridge.
(Italian language essay) Corea: la Musica cosmica di Mago by Luciana Percovich

[Author’s note: From Colei che dà la vita. Colei che dà la forma. Miti di creazione femminili, Venexia, Roma, Italia, 2009] Capitolo 3 Corea: la Musica cosmica di Mago Mago Nell’Età del Primo Cielo, esistevano solo la luce del sole e l’acqua. Quando Ryoe Ryul (la Musica cosmica armonizzata) risuonò più volte, emersero le stelle. Da Pal Ryoe (la Musica cosmica otto volte avvolta), si generarono Mago e il paradiso di Mago (Mago Sung). Fu un evento che ebbe luogo nell’Età Cosmica di Mezzo chiamata Jim Se (il Suo/Loro mondo). Mago preparò l’età che si chiama Ultimo Cielo. Mago non provava sentimenti né di piacere né di dolore. Nell’Età del Primo Cielo la grande cittadella di Mago stava sopra il SilDal (la Terra reale) e vicina all’HeoDal (la Terra ideale). Anche queste erano emerse dalla musica. Quando il Jim Se ebbe compiuto i suoi cicli per molto tempo, prima dell’Ultimo Cielo (il Nostro/Questo mondo), Mago generò da sola due figlie, Kung Hee (volta) e So Hee (nido) e affidò loro l’Oem Chil Jo (le cinque note e i sette toni). E mentre praticavano l’arte di vivere, dalla terra sgorgava il latte; Kung Hee e So Hee generarono ciascuna due figlie e due figli. In seguito, Mago affidò Ryoe (la Musica cosmica femminile) alle quattro nipoti femmine e Ryul (la Musica cosmica maschile) ai quattro nipoti maschi. Il paradiso di Mago, Mago Sung (la cittadella di Mago), che onorava l’Emblema celeste, seguì al Primo Cielo. Le quattro coppie, chiamate Hwang Gung (volta gialla), Baek So (nido bianco), Chun Gung (volta azzurra) e Heuk So (nido nero) furono posizionate ai quattro angoli della città. Ed esse costruirono i tubi (flauti) e composero musica. Il ciclo dell’Ultimo Cielo si srotolava. Ryul e Ryoe tornavano a risuonare. Si formò Hyang Sang (la rappresentazione dell’eco), suoni e musica si mescolavano. Mago tirò la grande cittadella di SilDal e la immerse nella regione dell’Acqua celeste. L’energia del SilDal salì e coprì la nuvola d’acqua. Quando il corpo del SilDal si espanse, comparve la terra in mezzo all’acqua. Terra e acqua stavano parallele, sorsero le montagne e le correnti si allungarono. La regione dell’Acqua celeste divenne terra e le due nuove regioni di acqua e terra ruotarono ripetutamente, finché il sopra e il sotto si rovesciarono. Da qui iniziarono numeri e calendario. Energia, fuoco, acqua e terra si generavano, mescolavano e equilibravano in mutua relazione. Da quel momento la luce separò il giorno dalla notte e le quattro stagioni. Piante e animali crescevano in abbondanza. C’era tanto lavoro da fare sulla terra… Poiché non c’erano altri se non i quattro uomini e le quattro donne celesti che amministravano la musica originale e la rappresentazione dell’eco, le cose apparivano e sparivano rapidamente senza tenersi in equilibrio. Mago allora mostrò loro come procreare dalle ascelle. Fu allora che i quattro uomini celesti si unirono alle quattro donne celesti. E ciascuna generò tre figlie e tre figli: gli antenati umani che apparvero per la prima volta sulla terra. Tutti gli abitanti di Mago Sung avevano disposizioni di cuore e di mente pure e sincere e conoscevano l’armonia. Bevevano il latte che sgorgava dalla terra e il loro sangue era energia pura. Avevano oro nelle orecchie e sentivano la musica celeste. Correvano e camminavano a loro piacere, erano liberi nei movimenti. Alla fine della loro vita, diventavano polvere dorata. L’essenza dei loro corpi si conservava. Con l’hon (spirito dell’aria) risvegliato, sapevano parlare senza voce e muovendo il baek (spirito del corpo) sapevano agire senza forme. Vivevano sparsi tra le energie della terra e la lunghezza delle loro esistenze era infinita… Quando ogni clan raggiunse il numero di 3000 … Ji So (nido di ramo), del clan dei Baek So (nido bianco), non riuscì più a bere il latte della terra. La sorgente del latte era così piccola e affollata che Ji So perse il suo turno più volte. Così Ji So per la fame assaggiò l’uva e invitò altri a farlo e fu così che un gruppo fu mosso a provare questa nuova esperienza… Il loro sangue e il loro corpo cominciarono a diventare torbidi, crebbero loro i denti, gli si aprirono gli occhi … stavano perdendo la loro natura celeste. Cominciarono a morire e la morte non fece più parte della vita. Nacquero creature bestiali. L’ordinato calendario cadde nel disordine. La comunità si divise e quelli che mangiavano l’uva lasciarono Mago Sung con vergogna, disperdendosi in luoghi diversi … . Fu allora che Mago chiuse i cancelli e ritirò le nuvole attraverso cui la gente poteva restare in sintonia con la Musica cosmica.
(Tribute 5) Barbara Mor, “Relentless Love”: Letters 1988-2002 from a Writer’s Best Friend by Jack Dempsey

I’m sure Barbara sent me more letters in the 15-month gap from May 1995 to her next (September 1996) below. The loss remains my fault, although that May brought my third-year Oral Exams, a teaching-semester’s wrap, then a move from Providence RI back to my family home in Stoneham MA (as I sank toward bankruptcy and finished grad school with long commutes). Plus completing Ariadne’s Brother/creating a contract for it with Kalendis in Athens, and starting my doctoral dissertation—a two-volume study of Thomas Morton (i.e., a definitive edition of his New English Canaan, and biography), in tandem with a film that drove me from Novia Scotia to Delaware recording interviews on the life and impact of Nanepashemet—or “Nani,” a leading scholar of Native American New England who had suddenly died of diabetes. New courses to plan, connections to make, research, and a summer 1996 lecture-tour for the novel in Greece; and still no reason why I failed to hold onto what Barbara surely sent through that maelstrom, because her friendship as always was keeping me sane and alive. September 20th, 1996: I’m very glad you were able to enjoy the fruits of your long devotion to desire and duty, Ariadne’s Brother I mean. That Greece was so receptive and confirming also. Wouldn’t be surprised if your book becomes a film, and there you go. I don’t know much about Greece today except that Islam threatens them as everywhere (Cyprus events) and pushed back into ethnic/cultural/religious walls by such upstart forces, Greeks should welcome books that reanimate their creative past. Would be nice if they embraced pagan energies: Christianity has brought them nothing but fascist suffering, political submission, and Holy Tourism. Of course everyone survives now by Tourism, regardless of spirit: Indians here want to turn their beautiful land on the Humboldt coast into another gambling casino, etc. I’ve seen, maybe 5 years ago, PBS on (title?) Road to Eleusis now: think it was Michael Woods, think I wrote you of it: he retraced the journey and could barely walk with endless traffic noise and dust and mechanical existence densely overlaid. I think the Morton work could be the most important thing you could do now, and your brain is free to do it. Plus you are now a veteran, you’ve put your time in learning through the Ariadne process, and it will inform all your work now. I’m sorry about the Nanepashemet death, but [its happening] at a powwow sounds somewhat mystical. And the gestalt puts you in that work too, so you are now magnetized, through all the past decade of work, to work up a storm of works, film, books whatever, which are important to others as well as to you, so they will be done. Yes, between the DIZNEY version of the world, Global Cute—and the nonexistent and even more rapidly disappearing counter-versions, I mean they are weak and even those now de-funding—the Global Cuts, that is—is a Vacuum there to be filled with other versions, visions, of what has happened, what’s happening, what can happen. I hear that some of the most right-wing militia types, crazy crackers in the South, call themselves “Celtic” in one patriotic rebel name or another, e.g., Celtic Sons of the Undefeated South, whatever. Poor Irish and Scot boobs, robbed of their continuous history from the Stone Age, really WANT deep prehistory identities, but don’t know how to access. So they throw that barbaric energy into Pentacostal Patriotism and SnakeDancing for Jesus. Books like Gone to Croatan, all the Morton studies etc. including what you can do, would give them a Map Back, to re-connect their crazy energies with sane roots. Really important for beginning 21st-century American politics, which will break into tribes of race, ethnic, religious identities and all be stupid, because no one knows what they’re doing, or who they originally were. As you know, unburying our pagan history can be not only exciting but integrating of all energies. So, all sounds like you’ve created, through your work, a stream for yourself that will carry you. This is great. Hard to realize you’ve been five years at Brown, but by now it is a groove that you can no doubt bend to your own interests. If they support your Morton project, that too is great. You wrote that you were editing new book of Morton’s Canaan for “the Diss. Project,” and I read that as a DISS-Project, in the rap sense, then realized it was Dissertation, but the first will be a thread running through also I assume. You have read W.C. Williams’ In The American Grain? Along with Crane’s The Bridge I think it is the greatest American poem, a book of prose-poetic essays on historical figures, like Lincoln, and men involved in that French-Dutch-English-Spanish protean playing with aborigynal American continent like PlayDough—with profound feeling, for the feeling sides of these men, the most amazing images of the WOMAN Lincoln, etc. Read it not for the history which you know but the style, which is utterly unique in American male—“male”—writing, which is compulsed to “prove” manhood, I mean, while Williams allows himself to be a whole sensorium with no apologies: ergo, great sentences, magnificent writing. You wrote a very generous response to Linguistic Duplex, and I responded, I think before you went to Crete, but not sure, everything packed and confused as I moved one more time [to a place on A Street in Eureka on the north-Californian Humboldt Coast], I gave up trying to check data. I remember you questioned the word and concept “evil” and were not comfortable with what I did to Davis in Part 3. In response I said something to effect that I have always been always unwilling to use word “evil” (except in those quotes), because of the Xtian-Bible-Manichean connotations and referents. Then reading Kathy Acker and experiences I experienced in Tucson etc. gave me another handle on the word. I agree, one must footnote it: if one cares anymore what people think, and I don’t, for I am walking around on the bottom of the ocean while everyone else is …

(Special Post 4) Why Goddess Feminism, Activism, or Spirituality? A Collective Writing

[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. 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.] Yvonne Lucia: “Feminism is the radical notion that women are people.” -British suffragist and journalist Rebecca West “When the God is male, the male is God.” -Mary Daly Yvonne Lucia sacredartportal.com Lila Moore: My first piece of performance art was a ritual inspired by Isis. However, as a young artist, my interest in combining art and ritual was devalued by my teachers and critics alike. I felt isolated and persecuted. Only after relocating to London was I able to gradually understand that my personal and creative aspiration was integral part of a collective and global feminine and feminist awakening. I realised that personal experiences of women have political perspectives, and that being a contemporary woman artist positions me in the midst of historical and cultural enterprise. As an artist-film-maker and scholar, I have regarded my work as a spiritual quest, exploring through dance-ritual and art films the interaction of the body and psyche with the natural environment and technology. In the 21st century, my interest in the healing and transforming aspects of images on screen has been combined with a growing sense of activism. It seems inconceivable to take images of nature out of context by ignoring the ecological holocaust which is evident everywhere. I have felt compelled to ask whether the needs of the body and mind can be separated from the needs of the Earth?
(Special Post Mother Teresa 1) A Role Model for Women? by Mago Circle Members

[Editorial Note: The following is an edited version of the discussion that took place spontaneously on Mago Circle from March 1, 2013 for about two weeks. It was an extensive, heated, yet reflective discussion, now broken into four parts to fit the format of the blog. We thank each and all of the participants for your openness, generosity, and courage to stand up for what you believe and think! Some are marked as anonymous. As someone stated, something may have been “written in the heat of the moment” and some might like to change it at a later time. So we inform our readers that nothing is written in stone. As a matter of fact, the discussion is ongoing, now with Magoism Blog readers. Please comment and respond as you wish.] Part I: Why are we talking about Mother Teresa? [The conversation began among Anne Wilkerson Allen, Helen Hwang, and Wennifer Lin in a personal message and editor’s group. We agreed that Mother Teresa’s Western (Albanian) identity is hardly taken into consideration in the public perception of her as a secular and religious leader. Then, we decided to bring the topic to the Mago Circle.] Anne Wilkerson Allen: [A] posted this today and I think it is discussion worthy. Mother Teresa: Anything but a saint… scienceblog.com The myth of altruism and generosity surrounding Mother Teresa is dispelled in a paper by Serge Larivée and Genevieve Chenard of University of Montreal’s Department of Psychoeducation and Carole Sénéchal of the University of Ottawa’s Faculty of Education… http://scienceblog.com/60730/mother-teresa-anything-but-a-saint/#IdkpoWrDtMAAVCAg.99 Anne Wilkerson Allen: It is not my desire to bash the Church – I think everyone here is fully aware of the evils of patriarchy and the way the Church has used women, abused and killed women…but Teresa is an icon in the West, in particular, of saintliness. Even non-Catholics love her. Why? And is what she did really worthy of role modeling? Anne Wilkerson Allen: This was also on the thread. Not a huge fan of Hitchens, and I think calling her work a “death cult” is extreme, but I am interested in your opinions please. Christopher Hitchens – Mother Teresa: Hell’s Angel [1994] In 1994, three years before her death, journalist Christopher Hitchens made this documentary asking if Mother Teresa’s reputation was deserved… http://www.youtube.com/watch?v=76_qL6fiyDw Anne Wilkerson Allen: I would also like to talk about altruism and some of the areas we have touched on before…at what point is my “help” an imposition in a third world country? Is my desire to “help” spurred by years of programming or heart? I honestly don’t know anymore. Anne Wilkerson Allen: There is also a part of me that wonders if this deflection of blame and highlighting of Teresa’s faults now is yet another “Let the women take the fall” action. Anne Wilkerson Allen: NOT that I find her blameless – her advocacy against contraception and abortion is decidedly anti-female, but there is so much focus on the Pope and the priests now….I keep wondering when the abuses of the nuns is going to come to light. Anne Wilkerson Allen: I think Ireland recently had something in the news about this… Ireland apologizes for Catholic laundry scandal Ireland’s premier has issued a state apology to the thousands of Irish women who spent years working without pay in prison-style laundries run by Catholic nuns. Former residents of the now-defunct Magdalene Laundries have campaigned for the past decade to get the government to apologize and pay compensation to an estimated 1,000 survivors of the workhouses. Two weeks ago the Irish government published an investigation into the state’s role in overseeing the laundries. It found that more than 10,000 women worked in 10 laundries from 1922 to 1996, when the last Dublin facility closed down… http://www.cbsnews.com/8301-202_162-57570107/ireland-apologizes-for-catholic-laundry-scandal/ Anne Wilkerson Allen: One of my friends was one of these girls. [Z]: I have wanted to bring attention to this issue for a long time but did not have a chance or was biting my time. Now Anne is pointing out some of the crucial issues about her, Mother Teresa, I am so thankful for this opportunity for us to sort out and think collectively. Thank you Anne! [Z]: Yes, the Catholic Laundry Scandal was shared here too!!! Anne Wilkerson Allen: It’s hard. She is iconic for many women. I did not know the sordid details or the horrors – not that it excuses anything….but when I was young, I saw her as someone to emulate….and thus became immolated…. [Z]: I have been thinking all along the way that she should not be a role model for women. Can you believe that I did even as a once Catholic Sister?!!! I know that many religious women out there will agree with me too. [Z]: My critique is not much on her as a person. But the fact that she represents morality for especially women makes me mad. Oh, there seems a lot more about reasons why we should debunk the mystique of Mother Teresa. Anne Wilkerson Allen: One of the things Hirchens pointed out was that it made Westerners feel good that this wonderful white woman was helping the poor in Calcutta….though she rarely seemed to be in Calcutta. Another friend told me that he knew one of the sisters of charity and that she told him they were encouraged to flog themselves on a regular basis….sick sick sick Anne Wilkerson Allen: This is why I have a problem with the mentality that says evil exists to teach us something…..that suffering exists to highlight our joy….there is just something WRONG with that. Anne Wilkerson Allen: We are all dark and light and in-between. [Z]: I am not surprised. Yes, definitely. What a waste of time and intelligence if not already damaging many turning the navigation backward!!! [Helen Hwang calls out the individual names to join the discussion, and is responded by what follows.] [B]: In Minneapolis there is a charity founder, Mary Jo Copeland, who helps the homeless & hungry. She just received an award from the President. She seems selfless, like Mother Teresa did (at least in […]
(Special Post 2) Nine-Headed Dragon Slain by Patriarchal Heroes: A Cross-cultural Discussion by Mago Circle Members

[Editor’s Note: This and the ensuing sequels are a revised version of the discussion that has taken place in The Mago Circle, Facebook group, since September 24, 2017 to the present. Themes are introduced and interwoven in a somewhat random manner, as different discussants lead the discussion. The topic of the number nine is key to Magoism, primarily manifested as Nine Magos or the Nine Mago Creatrix. Mago Academy hosts a virtual and actual event, Nine Day Mago Celebration, annually.] Helen Hye-Sook Hwang: Here is another image of the nine-headed Lernaean Hydra slain by Herakles. https://simple.wikipedia.org/wiki/Hydra_(mythology)… Glenys Livingstone: Yes, the Hercules story is more documentation of the Old Battle, of the rise of the “hero” to slay the Mother, when in the earliest of times he served with his beauty and labours. It is so interesting to see the analogies in other cultures/places as you are doing Helen, especially in Asia – it seems important work. Your perseverance is paying off, and will. Helen Hye-Sook Hwang: Glenys, I am re-reading a book on Chinese mythology and found a lot more on the nine Magoist symbolism. Someday, I hope to write about the topic in its own right. Glenys Livingstone: This chapter’s work is good re the Old Battle in Greek mythology: Valaoritis, Nanos. “The Cosmic Conflict of Male and Female in Greek Mythology”, in From the Realm of the Ancestors: An Anthology in Honor of Marija Gimbutas. Joan Marler (ed). Manchester CT: Knowledge, Ideas and Trends Inc., 1997, p.247 – 261. Helen Hye-Sook Hwang: Now back to the female divine who is depicted with the nine heads. See the nine-headed Guanyin/Kannon/Gwaneum. Also note that her icon comes in eleven-headed (the 8 Daughters and the Triad Creatrix, which makes eleven). http://www.onmarkproductions.com/html/kannon.shtml Helen Hye-Sook Hwang: The symbol of nine dragons was adopted by imperial China. See the Nine Dragon Wall China. https://en.wikipedia.org/wiki/Nine-Dragon_Wall Helen Hye-Sook Hwang: We connect the dots. When Guanyin is depicted with nine dragons, it conveys that the nine symbolism was/is once deemed sacred. https://i.pinimg.com/originals/4a/17/b3/4a17b33d9a4ae53bad6466a0eaf11722.jpg How popular the Guanyin icon, three headed and eight armed, to this day! Simply Google “eight armed Guanyin.” Below is from the Late Ming Dynasty, China. https://www.google.com/search?q=eight%20armed%20guanyin… She comes in a different name, Ushnishavijaya, in Tibetan Buddhism. https://www.himalayanart.org/items/65445 Helen Hye-Sook Hwang: We can draw that the female deity such as Guanyin and Ushnishavijaya, just to name two, is venerated in association with the nine symbolism. Within the mytho-history of Magoism, I infer that Guanyin or Ma Guanyin is a persona embodying Goma, the Magoist Shaman ruler of Danguk (3898 BCE-2333 BCE), the head of Nine Hans (Magoist Koreans). Note that Magoist shamans or priestesses are called “Mago.” See my essay, “Goma, the Shaman Ruler of Old Magoist East Asia/Korea and Her Mythology,” in Goddesses in Myth, History and Culture (Lytle Creek, CA: Mago Books), 2018. The insight that the major Goddesses in East Asia and beyond point to the same and old divine persona is NOT farfetched, considering that the nine-headed snake or dragon representing the female sovereignty of pre-patriarchal times is slain by male heroes across cultures. Judy E Foster: I’d have to agree with you here. As usual, interesting information! Patty Kay: My meditation this morning was on a history of mysticism. While I’m in the midst of appropriating all of the wonderful beliefs I find here, I also have found a strand in my own tradition that helps me understand why all the Divine Feminine stuff makes so much sense to me. I’ve been trying to determine when the patriarchal world view took over. According to this history, mysticism began to emerge in about 800 to 500 BCE. Could it be that mysticism kept alive the ancient understanding of the cosmos? This is just speculation, but in it I’m answering my own questions. (To be continued) Join us in The Mago Circle https://www.facebook.com/groups/magoism/.

Imbolc: Through Goddess Eyes by Carolyn Lee Boyd

Photo by Carolyn Lee Boyd In times past, Creation’s Winter cupped me in her icy hand of sanctuary Gathered in, I sucked dormant life, and slumbered Till Earth’s rebirthing groans awakened my new body Now, older and full of life’s weeping and wondering awe At all that has happened in my decades on Earth I must shake myself into consciousness My seed’s opaque, blinding hull disintegrates and Bodyless, at last I can see through Goddess eyes I ache as my blood paints each flower petal I spin the whirlwind that cannot stop creating abundance I push the seasons through the year that mortals believe revolve of their own accord. Through Goddess eyes I can see me, I inhabit Winter’s hand as my own. I make the cold to slow creation of outside of me To gather the seed into fertile stillness within. That burgeons in my own time. https://www.magoism.net/2016/08/meet-mago-contributor-carolyn-lee-boyd/
Artful Ceremonial Expression by Glenys Livingstone Ph.D.

This article is an edited excerpt from Chapter 7 of the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. I always wore a special headpiece for the Seasonal ceremonies when I facilitated them over the years, and I feel that any participant may do so, not just the main celebrant. My ceremonial headpiece with its changing and continuous Seasonal decoration took on increasing significance over the years; it became a personal central representation of the year-long ceremonial art process of creating, destroying and re-creating. For the research period of my doctoral studies particularly, when I was documenting the process, I realised that this headpiece came to represent for me the essence of “She” – as Changing One, yet ever as Presence – as I was coming to know Her. In my journal for the Mabon/Autumn Equinox process notes one year I wrote: As I pace the circle with the Mabon headpiece in the centre, I see “Her” as She has been through the Seasons … the black and gold of Samhain, the deep red, white and evergreen of Winter, the white and blue of Imbolc, the flowers of Eostar, the rainbow ribbons of Beltane, the roses of Summer, the seed pods and wheat of Lammas, and now the Autumn leaves. I see in my mind’s eye, and feel, Her changes. I am learning … The Mother knowledge grows within me. The headpiece, the wreath, the altar, the house decorations, all participate in the ceremony: they are part of the learning, the method, the relationship – similar to how one might bring flowers and gifts of significance to a loved one at special moments. Then further, the removal and re-creation of the decorations are part of the learning – an active witness to transformation through time.
(Video) Autumn Equinox/Mabon Poetry by Glenys Livingstone Ph.D.

The Autumnal Equinox occurs each year in the range of March 20-23 in the Southern Hemisphere, and in the range of September 20 -23 in the Northern Hemisphere. Autumn Equinox is a point of sacred balance: it is the point of balance in the dark part of Earth’s annual cycle. Sun is equidistant between North and South as it was/is at Spring Equinox, but in this dark phase of the cycle, the trend is toward increasing dark. Henceforth the dark part of the day will exceed the light part: thus it is a Moment of certain descent … and a sacred Moment for feeling and contemplating the grief and power of loss, for ceremoniously joining personal and collective grief and loss with the larger Self in whom we are. https://www.youtube.com/watch?v=vcZflKLkvP8 Below is the text of the video. It is based on the traditional poetry for PaGaian Autumn Equinox/Mabon ceremony[i]. This is the Moment of the Autumnal Equinox in our Hemisphere – the moment of balance of light and dark in the dark part of the cycle. The light and dark parts of the day in the South and in the North of our planet, are of equal length at this time. We feel for the balance in this moment – Earth as She is poised in relationship with the Sun … breathing in the light, swelling with it, letting our breath go to the dark, staying with it. In our part of Earth, the balance is tipping into the dark. We remember the coolness of it. This is the time when we give thanks for our harvests – all that we have gained. And we remember too the sorrows, losses involved. The story of Old tells us that Persephone, Beloved Daughter, is given the wheat from Her Mother – the Mystery, knowledge of life and death. She receives it graciously. But she sets forth into the darkness – both Mother and Daughter grieve that it is so. Demeter, the Mother, says: “You are offered the wheat in every moment … I let you go as Child, most loved of Mine: you descend to Wisdom, to Sovereignty. You will return as Mother, co-Creator with me. You are the Seed in the Fruit, becoming the Fruit in the Seed. Inner Wisdom guides your path.” We give thanks for our harvests – our lives they are blessed. We are Daughters and Sons of the Mother. Yet we take our Wisdom and all that we have gained, and remember the sorrows – the losses involved. We remember the grief of the Mother, of mothers and lovers everywhere, our grief. Persephone descends. The Beloved One is lost. Persephone goes forth into the darkness to become Queen of that world. She tends the sorrows. The Seed represents our Persephones, who tends the sorrows – we are the Persephones, who may tend the sorrows. We go out into the night with Her and plant our seeds. Persephone blesses us with her fertile promise: “You have waxed into the fullness of life, And waned into darkness; May you be renewed in tranquility and wisdom[ii].” These represent our hope. The Seed of life never fades away. She is always present. Blessed be the Mother of all life. Blessed be the life that comes from Her and returns to Her. We tie red threads on each other: we participate in the Vision of the Seed – of the continuity of Life, that continues beneath the visible. The Mother knowledge grows within us. Our hope is in the Sacred Balance of the Cosmos – the Thread of Life, the Seed that never fades away: it is the Balance of Grief and Joy, the Care that we may feel in our Hearts. NOTES: [i] Glenys Livingstone, PaGaian Cosmology, p. 239-247. [ii] Charlene Spretrnak, Lost Goddesses of Early Greece, p. 116. REFERENCES: Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. NE: iUniverse, 2005. Spretnak, Charlene. Lost Goddesses of Early Greece: a Collection of Pre-Hellenic Myths. Boston: Beacon Press, 1992/1978.
(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
Summer Solstice Poiesis by Glenys Livingstone Ph.D.

Seasonal Wheel of Stones Both Summer and Winter Solstices may be understood as particular celebrations of the Mother/Creator aspect of the Creative Triplicity of the Cosmos (often named as the Triple Goddess). The Solstices are Gateways between the dark and the light parts of the annual cycle of our orbit around Sun; they are both sacred interchanges, celebrating deep relationship, communion, with the peaking of fullness of either dark or light, and the turning into the other. The story is that the Young One/Virgin aspect of Spring has matured and now at Summer Solstice her face changes into the Mother of Summer. Summer Solstice may be understood as a birthing place, as Winter Solstice may also be, but at this time the transiton is from light back into dark, returning to larger self, from whence we come: it is the full opening, the “Great Om”, the Omega. I represent the Summer Solstice on my altar wheel of stones with the Omega-yonic shape of the horseshoe. I take this inspiration from Barbara Walker’s description of the horseshoe in her Woman’s Encyclopaedia of Myths and Secrets, as “Goddess’s symbol of ‘Great Gate’[i]”; and her later connection of it with the Sheil-na-gig yoni display[ii]. Sri Yantra. Ref: A.T. Mann & Jane Lyle, p.75 Summer Solstice is traditonally understood as a celebration of Union between Lover and Beloved, and the deep meaning of that is essentially a Re-Union: of sensed manifest form (the Lover) with All-That-Is (the Beloved). This may be understood as a fullness of expression of this manifest form, the small selves that we are, being all that we may be, and giving of this fullness of being in every moment: that would be a blissful thing, like a Summerland as it was understood to be. The boundaries of the self are broken, they merge: all is given away – all is poured forth, the deep rich dark stream of life flows out. It is a Radiance, the shining forth of the self which is at the same time a give-away, a consuming of the self.In traditional PaGaian Summer ceremony each participant is affirmed as “Gift”[iii]; and that is understood to mean that we are both given and received – all at the same time. The breath is given and life is received. We receive the Gift with each breath in, and we are the Gift with each breath out. As we fulfill our purpose, as we give ourselves over, we dissolve, as the Sun is actually doing in every moment. The “moment of grace”[iv]that is Summer Solstice, marks the stillpoint in the height of Summer, when light reaches its peak, and Earth’s tilt causes the Sun to begin its “decline”: that is, its movement back to the South in the Northern Hemisphere (in June), and back to the North in the Southern Hemisphere (in December). Whereas at Winter Solstice when out of the darkness it is light that is “born”, as it may be expressed: at the peak of Summer, in the warmth of expansion, it is the dark that is “born”. Insofar as Winter Solstice is about birth, then Summer Solstice is about death, the passing into the harvest. It is a celebration of profound mystical significance, which may be confronting in a culture where the dark is not valued for its creative telios; and it is noteworthy that Summer Solstice has not gained any popularity of the kind that Winter Solstice has globally (as ‘Christmas’). The re-union with All-That-Is is not generally considered a jolly affair, though when understood it may actually be blissful. Full Flowers to the Flames Summer is a time when many grains ripen, deciduous trees peak in their greenery, lots of bugs and creatures are bursting with business and creativity: yet in that ripening, is the turning, the fulfilment of creativity, and it is given away. 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. Summer is like the rose, as it says in this tradition[v]– blossom and thorn … beautiful, fragrant, full – yet it comes with thorns that open the skin. All is given over. All is given over: the feast is for enjoying With the daily giving of ourselves in our everyday acts, we each feed the world with our lives: we do participate in creating the cosmos, as many indigenous traditions still recognise. Just as our everyday lives are built on the fabric of the work/creativity of all who went before us, so the future, as well as the present, is built on ours, no matter how humble we may think our contribution is. We may celebrate the blossoming of our creativity then, which is Creativity, and the bliss of that blossoming, at a time when Earth and Sun are pouring forth their abundance, giving it away. In this Earth-based cosmology, what is given is the self fully realized and celebrated, not a self that is abnegated – just as the fruit gives its full self: as Starhawk says, “Oneness is attained not through losing the self, but through realizing it fully”[vi]. Everyday tasks can be joyful, if valued, and graciously received: I think of Eastern European women singing as they work in the fields – it is a common practice still for many. We are the Bread of Life Summer Solstice celebrates Mother Sun coming to fullness in Her creative engagement with Earth, and we are the Sun. Solstice Moment is a celebration of communion, the feast of life – which is for the enjoying, not for the holding onto. We do desire to be received, to be consumed – it is our joy and our grief. Brian Swimme says: “Every moment of our lives disappears into the ongoing story of the Universe. Our creativity is energising the whole[vii]”. As it may be ceremoniously affirmed: we are (each is) …
Happy New Year, Year 2/5916 Magoma Era! by Helen Hye-Sook Hwang

“The Bell of King Seongdeok, known as the Emille Bell, a massive bronze bell at 19 tons is the largest in Korea.” Wikimedia Commons. Cast in 771, the bell reenacts the music of whales to remind people of the Female Beginning, the self-creative power innate all beings. Today is Day 2 of the New Year in the reconstructed Magoist Calendar characterized by 13 months per year and 28 days per month. We are heading toward the Solstice that falls on Dec. 21/22 (Day 5 of the first month in the Magoist Calendar), which happens to be the day of the first full moon of Year 2. Below is the details about the Magoist Calendar. https://www.magoacademy.org/2018/03/27/magoist-calendar-13-month-28-day-year-1-5915-me-2018-gregorian-year/ The Gregorian year 2018 marks a watershed in that we began to implement the Magoist Calendar. The Magoma Era is based on the onset of the nine-state confederacy of Danguk (State of Dan, the Birth Tree) traditinally dated 3898 BCE-2333 BCE. We just passed Year 1 or 5915 Magoma Era (the Gregorian 2018). For Year 1, we had the New Year Day on December 18 of 2017, the first new moon day before the December Solstice. That makes December 18 of 2017 our lunation 1, the first lunar year that the reconstructed Magoist Calendar determines its first day of the Year 1! Although relatively short in history, the Mago Work began to celebrate the Nine Day Mago Celebration on the day of December Solstice annually since 2015. With the reconstructed Magoist Calendar, we placed it in its due timeframe, the Ninth Month and the Ninth Day, which fell on August 8, 2018 (US PST) and celebrated it for the first time according to the Magoist Calendar. Apparently, this had to be a mid-Summer event. This left us with another seasonal event, the New Year/Solstice Celebration. For Year 2, we hold the 3 Day New Year/Solstice Celebration on December 20, 21, and 22 (December 22 to be the Solstice Dat in PST) and the Virtual Midnight Vigil as a precussor to the New Year Day. http://www.magoacademy.org/2018/07/17/2018-5915-magoma-era-year-1-nine-day-mago-celebration/ https://www.magoacademy.org/home-2/new-year-solstice-celebrations/ We just greeted the Year 2 by holding the event called Virtual Midnight Vigil during which we sounded the Korean temple bell, in particular the Emile Bell or the Divine Bell of King Seongdeok the Great, to the world. A few from around the globe (Germany, Korea, Italy and the US) participated in it or hosted their own local vigils. The Korean temple bell is the key symbol for the Magoist Calendar as well as the Magoist Cosmogony. It is not a coincidence that it is struck on the midnight of the New Year’s Eve. It is Korean tradition that even modern Koreans gather at the bell tower in Seoul to hear the sound of the bell at midnight. And these bells are gigantic weighing 19 tons in the case of the Emile Bell. That this convention has an ancient Magoist root remains esoteric. For not only they strike the bell 28 times in the evening indicating the 28 lunar stations that the Moon stops by in the sky throughout the year (please read below what the 28 day lunar journey means and how it is represented by women). But also the Korean temple bell is no mere acoustic device to play the beautiful sound only. It is designed to reenact the Magoist Cosmogony. https://www.magoacademy.org/2018/12/14/virtual-midnight-vigil-dec-17-2018-to-new-year-year-2-5916-magoma-era/ That said, that is not what’s all about the Korean Magoist convention of welcoming the New Year by sounding the temple bell, however. That the bell sound is a mimicry of the music of whales has been in the hand of wisdom seekers! Ancient Korean bells testify that whales are with us in the journey of the Moon and her terrestrial dependents headed by women. You may like to hear the sound of the Magoist Korean whale bell included in the Participation Manual for Virtual Midnight Vigil below. Happy New Year to all terrestrial beings in WE/HERE/NOW! https://www.magoacademy.org/2018/12/16/participation-manual-for-virtual-midnight-vigil-year-2/

(Pilgrimage Essay 2) Report of First Mago Pilgrimage to Korea by Helen Hwang

[Author’s note: The first Mago Pilgrimage to Korea took place June 6-19, 2013. We visited Ganghwa Island, Seoul, Wonju, Mt. Jiri, Yeong Island (Busan), and Jeju Island.] Part 2 Traditional Korea and the Primordial Home of Magoism It was the time for the sacred, ancient mystery of Magoism to be reenacted once again for the Race of WE! Mago Pilgrimage was an open invitation to the deep knowing that Korean Magoism unfolds beneath the surface of patriarchal consciousness. It was a call from the Background [to borrow Mary Daly’s term, which, I explicate, refers to the biophilic reality wherein the deep memories of Goddess are alive, unfettering from the foreground, patriarch reality] to be present with Mago, the Great Goddess, Here and Now! Third eyes flashed, while open hearts unlocked the doors to the path. We heard the whisper, the chorus of the natural, cultural, and historical landscapes of Korea, the arcane music of the Female Beginning. The magic worked its own feats. As could be expected, undertaking the Mago pilgrimage entailed daunting tasks for me. Nonetheless, it was proven to me time and again that the purpose creates the means. The Korean saying, “Where there is a will, there is a way,” spoke to it well. We, the intercontinental pilgrims, were made welcome by supporters, organizers, and volunteers from the locale. We attracted fabulous scholars, teachers, artists, administrators, and activists along our paths. It was the first cross-cultural and cross-gender goddess event to be held in Korea in modern times! Excitement and anticipation were high. As a researcher of Mago and Magoism, I knew the Mago pilgrimage was the right thing to do. In fact, I had been faithfully following the direction that my heart beckoned to throughout my life. The consequences were the actions that I took. This time, however, I was rewarded with the fate-ful encounter; the very research of Mago came as a revelation to me. The topic of Mago emerged from nowhere at the juncture of my labyrinthine journey to non-patriarchal [gynocentric] consciousness. I was a student of feminist studies in religions. Without knowing what was in store for me, I knew that I was not content with the feminist theology of patriarchal religions of the West and the East. If any theme of these religions had appealed to me — I wished at times, to confess to my readers — during those years, my path would not have crossed with Magoism. My radical feminist quest was the cause for encountering Mago.
(Video) 2013 Mago Pilgrimage to Korea by Helen Hye-Sook Hwang

[Author’s note: The first Mago Pilgrimage to Korea took place June 6-19, 2013. We visited Ganghwa Island, Seoul, Wonju, Mt. Jiri, Yeong Island (Busan), and Jeju Island.] Read Mago Pilgrimage Essay 1 and Mago Pilgrimage Essay 2. See Meet Mago Contributor, Hae Kyoung Ahn for “Ma Gaia Womb” chant music and Meet Mago Contributor, Helen Hwang Ph.D.
(Video) Gurang (Nine Goddesses), Gaeyang Halmi (Grandma Gaeyang), and Goddess Gom: Exploring Old Magoism in Korea by Helen Hwang

Meet Mago Contributor, Helen Hye-Sook Hwang, Ph.D. Read (Photo Essay 5) Gaeyang Halmi, Sea Goddess of Korea.