Ly de Angeles
Purchase through - LLEWELLYN
WORLDWIDE, USA
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This book reveals the more 'tribal', Celtic aspects of magic and puts them into practice.
Many of the initiates I train are men (as well as many of those who write to me offering enthusiasm and comment for Witchcraft: Theory and Practice) and many have felt that the ways of the elder gods have been sadly relegated to some hinterland of obscurity due to the abundance of books focussing most strongly on the traditions and rites of the goddesses.
This abundance, unfortunately, leaves a void that in our common era is adding to a sense of alienation felt [particularly] by many male witches and more generally by many sensitive and aware men who have no clear mythology within which to see themselves reflected.
When I See the Wild God fixes the problem.
Whilst maintaining a very Celtic perspective, therefore introducing the practitioner to some unusual terminology, the book advocates that those with a tradition adhering to other pantheons can easily adjust the work accordingly.
Whilst directing the training to men it is also meant to be of service to women, for much of what has been written of the witch's god has little in the way of 'personality' relevant to our contemporary culture and, as a result, he is not recognised simply because he is not emulated.
The lost 'beauty' of many men (whose conditioning under monotheistic religions may have blinded them to their god-given pagan heritage) can only be realised by both knowledge of, and recognition of, the many faces that our gods choose to express themselves by. Embodiment of that which is invoked being the raison d'être of the book.
I have chosen to use specific Gaeillge terminology for certain words (like draíocht) because, again, in our culture the word 'magic' tends to have exhaustive variations (therefore leaving it open to misinterpretation) whereas in Gaeillge it is specifically associated with spellcrafting, and the journeying between the worlds associated with the practitioner, rather than the theorist.
The 'legends' for each of the Solstices and Equinoxes were literally divinely inspired as I was visited by Hunter and Brighid and the others (between the worlds) and compelled to write the stories that are presented in the book.
They (along with the prologue) are intentionally written in a very earthy, contemporary fashion, seemingly both here and now whilst also existing outside of time [as we know it] so as to resonate with anyone in whatever conditions. None of them are meant to have an obvious conclusion or an obvious beginning therefore assisting the reader to realise the timelessness and multiple 'interdimensionality' of the cycles and seasons.
The work relating to the Fire Festivals is unique insofar as it directs the practitioner to seek their relevance in the immediate environment rather than to rely on traditional references to any specific place or period, therefore linking the whole earth, despite the hemispheres or climate, at the seasonal transitions.
I have already received intense enthusiasm from many sources due to the casual vernacular of the text, its lack of sexual or cultural stereotyping and its dismissal of hierarchy.
As with Witchcraft: Theory and Practice there is a strong ecological and ethical leaning.
It is aimed at both the beginner and the advanced practitioner.