Sean Mundy

Localizing Your Practice

So much witchcraft emphasizes how important it is to honor and work with the Earth, but then teaches us spells with ingredients we basically have to import using locations we don’t have access to. It’s rare to find an existing grimoire or guide book that actually works with where we live. We can still use them, but it doesn’t enhance our connection to our local land, which to many can feel important. Here are some tips for localizing your practice and working with the land you actually live on.

See what nature exists around you. Explore your own backyard with a critical eye. What plants can you actually go and pick yourself? What are those plants associated with? Do you have access to a creek or river? What does your local land actually have on it? If magic correspondences for your local plants haven’t been written about, you may have to do your own research. Example: I grow several plants on my back porch which I can potentially use for magic.There are magnolia trees and rhodedendrons on the grounds of my apartment complex. My parent’s neighbors have chickens in the backyard, so I have access to some feathers when they shed. 

Check out local folklore, legends, etc. This is one of my favorite parts, but can also be the hardest. What are the stories of your area, both on a local and cultural scale. Example: A West Virginian may incorporate legends of the Mothman. Everyone says that one building on my old college campus is haunted (and they’re right.) People talk about that liminal-space feeling when you drive down that one road at night.

Find the magic spots. Sometimes the urban legends will tip you off to these (usually in a bad way) but other times you can find them on your own. A place where the energy is just right for some reason. A place you can go to be closer to nature, or a place you could host a ritual if needed. Sometimes it’s just a place where you can feel your mind open a little bit. Example: The shady corner of a public park. The tunnel downtown. That weirdly-perfect circle of trees in the woods behind Wal-Mart.

Meet your land wights. Spirits of the local land. This could be the fair folk, but also house spirits, the spirits of the trees near you, the nature spirits of wherever you are. They’re there. Be good to them and they’ll be good to you! Note: Some spirits and wights will not be interested in working with you, and that’s okay. I generally think it’s good to at least leave a polite offering to just be on general decent terms even if you never work with them more directly beyond that. 

Check in with your Seasons. Harvest holidays generally don’t have actual lifestyle importance to most people reading this. The seasonal shifts other people write about may be from a very different climate than yours! Figure out a calendar that works for you. It doesn’t have to be detailed, but something that ties you to the seasons as you actually experience them. I also love working in any fun annual festivals nearby, if any.

[ Bells ] /French Folk Traditions.

1. “Living Entities”____

Since the Middle Ages, the ringing of church bells punctuated daily life and alerted folks in case of danger.

They are also considered as almost living entities : they have a voice and are baptized like children.

At Easter, when they are silent, “they’ve gone on a trip to Rome.”

In the 16th century, J. Wier tells us that the common people are convinced that the devil knocks down the bells that have not been baptized, while those that have been baptized drive out demons and storms.

Father Thiers will explain that they are not baptized but simply blessed, even if they are given, as is the custom, a godfather and a godmother.(…)

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2. Omens_____

In one of her letters (April 1680) a nun from the convent of Loudun recounts that a bell wheel broke while the bell was ringing for the burial of the “Mother of the Cross”. This was immediately taken to be “an omen of some affliction which was to befall the community” à sand indeed, a fortnight later, the mother prioress died [while] in good health.

In the Côtes-d'Armor, the more or less harmonious sound of the bells reveals to a young mother who has just given birth whether her first child will live or die ; for the omen to be favorable, she must succeed in placing the words of a song on the melody that she seems to hear in the ringing of the bells. (this one is for you @hillsarehollow 🧡)

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3. Storm Chasers / Hex Chasers_____

“During the storms, one runs immediately to the bells and one makes them ring with all force and with all their might, as if they were a sovereign remedy…” (Wier, 1569)

In Vosges, they say that you have to act as soon as the first rumbles of thunder strike, because if you ring them too late, they tear up the clouds and cause hail to fall.

The bells are also rung at certain times of the year to protect the territory of the parish from the evil spells of the devil and sorcerers.

Father Thiers relates that a bell must be rung for 24 hours on the eve of Saint John at dawn. (Haute-Marne, Moselle, Vosges, Rhône.)

The bells are also rung on the night of Saint Agatha (February 5) to scare away the witches running around that night.

It should be noted that the protective virtue of bells extends to cowbells and other bells that are suspended from the neck of cattle, against disease, lightning and evil spells.

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[ Miscellaneous outputs from Sébillot, Van Gennep, and M. Delmas]

(& a solstice gift @toverijennspokerij, @graveyarddirt, @poemsandmyths) 🧡

'Concerning The Powers and Virtues of Pine, Rustic Lord of the Lonely Places'

"The Pine stands as the ally of the Wayfarer upon the Path for its many uses, both practical and magical. The presence of Pines is an indication of life, as the Trees tend to grow in community and attract diverse beasts and worts to their domains. Dead wood provides excellent kindling for the fire, and live wood cut for timber is one of the most versatile and workable of woods. Nuts found within the cones provide a wholesome food to sustain the body; all species are edible. Its sap is both nutritive and medicinal, and, should additional sustenance be needed, the green needles may be brewed into a nourishing tea. Thus, though often found spreading its branches in the wild lands, the Pine-forest serves as a place of Sojourn and respite whilst walking the path in pilgrimage.

The Genius of the Pine, despite its preference for wilderness, is on the whole friendly toward man, hence its adaptation in many circumstances to domestic existence, and bestows the virtues of ingenuity and adaptation. In species it numbers almost one hundred, widely distributed throughout the world, and some kinds, such as the Bristlecone, may attain ages in advance of 4,500 years. Though numerous exotic conifers have come forth unto Albion in recent centuries, its principal Pine-warden is the magnanimous Pinus sylvestris or Scots Pine, which may be seen in its truly wild state now only in isolated places in the Highlands, however in certain hedges in East Anglia it curiously makes a home among the more usual hardwoods common there.

With most Pines, trunks of larger trees reveal sap-flows where the fragrant resin has hardened; this may be collected and used for varied purposes of Art, such as for fumigation or for making varnishes. However, not every Pine species produces resin of good and wholly aromatic quality, thus it is a matter of discernment which the simpler must arrive at by cunning and diligent investigation. Where a certain pine resin is left wanting with regard to its aromatic properties, it may still be used as an agent of binding.

Needles harvested and dried green will retain aromatic virtue and may be burnt, together with resin and cones, as a suffumigant strong in powers of earthing, and keeping haunting shades of the dead at bay. This power of removing ghost-infection is doubly potent in the resin.

The cones, after having expelled their seeds, serve as encharmed vessels for the work of thaumaturgy, each of the numerous hollows capable of being filled with a different enchantment. Likewise, the hollows of a cone may be packed with flammable unguents, aromatic resins and powders, and the whole set to roast slowly upon the hearth-fire of working as a splendid perfume. Such aromatic ingredients may be derived from the Pine direct, in the form of resin, ground bark and needles, and twigs, or from other worts and trees as dictated by Ingenium."

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Viridarium Umbris:

The Pleasure Garden of Shadow

3: ‘The Book of Going Forth into the Field of Cain’

by Daniel A. Schulke

Wodan, Freyja, Donar, Frey, Tyr, Loki, Baldr, Njord, Angrboda and Hel.

Artist:  Johan Egerkrans

Some UPG, as a treat…

So angels (or the beings we refer to as angels) are the architects of creation. By their very nature they form reality out of the limitless potentiality. They form energy into matter, the take chaos and make it into order. This is instinctual and unconscious. They do it because it is what they are.

Daemons are the opposite of this. They are beings of decay and rot. I think of them almost like mushrooms. They thrive on and help speed up the entropy of reality. Matter to energy, order to chaos, again this is just what they are.

This is not a case of right it wrong, benevolence or malice. They are simply two ends on the spectrum of reality. They do not oppose each other as enemies but simply as opposites, doing their part in the grand scheme of things.

Half-formed ramble about magical identity

I’ve recently started coming to the realisation that, well that I don’t think “witch” really fits me anymore. This isn’t to say that I still don’t practice witchcraft or that it would be wrong to call me a witch, but more that my personal craft has developed in way that makes me question if it’s a moniker that still fits me.

Over the past several years, my craft has been moving more and more into the realm of charms and cures. I craft simple charms for people to gain luck and love. I walk folks through the processes of pulling off stagnant energy and uncrossing work. I still get requests to cleanse and bless homes. Owning a home and land for the past year has pushed me even more into the role of “village witch” I’ve started learning the language of my land, looking at potential plant and animal allies around me.

I think the two biggest influences for this change are my joining Fayerie Traditionalism/Fayerism and my study of folk magic

Fayerism focuses on spiritual ecology and the harmonious relationship between the Seen and Unseen worlds. Folk magic (as a magic of the people) is all about domestic life of the individual and the community.

All this is just a round about way of saying that I feel as if I’m growing into more of a “cunning woman” than a witch. My arte focuses on healing ailments (alongside modern medicine of course), attracting prosperity, and blessing those around me. I use my craft to help those around me whenever I and however I can, whether they be human or other-than-human persons.

And to be honest I’ve been moving away from the “witch” title for a while, although privately. Testing different mantles to find something that fit, sticking with “sorcerer/sorceress” for the most part. It wasn’t until last night that it stuck me how much like the cunning folk of Europe I’ve become.

I won’t correct any that call me “witch”, for as I said, I still practice witchcraft alongside other forms of magic. I’ll still be using the hashtag to appease the algorithms and I’ll still promote my services as a witch, but I think I’m going to start referring to myself as a “cunning woman” and see how that feels. I might even look into regional variants of the profession and see if the French had a localised term for the “cunning person/folk healer/white witch” as a nod to my ancestry

Our Wish for the End, Me, Digital Collage, 2020

I carved a Sutekh icon for my altar from the same blackthorn branch that I carved Eris. He is stained with an 18-year-old red wine bequeathed to me by a dead bus driver (praise be to Albert! May he live forever!), blackberry and fig liqueurs, and icon. The black stain is part char from my stove, and part a mixture of ritual ash and Stuart Semple's Black 2.0. The gold is ol' Stuart's goldest gold, which I can't recommend enough really, and gold leaf. The red is a crimson alcohol ink I bought last year and immediately forgot I had. Turns out, it stains unsealed wood really well, and can be blended out with neat isopropyl alcohol on a paintbrush. This would ordinarily make me worry about drying out the wood, but beeswax and neem oil solves all problems.

SHOP / KO-FI / PATREON / INSTAGRAM

Of Toads and Toxins

Warning: This post is super rambley and I’m sorry

(Shout out to Courir le loup-garou for being an amazing resource)

Three things have been on my mind a lot lately: ancestors, malefica, and the toad. So imagine my happiness and surprise when reading a blog post about Toads in French-Canadian folklore/folk magic being poisoners.

Since discovering French-Canadian sorcellerie via courir le loup-garou I have been trying to incorporate parts of it into my practice as a way of connecting with my Québécois roots. I’ve even recently found a language learning app that offers Canadian French/Québécois so I plan on learning the language as a way to further connect. Very very exciting!

I’ve also been slowly getting into using poisons more in my practice, specifically working with the plants spirits as allies and less working directly with them in herbal preparations. I’ve been particularly drawn to mandrake and foxglove. Foxglove specifically for its link to the fayerie folk so it makes sense to work with as someone who follows Fayerie Traditionalism.

~(I blame Coby of The Poisoner’s Apothecary for the poison path focus lol)~

In connection to the poison path is malefic magic. The idea of the witch as a poisoner, a blighter of crops, a caster of curses. Not that I’m someone who wants to just throw hexes around like they’re nothing but I’m more interested in studying them and researching how they operate magically.

The toad spirit has been one that has floated in and out of my craft for YEARS never fully leaving but not always being of high importance. I think that’s really because I’ve never figured out how to work with this spirit in a way that makes sense to my and my craft. Reading the blog on toads in French-Canadian folklore has given me some possible inspiration. I’m hoping to commune with the spirit of Toad to learn more of cursing and malefica and to employ my toad imp to carry out any curses or hexes that I may weave.

But to make a Milkhare, do the following:

On takes nine different coloured thread of woolen yarn and go with them to a crossroads on a Thursday night between twelve and one o’clock. Here, one makes a fire from nine different kinds of wood and wind counter-clockwise, around the fire, a ball of the woolen yarn threads. When the ball is ready, one drops three drops of blood out of the left ring finger with the following words: ” If you will run for me here on earth, then I shall burn for you in Hell.”

Then one takes and whips the Milkhare with a birch twig and says: ”Money you will draw, butter you will drawn (or whatever one wants the milkhare to draw.)” Everything one desires one can get the Milkhare to draw, and the Milkhare follows generation after generation.

- Svartkonstböcker; A compendium of the Swedish Black Art Tradition, Dr. Thomas K. Johnson