Today is the 3 year anniversary of my devotional book 📕 dedicated to the Norse Goddess Eir. 👩⚕️
By Scalpel and Herb, Blood and Healing Hands is a novena booklet to Eir, a Norse Goddess of Healing. It provides an introduction about this Goddess and nine days of prayers in Her honor.
Available on Amazon.
Who owns a copy?
Sometimes it’s hard to believe it’s been 11 years since this book–a joint venture with my mutti, Fuensanta–released. Focusing on the Duergar Andvari, there are many lessons in the book about having healthy relationships with money.💸
Andvari is one of the Duergar, the Dwarves of ancient Germanic cosmology, and a little-known figure in modern Northern Tradition devotional practice. Yet there are a small number of people who have experienced Him as a God of great wisdom, particularly concerning right relationships, right ownership, mindful consumption and proper utilization of resources and finances. In our age of rampant consumerism, where spirituality has become yet another commodity to buy and sell, Andvari’s lessons are needed more than ever. This devotional, the first to honor Him, explores His nature, the ways in which He may be honored, and powerful lessons for developing a honorable relationship with the spirit of money.
So what in this book helped you the most?
Sometime it’s hard to believe just how much time has passed when these bookversaries come around. It has been six years since, He is Frenzy was first published. As a devotee of Odin, I have published several books around Him through the years: my first devotional (and the first devotional in all of Heathenry/the Northern Tradition) Whisperings of Woden, followed by Walking Toward Yggdrasil, He is Frenzy and then most recently a little chap book of prayers Nine for Odin.
He is Frenzy collects all of the essays and poetry that Northern Tradition author Galina Krasskova has written to honor the God Odin since 1995. Providing a survey of His ancient and modern cultus, it is also a deeply personal exploration of devotion, ordeal work and what it takes to walk the Odinic path.
So for my loyal readers who have read these various books around Odin, what was your favorite, and why?
Bookversary today!!! 🎉🎉🎉
Time has flown, and it’s so hard to believe it’s been 10 years since this devotional first published. My mutti was deeply devoted to this goddess, and this Goddess has been part of so many blessings that have filled my life. Long may Sigyn be Hailed and Honored. 💖
Sigyn, the Norse goddess of constancy and compassion, is the second wife of the Trickster God Loki. She gathers broken things, and people, to her breast to heal. In this book, Galina Krasskova reveals the beauty of this little-known Goddess whose name means Victory Woman. With prayers, poetry, personal and group rituals, this is a manual for all those who would offer to devotion to this gentlest of divine figures.
What do you do for your devotions to Sigyn?
I recently came across something I’d written awhile back, after a discussion about Odin. At the time, I was surprised at the response. It’s always interesting to see your relationship and your primary Deity through someone else’s eyes! A friend of mine, who has known me for over a decade, made what i think is a particularly powerful comment, one that moved me deeply, and I think it might also allow me to segue into some important things about my work with Odin that I’d like to discuss. For that reason, I want to quote the whole comment here. My friend F.B. said during the course of the discussion:
“I have felt, over more than a decade as your friend and colleague (albeit on a very different religious path) that your way (Odin’s way, to which you are obligated) was just so hard and painful. Most often, my thought has been, “Better you than me!” (Which, of course, makes it obvious why Odin chose you and not me.) I have felt sorry for you. You claim joy but I must take it on faith (and on my respect for you as an honest person) because, from the outside looking in (and from a drastically different faith tradition) your way seems all pain and no joy. But I know you don’t feel that way about it, so I simply accept that this is one of those things I’ll never understand. Thanks for trying to translate!”
I was really given pause by this comment. Certainly my life has been hard, brutally so at some points, but not because of Odin or my service to my Gods. They bring (sometimes vexation yes, but more often) joy. They have poured blessings into my hands. Sometimes life is just *hard* for reasons that have nothing to do with the Gods. So, I was really pondering upon reading this comment how it could possibly seem so grim. Has the work Odin has set me to do caused me pain? Yes, sometimes but that is an expected consequence of this work, both the internal work that I must do to keep my devotional relationships fit, the external ordeal that is sometimes asked, and the public work, which can be very irritating at times. The pain or difficulties are largely irrelevant. They don’t matter. They’re the terrain one must cross to get anything done.
I suppose I look at it much as I looked at the physical pain I endured when I was a ballet dancer (and a ballet career involves a brutal level of physical pain as an ongoing norm): it’s irrelevant. I loved to dance. it was my goal in life to do so professionally (which I did for a brief time), and to do it well. I knew going in that in order to reach that goal, I’d have to endure a certain level of discomfort and pain as a daily thing. It was the ground I would have to walk across for what I wanted to achieve and that end goal was one of beauty and joy. I kept that goal always in mind through the daily grind. The discipline of honing and shaping and sometimes wrenching myself into the proper shape and form necessary to achieve that goal was often grim, but it was not the point and in view of reaching that ultimate goal it faded largely away. It simply was a necessary byproduct. I think on some level I approach the challenges inherent in my relationship with Odin (and the other Gods I venerate) in much the same way.
Odin is a God that will challenge (as I think all Gods do in some way). He favors hard work and discipline and doing those things involves courage. C.S. Lewis wrote once that courage was the most necessary virtue–it was necessary to do all the others (my paraphrase)! He could have had Odin in mind when he wrote that. Because discipline and duty are not bad things for me — in fact, i find them very positive things and find that I tend to thrive under such strictures–I often write about them. I suppose were my personality different I could focus on other aspects of my devotional relationships but I don’t like to discuss the very personal things (they’re *personal* and I have very old-school notions of privacy), and I don’t like to discuss the blessings I’ve been given (that seems too much like bragging). What I like to talk about is the work. It defines me, not only in my relationship to Him but as a person and a human being. It is what makes me a full adult to my mind. This is a corollary to the utilitarian outlook Odin tends to hone in some of His people: we tend to define ourselves by our work. If i am not useful, I have no reason to *be.* Of course i’ve learned over the years that even the word ‘duty’ can be triggering to some.
When I was still dean of an Interfaith Seminary, all of the instructors were required to assist with an end of the year retreat for the students. Lasting for three days, it was an intensive weekend of workshops, seminars, and ritual work designed to help the students prepare for their eventual ordination. It was quite enjoyable for the most part. During one of the workshops – this one student-led—the participants/audience were asked to call out words that defined their spirituality, and what was important therein. I said “duty.” When I uttered that word you could feel the pall descend over the sweet little new agers. They were so intensely disturbed by the word that no one wanted to write it down (it carries all those nasty connotations don’t you know, like responsibility, maturity, focus, and discipline). Finally the student leading the workshop said ‘Joyful duty.’ It was my turn to be perplexed: what does emotion have to do with it? That is completely and utterly irrelevant. It does not matter if one’s duty is joyful or not, what matters is doing it. If we only did those things that brought us joy, what an insipid world this would be. It really highlighted for me the gulf between me and so many people that I meet. This is also why I dislike definitions of a Deity as “love” or of piety as ‘love.’ What happens when you’re not feeling the joy, does your practice go out the window? One would hope not. Duty is the torch that can guide one through those periods of darkness. To prioritize our emotions in the course of doing what is right is to make the process all about us and not what is right. I find little merit in doing this.
That being said, I experience great joy and satisfaction in serving Odin. I would serve Him even were that not the case. Like pain, the joy is a byproduct, this time one of His presence. The public side of my work involves many challenges, but that is to be expected when we are restoring a broken tradition. First we must restore ourselves so that we can take up those threads and neither of those things is a painless process. Sometimes I write about that aspect of the work because others need to see that one can get through such a process; sometimes because like many others, I am still finding my way in this thing called devotion. Challenge, hard work, discipline, duty, and the expected level of courage that Odin demands are good things to me. They help immeasurably with that process and in fact, I believe are crucial. Odin is a war-god, something that I try never to forget and it is through the gifts of a warrior’s mindset that one can thrive in His service. There are other ways too, but this is the way to which He has called me.
So what is the joy? I’ll lay it out in brief, broad strokes, just this once. There is having a purpose, being of use, furthering His agenda. Those things in themselves are tremendously satisfying and joyful. I don’t think I can explain how much so to someone for whom that is not a motivating factor! Then over and above everything else, there is Him, His presence, His wod (auto correct kept correcting this to ‘wood.’ No, auto-correct, not ‘wood’…that would go into that privacy place I was talking about earlier! lol). His presence is one of overwhelming terror-joy, true awe in the ancient sense, and at times pure ecstatic bliss. It drives, it hones, it motivates. Then there is the knowledge that He brings. He certainly knew what carrot to use to lure me in: teach me things, show me things, grant me knowledge. There is what He allows me to know and what He allows me to see but over and above it all, there is Him and that would in itself be blessing enough. We’re well matched, and regardless of how hard aspects of my service to Him may be, in the power of His presence, those difficulties are forgotten.
It’s the 5 year bookversary of my devotional to the Norse God of the Moon, Mani. 🌛 Son of Mundilfari, brother of Sunna and Sinthgunt, this particular God is one that is greatly beloved by me. I keep an active altar to him in my house, and I couldn’t resist having multiple prayer cards and icons for him in the Prayer Card Project either.
“Dancing in the House of the Moon” is a celebration and adoration of the Norse Moon God Mani. It is a collection of essays, prayers and poems word-pictures that summon a sense of His presence: ineffable, incandescent, and beautiful. This is a devotional for anyone wishing to know this God better, anyone who has tasted of the splendor of Mani, anyone wishing to throw themselves into His devotion. It is the expression of a cultus renewed and restored for the modern world.
So who has a copy? And if so, what’s your favorite part?
My husband and I had an encounter when we were eating lunch today at the local diner. We were seated next to two older women. I was wearing a fitted T shirt (I’d just come from the gym and had been working out) and it showed my arms, and hence many of my tattoos were visible. One of the women sitting next to me (mistaking me for a man because of my close-cropped hair and lack of make-up, boobs notwithstanding) started muttering to her friend “How dare he sit there with his head like that and those things on his arms?” We ignored her and her friend calmed her down. Later she called me a “nazi.” We ignored her (mostly because I was oblivious to it. I had such a headache at the time that I wasn’t much paying attention to the people next to us, though I knew they were agitated about something. My husband was watching very carefully though, not sure how agitated they were going to become). Because she was an older woman, we dealt with it gently.
I wear these marks to honor the Gods and spirits that I dearly love. Each one marks devotion, initiation, a relationship that has shaped me and the work that I do in this world. Each one is my consciously giving Them the territory of my flesh, joyously. These marks represent the Forces that hold my being together, that give me purpose, that have called me into life. I have gotten them out of love but also in many cases because I was asked to do so by the God or spirit in question. They show the boundaries of my world marked clearly in my flesh.
THIS is exactly why the #Heathenvisibility project is so important, to counter misunderstandings like we dealt with today because I’m sure this won’t be the last time. Let’s be loud and proud about our faith and not afraid to gently explain when people get it so very wrong. Most of all, let us never, ever cover up those signifiers of our devotion, our love, and our service. Our Gods deserve better.
An accessible yet in-depth guide to this increasingly popular pre-Christian religious tradition of Northern Europe
Heathenry, is one of the fastest growing polytheistic religious movements in the United States today. This book explores the cosmology, values, ethics, and rituals practiced by modern heathens.
In A Modern Guide to Heathenry readers will have the opportunity to explore the sacred stories of the various heathen gods like Odin, Frigga, Freya, and Thor and will be granted a look into the devotional practices of modern votaries. Blóts, the most common devotional rites, are examined in rich detail with examples given for personal use. Additionally, readers are introduced to the concept of wyrd, or fate, so integral to the heathen worldview.
Unlike many books on heathenry, this one is not denomination-specific, nor does it seek to overwhelm the reader with unfamiliar Anglo-Saxon or Norse terminology. For Pagans who wish to learn more about the Norse deities or those who are new to heathenry or who are simply interested in learning about this unique religion, A Modern Guide to Heathenry is the perfect introduction. Those who wish to deepen their own devotional practice will find this book helpful in their own work as well.
It was with no small degree of both anticipation and trepidation that I went to see “Midsommar” this weekend. My gold standard for movies of this type is the original “Wicker Man” with Christopher Lee. I did not expect “Midsommar” to come near to this and happily I was wrong. It’s a beautiful, moving, brilliant movie about the emptiness and crass depredation of modernity coming face to face with deep, unshakeable piety.
This is the point that the Pagan reviewers having thus far written about this movie have aggressively missed. It’s a movie about tradition, values rooted in intergenerational piety, and the consequences of growing up in a culture bereft of community, and about the consequences of one’s choices good and bad. It’s not a perfect movie by any means (and I’ll be talking about the things that I particularly disliked below) but it comes close. It is not a horror movie nor, as so many reviewers on youtube have insisted, is it a break up movie. That happens yes, but it is the culmination of the main character’s spiritual and emotional journey, a natural conclusion to her transition out of polluted, disconnected existence and into tribe and family. (There is a powerful dream sequence where we see this visually depicted: Dani, the main character exhales and a huge billow of black smoke comes out of her mouth. I and my husband looked at each other and I whispered, “she’s expelling pollution” and from that point on, she begins integrating more and more fully into the community that eventually accepts her).
Spoilers ahead. You have been warned.
The movie begins with Dani and her boyfriend Christian on the verge of a break up. That is postponed when she suffers a terrible personal tragedy and Christian, out of his depth but not wanting to be a total dick, decides not to break up with her. From there, a Swedish friend Pelle invites Christian and some other doctoral students to his hometown for a special 9-day celebration that only takes place every 90 years. Dani eventually comes along with them. It is clear from the beginning of the flight that Dani is disconnected not just from Christian but from everyone and everything around her. That’s a recurrent theme: disconnection vs. connection. It’s particularly well expressed when you see her six months after her personal tragedy staring out at the bleak, isolated city scape. This is later contrasted with the healthy, bright, and vibrant Swedish landscape. On the plane, Pelle, their Swedish friend connects more to her by addressing her grief than Christian or any of her other peers do or try to do. He shows compassion and shared suffering. It is clear that, as so many people in the modern world are, she lives in emotional isolation.
That isolation begins to change when she and her friends arrive in Sweden. Pelle drives them to his village but they stop before they get there and he offers them mushrooms. This is their transport from mundane headspace to sacred, ceremonial states of being and its effect on Dani is remarkable. Immediately, we’re given a visual sign of the land accepting her (grass growing through her hand, uniting her with the earth). This also begins her journey from emotional brokenness to wholeness, healing, and strength.
Upon reaching the village, they’re immediately welcomed by the elders. On the way, they meet up with two other foreign guests, a rather obnoxious British couple. Things do not go well for the majority of the group. I’m not going to give a long breakdown of the entire film – I don’t want to ruin it for those who haven’t yet seen it; but I will offer a few highlights.
Dani tries from the beginning to understand and acclimate. Her friends do not. They behave with arrogance from the beginning. The most egregious example of this takes place after two elders have sacrificed themselves (in this community it is customary for elders to commit suicide ritually at 72, giving their life force back to the community). Not only does the British couple desecrate the ritual, possibly causing it to go somewhat awry with the elderly man, but afterwards, when the bodies have been cremated and the ashes spread about a sacred tree that serves as a communal ancestor shrine, one of the young men, after watching the spreading of the ashes, decides he has to take a piss on that tree. It would be laughable if it wasn’t so pathetic. He was incapable of recognizing it as sacred, even when they attempted to explain it to him. (He gets exactly what he deserves and I cheered out loud when that happened). There are several instances of desecration and violation of sacred spaces by the group, each one bringing the appropriate penalty.
Dani, on the other hand, tries to make herself useful and while obviously out of her element, participates in tasks and even in the ritual, winning the role of “may queen,” a ceremonial role that involves blessing the fields and land. In the end, it is Dany who chooses the final sacrifice indicating her new role as a functioning member of this Pagan community, and that she has left her old, dysfunctional life behind. It’s powerful and moved me to tears more than once. At the end, she is robed in a glorious cape of flowers, bright and indicative of growth and new life.
There were things I did not like. Firstly, until a certain age, all members of the tribe live communally. I thought this was ghastly. Of course, I also find the idea of being out in nature ghastly. Lol Thank you, no. I’ll take a hut on the edge of town, if you please. They also have a particularly bred line of deformed, mentally challenged children, ostensibly one per generation that serve as a type of oracle. My husband wasn’t bothered by this, but I was. I found it inappropriate. At least the elders made it clear he wasn’t the only oracle and he is given an important and functional role in the community, which was good. There were no “throw away” people like we have so often in our culture. I did think he was creepy-cool too. Finally, the Gods weren’t really mentioned. Their symbols were everywhere and if you knew how to read them Their presence was clear as letters on the page of a book but They weren’t actively mentioned save two times very vaguely. They should have been front and center.
On a positive note, the imagery is consistently beautiful. The community is assigned work as adults based on traits they show as children and there are several instances of boys and girls being shown apprenticing to adults. That was lovely. Pay attention to the illustrations on the walls and wall hangings. They tell you exactly what is going to occur. There is one tapestry hanging outside that shows the entire progress of a love spell…a very traditional spell involving pubic hair and/or menstrual blood found in more cultures than I can count and literally one can read it like an open book. (My second outcry in the theatre was to Christian when the girl working the spell makes him a little pie… LOL “Don’t eat that pie!” because I know that spell. Also, in the same scene, his drink is slightly darker than everyone else’s which indicates that the girl probably added her own special ingredient to the drink too!).
The runes were quite correct in every instance of their use. They could, as I said, also be read like an open book to tell you what was going to occur. At the beginning, for their opening communal meal, they have the tables set up in a huge othala, the symbol for home, inheritance, and a healthy community, which is then later changed to gebo as the time of sacrifice approaches. In one instance, Christian (and I don’t think his name was accidental, though the main focus of the movie is the grossness of modernity versus the beauty of tradition and community rather than explicitly Christianity vs. Polytheism) is about to have ritual sex with one of the village girls (approved by the elders because as a small community they need new breeding stock. I thought this qualified as cheating on Dani because he’d never had the courage to actually break up with her, but at the same time, they’d not visibly been behaving like a couple so it’s possible the young girl didn’t know. Then again, there’s always one in every community…). He comes in wearing a shirt with two inguz runes on his chest. In one is the rune tiewaz, which has a secondary meaning of masculine potency and in the other, a reversed algiz, which tells me he’s not living out the end of the movie. Lol. Inguz itself is indicative of fertility and Freyr – which tells you everything you need to know about how that scene is going to play out. Dani at one point wore a dress with a reversed raido and a dagaz on its side. I would have interpreted that as her journey ending in this place but how it ends and what that means as lying within her own power to determine. When Dani finds out what Christian has been up to, she breaks down but unlike her modern world where she would have been left to deal with this grief alone, the other women surround her, hold her, breath with her, mourn with her, and guide her through the pain. It was one of the most beautifully moving moments in the entire film.
The numbers mentioned in every instance add up to nine, (18, 36, 54, 72 – numerologically they add up to nine) which is very Odinic. The sacrifices made were also Odinic, particularly with the bear being such a potent image during the final ones; however, the holiday itself was the summer solstice and one would have expected it to center around Freyr far more. It was very cool that the Deity imagery was there but I kept finding myself confused because where I expected Vanic things, I got instead Odinic and vice versa. The was a nod to Nerthus in the role of the “May” Queen (ostensibly a May queen in June because it was still too cold to crown a May queen in actual May?): she’s put in a carriage and escorted around the perimeter of the village and fields and gets to bless everything. The names of the Gods were never, ever used though, as I’ve already noted, which was off-putting. I did like that offerings were buried in the earth: seeds, eggs, raw meat, etc. It reminded me of the Acerbot rite.
Finally, there are two willing sacrifices from the community and while they are given a drug to ease their way at the end before being burned, I think they should have had their throats cut to ensure they died cleanly and did not suffer. Still, the ending was beautiful and powerful and culminates with Dani ostensibly becoming a member of the community.
The biggest things that stood out for me were the examples of modern impiety in the face of what is obviously sacred. With the exception of Dani, every single one of her companions behaved in a way that was self-centered, rude, and just horrible when simple respect and hospitality of the guest would have carried them through had they thought of it (Christian also steals his friend’s dissertation idea, which shows his general lack of character. That’s a killable offense to an academic, or should be lol). They had no respect for the fact they were being welcomed into a sacred space for a very, very special series of rituals. Now that brings up a question that the movie leaves unanswered: namely, did Pelle select the group because he knew they would behave badly and thus render themselves lawful prey to be sacrificed, or could it have gone either way dependent on their behavior? (Dani was an unexpected addition so she was a wild card from the beginning). I like to think the latter.
Overall, the message of the movie was one of the value of piety and tradition against the way that modernity isolates us from all that is wholesome. It was the story of one woman’s journey into health and healing, into sacred consciousness, and joy culminating in her turning away from destructive modern attitudes and the pollution they so often bring and finding acceptance in a family rooted in caring for the land, honoring the Gods, remember the ancestors (and not pissing on their shrine >_<), and celebrating each other. It is every bit as powerful as the “Wicker Man” (though I still prefer Wicker Man for reasons of pace and some stylistic elements. Also, in the “Wicker Man,” the Gods are named, which adds to it immensely).
I highly recommend this movie and give five out of five hallucinogenic mushrooms. 🙂