contemplativeinquiry

This blog is about contemplative inquiry

Tag: Philip Carr-Gomm

INNERWORLD HARVESTING

The Innerworld has its own times and seasons. When I attune myself carefully, it speaks to me through images in the DruidCraft Tarot (1). Today (20 July) I encountered the 7 of Pentacles (above), with its image of winter harvest. A Druid, equipped with a golden sickle, takes mistletoe from a tree. Where is the wisdom here? What am I being told?

‘Take note of the obvious’ is an early thought. ‘Be willing to state it’. After ten years of contemplative inquiry, I am still anchored in Druidry. Yes: my practice forms are idiosyncratic and contemplatively inclined. Yes: my inquiry process is personal and self-directing. Yes: I continue to learn from other traditions and sources outside the traditions. But what I do comes out of an immersive OBOD training of many years and would not be the same without it. I continue to belong to the Order and identify with the modern Druid tradition. Being clear about this is a fruit of my inquiry.

The form of words that we know as the St. Patricks’ Prayer, alternatively as the Cry of the Deer, runs: “I arise today through the strength of heaven, light of sun, radiance of moon, splendour of fire, speed of lightning, swiftness of wind, depth of sea, stability of earth and firmness of rock”. In my own usage I think of ‘heaven’ simply as a sky or firmament word, majestically naturalistic. But my greatest sense of support comes from the words ‘stability of earth and firmness of rock’. The 7 of Pentacles Tarot image includes seven pentacle signs carved on to mossy rock. It is a strongly earth-related image. I feel grounded and affirmed by this powerfully Pagan imagery.

There is much more to be learned from the 7 of Pentacles image, but these obvious recognitions, easily taken for granted and thus overlooked, are a good place to start. They have allowed me to identify some fundamental understandings that my inquiry has provided, and to clarify its direction for the future.

(1) Philip and Stephanie Carr-Gomm The DruidCraft Tarot: Use the Magic of Wicca and Druidry to Guide Your Life London: Connections, 2004 (Illustrated by Will Worthington)

WISDOM AND NON-VIOLENCE

“The nature of reality is multidimensional and creative. … Our spontaneous experience is so rich and deep that we can never give a complete account of it in any language, be it mathematics, science, music or art” – Alan Drengson’s introduction to Arne Naess’ Ecology of Wisdom (1).

Arne Naess (1912-2009) was chair of philosophy at the University of Oslo, Norway, before resigning to devote himself to environmental problems and pioneer the field of deep ecology. For him, philosophy is deep exploration of our whole lives and context, “in a loving pursuit of living wisely” (1). His book Scepticism (2), is focused on Sextus Empiricus (150-225 CE), the last known known representative of a philosophy school founded by Pyrrho of Elis (c360-c272 BCE). Pyrrho himself spent time with Jains (gymnosophists = naked philosophers) and, probably, Buddhists, on an extended visit to India, and was influenced by them.

Pyrrhonists neither made truth claims nor denied the possibility of making them. Instead, they cultivated an attitude of suspension of judgement (epoche), allowing possibilities to stand open within the process of continuing inquiry. This turning away from the drive for intellectual closure enables peace of mind (ataraxia) in our engagement with the richness and diversity of experience. Pyrrhonists left questions open, without leaving the question. Naess says of Sextus: “he has given up his original, ultimate aim of gaining peace of mind by finding truth because it so happened that he came to peace of mind in another way”.

In his account of the Jains, Philip Carr-Gomm (3), shows how they might have influenced Pyrrho. Jain ethics is grounded in three principles: ahimsa, aparigraha, and anekant. Ahimsa is the doctrine of harmlessness or non-violence. Aparigraha is the doctrine of non-attachment, non-possessiveness or non-acquisition. Anekant is the doctrine of many-sidedness, multiple viewpoints, non-absolutism, or non-one-sidedness. The three principles can be seen as complementing and completing each other, with non-absolutism as the intellectual aspect of non-violence and non-attachment. The Pyrrhonist tradition, and its influence on Naess, seems to combine the Jain view of non-absolutism with the Buddhist view of equanimity and freedom from dukkha (suffering or dis-ease).

The approach – which I sometimes lose sight of myself – allows me to avoid what the Buddhist scholar Stephen Batchelor (4) calls “the language game ‘In Search of Truth'”, where “one is … tacitly encouraged to take a further step of affirming a division between ‘believers’ and ‘nonbelievers’, between those who have gained access to the truth and those who have not. This establishes the kind of cultish solidarity as well as hatred for others who fail to share one’s views. ‘When the word truth is uttered’ remarked the Italian philosopher Gianni Vattimo, ‘a shadow of violence is cast’. (4)

I have written on this topic at earlier points in my inquiry*. I have come back to it now, because I want to refine my understanding of ‘peace’ as a quality of inquiry. The liturgy of my daily Druid practice asks for ‘peace throughout the world’. How might I better demonstrate peace in the inquiry process itself? Inquiry processes, and even contemplative spiritualities, can include their own kinds of dogmatism and aggression. I have work to do, wisdom work, hopefully gentle to self and others, in this domain.

(1) Arne Naess Ecology of Wisdom UK: Penguin Books, 2016 (Penguin Modern Classic. First published 2008)

(2) Arne Naess Scepticism Abingdon, UK: Routledge, 1968

(3) Philip Carr-Gomm Seek Teachings Everywhere: Combining Druid Spirituality with Other Traditions Lewes, UK: Oak Tree Press, 2019 (Foreword by Peter Owen Jones)

(4) Stephen Batchelor Secular Buddhism: Imagining the Dharma in an Uncertain World New Haven & London: Yale University Press, 2017

*See also:

https://contemplativeinquiry.blog/25/04/19/spiritual-truth-claims/

https://contemplativeinquiry.blog/03/05/19/arne-naess-as-philosophical-vagabond/

https://contemplativeinquiry.blog/11/06/19/greg-goode-and-joyful-irony/

https://contemplativeinquiry.blog/19/01/20/scepticism-openness-and-flow/

LUNAR LIGHT

Today I felt settled enough in my new sacred space to consult the DruidCraft Tarot (1). It goes with a sense of full arrival in a new home and of readiness for a psychic check-in: what possibilities are latent or emerging in my journey through life?

I was presented with a three card narrative that I found encouraging. The first, the context that I am coming from, was the seven of wands with its sense of challenges successfully faced. The third, the Lady (DruidCraft’s Empress), heavily pregnant, points to abundance and fruition. But it was the middle card, the where-I-am-now card, that got my attention most. The Moon.

For me, the Moon points in particular to the deeper rhythms and tides of the unconscious, aspects of life that have their being outside the bright light of solar awareness, too easily edited out of my narrative identity. This is a world of powerful, yet dimly remembered dreams, unquiet moods and sensations, and half-articulate intuitions. There are qualities here, in this shadowy, softly lit world, to welcome and companion. They hide a distinctive wisdom of their own, unlike that of the image-conscious, yarn-spinning ego.

Much of my focus in recent years has been on the state I call, in ritual space, ‘the peace of the centre’ – sometimes the peace of the Goddess. This is well-anchored now and allows a more panoramic view. Under lunar influence, the peace of the centre is complemented by a perturbation of the margins, also part of the ecology of being human. The process of moving house has reminded me of my talents for anxiety and catastrophising ideation: limitations, perhaps, at times disabling. But they protect me from a blind trust in the world. They generate a wary alertness, and balance my deep sense of peace.

(1) Philip and Stephanie Carr-Gomm The DruidCraft Tarot: Use the Magic of Wicca and Druidry to Guide Your Life London: Connections, 2004 (Illustrated by Will Worthington)

CAILLEACH

I was on a train and had reached my destination. Descending onto the platform at 5.30 pm, I found myself in complete darkness. It might as well have been midnight. I understood that winter had come.

The Goddess in her cailleach, or crone, aspect presides over this time. She it is who determines the length and severity of winter. She is also embodied in the dark woman of knowledge who facilitates both death and transformation (1).

In the context of my contemplative inquiry/blog, I am experiencing a process of this kind, seemingly in a minor key. I want to call it ‘hibernation and renewal’, though I cannot predict how it will really be. In any event, I have decided to do no more posting until the new year. What happens then depends on what I am inspired to do at the time. But now is a time for surrender to endarkenment and sleep.

(1) Philip and Stephanie Carr-Gomm The DruidCraft Tarot: Use the Magic of Wicca and Druidry to Guide Your Life London: Connections, 2004. Illustrated by Will Worthington.

PEACE AS PURPOSE

This image, the 3 of Wands from The Druidcraft Tarot (1), is one of purposeful effort beginning to be rewarded. The process is gradual but the promise is there. A young man looks with confidence at the world in front of his eyes. He seems at ease with himself, a young man resting in peace.

He has never really died in me, despite the ups and downs of life. Indeed I am better connected with him now than when I was actually young. I sometimes bubble up with an energetic optimism unlinked to any particular context. Delusional? I don’t think so. It is more the sense of a true nature, ageless and timeless, sustaining me in every time and season.

The image on the card suggests a wider resiliency of nature and organic growth. The purpose and intention of the fire element is in alliance with the regenerative powers of the earth. The sun is seen indirectly in the health of the plant kingdom, and indeed of the young man himself.

I consider my own purpose at this time of my life. I think of some old Druid liturgy that I have re-written for my own practice, without much changing the original meaning: “Deep within my innermost being I find peace. Silently, within the stillness of this space, I cultivate peace. Heartfully, within the wider web of life, may I radiate peace”. I understand ‘peace’ to be an active agent in human affairs and not a passive or negative absence of conflict. It is a value, and stance, to understand and act on more deeply over time.

At the level of personality, I do not consider myself a natural for this form of witnessing and action. I am a work in progress, to say the least. Hence the importance of formal spiritual points of reference and a formal practice. I need these kinds of support. Writing this blog helps too. I see it as contributing to a peer community conversation. This community is not closely defined and is subject to change. It does not, in itself, provide any identity or role other than the reading and writing of posts. But it is good to have a purpose working within it. I aim, overall, heartfully to radiate peace, at least at the level of discourse and values.

(1) Philip and Stephanie Carr-Gomm The DruidCraft Tarot: Use the Magic of Wicca and Druidry to Guide Your Life London: Connections, 2004. Illustrated by Will Worthington.

DANCING SEAHORSES II

I have already written about the Dancing Seahorses image (1) found on a Pictish stone from Aberlemno in the Scottish county of Angus. After seeing the stone on a visit there, in 1992, I bought Marianne Lines’ painting. I have felt strongly involved with this image ever since. I think of it as a friend and guide. In a sense, this post is about the modern use of archaic images by people, like Druids, who are drawn to them.

I do not know the intentions of the original carver. beyond celebrating beings who are half of this world, half of the otherworld, and who embody powerful water energies for Celtic peoples on the Atlantic coasts of Britain, Ireland and Brittany in ancient times. They are remembered in folklore to this day. I do know that the carving made a strong impression on me, when I first saw it on the stone itself. It stayed in my imagination, and over time has deepened and grown new meanings.

Four years after acquiring the painting, I had the image tattooed on each arm. By that time I knew of the way in which it had influenced the cover design for R. J. Stewart’s The Prophetic Vision of Merlin (2). This variant form was used to refer to the story of the young Merlin at Vortigern’s subsidence prone tower in Snowdonia, prophesying his way out of becoming a human sacrifice, and identifying two contending dragons under the foundations. In the book illustration, there is a yin-yang reference, with a suggestions of interdependent primal forces, each of which already contains the seed of the other, seeking balance and alignment. In the Western Mysteries quest for healing and transfiguration, the energy bodies of the land and of humans are deeply interwoven.

There is another, more recent level of understanding, that I derive from the painting and tattoos, but not evident in The Prophetic Vision of Merlin. I see both the dancing seahorses and a second image, behind and containing the immediately apparent one. As I wrote before, “the space where the horses legs are raised defines a shape, suggesting a head. The very emptiness there is a paradoxical mark of presence. To me it became the head of a goddess, with the seahorses then becoming her body. Still clearly appearing as a water being, her arms – if they are arms – are raised in blessing”. I would now add that in this way, she demonstrates the dance of emptiness and form. They are balanced. Neither is privileged over the other. The Celtic knot points both to interconnection and infinity.

I identified the Goddess whilst gazing directly at the original Dancing Seahorses picture, which hangs of a wall directly above my altar. However I believe I received a subconscious nudge from the High Priestess card in The Druidcraft Tarot (3). She wears the image herself. Her hands are raised. She stands as the Goddess. In the Druidcraft narrative, she “represents the magical power of stillness and depth”. For me, the Goddess in Dancing Seahorses represents the ultimate union of emptiness and form, and the rebirth of the cosmos in each moment. Her representation combines the aware potential of the void and a primal aquatic generativity that can inhabit other elements. The Druidcraft priestess is human, but one who wears an image that bespeaks the divine to me, and her role asks for “stillness and depth”.

In my work, the entry into stillness and depth is, firstly, to enter into I-Thou communion with the primal Goddess (Modron) and then to recognise my own true nature, as (mythically) her divine child (Mabon) – sensitive and busted open to the world. This recognition becomes a prayer of gratitude and a surrender of my passing private concerns to Who I really am.

Words and pictures are not enough, but, cherished and contemplated lovingly over time, together they can point the way..

(1) https://contemplativeinquiry.blog/2020/06/25/dancing-seahorses/

(2) R. J. Stewart The Prophetic Vision of Merlin London & New York: Arkana, 1986

(3) Philip & Stephanie Carr-Gomm The Druidcraft Tarot: Use the Magic of Wicca and Druidry to Guide Your Life London: Connections, 2004 (Illustrated by Will Worthington)

PHILIP CARR-GOMM: DELICIOUS EMPTINESS

I attach a link to Philip Carr-Gomm’s podcast Delicious Emptiness, in his Tea with a Druid series. The series is produced by the Order of Bards Ovates and Druids (OBOD) which Philip led for over thirty years. The podcast beautifully describes meditation as a means of cultivating ‘delicious emptiness’ and its possible fruits. Highly recommended. OBOD can be found on http://www.druidry.org/ .

DRUID ALCHEMY

“In the foreground we see Brighid. She is both Brighid Goddess of the Holy Flame and Holy Well, and a woman in her service, a Fferyllt, or Druid Alchemist, who combines the powers of fire and water to create harmony, balance and transformation.

“In the traditions of the nineteenth and twentieth century Druid revival, the Fferyllt were Druid alchemists who were said to live in the magical city of Dinas Affaraon, in the mountains of Snowdonia. Much of the work of DruidCraft can be seen as an alchemical process of uniting and combining different elements of the self to achieve wholeness, illumination and a release of our creative potential.” (1)

The words and illustration above are from The Druidcraft Tarot, where the writers are Philip and Stephanie Carr-Gomm and the illustrator Will Worthington. The card in question is the trump numbered fourteen, conventionally named Temperance. Here, after the manner of C. G. Jung, it points to the work of psycho-spiritual development. Affirming the fundamental unity of spirit and matter, it encourages us to extend the bandwidth of our experience beyond that provided by our early conditioning in modern mainstream culture. This work is placed in the context of modern Druidry and modern Druid training – specifically that offered by OBOD (see http://www.druidry.org/}.

Philip Carr-Gomm discusses this further elsewhere: “Alchemical Magic involves working on yourself. It is called alchemical because in alchemy the idea is to change ‘base metal’ into gold, the ordinary into the extraordinary. Our goal is to do this with our own lives, our own selves.  That is much of the purpose of following a path such as Druidcraft. … The idea in alchemy is that you start with the ‘base metal’ that is equivalent to all the raw material that you possess as a personality and a soul. Then, by following a spiritual path, you gradually transform this into a quality of being which literally radiates. That is why people who are on this path often have a quality of youthfulness and life which is almost tangible.” (2)

To this day, I have a section in my regular practice liturgy in which I say: “a blessing on my life; a blessing on the work; a blessing on the land”. My use of ‘work’ is an alchemical reference, invoking the classical alchemical opus as a transformative metaphor. I experience this as among other things a healing work, in a healing container, though it might not always feel that way. We can take the legacy of painful, problematic and confusing experiences and find the hidden gold within them.

There can be another discovery too. Jungian-influenced therapist Matt Licata writes: “through this exploration, we come to discover that although suffering feels and is personal, it is also archetypal and, as the Buddha noted, universal in human experience. The invitation is to allow our broken hearts, confused minds and vulnerable emotional bodies to serve as a bridge to a place where we make embodied, loving contact with the ‘others’ in our lives – not only the external others but the inner others who have become lost along the way.”

(1) Philip and Stephanie Carr-Gomm The DruidCraft Tarot: Use the Magic of Wicca and Druidry to Guide Your Life London: Connections, 2004. Illustrated by Will Worthington.

(2) Philip Carr-Gomm The Magic of Wicca and Druidry Lewes, UK: Oak Tree Press, 2013

(3) Matt Licata A Healing Space: Befriending Ourselves in Difficult Times Boulder, CO: Sounds True, 2020

MR. BRAMBLE

In my mandala of the year (1), I have sixteen trees. In the quarter from Lughnasadh (or Lammas) to Samhain, these are apples, blackberry, hazel and rowan. Blackberry presides over the days from 24 August to 15 September.

My choices have as much to do with personal memories as with natural processes, traditional lore, or the ogham alphabet in which Blackberry is Muin. In England we have an August Bank Holiday in which the weekend is extended to include the last Monday of the month. This year it will be August 31st. I have early memories of blackberry picking walks during this holiday, with family groups doted around a wooded hillside, and an air of informal ritual. Although balmy days might follow, this was the final act of summer.

The plant, of course, is with us throughout the year. The Druid Plant Oracle (2) names it as Bramble. “If you have ever tried digging up Bramble roots, you will know how tenacious they are – they travel long and deep, and some root systems can cover a wide area and be of great age”. Blackberry was said to be the bush into which Lucifer fell when he was thrown out of Heaven. Bramble provided a challenge for the prince in Sleeping Beauty.

Bramble also provided much needed sustenance for the famished wayfarers in The Voyage of Maeldun. In Joanne Harris’ Blackberry Wine (3) a small rural community in the south of France is saved from unwanted gentrifying ‘development’ through the prickly stubbornness of key individuals. These, quietly supported by most of their community, defend their own vision of how to live in the face of personal, commercial and threatened legal pressures. Neglected flora, overlooked forms of intoxication and a little magic all contribute to the holding of a much loved space. Mr Bramble is a good friend to have.

(1) See the ‘house’ section of: https://contemplativeinquiry.blog/2020/08/12/meditation-wisdoms-house/

(2) Philip and Stephanie Carr-Gomm The Druid Plant Oracle: Working with the Flora of the Druid Tradition London: Connections, 2007 (Illustrated by Will Worthington)

(3) Joanne Harris Blackberry Wine London: Black Swan, 2000

(4) The image at the top is from John Matthews & Will Worthington The Green Man Oracle London: Connections, 2003

PRIMARY MATERIALS

 

“There are seven primary materials of the world: the Blue Bard of the Chair has said it.

“The first, earth, from which are every corporeity and hardness, and every firm foundation;

“The second, water, from which are every humour and freshness;

“The third, air, from which are all respiration and motion;

“The fourth, sun, from which are all heat and light;

“The fifth, nwyfre, from which are all feeling, affection, and wantonness;

“The sixth, the Holy Ghost, from Whom are all understanding, reason, awen, and sciences;

“The seventh, God, from Whom are all life, strength, and support, for ever and ever.

“And from these seven primary materials are every existence and animation; and may the whole be under God’s regulation. Amen.” (1)

The Barddas of Iolo Morganwg,  by J. Williams Ab Ithel, was published in 1862. It was presented as the lore of traditional Welsh Bardistry going back to Druid times, based on the earlier work of Iolo Morganwg (Edward Williams – 1747-1826). Iolo had organised the first Gorsedd of Bards for several hundred years at Primrose Hill, London, on 21 June 1792, thereby initiating the modern Welsh Eisteddfod movement. He was a personal friend of Tom Paine and George Washington subscribed to his first volume of poetry. He is said to have influenced William Blake’s poetry and Robert Graves’ The White Goddess.

Iolo described himself as a Unitarian Quaker in religion, and a revolutionary Welsh nationalist in politics. In the later 1790’s the Glamorgan magistrates sent the yeomanry (a volunteer cavalry force drawn from the property-owning classes) to break up an open-air Gorsedd led by Iolo in that county. The reason given was that it was being conducted in the Welsh language and allegedly included a toast for Napoleon – then admired by radicals as defender of the French revolution. This is also a time of revolt in Ireland and the birth of Irish republicanism.

Culturally, Iolo was, as well as a poet in his own right, “a first-rate forger of literary Welsh; some have commented that his forgeries were as good or better than the real thing. Furthermore, he wrote much of the Barddas under the influence of laudanum (an opium-based medicine which he took for asthma)” (1). In consequence he has been widely dismissed as an embarrassing fraud. My response is more complicated. There is something poignant for me about ‘forgeries’ that are “as good or better than the real thing”. On the forgery question, I am sad that Iolo could not openly be a catalyst for the creation of new culture inspired by an old one, rather than having to pretend, even to himself, that he was recovering an old one as it had been (in his own mind perhaps through psychic means). As for medicinal laudanum, I wonder why this should be stigmatised in Iolo whilst accepted in his contemporary S. T. Coleridge. It may be is because Coleridge’s work was unambiguously original, and therefore seen differently. The issue of new culture creation in Druidry is a significant one to this day and is well discussed in Philip Carr-Gomm’s preface to Contemplative Druidry (2) where the voices of a number of open culture creators are included.

Going back to The Seven Primary Materials of the World, I feel friendly to this text despite its patriarchal language and its statement of a world view significantly different from my own. In my reading, it suggests a seven-step ladder from matter to the divine, with four material elements that point also to non-material qualities, where the the fourth and highest is not on the Earth. Then there are two subtle elements (though the first finds room for ‘wantonness’) and an ultimate ascent to the divine. It is the kind of evolutionary spiritual scheme that many transcendentalists down the ages have related to. Written at the turn of the eighteenth and nineteenth centuries, and edited in mid Victorian times, it seems to me congruent with the outlook of medieval Welsh Bardistry as expressed in The Book of Taliesin (3), and the theology of the ninth century Irish scholar and contemplative mystic John Scotus Eriugena (4). It is a Christian referenced path that is not sin and fear based, and I am sure that many people involved in Druidry and Celtic Spirituality today would be in essential sympathy with it. Made up by Iolo or not, it reads as a clear and simple expression of a universalist and transcendentalist stance within a specific cultural setting. I find nothing fraudulent about it. It is what I would expect from place, time and person.

Indeed, key concepts remain relevant to my own Druid practice. I work with the wheel of the year and with the four classical elements, including fire. I am concerned with the Earth’s relationship to sun and moon. I work with my body and my sense of energy and think of nwyfre as synonymous with prana or chi, now well-known thanks to the popularity of yoga and Chinese energy arts.

At this stage in my personal journey, I am in renewed inquiry with awen. For the Barddas, it is a distinct higher mental faculty, close to the divine source like Coleridge’s primary imagination. In my own work I get a sense of energised and articulated insight. I do not think of awen as a substance in itself, but rather a quality of how we express ourselves when at our most enlivened and ‘on song’. But this inquiry is far from concluded.

Where the Barddas speaks of God, I speak of nature. I think of the web of life, and of our interbeing within it. I also think of the mysteries of quantum events, dimensions that we cannot perceive directly, galaxies flying apart and the possibility of multiple universes. But to me nature’s most extraordinary phenomenon is the gift of aware experiencing, with all the joy and suffering it brings, in the apparent here and now. To this I add the capacity to bear witness to this miracle through words, non-verbal media, silence, celebration and action. Here, I find myself still using most of the key terms from The Seven Primary Materials of the World. In this sense,  I am happy to have The Barddas of Iolo Morganwg as part of my spiritual ancestry.

  1. J. Williams Ab Ithel The Barddas of Ilo Morganwyg, Vol I & II: A Collection of Original Documents, Illustrative of Theology, Wisdom, and Usages of the Bardo-Druidic System of the Isle of Britain Forgotten Books, 2007 www.forgottenbooks.org (First published 1862)
  2. James Nichol Contemplative Druidry: People, Practice and Potential Amazon/Create Space, 2014 (Foreword by Philip Carr-Gomm)
  3. William F. Skene The Four Ancient Books of Wales Forgotten Books, 2007 www.forgottenbooks.org (First published 1868)
  4. https://contemplativeinquiry.blog/2014/07/12/the-eye-of-contemplation/ 

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