"Red as blood, white as snow, black as a raven's wing…." These three colors appear again and again in folklore the world over, but why? What is it about this triad that exerts such power on our collective imaginations?
Responses to a recent tweet by Pete Buttigieg rightly called out the presidential candidate for his use of the phrase "American Heartland" as "code for white." The incident raises interesting linguistic questions about how we unpack complex cultural metaphors.
Our knowledge, instead of leading us to certainty, betrays us — guiding us deeper into the confused complexity of the forest, the dark wilds of unknowing. This is holy bewilderment. This is the horizon that is forever receding and can never be reached; the periphery that is everywhere and nowhere. We find ourselves spinning in circles. We look for a centered self that isn’t there, and when we find it, it is deeply bizarre. We are confronted by an Other that can never be centered or normalized. This is the call of the Wild One. Welcome to the hunt...
Have you ever heard of a murder of crows? I strongly believe that the mass noun term for poets should be bureaucracy. Singly, poets have this reputation for being sensitive, articulate, deeply strange and haunted — not to say enlightened — creatures who drift through life with the veils lifted and the doors of perception open.
Don't be fooled.
When my friend Carl McColman says that language is tricky, and that God is bigger than the limits of the human mind, we might imagine our words are just so many rigged-up rubber bands, paper clips and packing tape with which we are, MacGyver-style, trying to capture a wild and mighty wind.
Yet our words are our own breath given form by our body and its movements, and where else have we drawn that breath but from the winds themselves? Our speaking is a shaping of the wind within us, released back into the wild to work its way into someone else's body, moving with the ebb and flow of sound waves, pressing in against their eardrums, stirring the tiny hairs of their skin.
To talk about language this way is to break out of the metaphor of objects and containers, and to see words as experiences in themselves.
I don't want to live in a world where we are no longer allowed to ask each other for kindness and respect. I don't want to live in a world where one person's anger is more important than another person's pain. I don't want to live in a world where our only recourse if we want to be heard is to raise our voices more and more loudly and force our anger onto others.
I would rather learn how to turn my anger into something beautiful and powerful that cannot be ignored, than to waste it in ways that can be dismissed because of my "tone." I would rather turn my rage into an agent of compassion, than use it as a weapon against those who have hurt me.
I'm working hard to make Hipster Paganism a thing. Now that Pagan means Wiccan, and polytheist means Pagan, it's only a matter of time before the People We're Embarrassed By start calling themselves polytheists and recons. (It's already starting.) I for one am embracing this endless cycle by bringing "Pagan" back... but in, like, an ironic way.
Read... Things Hipster Pagans Say
Embarrassment has been a hot topic in the Pagan blogosphere this week, and it has me thinking about my own relationship with the Pagan community. But it also has me pondering my relationship with embarrassment itself. I learned early on that when others perceived my embarrassment, they almost always assumed that it was because I was ashamed of myself, and I was encouraged — in all the subtle ways that culture shapes the individual psyche — to turn a critical eye on my embarrassment and question how it might reflect my various flaws. Maybe this is because, in our culture, male embarrassment is more often perceived as a value judgment about others, while female embarrassment is interpreted as a response to personal failing.
That word for god — the breath, the gleaming — the shining days like great columns bearing up the sky, buttresses, rafters. Beams that in their falling, hold.
I say the names of my deities, I feel the drop of each sound into silence. They gather on the long, bent grasses in the meadow and the field, *dewos-, the many that glisten in the coming dark. Amulets of sky, jewels of the daylight, coalescing in the movement of my breath, the lingering touch of the wind. They draw themselves, wavering, into the weight and gravity of form.
I open the door, and the gods enter the dark interior of my being.
To me, Druidry will always be a kind of mysticism or mystery religion, a spiritual path grounded in the ecstasy, creativity and vision that takes root in wildness. As a religion, modern Druidry has grown up around the archetype of the Druid as the wise sage, the inspired poet, the bright-eyed seer and the lover of nature. That archetype of the Druid is the acorn from which the oak of Druidry as a religion grows and expands, reaching limbs in all directions, sending down roots deep into the earth and the present moment. The Druid archetype is the ideal that helps to shape and guide the religious lives of those who practice Druidry — just as the acorn contains within itself the genetic patterns necessary to create the mature oak, and yet each oak itself must draw nutrients from its immediate environment and will grow in its turn to fit its own place and time. No two oaks that grow in the wild will be the same, and that process of growth is never-ending as each new branch, twig, leaf and root seek their own way towards sunlight and soil.