INTERVIEW: Nathaniel J. Harris

Mandrake: Nathaniel, can you begin by telling us a little about your book, and why you wrote it?

I only expected to sell a very few copies, primarily to friends of the family and those who turn up for the 'Annual Witchcraft Seminars'. Since I was going to all this effort, I decided to post an advert or two on the internet to see if anyone else wanted one. Much to my surprise the book proved to be a lot more popular than I expected, selling 100 copies in no time at all. I could and would have sold more, but the amount of money and time it took to create each copy meant that I was not only running at a near loss much of the time, but I was also working very hard just to keep up with the orders. Thankfully, you people came along and made the current edition available to a wider market.

Mandrake: Can you tell us a little more concerning 'The House of the Old Ways'?

Nathaniel: The House of the Old Ways is my 'parent coven', quite literally and not at all metaphorically! It was formed by my mother and stepfather, and if it needs justification to its lineage, I guess this comes through the hereditary witchcraft on her side of the family. Although both are also initiates of other streams of witchcraft, the House of the Old ways exists independently of any other organisation or lineage.

Judging from what I see written, and the claims I have heard people make, we are a lot more humble than many other covens or groups out there these days. We meet to support each other in our rituals, which are both spiritual/meditational, and results orientated. Most of us are very quiet individuals with no desires for fame, power, or any of that nonsense. We do not claim to be the guardians of any great and lost Mysteries, although we do have direct contact with spiritual entities and occasionally it must be said that some of them do make such claims! Most psychics have met entities like that. Personally, we listen them out, and banish them is they start talking rubbish. Nor does the House of the Old Ways make any of those silly claims about being 'guardians of the Land' or of sacred sites.

I know others have made claims to hereditary lineage, and used it to con there way into positions of supposed power, or spokespersons for Traditional Witchcraft, and so on. We make no such claims, nor do we recognise any such claims made by others as valid. Witches are strong minded individualists, it is one of the things that makes us what we are. We do not need 'leaders', or followers for that matter. If we wanted them, we would have them. If one wishes to become as a thousand, one merely has to attract a whole load of zeros.

Mandrake: You said that Witchcraft does not have leaders. But there are leaders and elders in the Craft. Among them those who have published very influential works, as well as raising the profile of the Craft to a wider public. Also, covens tend to have hierarchies led by High Priestesses and High Priests. So please, could you clarify your point?

Nathaniel: In one of Terry Pratchet's very funny 'Discworld' novels, he says that "Witches do not have leaders, and Granny Weatherwax is one of the best leaders that they do not have." No-one can deny that there are influential people in the craft who could be said to lead by example. Yet any good Magister or Priestess will tell you that they are not really a leader in the sense that a church or a government has leaders. This is why we meet in circles, after all, as a sign that we are all equal, or are supposed to be.

Mandrake: In your book it says that you are the 'Fool' or 'Dubh Sidh' of the House of the Old Ways. Can you tell us a little more about what this means?

Nathaniel: In the House of the Old Ways, the position of 'Fool' is one of sanctioned rebellion. My job is to make sure nobody takes themselves too seriously, or disappears up their own backside. In a sense this position may be likened to the role of the Lord of Misrule, called also in European tradition as the Anti-Pope, the embodiment of the formulae of inversion as seen in the traditional 'Invisible Days', the Black Mass, or even in the reversal of the runic alphabet. Hence, too, the office is associated with the forces of darkness. Dubh Sidh is Gaelic, meaning 'Dark Phaerie'. So, whilst my position may involve poking fun here and there, it is in another sense a serious responsibility.

Mandrake: You call your work Witcha, A Book of Cunning. The meaning of this is explained in the introduction. Could you please say a little more?

Nathaniel: Witcha is an Old English word, properly spelt as wicca, which has been misappropriated and commonly mispronounced in the modern day. It means the use of witchcraft, implying specifically a male practitioner. The female equivalent is wicche.

The word 'cunning' has its roots in the runic tradition. Indeed a rune of our own Old English Alphabet bares the name 'cunning'. It implies the knowledge of sorcery, also mastery of language, poetry, and generally being clever. The term was later employed in relation to cunning folk, who were what in East Anglia later became called 'white witches', being those witches who were useful to their community. Modern academic texts, such as the excellent and highly recommended works of Professor Owen Davies, tend to over emphasise the idea that there was one path called the 'cunning', and another called the 'witch', and that these two were in conflict. Often, however, there was very little between the two. For example, Scott's Discovery of Witchcraft (1584) makes various references to the 'cunning witch'.

Mandrake: In Witcha, you state that your craft has come to your primarily through the hereditary stream of your family, and has its roots in East Anglia. Is there anything you would like to add to what you have already told us?

Nathaniel: There is not a lot to tell, really, compared to the outlandish mystical claims made by many others asserting hereditary lineages. The witchcraft in my family stretches back several generations. My mother, and my grandmother, both display unusual psychic talent and have run 'circles' of one kind or another during their lifetime. My Great Aunt, being my grandmother's sister, was the one who first informed my mother that she is of the witches, and taught her the first spells she employed. These were of the usual binding of poppets, and so on, formulae that one commonly associates with witchcraft and are well known today. The most influential member of our family, as far as witchcraft is concerned, is probably my Great Great Aunt Daisy Chapman, who was a witch and midwife operating in the Suffolk area. Unfortunately I never had the pleasure of meeting her in the flesh. She was the one who used to quietly encourage my mother by sending her letters and little packages with interesting things in. She, as well as other family members who have returned from whence they came, is honoured by name in our ancestral observances.

It must also be said, however, that ours is not a static and unchanging tradition with sacred rites passed through our lineage being unchanged for generations. Rather, we are each of us unique individuals. We do not always agree about everything, and this includes witchcraft!

Mandrake: In Witcha, you speak about the belief in fairies, or 'phaeries' as you give it, being a part of your tradition. What's all that about?

Nathaniel: To say that we believe in phaeries or 'pharisee' might be a little misleading, as most people think of this as a twee tradition kept amongst ignorant peasants. Yet it is the knowledge of these sometimes very frightening forces that might be considered the absolute crux of our witchcraft. Yet, too, it should be said that we are not really Pagans, as the word is commonly used today.

Mandrake: Here your viewpoint seems to differ greatly from others involved in the 'witchcraft revival'. You say you are not Pagan, yet believe in the Old Ones. Some might find this more than a little confusing. In Witcha, you describe yourself as Catholic. Can you explain this, please?

Nathaniel: That comment is only half a joke. I have never been baptised, nor do my family attend regular church services or support any organised religion. However, it may be more correct to call us 'nominally Catholic' rather than Pagan, as many of our formulae draw upon the powers written of in the classical 'goetic' grimoires of our tradition, and similar. Yet I think what must be stressed is that witchcraft itself is not a religion. We do not gather to 'worship' anything or anyone, even though we have regular first hand experience of the spiritual dimensions.

Mandrake:But you said that Witchcraft is not a religion?

Nathaniel: This is a difficult one as I most certainly do not wish to invalidate those out there who do practice their witchcraft as a part of a religion. Yet at the same time I think it is necessary to point out that world-wide, and even in the various approaches I encountered growing up amongst the witchcraft of East Anglia, there is no universal faith that unites us as witches. What we have in common is rather better described in my view as an arcarnum of practices and esoteric 'truths' that may only ever be realised on an individual level. For example a voodoo witch in New Orleans, a Malaysian witch of the mountains, a medieval cunning witch of East Anglia, a modern Pagan witch of England, a Taoist witch, a pre-Christian witch of Persia, or a sworn-in of the House of the Old Ways, all work according to essentially very different faiths. Yet at the same time we all work our witchcraft according to quintessentially similar formulae.

Historically witches have often been of a subversive and anarchic spirituality. Many would say that witchcraft is in fact the very antithesis not just of organised religion, but of fixed belief of any kind. Austin Osman Spare is probably the best known exponent of this approach to witchcraft in the modern day. Others of recent history, less known but probably no less responsible regarding shaping the current as it comes to us, have included the likes of Major General C. Fuller of the Golden Dawn, upon whose work Crowley based his Enochian translation of the Goetia. I think the Setanic witch priest Charles Pace was another, and his friend Cecil Williams who originally founded the Museum of Witchcraft. Hence the purpose of the 'sinister' rites of the Black Sabbat, which were quite akin to what more modern cultists might call deconditioning.

Mandrake: So do you believe in Gods, God, or Goddesses?

Nathaniel: I can only answer this personally, rather than speak for my family or 'tradition'. Previous generations of witches in my family were actually Christian. As I said, witchcraft is not a religion. They would have been Christian even if their craft had been something else entirely, such as tailors or carpenters. My mother and stepfather were drawn towards Pagan Witchcraft of one kind or another through their careers, but even they consider this approach to be a lot more modern than it pretends. Any tradition that has genuinely survived through the medieval period would have had to change and adapt with the times in order to survive. Thus, on the whole, many genuine old witchcraft traditions embraced what might be called 'nominally Catholic' formulae, which some might identify as older pagan traditions which have taken on new masques. Most modern covens, since they are also involved with the Pagan revival, have adopted Pagan formulae. We, however, are not reconstructionists. Rather, we are taking an ever evolving tradition into the modern, largely post-Christian, day.

As far as the existence or non-existence of gods is concerned, my opinion is that it is impossible to discuss such things in reasonable or logical terms. Perhaps they are a little like the 'non-existent' numbers that are used to solve certain otherwise impossible equations.

Mandrake: Some people may find your claims to hereditary lineage frustrating. After all, you cannot train to become hereditary, either you are or you are not. The only way to become such is to be either born into a witchcraft family, or marry into one. What point, then, is there in openly admitting your hereditary lineage?

Nathaniel: Firstly, to state my background is not a claim to personal power or knowledge. Rather, it explains my motivation for involving myself in witchcraft and magick in the first place. I did not begin my studies in order to become something that I was not already. I am a witch by birth, with natural talent, which has been nurtured over the years with training and study. This has included my becoming involved, in my youth, with other magical organisations. It is well known that I am a past Magister Templi of the Illuminates of Thanateros, and became involved in Chaos magic, for example. In the end, however, I outgrew these groups and 'returned to the fold', so to speak.

I appreciate that some may find my hereditary status frustrating. I have been accused of being elitist in the past. However, nobody is claiming that our way is better, purer, or in any other way more traditional or important than anybody else's witchcraft. To state that I am hereditary is simply fact, and is not said for any other reason.

I think the confusion here is caused because over the years many have raised their heads and claimed to be hereditary purely in order to claim some kind of power over other people. Usually these claims prove to be false over the years, or at least are never proven to be true.

Also, there are those who mistake my claim as saying that you absolutely have to be born a witch to be 'real'. I have never said this, nor would I. You do not have to be born into a witch family in order to be a witch, any more than being born into a family of accountants automatically makes you an accountant. However, if you are born into a family of accountants, and do want to be an accountant yourself, you are in for a head start. Yet you will still have to train and study just as hard as anybody else if you are going to be any good. In this case you might have someone who will show you the books, or grimoires in the case of witchcraft, and let you in to one or two secrets of the trade.

Finally, as I have said, most people will assume you are lying if you tell them you are a hereditary witch, anyway, and usually not without good reason.

Mandrake: Well, we've met your family, so we know you are not lying! Which perhaps brings us to your appearance on the National Geographic's documentary on witchcraft for the 'Taboo' series, which was made just as the first edition of Witcha came out. How was it that this programme came to be made?

Nathaniel: The researchers for the National Geographic contacted Graham of the Museum of Witchcraft, Boscastle, to make contact with genuine witches willing to be on international television. As you can imagine there were plenty who stepped forward but who could not stand up to the intense scrutiny these researchers needed to put any claims made through. No doubt there were other genuine witches who just did not need the grief of being scrutinised. In the end, they chose me, and also featured a family coven meeting held on the Eve of May. The programme, 'Taboo: Witchcraft' still repeats on the National Geographic channel once in a while. I received a letter from one of the researchers to say it was one of their highest rating documentaries. Nobody got an EMI for it, though. Perhaps they should have done!

Mandrake: Both on this documentary, and in Witcha, you speak of the Bible as a grimoire of witchcraft. No doubt this is something many people will have difficulty with, both amongst witches and Christians alike!

Nathaniel: Well, you know me, I never like to make things easy for people by telling them what they would rather hear. The Bible has a long tradition of employment within the witchcraft and cunning of Britain, and was often referred to in much the same way as it is in contemporary magical 'Christianity', such as the path of Santeria which actually bares many striking resemblances to our own traditions. Such comparisons were made in the documentary you mention.

Mandrake: Our books have often generated controversy and we couldn't help but notice that Witcha was attracting some very positive as well as very negative vibes - how do you feel about that?

Nathaniel: Well yes, as you know - whenever you put your head above the parapet there's always someone who wants to shoot you down. Goes with the territory I guess. Not sure why that is - human nature maybe. Like Gore Vidal said, 'Nothing is more pleasing than to see your friend's latest book on the remainder pile' - wicked thoughts. Maybe you know you've arrived when this happens. I'd expected some criticism of the book but not all this ad hominem stuff and attempts at character assassination, even attacks on my close family. These have included some 'old crafters' who seem to think I was treading on their toes, and one or two that have been a bit cross at my speaking so frankly about certain more sinister aspects. On the whole, though, much of this polava has come from those who hope to raise their own profile by attacking mine and the family's. At first I was a bit stung by it all but as the sales of the book rise and the positive comments more than outweigh the odd nutcase, I'm learning to let it wash over me. Anyway, how can anything be considered bad publicity if you've already openly admitted to practices of Black Witchcraft anyway? I'm not really as evil as some people would have it, yet at the same time it is often fun to play up to the 'Bad Boy of Witchcraft' image.

Mandrake: Didn't you appear on the 'Kilroy' show about 'Witchcraft Friend or Foe?' openly admitting to having cursed people in your previous career?

Nathaniel: Hell yes. They had heard of me because of the N.G. documentary and begged me to be on that show. I must say that when I got there I did feel like I had been particularly singled out for some bad press. Despite my protests that it had been a long time since I had been particularly keen to curse anyone, but that yes I did think it was sometimes justifiable, he insisted on calling me a Black Witch and I did not really complain about that. On the one hand he was saying that he did not believe in all this Mumbo Jumbo, and on the other he was saying that I should be arrested for my magical actions. The studio was like a lion's den, with me and a few other witches of other paths already keen to dissociate themselves from me due to whatever had been said previously, and some quite rabid Christians and 'sceptics' all around us. Incidentally, it was the last episode of his series recorded, and I was the last person on the show to receive his well rehearsed wannabe politician's handshake. After that his T.V. career ended and he became an object of public ridicule. Make of that what you will.

Mandrake: You are also a tattoo artist, and have done some fine work on Jasmine Deville. Could you tell us what attracted you to this art form?

Nathaniel: There is something very primordial and magical about tattooing. There are many people one meets who have had glyphs and signs tattooed upon them as a part of some magical act or self transformation. Although the tattooist themselves might not be a practitioner of witchcraft or magic, the very act of having these things prominently emblazoned in one's flesh seems to successfully connect us somehow to the powers behind the signs. Thus, I suppose, many so called primitive initiatory cults involve the marking of the flesh during the candidate's progression. The word 'tattoo' is actually Polynesian, and only added to our English vocabulary fairly recently. Our own word before then was 'stigma', and in the witchcraft cults this tattoo has been known as the 'Stigma Diaboli' or Mark of the Devil. These may have been hidden on the body, and may have been what the witchfinders were actually supposed to hav! e been looking for. Persecution records make record of marks made by the 'Devil' of the cult pricking the finger of the new initiate to make a permanent mark, as with two Northampton witches condemned in 1705, and the Scottish witches also. Robert Graves makes mention of this somewhere in the White Goddess. Also, the signs may identify us to one another, as with the Maori tribal markings that show your gods, family status, and history. With what has been called the 'Modern Primitive' movement within body art, we can see that many of our own culture have been actively seeking to regain some sense of the sacred or magical tattoo for ourselves. It thus only made sense that I should employ my artistic skills in this world, and the majority of my customers are those who are consciously connecting tattooing to their magical practices. I am largely self taught, as the methods I employ are manual rather than using the conventional tattoo gun. Nevertheless, I have a! lways hung around tattooists of one kind or another since about six years old. When I started tattooing, about ten years ago, I was fortunate in that I lived in London and knew many successful tattoo artists. I also had two rare chance meetings with tattoo artists whom I would personally describe as magicians of one kind or another- one who tattooed traditionally for the Yakuzza in Japan, and another who was a genuine Maori tattooist and who allowed me to sit in on a session with a customer. These events proved to me that I was on the right path.

Mandrake: well that's more than enough - thanks for being so frank - if folk want more there's the current book and another coming soon - watch this space.

But if you like interviews there's one with Mandrake's Mogg Morgan on the Avalonia website (www.avalonia.co.uk)

THE LONDON SANTERIA MEETUP GROUP

Events Workshops 2005

Workshop *SPIRITS OF THE CARIBBEAN* A Practical Introduction to Haitian Vodou 27 August 2005, 11am-5pm Dragon Hall - London WC2

You will learn: Safe methods of working with the Lwa (spirits) and Saints How to set up an altar Basic prayers and songs “Spells” and offerings for the spirits Recipes for baths and powders

For more information and to book, please go to: http://santeria.meetup.com/3/events/4441922/

Workshop *EGGUN - THE CULT OF THE ANCESTORS*
How to Integrating your Ancient Roots into your every-day life. 25 September 2005, 11am-5pm Dragon Hall - London WC2

Topics will include: Who are the Ancestors and what do they represent? Added value of working with the Ancestors How to make an Ancestor altar How to communicate with the Spirits of the Dead Divination systems Dream Work Ancestor veneration in Santeria Ancestor veneration in Shamanism

For more information and to book, please go to: http://santeria.meetup.com/3/events/4425912/

*HOODOO ROOTWORK COURSE - Part 1*
23 October 2005, 11am-5pm Dragon Hall - London WC2

This workshop – part 1 of 4 - will cover: The Ethics of Conjure, Baths, Scrubs, and Floor Washes Dressing the head and performing rub-downs Sprinkling and spraying Clients Compounding Incense and Smocking Clients Setting Lights Loadstone Magic Working with Spirits Graveyard Spells, Love Spells, Money Spells Sachets, Gris Gris, MoJo bags, Powders, oils and potions Sneaky tricks and more!

For more information and to book, please go to: http://santeria.meetup.com/3/events/4433681/

Workshop *THE SANTERIA EXPERIENCE*
20 November 2005, 11am-5pm Dragon Hall - London WC2

Topics will include: What is your role in Santeria? What are your responsibilities as a practitioner? What are Godparents? What are the responsibilities of Godparents? Is Santeria a Religion or is it a way of life? Understanding the “hierarchy” Finding the right godparent

For more information and to book, please go to: http://santeria.meetup.com/3/events/4433679/

Other Ongoing Events Projects:

*Espiritismo/Umbanda Mediumship Development Group Fortnightly Working with our ancestors is very important. A widely known saying in Santeria is "Ancestors before Orisha". We stand on the shoulders of those who have gone before us! Our ancestors can open the path for us or block our progress if they are unhappy or unsatisfied with what we do. We hold Misa Blanka, develop mediumship, work with Spiritual Guides as well as Eggun/Ancestors. For more information on the Misa Group please call 07729 863 390 or email: oyabale@...

*Orisha Dillogun Readings/Eggun Readings Upon request The Diloggun, or "Sixteen Cowries," (also called Los Caracoles in Spanish) is one form of Orisha Divination practiced in Cuba. These verses tell stories of mythological clients that are used to provide lessons and predictions. Usually they specify an offerings which should be made to receive certain blessings or avoid misfortune. For more information on readings please call 07729 863 390 or email: oyabale@...

*London Open Meetup Every 3rd Saturday of the month For times and location of the meetup please see http://santeria.meetup.com/3

The Rosicrucian Canons of Benedict Hilarion 1622

Ashé!
Selections from the Journal of Experimental Spirituality

isbn 1869928830 19.99UKP 200pp special hbk

isbn 1869928 806 10.99 Ashé is a multidisciplinary journal that explores the diverse avenues of modern spirituality, examining the ways individuals and groups push at the envelope of spiritual expression and contemplative practice. This collection brings together some of the best pieces from Ashé’s first year. This eclectic collection provides glimpses of spiritual experiences from across the spectrum of human diversity—Afro-Cuban Santeria, Buddhism, Hinduism, Osho Neo-Sannyas, William S. Burroughs, among others. Contents List: Introduction, editor The Meaning of Ashé, Baba Raul Canizares The Meaning of Prem, Baba Raul Canizares Shangri-La, Trebor Healey Maha Khumba Mela, Gail Gutradt Better Dead than Red, Sven Davisson Why I Loved the Ranch, Ma Dharmacharya The World Is Imperfect, Autumn Sun Pardee World Teacher, Ma Prem Jeevan Playback, Cabell MacLean Zimbu Xototl Time, Phil Hine Baboons, Mogg Morgan Babalu, Eric K. Lerner Odds Ends, F. R. Davisson Rocks, Ruth Moore Author bios

Liber T: Tarot of Stars Eternal by Roberto Negrini,
artwork by Andrea Serio

Liber T is a new rendering of the famous Crowley/Harris Tarot deck into what some might say is a more contemporary mode. The person who first drew my attention to the deck - assumed, perhaps rightly, that the pun on liberty was another blow in the 'fightback' against the current corporate copyright holders of Crowley / Harris deck. It is said that it can be difficult to gain the appropriate permissions to reproduce images from the old deck and there are rumours that those who have managed to do so have lived to regret the experience. How much of this is true - i dunno - but such are the rumours that go round bookfairs. Redrawing an image is one way to circumvent any existing copyrights - and the result is often quite pleasing - as in this case the colours seem fresher. The style is distinctly stellar. Overall this is a nice deck, and the artwork is of very high quality.

The deck is inspired by the OTOA although the current Outer Head of that Order says there is no formal connection or indeed approval of the deck. According to the rather informative page of Albion Lodge OTOA stands for 'Ordo Templis Orientis Antiquas' [whose] history . . based upon suggestive charters and few documentations about its historical facts. [Let's not forget that there were times when even Crowley mislaid the odd certificate!] In spite of this its egregoric power and dynamic has proved to be resistant to falling into sleep and forgetfulness. By this fact one can at least assume that the line is capable of a certain power. In a letter to Peter Koenig, Bertiaux said the following: "Whether or not the Jean-Maine lineage was linked to the OTO of Reuss probably can't be ever proven" (Bertiaux, letter dated 4 April 1990). So from this let us proceed in the history of an order that started in the same place as all other OTO bodies with Theodor Reuss.'

I garnered a lot of information on the deck from Diane Wilkes review for the http://www.tarotpassages.com/liber-t.htm principally that: the subtitle of the deck (Tarot of Stars Eternal) hints to the impetus behind this deck; the revisions to the Minors are based on the Decans, also known as the 36 Symbolic Constellations of the Egyptian Star Cult, the SIBU SEPESU (Eternal Stars). Negrini's sources of inspiration include Liber Hermetis of the Corpus Hermeticum, Indian (Vedic) astrology, Picatrix, and the writings of Agrippa and Bruno. The deck is intended for ritual use, based on the spread/ritual provided in the Little White Booklet (LWB).' There is also a useful table setting out the differences in keyword between the Crowley / Harris and Liber T. So probably a deck for those caught up in the OTOA trajectory, but may also be of interest to any lover of the Tarot. - mogg

Rise of the 'Zines

It's a sure sign that we are experiencing renewed growth of interest in things occultural when a whole bunch of new fanzines suddenly emerge from the shadows. Back in the 1980s there were dozens of fanzines - ranging from our own Nuit Isis, to Lightning Flash and Chaos International - most now ceased publication. But just recently a number of new 'zines have landed in my lair. The poshest is the very fine Strange Attractor - which has no title anywhere on the front cover but neverthless has a fine selection of extended forteana - Tim d'Arch Smith on Montague Summer, the Marquis de Sade and the British Society for the Study of Sex Psychology, and another informative offering from Justin Woodman on H P Lovecraft. My favourite is Lost Wax - Blackpool's Passed Attraction. This is an illustrated exploration of the famous wax works - now sadly closed. A very long time ago - when I was a teenager - I went to Blackpool along with a whole charabanc full of the folk in my street. Sooner or later we were drawn into the waxworks - and I was much intrigued by the 'adults only' section - which despite my youthful appearance, the attendant seemed to want us to see. Reputed to be a real anatomical museum full of medical curiousities and the horrible final acts of diseases such as syphilis, unchecked by the modern pharmacopoeia. Viewing such a museum at an impressionable age is one of those privileged moments - so I was pleased to see it preserved in text - I do hope the models are in storage and not melted down for candle wax.

Talking still of fanzines - at the other end of the scale - is Oracle Occult Magazine - a coated A4 very like Chaos International, but with a catholic range of material - aiming to bridge the gap between magick and witchcraft. Articles are well written ranging from Archaic Witchcraft, Voodoo, to Freemasonry - all interspersed with some intelligent and detailed reviews - as well as more occultural stuff such as Steven Ashe's article on Picasso. So all in all, a welcome addition - and worth supporting at £3.50 (£21 for first six issues - which it is planned to issue annually - which might be a bit optimistic.)

For details of both these publications visit:
www.oracleoccult.com (actually Mandrake.uk.net also has some stock)
and
www.strangeattractor.co.uk

Oh yes while I'm at it - have a another very witchy magazine called Dragonswood - which although very much in the Pentacle/Pagan Dawn type genre has a few surprises and is edited by some very cool dudes from Peterborough - worthy of support from www.dragonswood.org.uk

Smallest of the lot - but still packing a punch is the latest edition of Hem Neter - newsletter of the Oxford Golden Dawn Occult Society - available for a modest £2 from trisburden@... (paypal available)

Well that's your holiday reading sorted - have fun - mogg

Metamorphic Ritual Theatre

Groups

Bath Omphalos, a Moot for LHP magicos in Bath area. For more details contact omphalospaganmoot@.... Essentially a discussion group at the moment, open to all. The first speaker meeting is

Conferences

Theosophical History Conference

Saturday 2 and Sunday 3 July 2005

Venue: The Theosophical Society in England, 50 Gloucester Place, London W1U 8EA

For more details please check www.theosophical.society.org.uk, also email info@...

The speakers include:
Dr Nicholas Goodrick-Clarke ''From Theosophy to Jungian Psychology, the esoteric progression of G.R.S. Mead'',

R.A. Gilbert ''Confluent streams of thought: the theory and practice of spirituality in the work of G.R.S. mead and A.E. Waite''

Michael Gomes ''The enduring relevance of HPB''

Jean Overton Fuller''The Besant Leadbeater presentation of Theosophy'' .

Kim Farnell ''The occult life of Bulwer Lytton''.

Kim Farnell will also do a presentation for the release of her new book ''Mystical Vampire. The Life and Works of Mabel Collins'' published by Mandrake on Sunday at 2: 15pm.

Next Witchcraft seminar 23rd October 2005

Ludlow Esoteric Conference and Occult Book Fair

At the Assembly Rooms Ludlow Shropshire on sat 11 June 2005 from 10.30am till 6pm, has finalised its line up and is as follows:-
11am Mark Olly Mysterious Bible (the bits that got left out and why)
12 noon Prof Roly Rotherham The Bloodcult of the Holy Grail
1pm - 2pm lunch
2pm Geraldine Beskin (Atlantis Bookshop) 'Crowley, the Man Behind the Mask'
3pm Dr Owen Davies 19c Cunning Folk and Their Practises
4pm John Billingsley (Northern Earth) Celtic Head Cults


Stalls Only books and the printed word regarding the subject. It is a deliberate policy of the organiser to exclude crystals, nag champa etc as they are more then catered for elsewhere.

Present on the day, the 2nd hand occult book dealers, Apra Books, Midian and Libra Aries. Atlantis Bookshop. Oak Magic Publications. John Billingsley, Anna Franklin and the acclaimed author of several occult books Nigel Pennick all with their books to sell on the day. Also the magazines Verdelet (sponsor of the event) Mike Howard with The Cauldron.

The Hedgewytch White Dragon. Interest is running high and booking tickets is advisable particularly if you are coming from a long way. Catering will be available on the day. There is good parking in Ludlow and trains from Manchester, via Shrewsbury. Bristol and Cardiff via Newport. Tickets are £10 each pay Verdelet and are from PO Box 58 Craven Arms Shropshire SY7 8WG Gary Nottingham (organiser) 'Be there, or be somewhere else'