Book Review: A Witch’s Runes by Susan Sheppard

A Witch's Runes by Susan Sheppard Cover
She had me at the witch as gentle anarchist and lost me at “gypsy”.

In my wandering and varied research for my book, I kept coming across the witch’s runes.  You can find a plethora of them on Etsy.  I was really curious as to what they were, where they came from, their provenance really.  A little digging produced the book A Witch’s Runes by Susan Sheppard.  The subtitle How to Make and Use Your Own Magick Stones was right up my research alley.  I put in my request for a copy via Inter Library Loan along with the half a bajillion other books and waited.

I want to point out from the offset that I admire what Sheppard set out to do with the book.  With certain modern pagan paths’ penchants for making up traditions out of whole cloth there a real risk to viewing anything not steeped in hundreds of years of history as somehow lesser or illegitimate when it comes to the pagan faith.  I’ve read a lot of pagan books over the last year, and there is a trend of constantly looking back.  What Sheppard does in this book is create a new divination system, somewhere between runes and Tarot cards.  It’s an ambitious objective and it has certainly paid off: her book was first published in 1998 and the idea of witch’s runes has spread.

But (and you knew there was a but coming, right?) reading through the book was an uncomfortable stroll through cultural appropriation, slurs and handfuls of generalizations thrown in for good measure.  Sheppard’s approach is summed up on page 22: “But the witch honors all of the spiritual traditions that have preceded her.  She takes what works for her and makes use of its meanings.”  This set the tone for the book.

The thing is, it didn’t have to be this way.  Late in the book, on page 96, Sheppard mentions that her “…area of discipline is astrology.”  She talks about using the runes she has created “in the place of signs and planets and it works out fine.”  Knowing this, and seeing the table at the back of the book with planet, sign and element correspondences, I could see the potential for a divination tool made incorporating the zodiac and astrology.  I don’t understand why this isn’t what she did.

The only reasoning I can come up with is that urge I pointed out earlier, to try and tie any new Pagan ideas to the past.  For each rune, Sheppard tries to tie the symbolism to various older cultures: Egyptian, Pict, Anglo-Saxon, Akkadians, Mesopotamians, and of course the ubiquitous “gypsies”.  Occasionally she touches back on her astrological background, tying the Scythe to Scorpio and the planet Pluto.  But for the most part all the runes are presented as an amalgamation of symbols drawn from mostly western cultures.

I am writing Sew Craft with an eye to avoid appropriation, generalization, and giving Western traditions more importance than the rest of the world.  It is a fine line to travel, as I am aware that I can’t see all the pitfalls I might fall in while meaning well. As I work, reading books like A Witch’s Runes keeps me mindful of respecting the history of my sources.

 

Cross Stitch: SF Swear Words

I’m a word nerd and a science fiction geek.  I also love to swear.  Like, really fucking love to curse. My swearing is sometimes a problem (like when my children started dropping f-bombs as toddlers).  But mostly swearing offers me a release for frustration.  (Also, swearing has its benefits.)

Which is why I love science fictional swearing.  You get to express your anger in a way that won’t lead to judgmental looks from those around you.

This cross stitch sampler is my love letter to the swears used throughout fandom.  The pictured sampler was stitched on white 14 count Aida cloth using two strands of floss.  Download the free chart by clicking on the download button below, or clicking here.

Download Icon

If you get your stitch and bitch on, please post a picture in the comments.  I’d love to see how it turns out for you.

Sew Craft: Research Reading List

I have spent the last year on research for Sew Craft.  I’ve made liberal use of the interlibrary loan department of my local library to get a hold of various books on two main topics: sewing and magic.  As much as I love research, though, there comes a time when you need to put butt in chair and write (or sew).

Below is an incomplete list of the books I’ve read over the last year.  I left off the books on gardening, fashion and pattern-making that weren’t being used for research. They’re presented in no particular order, and mostly just as a demonstration of what is involved in writing a book.

  1. The Herbal Alchemist’s Handbook by Karen Harrison
  2. By Spellbook & Candle by Mélusine Draco
  3. The Point of the Needle by Dorothy Bromiley Phelan
  4. The Dress Detective by Ingrid Mida & Alexandra Kim
  5. Old World Witchcraft by Raven Grimassi
  6. The Book of English Magic by Phillip Carr-Gromm & Richard Heygate
  7. The Tradition of Household Spirits by Claude LeCouteaux
  8. Irish Witchcraft from an Irish Witch by Lora O’Brien
  9. The devil’s Cloth by Michel Pastoureau
  10. Trolldom by Johannes Björn Gardbäck
  11. Made from Scratch: Reclaiming the Pleasures of the American Hearth by Jean Zimmerman
  12. Clearing Spaces by Khi Armand
  13. Empire of Cotton by Sven Beckert
  14. The Subversive Stitch by Rozsika Parker
  15. A Grimoire for Modern Cunningfolk by Peter Paddon
  16. Nomadic Felts by Stephanie Bunn
  17. Printed Textiles by Linda Eaton
  18. The Good Witch’s Guide by Shawn Robbins & Charity Bedell
  19. A History of Witchcraft by Jeffrey B. Russell & Brooks Alexander
  20. The Hearth Witch’s Compendium by Anna Franklin
  21. Farmhouse Witchcraft by Penny Parker
  22. The Witch’s Cauldron by Laura Tempest Zakroff
  23. A Witch’s Guide to Faery Folk by Edain McCoy
  24. Grimoire of a Kitchen Witch by Rachel Patterson
  25. A Witch’s World of Magick by Melanie Marquis
  26. Hedgewitch by Silver Ravenwolf
  27. The Flame and the Cauldron by Orion Foxwood
  28. A Witch’s Halloween by Gerina Dunwich
  29. Earth Power by Scott Cunningham
  30. Cunning-folk: Popular Magic in English History by Owen davies
  31. Cunningfolk & Familiar Spirits: Shamanistic Visionary Traditions in Early Modern British Witchcraft and Magic by Emma Wilby
  32. The Cunningman’s Handbook by Jim Baker
  33. Green Witchcraft by Ann Moura
  34. Muslin by Sonia Ashmore
  35. Textiles: The Whole Story by Beverly Gordon
  36. Forgotten Ways for Modern Days by Rachelle Blondel
  37. Natural Color by Sasha Duerr
  38. Women’s Work by Elizabeth Wayland Barber
  39. Practical Sigil Magic by Frater U.D.
  40. A Witch’s Runes by Susan Sheppard
  41. Homemade Magic by Lon Milo DuQuette
  42. The Book of Forgotten Crafts by Paul Felix, Siân Ellis & Tom Quinn
  43. Witchy Crafts: 60 Enchanted Projects for the Creative Witch by Lexa Olick

 

Plarn: It’s Crafting and Magical Uses

I’ve written before on the magical correspondences of various fabrics.  My focus there was on natural fibers (cotton, linen, wool and silk).  Not all crafters and sewists limit themselves to natural materials, though.  In fact I’d hazard to guess that very few do.  One could, I suppose, use only silk or cotton thread, eschew plastic buttons for only metal, wood, bone or horn, leave out zippers or plastic snaps, as well as iron on interfacing, etc.

There is an emphasis on only using natural materials in ritual and magic crafts.  While I can understand the reasoning behind it, I find the insistence to border on classism and elitism.  Not everyone can afford or has access only natural materials.  And, when we get down to it, everything comes from the earth in one form or another.  Everything is ultimately natural when it’s roots are traced back to its beginnings.  Even plastic.

Magick in the Plastic

Our witch ancestors didn’t use colored candles, or have access to the array of crystals and herbs available online.  And some might have turned their noses up at colored ribbons, grocery store herbs and store bought besoms as not “traditional” tools.  I think it behooves modern witches to see how the practice of witchcraft and magick have changed over the centuries, adapting as new technologies and products have come available, and be open to using materials that might strike us at first as non-magickal.

I’d go even farther to argue that plastic is decidedly magical.  It is alchemy at its most refined.  Taking the remains of dinosaurs and creating a material which is named after its defining characteristic: its shapeshifting ability.

Yes, plastic does have its drawbacks, its production and longevity make it a serious hazard for the environment.  This doesn’t exclude it from being considered a natural material, though.  The elements have their destructive aspects.  Sheep rearing, silk making, cotton farming and linen production all have their affects on the environment as well.

So, how do we approach plastic as a magical tool?  One way is through making and using plarn: yarn made from plastic bags.  Many crafters have found clever and practical uses for plarn, from making lightweight and rugged bedrolls for the homeless to arts and crafts to sell to support their families.  Plarn has the added benefit of removing plastic bags—one of the hardest items to recycle–from the system.

Plarn Correspondences

Let’s start with a few correspondences.  These are associations I have made on my own through study and meditation.  They are not meant to be set in stone, and if they don’t ring true to you, feel free to form your own correspondences.

  • Deities: Cerridwen, Janus, Kali, Oya (deities of change and transformation)
  • Element: Air
  • Color: White
  • Themes/uses: transformation, durability, flexibility, change

Making plarn is a straightforward process that lends itself to a meditative practice.  Use it just as you would yarn to crochet or finger weave a variety of items, or spin it into thread.  You can make tote bags, mats, jewelry, and baskets.

Client Spotlight: Moira

While sewing, for me, is mostly a commercial pursuit, I have long associated it with love, not money.  I don’t mean that in the sense of I’m not getting rich as a sewist.  I mean that the first sewing I was exposed to were the stuffed animals and doll clothes my grandmother made for me and my cousins.  My mother sews clothes for my children.  My aunts sew quilts for their families.  Sewing has always been an expression of love in my family.  And though the majority of my sewing goes to items for sale, that doesn’t mean I don’t also sew for love.

The dress I made for my friend Moira is no exception.  When she approached me to make her wedding dress, I was so happy and excited to do it.  And though my entry here is listed as “client spotlight” and though Moira paid me, that doesn’t negate the love I put into making her gown.  I wouldn’t be at her nuptials in body, so my joy and well wishes for her and her beau would travel along in the dress.

Frida Esperanza by Alexander Henry
The fabric features cartoon renderings of several of Frida Kahlo’s self portraits.

Moira is an artist of the beautifully macabre.  This of course means she wasn’t looking for a white satin gown for her wedding.  What she came to me with was the idea for a 1960s cocktail dress that she could wear to other events.  We took measurements and she went on the hunt for fabric.  That fabric happened to be a cotton print by Alexander Henry called Frida Esperanza.

My first order of business was to do a tissue fitting.  Moira is a tall, curvy gal which made a couple fittings necessary to make sure everything fit perfectly.  I use the method I learned from the book Fit for Real People which involves pinning the tissue pattern together, trying it on, and marking any changes directly onto the paper.  For Moira we had to take into account that her bust apex was lower than in the pattern, widening the back and waist, and making sure the kimono cut sleeves allowed her ample movement.

After the tissue fitting I put together a muslin.  When you are altering a pattern there are so many adjustments that need to be made, a muslin is the only way to make sure you don’t miss something.  And since Moira had brought me just enough of the fabric to make the dress, I didn’t want to make a mistake that would put me in danger of running out.

Moira's Muslin
I have no clever reason for using two different colors of muslin here. I just grabbed what was closest and had enough yardage from my stash.

The muslin fitting brought to light other fit issues.  I had dropped the bust darts down, and had made the waist darts in the bodice narrower.  I had also added an inch to the center back.  Even so, there was still a large gap at the midsection.  This seems to be a common problem for those of us with larger busts.  Unless we are employing bras that also double as rigging for a sloop, the weight of larger breasts pulls them lower than those of our perkier, smaller busted sisters.  This means that the point of largest width ends up lower than patterns take into account.  By adding the extra inch to the back, I ended up with a gap that overlapped at the neck, but couldn’t close the rest of the way down.

I marked a bunch of notes right onto the fabric as Moira patiently waited, turning right and left, lifting her arms or sitting as I made my notes.  I kept telling her not to suck in, as I wanted the dress to fit her, not try to fit her body to the dress.

Now it was time to commit to cutting out the adjusted pattern from the final fabric.  Even here I had to make some more changes.  The original pattern calls for cutting the front bodice in two pieces and then sewing the center seam together.  Doing that with the print would cause a headache of trying to make sure I didn’t have Franken-Fridas on my friend’s bust.  Instead I cut the bodice on the fold.  Eliminating the center seam gave me a little extra room, too.

I dropped the back waist darts, which gave me the room I needed to make sure the fit was right, and there wasn’t going to be any tightness.  For the extra fabric at the top of the bodice, I put a box pleat in each shoulder.  This kept my center back straight.  Sometimes a tuck or a fold is just what you need to make things fit, then it becomes a design element!

I will be honest that when Moira showed up to pick up the dress I held my breath while I zipped her up into it.  I wanted so very much for the dress to fit like a hug from a friend.  And it did!  She looked so lovely twirling around in my workshop, staid Frida’s looking on in approval.

Moira Wedding Dress

And here is the bride in her dress at her wedding at a mini-golf course / wedding chapel.  I can’t express how much it meant to me that Moira asked me to make her wedding dress.  Again, I never thought I would work on bridal gowns, and I really am not.  Instead, I am adding my love for my friend to her wedding, helping to amplify the happiness of the day.

 

Book Announcement: Sew Craft

I’m excited to announce that Llewellyn Worldwide will be publishing my book Sew Craft: A Sewist’s Book of Shadows.  If you want to see what kind of book it will be you can read my posts on the magical properties of fabric and dream pillows.  There will be projects and rituals, as well as much of the lore and information I’ve picked up in the last year of research into magick and sewing.

From as long as I can remember I have written.  Before I could form letters or words I would scribble stories.  To finally realize my goal of getting my work published is amazing.  This project is going to consume most of my waking hours over the next few months.  Fortunately, now that summer break is over, I have more time to devote to it.

I’m not going anywhere, though.  I will still be posting here about commissions and events and whatever else pops into my head.  And I’ll be posting about the book, because eventually I’m sure that Stephan and my kids are going to get tired of me goobing over it.

A very happy Solar Eclipse to you all.  I hope it sees the start of something good for each and every one of you.

Event Report: Made in Nerdwaukee Tent Sale

Back in March I vended at TINY HANDS craft show to benefit Planned Parenthood.  It was a great experience, not only for the money I made, but because I had forgotten how empowering it can be to spend time with artists and crafters who are passionate about their work.  Most conventions I vend at I’m often stuck in the booth, so I don’t get much time to chat with other vendors, and often the other vendors are reselling mass produced items.  So there’s not a lot of opportunities for me to soak in the creative vibes that come from being surrounded by makers.

I made a note in my journal that I wanted to find more geek-friendly craft fairs to vend at.  This led me to the Made in Nerdwaukee Tent Sale hosted by 42 Ale House.  This is the third Made in Nerwaukee event 42 Ale House has hosted.  Last year they had the tent sale and then a Christmas event, all featuring crafters from the area.  From what I had heard from the grapevine, it was a good, low-key craft fair with the added benefit of being hosted by a bar so one had accesses to alcoholic refreshment.

While I love travelling to Milwaukee because I get to hang out with fellow crafter and friend, Moira, this trip was special.  For the first time I allowed myself to get excited about vending.  Where before I was always riddled with guilt about either dragging my family along with me, or leaving them behind, I had finally decided to embrace the fact that this is my job.  Not only that, but this is a job I enjoy and having fun with what I do is not something to be ashamed about.

I spent the three days before heading out on prep work instead of my usual frantic hustle to get one last skirt or bag done.  I made signage and worked on displays and crafted little sewing gnomes and skull carrying unicorns.  Most importantly, I actively worked on keeping my anxiety levels low, and my anticipation of having a good time high.

Cross Stitch Signs
An example of the signage I worked up for Nerdwaukee. I really like the simplicity of the sign, and it does go along with my evolving booth aesthetic.

Come Saturday I was up, showered and dressed, and had the Jeep packed by 7:45 am, a minor miracle around these parts.  A quick stop for caffeine and breakfast saw me on the road by 8:00.  I headed up to Milwaukee blasting Electric Six, and letting my phone’s GPS guide my way.

I love road trips.  I grew up in Wyoming where they are necessary for everything from visiting relatives to getting groceries.  Driving I-94 from Chicago to Milwaukee isn’t the same as a stretch of US-20 between Worland and Cody.  It’s not without it’s charms, though.

Made in Nerdwaukee was thoroughly charming.  Moira’s booth was to the right of me.  To the left was Copper Chicken run by Nichole, who makes wonderfully geeky pillows.  I also finally met Michelle of Crafted in the flesh after a year or more of knowing about her through Moira.  Sitting in shady tent, sipping on a cider and chatting with customers was the perfect way to spend a Saturday.  I was even introduced to a Wisconsin staple—cheese curds—making this event peak Milwaukee for me.

Made in Nerdwaukee Display
A pared down set up at Nerdwaukee. I still managed to fit pouches, wallets, usb holders, keychains, dice bags, skirts and scarves into a 5″ x 5″ space.

One of the highlights of the day was chatting with a lesbian couple about making some pieces for their wedding.  They are planning costumed nuptials with one dressing as Morticia Addams.  The more I say I am not a wedding sewist, the more the Universe keeps challenging me on that, it seems.

Mildred at Nerdwaukee
MIldred donned a scarf, bag and skirt for the day. I’m considering making a belt to hang bags off here at future events.

In between sales patter and actual sales, I worked on an embroider project.  This piece isn’t for anything, it was just something to keep me occupied when traffic was slow.  I find working on a project is better than screwing around on my phone; it saves on the battery, too.

Embroidered Project
Had some fabric, needle and floss, and a hoop in my booth bin (as you do) so I worked on this creature between chatting with customers.

As I have for the last few events, I made slightly more than my goal.  Since I changed the way I calculate what my target is I have met and/or exceeded it every time*.  So I take that to mean I am doing something right.

This was my first event since April and I’ve realized I have to have one every four to six weeks.  Longer gaps between shows means I end up with very lean weeks.  The nice thing about Nerdwaukee was that I didn’t spend any money on creating inventory.  I took only what I had on hand.  That plus the low cost of the booth meant it was a good filler event between major ones.  If I can find more of these kinds of craft fairs, it would mean greater financial stability.

At the end of the day Moira introduced me to a Polish buffet.  We ate potato pancakes and perogies and plotted our next adventures.  I headed home full and happy and singing till I was hoarse to “Improper Dancing.”  The night ended with a glass of blackberry whiskey before bed.

This is it: the contentment that I have been fighting for for years.  A day of happiness with what I do.  I still have issues: financial, mental and emotional. There is so much more work I have to do, this is just a pit stop on the road.


*My old calculation for events was Number of Expected Attendees × Number of Cents Per Attendee.  Both numbers were volatile, dependent upon my ability to accurately estimate how many people would be at an event and then adjusting the cents/attendee to the kind of event I was vending at.

My new calculation is Event Expenses (booth fee, travel expenses, etc.) + (# of hours of the event × $20).

Client Spotlight: A.C. & Moira

You all may recall that I’ve mentioned before I don’t take on wedding dress commissions.  It’s not out of a dislike of weddings (I’ve had two of my own: one with the white dress and all the trimmings and one with just me, my love and my daughter at the justice of the peace).  I merely find that there are others who specialize in nuptial-wear and so really no need for my skills.

And yet, I have found myself once again working on a wedding outfit commission, and like the last one, it is not your familiar white satin and lace affair.

Before we get to that commission, however, I have a long awaited (well at least for me) update on the wedding tux I made for A.C. last December.  As a refresher, A.C. is non-binary, and wanted an outfit for their wedding that was a) fitting to their tastes and style b) included some traditional wedding motifs and c) could be worn to other occasions.  I made them a white satin vest suit with lavender lapels.  Well, A.C. just sent me photos of the ceremony featuring their suit and I must say they look absolutely fantastic.  Behold the glory of wearing whatever the frak you want to your wedding:

I’m am thrilled with how the tux turned out and it made my day to get to see the pictures of the happy day.

Now, let’s turn to the next commission, another wedding outfit, for one of my dearest friends.

I’ve known Moira going on eight years.  I met her at the second convention I ever vended at.  She helped spread the word when I ran a fire sale on custom corsets to raise money to keep my house.  We’ve vended together at various events, we bounce ideas off of each other, and we are supportive of each others’ goals as artists, crafters and women.  So when Moira told me that she was getting married to her long-time partner (another wonderful person I am lucky to call my friend), and asked me if I was interested in making her wedding dress I said yes before she had even told me what she wanted.

This weekend Moira came over and we hashed out some of the details.  Before I get into a break down of what I’ll be making for her, I want to make a slight detour and mention that this is the first time I’ve had a client over since we adopted our cats*.  I learned quickly that cats will: lay down on open patterns you are trying to discuss, attack dangling tape measures when you are taking measurements, and monopolize the attention of your client if they give any indication of liking cats.

On to the dress: Moira brought in several patterns she had picked up for us to discuss.  We narrowed it down to the one she and her groom liked best: McCall’s 7086.   McCall Pattern 7086

As with A.C., Moira wants a dress that she could wear after the ceremony to other functions.  I love the idea of practical wedding wear.  (My dress from my first marriage is sitting in a box in my parents’ home.) I took measurements, set up two future appointments for a tissue fitting and a second fitting afterwards.

Then we discussed fabric.  This was honestly the best part of the whole meeting because when Moira asked if I had any advice on patterns.  “Maybe not stripes or plaids because they would be a nightmare to match with this pattern.”  Anything else? Fair game.  As long as she found a print she loved, I’d work with it.  My reasoning is that one should wear what makes one feel fabulous.  If that’s big prints?  Awesome!  And if anyone makes any noises about how the print resembles furniture, then you sit your fabulous self on that person and smother them because you don’t need that kind of negativity in your life.

At this point you might be wondering, “Are you going to add pockets to this dress?”  And that’s how I know you are new to this blog.  Of course I will be adding pockets to this dress.  I personally view any pattern that omits pockets to be a design flaw that should have seen the pattern sent back for redrafting.  But fashion rarely makes sense, which is why I and other sewists are here to make up for the mistakes of others.

I’ll update as work on this dress progresses.  I also have a few other commissions that are in various stages of completion which I’ll post on in the coming months.  In the meantime, I’ve got some pockets to insert.


*I realize I didn’t mention this before, but in January I had to put down Trixie. While I am not ready for another dog, the house was feeling empty without a furry presence, and so at the end of April we adopted two cats: Barley and Jake.  We got them from the Humane Haven in Bolingbrook and the house has felt in balance once again.

Attempting Murder

It’s All In My Head

I am done with my Jerk Brain.  For forty years I allowed it to sit in my mind, eating away at my self-esteem, mental health and happiness.  This past April, I turned forty-one and decided that I didn’t want to play host to that parasite any longer.  It’s a decision borne of annoyance and desperation, but also of weariness.  The idea that I’ll be eighty-years-old and still dealing with a voice that tells me I am fat and ugly and stupid and a waste of space is exhausting.

Evicting Jerk Brain isn’t the goal.  I’ve tried in years past to mitigate the harm it has done.  I’ve turned down the volume on its voice.  I’ve redirected its energies.  I’ve engaged in endless efforts to soften its vitriol.  All of these measures have been taken under a belief that Jerk Brain serves a purpose.  For as long as it has been with me I have treated it as my very own Jiminy Cricket—albeit an insect whose guidance owes more to a school of unwarranted cruelty rather than kind correction.

None of my previous attempts have mitigated Jerk Brain’s nastiness for long.  Always, it would convince me that ignoring all the harsh criticism was proof that I was a bad person.  Jerk Brain, it would insist, is just trying to help me become a better person and here I am, being an ungrateful, petulant child in the face of that help.  And I would capitulate, allowing a voice that most assuredly wants me to die have room again in my life.

Breaking that cycle of abuse has to start with the acceptance of one solid fact: Jerk Brain does not have my best interests at heart.  It’s an easy enough realization, harder still to embrace and use as a platform for change.  I am required to reject outright any of Jerk Brain’s comments.  More than that: I have to murder the fucker.

So I set out to come up with a plan for killing off my most intimate enemy.  I need more than self-help psychology and affirmations.  I was going to call in some spiritual help in ending the putrescent Clarence once and for all.  It was time to take my relationship with Hekate to another level.

Hexing My Jerk Brain

I’ve been working with Hekate for about a year now.  I wanted to move beyond my pagan relation to the world and into practicing witchcraft.  My practice and study have been focused on my sewing, and the book I am writing about sewing and magick.  I’ve consecrated my sewing machines, imbued my pins and needles with magical intent, and wove ritual into items I’ve made.  Beyond that, and the regular smudging of my home, I haven’t cast spells.  And yet, here I was, drawing up a plan to cover a year of regular hexing my Jerk Brain, as well as spells to build up myself, to become the person I wanted to be.

It is an ambitious undertaking for someone with little experience under her (imaginary) belt.  But that is my Jerk Brain, talking, and I’m not interested in listening.  I am a woman desperate to free her life of a poisonous toad.  What else do desperate women do, if not acts that look impossible from the outside?

Hexing is a touchy subject in pagan circles.  More than one person has brought up the “rule of three” when I started outlining my plan.  Honestly that rule has never figured into my belief.  It’s a concept that doesn’t make sense to me and I’ve never seen it in action in my life or worldview.  I’ve found that my feelings on magick, hexing and its usefulness  are in line with Seo Helrune’s in their blog post “A Witch That Cannot Hex Cannot Heal” (parts 1 and 2).  I won’t expand here what has been so eloquently put there.  Click on the links if you want to read more.  Even if I abided by the rule, if ever there was an entity that deserved hexing, it would be Jerk Brain.  It is a matter of magickal self-defense at this point.

After some research and meditation I wrote out the plan, titled “A Year and a Day” (because “How to Kill a Jerk Brain in About Thirteen Months” seemed a little wordy).  For the next year I will perform a hex on my Jerk Brain at the dark of the moon.  On the full moon there will be a more constructive ritual/spell because I need to focus on building up as well.

I cast my first hex last night.  It was a rather low-key affair.  I don’t call the quarters or invoke lords or ladies.  I don’t speak in rhyme, or out loud, even.  As an introvert pagan my spellwork happens primarily in my mind.  The focus of the spell was identifying Jerk Brain as my enemy, aided by a drawing of a blocky, snarling monster surrounded by swirls of black.  This image was burned with rue (for exorcism), flower of the hour (to heighten the speed of the spell) and a dried snapdragon husk (for its resemblance to a skull and thus the death of Jerk Brain).

The only altar image present was the Death card from my Herbal Tarot deck to amplify the change I am attempting.  Later I might add a Hekate image, to reinforce her presence.  The altar is a family affair, constantly shifting with items added or removed by any member of the household, not to mention the occasional visit by the cats who find it a perfect place to perch while looking out the window.  Because of this, I can’t really have an elaborate set up.

The whole ritual took an hour, from the start of assembling the herbs for the incense, to the end when I snuffed out the candles, made some tea and headed to bed.  This will be key to maintaining the spellwork over so many months. Anything that requires hours of preparation or participation won’t work with my schedule.

I have twelve more months to build on what I started last night.  I go into this knowing that what I have set out to do will take time.  Jerk Brain won’t be gotten rid of overnight.  It will reanimate and lurch back into my mind to harry me once again.  That’s the reason for the year long ritual.  With each month I will build on the spell, increasing its potency and deadliness.  Every time I say “You are not welcome here” and burn Jerk Brain’s image it will be easier to tell it to fuck off between spells.  Every time I call on Hekate to help me overcome my sadistic inquisitor, I will feel stronger.

Therapy is useful.  Medication helps immensely.  And where those two fall short, I have witchcraft in my arsenal.

 

 

 

Convention Report: Midwest Gaming Classic

There are many things I like: the color purple, unicorns, turtles, wine, fuzzy socks, working in my pjs.  Over the past few months I’ve added two new items to that list: the way women’s faces light up when I tell them the skirts I make have pockets, and when a woman pulls on a skirt, hands me cash, and dances out of the booth, headed for adventure.  I got to experience those Christmas morning grins and twirling happiness many times over this past weekend at the Midwest Gaming Classic.

Held outside of Milwaukee, MGC encompasses a spectrum of gaming: from arcade to console to tabletop.  My booth was in the outdoor tent they erect in the parking lot of the hotel.  That plus the corner stage that saw a rotation of various bands, and the whole event had a flea market, county fair feel where cosplay, jazz renditions of the Mario Brothers theme, and air hockey all came together.  It attracts around 10,000 attendees, and hosts various rooms with arcade games free to play.

The stage part was equal parts fun and annoying.  The booth was right across from the stage and every hour for an hour there was an act.  Most of the time it was loud to the point of headache inducing.  It also made it hard to talk with customers.

And there were lots of customers.  The foot traffic was steady for all of Saturday and most of Sunday.  Men with backpacks, ball caps and shuffled the aisles, their mouths pulled into frowns of concentration as they scanned the boxes of game cartridges, computer parts and vintage ephemera.  Kids and teens skipped from one booth to another, touching everything, all thrown limbs and tripping feet.  The women strolled, weaving their way through the crowd, here dipping into a booth and then lighting out, carrying a plushy, a signed print, or some other prize of geekery.

I shared the booth with Moira of Memento Moria.  By our crafty powers combined we are Awesome Geek Girl Wearables!  Splitting a booth with someone not only helps with keeping costs down, but it means you both will have back up for bathroom breaks and food runs.  I was reminded why this is so important by our booth neighbor: a sweet guy selling anime fan staples like Pocky, along with candy, drinks and bookmarks.  He did steady business, and was on his own for the entire weekend.  We helped out when we could, keeping an eye on things so he could run to the restroom.  By the second day my anxiety was triggered by worry that someone would walk off with something.  Thankfully I had medication with me and I have gotten much better at taking it when I need it, rather than trying to tough the anxiety out.

The only low part came in the morning of Sunday while I was watching our neighbor’s booth.  A man looking at the bookmarks caught my eye, pointed at me, and then beckoned me with his finger.  The gesture was so dismissive, so patronizing, I had the instant urge to bite the digit off.  Instead I just told him curtly that it wasn’t my booth and the owner would be back soon.  Finger Man slithered his way down the aisle, never to be seen again.

Over all, it was a really good convention.  I made a little more than my goal*, handed out lots of business cards, and even had someone follow me on Instagram as we talked in the booth.

And now I am back.  I took Monday off to recuperate, because working conventions is hard work, no matter what my Jerk Brain would have me believe.  And now I am ready to head back into the workshop to work on the commissions I took at the show and to get ready for the next event which will likely be in June.

As for Midwest Gaming Classic, I’ve already made plans to return next year.


*I reworked how I calculated my sales goals this year.  Before I would take the number of expected attendees and multiply that by the amount per person I usually make at similar events.  The problem, though, is that different kinds of events have wildly different amount per person: Anime conventions, for example, tend to bring in a little under a dollar per person, whereas general science fiction conventions is more in the .25-.50 cent range.  This difference made for lots of variation and guesswork, and if an anime convention had a bad year, it cast doubt on the numbers.

Instead, I decided to figure out the number of hours I would be at an event and multiply that by how much per hour I charge for labor.  The resulting number is lower than the previous calculation, however I have hit that goal and exceeded it each time.  At this point I will take a more realistic, if lower, sales goal.