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Have you not always wondered as a child if witches really flew during the night on their brooms? And what was their destination? "How Do Witches Fly?" is an answer to these questions. It shows that witches anointed themselves with the "flying" ointment before they flew to their gatherings on special nights of the year. The book scientifically dissects the ointment and reveals its herebal and animal ingredients and biochemical components. It is a popular science treatise on alkaloids and their action, spiced with curious stories about Mediaeval witchcraft rituals. It offers recipes of the ointment and advances a biochemical theory on the mechanisms of the ointment action on human senses and perception. The book features the art of the world-renowned artist Barbara Broughel, which bridges the history of New England witchcraft trials and contemporary American society. "How Do Witches Fly?" is a charming reference book for students of herbalism, biochemistry, Mediaeval history and occultism of various ages and education. What a great Halloween reading! But Halloween is every night according to the author.
Waking up in Mictlan, the underworld entrance of the North, nearly dead from an evil witch's attack—this is where James Endredy's gripping true account of his experience with the witches of Veracruz begins. As the apprentice of a powerful curandero, or healer, Endredy learns the dangerous magic and mystical arts of brujería, a nearly extinct form of Aztec witchcraft, and his perilous training is fraught with spiritual trials and tests. Taught how to invoke spirits of the underworld for assistance and use dream trance to "fly," Endredy is subjected to the black magic of a brujo negro and left alone in the graveyard of the brujo masters to fight for his life. He is also called upon to do battle with the most sinister of all witches—el Brujo de Muerte, the Witch of Death. Upon becoming a curandero himself, Endredy takes on harrowing real-life cases: healing a young man possessed by the spirit of an Aztec warrior, rescuing a teenage girl from a Mexican drug cartel, and hunting down a vampire witch terrorizing a small community.
From the beautiful apsaras of Hindu myth to the swan maidens of European fairy tales, stories of flying women-some carried by wings, others by clouds, rainbows, floating scarves, and flying horses-reveal the perennial fascination with and ambivalence about female power and sexuality. In Women Who Fly, Serinity Young examines the motif of the flying woman as it appears in a wide variety of cultures and historical periods, in legends, myths, rituals, sacred narratives, and artistic productions. She considers supernatural women like the Valkyries of Norse legend, who transport men to immortality; winged deities like the Greek goddesses Iris and Nike; figures of terror like the Furies, witches, and succubi; airborne Christian mystics; and wayward, dangerous women like Lilith and Morgan le Fay. Looking beyond the supernatural, Young examines the modern mythology surrounding twentieth-century female aviators like Amelia Earhart and Hanna Reitsch. Throughout, Young demonstrates that female power has always been inextricably linked with female sexuality and that the desire to control it is a pervasive theme in these stories. This is vividly depicted, for example, in the twelfth-century Niebelungenlied, in which the proud warrior-queen Brünnhilde loses her great physical strength when she is tricked into surrendering her virginity. Even in the twentieth-century the same idea is reflected in the exploits of the comic book and film character Wonder Woman who, Young suggests, retains her physical strength only because her love for fellow aviator Steve Trevor goes unrequited. The first book to systematically chronicle the figure of the flying woman in myth, literature, art, and pop culture, Women Who Fly offers a fresh look at the ways in which women have both influenced and been understood by society and religious traditions throughout the ages and around the world.
A 25th anniversary edition of the enchanting story of a widow who finds herself in possession of an extraordinary broom after a witch falls into her garden. Some of Minna Shaw's neighbors don't trust her clever broom. "It's dangerous," they say. But Minna appreciates the broom's help. She enjoys its quiet company. But one day two children get taught a well-deserved lesson by the broom. For her neighbors, this is proof of the broom's evil spirit. Minna is obligated to give up her dear companion. Chris Van Allsburg, master of the mysterious, brings this tale to life with moody and memorable pictures that will haunt readers long after the book's covers are closed—now in a new edition to celebrate this beloved book's twenty-fifth anniversary.
A Community of Witches explores the beliefs and practices of Neo-Paganism and Witchcraft - generally known to scholars and practitioners as Wicca. While the words "magic," "witchcraft," and "paganism" evoke images of the distant past and remote cultures, this book shows that Wicca has emerged as part of a new religious movement that reflects the era in which it developed. Imported to the United States in the late 1960s from the United Kingdom, the religion absorbed into its basic fabric the social concerns of the time: feminism, environmentalism, self-development, alternative spirituality, and mistrust of authority.
In the beginning everything is fresh and new. Learning how to cast a circle, work magick, compile a Book of Shadows, and honor the God and Goddess on esbats and sabbats can be exhilarating. But once you've mastered the basics of Witchcraft comes the real challenge of living your faith every moment of every day. Living as a Witch is knowing that you are the magick. Advanced Witchcraft doesn't contain any "Wicca 101" information--it assumes that you're already familiar with the nuts and bolts of the Craft. Instead, this book challenges you to think critically about your beliefs and practices, what they mean to you, how they've changed, and where you're going. Along the way you'll also learn many techniques for intermediate and advanced Witches, including: Meeting your shadow Advanced warding and psychic self-defense Power animals, familiars, and shapeshifters Working the labyrinth and the maze Advanced tree spirituality Advanced augury and divination Magick and ritual using the fine arts of storytelling, dance, music, art, and drama The art of Wishcraft Spirits and lost souls Banishing and closing portals The healing arts
An exploration of the historical origins of the “witches’ ointment” and medieval hallucinogenic drug practices based on the earliest sources • Details how early modern theologians demonized psychedelic folk magic into “witches’ ointments” • Shares dozens of psychoactive formulas and recipes gleaned from rare manuscripts from university collections all over the world as well as the practices and magical incantations necessary for their preparation • Examines the practices of medieval witches like Matteuccia di Francisco, who used hallucinogenic drugs in her love potions and herbal preparations In the medieval period preparations with hallucinogenic herbs were part of the practice of veneficium, or poison magic. This collection of magical arts used poisons, herbs, and rituals to bewitch, heal, prophesy, infect, and murder. In the form of psyche-magical ointments, poison magic could trigger powerful hallucinations and surrealistic dreams that enabled direct experience of the Divine. Smeared on the skin, these entheogenic ointments were said to enable witches to commune with various local goddesses, bastardized by the Church as trips to the Sabbat--clandestine meetings with Satan to learn magic and participate in demonic orgies. Examining trial records and the pharmacopoeia of witches, alchemists, folk healers, and heretics of the 15th century, Thomas Hatsis details how a range of ideas from folk drugs to ecclesiastical fears over medicine women merged to form the classical “witch” stereotype and what history has called the “witches’ ointment.” He shares dozens of psychoactive formulas and recipes gleaned from rare manuscripts from university collections from all over the world as well as the practices and magical incantations necessary for their preparation. He explores the connections between witches’ ointments and spells for shape shifting, spirit travel, and bewitching magic. He examines the practices of some Renaissance magicians, who inhaled powerful drugs to communicate with spirits, and of Italian folk-witches, such as Matteuccia di Francisco, who used hallucinogenic drugs in her love potions and herbal preparations, and Finicella, who used drug ointments to imagine herself transformed into a cat. Exploring the untold history of the witches’ ointment and medieval hallucinogen use, Hatsis reveals how the Church transformed folk drug practices, specifically entheogenic ones, into satanic experiences.
This story of two girls trying to banish a witch is “full of wonderful fun, excitement, and humor” (Library Journal). Old Witch likes nothing better than to fly around on her broomstick, crying “Heh-heh!” and casting abracadabras. But now she has been sent away . . . by two young girls. Amy and Clarissa have decided that Old Witch is just too mean and wicked. So, drawing a rickety old house upon a barren glass hill, they exile Old Witch there with a warning: She better be good, or else no Halloween! But to give Old Witch some company, they draw her a Little Witch Girl and a Weeny Witch Baby . . . Old Witch tries to be good, but anyone would get up to no good in a place as lonely as the glass hill. And Amy and Clarissa are about to find that out, when Old Witch magics them into her world of make-believe-made-real, in “a very special book that is certain to give boundless pleasure—at any time of the year” (The Horn Book). “A classic for Halloween.” —Library Journal