Michele Burke January, 2009

Courtesy Of Janet and Gavin Bone ©

Janet Farrar and Gavin Bone have skillfully put together a guide which grants the reader the capability to learn in ways never before possible, they have created a powerful tool that embraces and opens new doors to Progressive Witchcraft for all who wish to enter.

Excerpt from Progressive Witchcraft:

“You can tell whether a man is clever by his answers. You can tell whether a man is wise by his questions.” ~ Mahfouz Naguib

It is evident that both Janet and Gavin are both clever and wise…
Janet and Gavin were so gracious as to allow us this magnificent interview probing into their personal journeys of spirituality, life, and work. The past few weeks I have spent talking with Janet and Gavin have been not only a blessing from the Goddess and God but spiritually educational as well.
Interview with Janet Farrar and Gavin Bone

PP: Whenever one talks about Wiccan books, it is to be anticipated that one of the many books you wrote with Stewart Farrar is brought up. Looking back, how have your personal views have changed?

Janet:

Both our views (mine and Gavin’s) have changed over the years, but the same is true of anyone who practices a spiritual path.  Certainly I am not as traditionally orientated as I use to be. Stewart and I really ceased calling ourselves ‘Alexandrian’ when we moved to Ireland in 1976.   It was impossible to practice in an Alexandrian fashion and connect with the mythology and spirit of the land here. I think I’m broader in my outlook, but that comes I think from meeting witches all over the world as well as having contact with several native cultures, such as the Lesotho Sangoma, genuine Native American and Maori.  I think having contact with these cultures has put my practices and beliefs into perspective.  What sticks out in my mind most is the comment they all make regarding western neo-pagans. They all say we tend to be in ‘our heads’ too much - we tend to be intellectual over spiritual.

PP: Janet and Gavin do you still consider yourselves to be a “Witch or ‘Sorceress/Sorcerer’”?

Janet and Gavin:

These are just words; useful descriptions of what you do, not who or what you.  We do witchcraft, so we are witches.  We also do sorcery - we work with energies and spirit forms, so we could easily also describe ourselves as ’sorceress’ and ’sorcerer’. The same applies to the way we should apply such terms as Wicca. It is important to remember what the word actually means; someone who ’shapes or bends’ natural forces using their wisdom.  There is always the danger that these can become titles, that being a Wiccan means that you are only from a specific collection of traditions within witchcraft’ We do not believe this to be true. There is always the danger that the label will become more important than what you actually practice or the spirituality associated with it.

We are, all of the above; witch, Wiccan and sorcer(ess) but foremost we have to say that we are Priestess and Priest. Again, a description or in this case a job description of someone who connects with a divinity for the benefit of their community. We are that before anything else, the rest are just useful descriptions.

PP: Who, would you say, inspired you the most in your own path through the Mysteries?

Janet and Gavin:  Well there have been different people at different times for both of us.

Janet:  Certainly for me, Doreen Valiente.  I’ve always considered her my spiritual mentor. She was humorous, educated and down to earth.

Gavin:  I can run off a whole list!  Some you wouldn’t necessarily associate with Witchcraft, including Brian Bates (author of The Way of Wyrd), Stephen Hawkins, and Ray Buckland.

PP: Janet how do you feel your work to date was influenced by Doreen Valiente?

Janet: I don’t think Eight Sabbats for Witches and The Witches Way (compiled as A Witches Bible).  Would have been as successful as they were without the input and support we received from Doreen.  She helped us through the maze of writings and contradictory histories of modern Wiccan and the Book of Shadows, so that we could produce something which was genuinely of benefit to those out there searching for Wicca.

PP: What advice would you give to someone newly interested in Paganism or Witchcraft?

Janet and Gavin: Shop around!  Stewart and I joined witchcraft and Alex and Maxine’s coven because that’s all there was around at the time. Now there’s much more choice: Druidism, Asatru, Chaos Magic and several different forms of Wicca. Don’t try to fit yourself in the box - find the box that fits you.  Unfortunately, there are still the egomaniacs setting themselves up as teachers who have only read a few books and have no experience, but you find that in every field. If you’re looking for a teacher they must have humility, a sense of humor and more importantly say ‘I’m still learning’!  But the most important teachers are yourself and the Gods; you can learn more from life than you can from any book or training course.

PP: Janet, as one of the best known Priestesses in the modern Pagan community, how do you think that public opinion of Witchcraft and Paganism has changed over the last few decades?

Janet and Gavin: This really depends on where you are?  Every country is different. Certainly in the UK, Ireland and some areas of the US it has become much more acceptable amongst the general public. Certainly the man or woman in the street is more familiar with the word ‘Wicca’ and generally realises it isn’t devil worship.  This certainly wasn’t true in the ’70’s.  As a movement, we are doing better with public relations than ever but we still need to get ‘out of the closet’ and realise that we are part of a bigger society.

PP: If either of you could go back in time and change one thing you did,
what would it be?

Janet : Hard question.  All experiences are learning experiences.  So, if there was only one (and I presume the question is Craft orientated), it would be that I could have learnt not to be so soft on people who technically needed a good kick in the Yesods!  It has taken me the best part of 50 years to really say ‘No!’ to people.  That is what I would want to change the most.  As Doreen put it to me ’sometimes the Lords of Karma where blue uniforms’.  If a person steals from you go to the police, even if that person is Craft.  If it is not a police matter, a good kick in the Yesods will suffice! Well, there is one other thing.   Back in the ’80’s Stewart and I appeared on BBC show one Halloween with several well-known witches as well as born again Christians.  I was asked by the presenter: ’so, what do witches actually do at Halloween?’ and I replied ‘Well we call back the dead ritually and then we play with our nuts…’ I think I might change that!

Gavin:  I’m not sure I’d actually change anything. I believe everything that has happened to me has happened for a reason. I’m a strong believer in the concept of weird, that although we have free-will there are something’s that are supposed to happen to us if we are to learn and grow.

PP: What do you consider the highlights of your own writing careers to be?

Janet: I don’t think there’s ever been just one highlight as such. Definitely co-authoring Eight Sabbats for Witches, it was such a wonderful book to research.  The wealth of folklore we discovered and experienced here in Ireland was breathtaking.  The market at the moment is flooded with witchcraft books, some good, some appalling. 9/11 in the US had a terrible effect on the book market in general, and sadly many publishers are under pressure from Christian fundamentalism to stop publishing books on the subject.  In the long term, however this may have a positive effect.   It may mean that only truly new concepts in Craft literature will be published, that gives many of us old writers time to draw breath, learn new skills and ideas and hopefully publish books that will be as challenging for all of us as I have found Eight Sabbats to have been.   It will also pave the way for some bright young minds to make names for themselves in Craft literature.

Also, Stewart and I were very proud to be asked by Hayley Mills (the actress) to do a piece on the Craft to go into her book My God.  We were in the book alongside such famous people and Religious leaders as the Dali Lama.  All the proceeds went to the Save the Children Fund.  But of course, it’s not just a writing career anymore.  It’s now also a career as an international lecturer on the subject.  It feels weird just saying that, as it was something I never dreamed of happening when I first came into the Craft.  In which case, I think I think it also has to be being made honouree Lesotho Sangoma, the traditional healers in South Africa. I was very touched by what they said to Gavin and me.  There was recognition that we were the same regardless of culture or race or practise.   The singing and dancing went on for two days, and we were presented on the first day with our elders staffs.  I keep my beaded staff proudly next to our altar.

Gavin: I should point out that I’m not sure I’ve ever really considered myself a writer, not in the same way Stewart was, anyway.  A researcher, yes, a person with ideas ‘outside the box’ he’s wanted to convey, also, yes, but not a professional author. I’m just not that talented.   Lecturing and workshops, well, that’s a bit different.  There are some things you know you are good at, and I can say (with a bit of ego, probably) that I am good at structuring and teaching practical workshops.  So, I think the highlight for me has been to sometimes ‘teach the teachers’. We’ve had several well known authors at our lectures and talks over the years, and it’s gratifying to know that you have taught them something that they can pass on.

PP: How does working with Gavin compare to working with Stewart? And Gavin how does working with Janet compare to working with anyone else?

Janet: Stewart was an old school writer.  Dot all the i’s and cross all the t’s. Gavin isn’t and he’s the first to point out that he regards himself as a researcher rather than a writer.  His real forte is in teaching, and this is obvious if you’ve ever been in one of our practical workshops.  He has an ability to simplify difficult subjects so that any can understand, making them interesting.  Stewart saw this immediately in him when they worked together on the first collaborative book The Pagan Path, so much so that he left all the material content of The Healing Craft to Gavin, apart from some of the rituals.  Stewart would also sit down every day and write a piece, plodding along whilst Gavin is a spontaneous writer. He gets sudden rushes of inspiration from goddess knows where and doesn’t stop writing until he’s finished.

PP: Janet and Gavin, you have travelled all over the world teaching and promoting your work. Do you think that the views held in here in the USA, compared to that of the UK, Europe, etc are significantly different from each other?

Janet and Gavin: Considerably, but that is something that we should expect within Wicca.  It isn’t a stagnant tradition; it’s shaped by the societies and attitudes it comes from.  For example, the US is a young vibrant culture; therefore we can expect Wicca there to be enthusiastic and forward thinking. That is not to say that this isn’t true amongst some people in the UK, but it is certainly more noticeable; and there are of course ‘old Guards’ in the US who make most traditional Gardnerians in the UK look positively revolutionary!  Australia has an extreme culture and has had to deal with the whole Southern hemisphere issue regarding Circle Casting and Festivals.  This has developed in different ways to the UK. No one-way is right, just different according to cultural needs.

PP:  How do you deal with people who criticize you for your views and practices?

Janet and Gavin: To those people who criticise us or anyone else in the Craft just for the sake of criticising, I say ‘get a life!’  If someone has a genuine criticism then I welcome that, it leads or should lead to positive discussion.  Unfortunately, in the British Craft scene particularly there is a tendency to ‘begrudgery’; criticism behind people’s backs purely out of envy because someone is perceived as having achieved some sort of higher status.  This has come about because individuals have come to see Wicca as some sort of social ladder rather than a spiritual path.

I once heard a wonderfully funny statement: ‘The Farrar’s are famous, for being famous’. I thought that was hysterical. I always thought Stewart and myself were well known for writing books on witchcraft!

I am well known amongst those who do really know me for having a wicked sense of humour.   I enjoy ’shaking the tree’ to see what falls out!  But if someone wants to truly discuss or criticise Stewart, Gavin or myself then I will address his or her criticism seriously.  I am happy to answer genuine questions and am willing to back up my arguments. But I will not get involved in interpersonal conflicts or ‘bitchcraft’.

An example, the classic criticism against Stewart and myself is ‘They gave away the secrets of the Craft in Eight Sabbats (A Witches’ Bible) and the contents of the BOS!’   The Sabbats and most of the rituals in these books were constructs’ of Stewart and myself, with added material from the original BOS.  It was Doreen Valiente who wrote the BOS material we were given and it was she who gave us permission to use it.  As Doreen said to us in a letter at the time:  ‘Some pieces of Gerald’s and much of it mine; as I technically own the copyright PUBLISH AND BE DAMNED’ Doreen wanted it published so we went for it!   As for the technical info on the Sabbats most of it came from an Irish writer called Maire McNeill and her book Festival of Lughnasa.

It is an old writers saying: ‘Those who can, do. Those how can’t criticise’.  Most of the movers and shakers in the Craft get criticised. It’s par for the course, and I think I speak for all of us. Positive critique is good for the soul, it makes us think about our work. Criticism for the sake of itself is water off of a Duck’s back!  If you want to criticise someone because they do something different to you, go back to a Christian Church where you belong!

PP: Do you feel that the Wiccan Tradition is in jeopardy of becoming a “Religion of the Book” with all of the emphasis placed on “Craft Laws”, lineage, and “traditional” teachings found in some circles?

Janet and Gavin: There’s been a tendency by some to see these as being essential to being a Wiccan.  This has resulted over the years in conflicts and ‘witchwars’ between individuals, covens and traditions on who is and isn’t a Wiccan.  I certainly don’t believe just because somebody has the right lineage, a word for word handed down Book of Shadows, and follows the Craft Laws word for word that this makes automatically makes them a ‘Good Wiccan’.  Wicca has to be more than just these practises.  We have met many people who call themselves ‘Wiccan’ who do not have any of these but to quote Doreen Valiente ‘They have that look in the eye!   Wicca has to be about spirituality, and your practises should reflect that, not the other way around.  If not, we fall into the same mistakes monotheism made, going first into fixed doctrines and then into dogma.  We have seen this already occurring in some areas of the Wiccan community.  I’d rather taken on someone in my coven that has that look and no degrees or lineage, than someone who has a 3rd Degree from a good source, but has no understanding of the spirituality of witchcraft in their soul!

Apart from anything else, none of what you have mentioned is really that old: Lineage, Book of Shadows, Craft Laws, etc in witchcraft, don’t go back before Gardner and the 1950’s.   They aren’t traditional to witchcraft.  Gardner brought lineage in from Freemasonry; the term Book of Shadows is Middle Eastern and Gardner created the Craft Laws after an argument with Doreen Valiente!  As for the ‘traditional teachings’ it’s never occurred to a lot of people that these have changed over the years with material added and taken away by various people, which is what should happen.  Most of the  ‘traditional material’ I have seen over the years, and we do have quite a collection of BOSs from several traditions, was all incorporated from the literature of the period and not from any ancient handed down source.   We can’t count the amount of times I’ve seen ‘traditional teachings’ which have included material taken from our books as well as other authors, which they or we had written themselves!   Alex once tried to pass off a handfasting ritual written by Stewart as from ‘an old traditional source’ claiming that it was ancient and handed down through his family! We need to stop this sort of self-deception and accept that Wicca is a new and still developing tradition, which is only 50 years young.

We believe that we’re supposed to be emulating Gardner, Sanders etc. not dwelling on their every word as though they were prophets in the same way that Christianity does.  If they can create rituals, create systems, why can’t we? Wicca is supposed to be a religion of life, of creativity, of connection to Spirit.  It is not suppose to be about replacing old dogmas with new ones because people are not willing to let go or deal with the norms and values they were brought up with in a Christian culture.  Once you have come face to face with the underworld mysteries, and have made that connection to a specific face of the divine, you begin to realise that all of these things, lineage, BOS etc. are just a system; icing on the cake, but not the cake itself.

PP: On your website you said that your group is associated with the Aquarian Tabernacle Church in Ireland. Can you tell us more about this?

Janet and Gavin: We were involved in the setting up of ATC Ireland to get Wicca and paganism in the Republic legally accepted. Ireland, regardless of its Roman Catholic past is a very progressive country.  Most people don’t realise that unlike the UK it is actually a secular state. Church and State are not linked legally.  We cannot be attacked for our religion here as the constitution protects us under a law forbidding ‘incitement to religious hatred’. Ireland is also a signatory to the EEC and UN’s charters on human rights.

It was necessary for us though to define Wicca as a religion, which we did under law.  Now if Wiccans or pagans are discriminated against or have any form of malicious behaviour used against them, the perpetrators are actually committing a crime.

We are clergy in ATC Ireland. I rarely use the term Reverend to describe myself though. I do describe myself as ‘Clergy’. I consider that to be a job description rather than a hierarchical title. Perhaps I might call myself ‘the Irreverend Janet Farrar!’

PP: Could you please define Progressive Witchcraft?

Janet and Gavin: Both of us think it’s really important to point out that Progressive Wicca/Witchcraft, as we talk about it in our book is not a tradition in the generally accepted use of the word, nor did we ever intend it to be seen as a tradition.  If it was seen this way this would really be a dichotomy, as if anything, it ‘a traditional’.   The term ‘Progressive’ is used in a descriptive way.  It is a way of looking at Wicca/Witchcraft, an attitude towards it. Someone who might want to use the term is describing his or her belief that Wicca, or for that matter all spiritualities are not static.  They look to the future; they develop, change and evolve over time.  Saying this, they will look back to the truths of the past, but discard those things that they feel are now irrelevant to their spiritual growth.   A progressive Witch is therefore someone who questions and challenges the dogmas and doctrine that they see in Wicca and asks the question ‘are they relevant to me in the 21st Century?’   They believe that Witchcraft is a living, evolving tradition, which changes over time.

The major difference is that the progressive Witch puts spirituality and therefore divinity at the centre of their practice.  This means all else follows from this, including ethics, morality, magical practice and even their life-style.  Connection with the divine as one of the many deities it manifests as becomes the most important aspect of their practice and life.  It is therefore a commitment, a vocation, to serve deity.  This does mean that deity is seen very differently to traditional Wicca.  The ideas of the Triple Goddess and Dual God, the standard archetypal way of viewing deity remains valid, but they are just seen as useful magical concepts. What is important is that emotional connection. This means that a progressive Witch is likely to be polytheistic in their outlook, believing that every path is valid and not necessarily believing that theirs is better than anyone else’s.

They are also likely to adopt techniques, which may not necessarily be seen as Western Tradition.  Progressive Witchcraft therefore sticks to one of the oldest Craft axioms - if it works use it!

PP: You have retained a three-degree system of initiation in your coven. Please tell us more. How much emphasis do you put on life experience in training a Witch?

Janet and Gavin: For a while we very concerned that the degree system as we had been taught it was becoming hierarchical.  You have to remember that its origins are not in any form of traditional European pagan practise but from Ceremonial Ritual Magic and Freemasonry.   Our experience was that the degree system had become more about how long you had been in the Coven rather than how much you had learnt or how much spiritual connection you had made during that time.

First we tried to do away with the degree system completely, going to a one-initiation system.  Very quickly we found this wasn’t enough; it didn’t fulfill the needs of the coven, so we introduced a dedication ritual, and eventually a third level - an eldership.  Well, we ended up eventually not with three levels but four!   We began to look at why this was. It really gets down to human psychology and the need for all of us to achieve goals.  If we don’t have them part of our own psyche sets them for us anyway, a process the psychologist Abraham Maslow called Self-Actualization.

Our ‘degree’ system, if you can call it that is very different to the one we were actually taught.  It is based not just on the accumulation of knowledge and magical skill but also on spiritual achievement.  For us, initiation must be a spiritual experience, a spiritual ‘epiphany’ so to speak.  As Janet mentioned earlier, we strongly believe in the concept of ‘there is only initiator’ and that is the divine manifest as God or Goddess not ourselves.  This means that we believe that initiation can take place in the mundane life of the witch; in fact we don’t separate the mundane from the magical.  All life is magical; therefore an experience that changes you spiritually can take place in any area of your life, not just in the magic circle.  We try to reflect this in our initiation rites, and therefore also recognize that magical and spiritual wisdom can be obtained outside of circle.

The other thing is that we teach that this system is irrelevant outside the circle.  It is not intended to be a system of hierarchy, which should be accepted by the wider pagan community. All our initiates know this and don’t make a big deal out being first or second or third degree out in the wider community. There is no ego attached to the system.

PP: How do you see Witchcraft being passed on in the future? Will there be more worship circles led by priests and priestesses or will there always be covens? Will there always be the goal of a universal priesthood within Witchcraft, or will people content to be congregants?

Janet and Gavin: All  of  the above, and that’s how it should be!  By nature Witchcraft is diverse. This isn’t its weakness, but its strength.  There is room for all.  Witches by nature are Priests and Priestesses; we will see this role taken more seriously with witches ‘ministering’ in their communities, but we doubt if there will ever be a ‘Universal Priesthood’.  Priest and Priestess will cease to be a title but become a job description. Ultimately a Priest/ess serves divinity and their community. This does of course mean a certain level of commitment is required which not everyone can give, so there will always be worship circles led by those more dedicated than others.

PP: When did Gavin join the writing team of Janet and Stewart? How has Stewart influenced Gavin’s writing? How do you work as a writing team? Do you two always agree on everything you write?

Janet:  Gavin started writing with us the moment he moved to Ireland. Stewart wanted to integrate him as ‘part of the team’.  He immediately went to work with us on the Pagan Path.  I don’t think you can really say that Stewart ‘influenced Gavin’s writing’. He certainly taught him the basics, but Gavin was already naturally gifted in research and putting ideas to paper.  Occasionally Gavin and Stewart did ‘bang heads’, mainly over style.  Stewart was from a ’40’s generation where you ‘crossed all your “t’s and “dotted all your I’s, whereas Gavin was from that ’70’s generation where language was seen as being more fluid;  generally any arguments, which were quickly settled, where over these generational differences rather than content.  I never had any problems with what Gavin has written; we always referred back to each other over everything.

PP: Tell us more about Stewart. Stewart was greatly admired by all who knew him or of him. He will forever be missed.

Janet and Gavin:  Stewart had an amazing life. When he was born man was just taking to the air. He witnessed the rise of Nazi-Germany, fought in the Second World War, witnessing firsthand the futility and barbarity of war, including entering Auschwitz. Watched the beginnings of the Cold-war, joined and left the Communist Party, worked as a journalist, a scriptwriter for TV and film, and as an author of Thrillers. He witnessed man walking on the moon and at the end of his life the plans being put under way for travel to Mars.  He had breadth of experience most of us will never have, and it was this that drew him to witchcraft as spirituality; the need for spiritual creativity to overcome the negative things he had seen during his lifetime.  He could be generous of heart sometimes to the detriment of his own needs. Yes, we will miss him too!

PP: What are the biggest changes in the Wiccan or Pagan community that you have seen over the past twenty years? What are the challenges we face in the years to come?

Janet and Gavin: Things have changed very fast in the last decade, let alone since when we both first came into the Craft.   The new generation coming in know much more about the Craft before they find join a coven than we did.  For us there were just a handful of books, if we could find them.  Now there is information freely available to everyone on the Internet on Witchcraft and the magical arts.  This means the new generation have higher expectations of those teaching them, plus in many cases they don’t have to throw of the monotheistic baggage that we did. They’ve been brought up in pluralist a society, which makes them more open to concepts within paganism.

Both of us had to search to find groups.  Now there are contact networks, open meetings, organisations such as the Pagan Federation and even in some countries Pagan and Wiccan Churches.  Now the witch has a choice; they can be solitary or they can join a coven to train.  When we both came into the Craft we took what we could find, and you had to join a coven and be initiated before you were accepted as a witch.  Now you can pick and choose what tradition or way of working you would like.

We believe that some of the major changes that occur in the Craft in the next decade will be in the way it is practiced.  Certainly the Craft is moving away from Ceremonial High Magic towards a more Shamanistic approach.  We believe this will continue and result in a more spiritually orientated Wicca with direct connection to the gods being the principle teaching.   We have already moved this way ourselves as have several other Covens and individuals that we know about. There will certainly be more emphasis on the Mysteries being taught because of this directional change.  The biggest challenge is going to be the avoiding of a ‘generation gap’ as the younger generation is already starting to move in this direction. They want more than just Circle Casting, The Wheel of the Year and the Four Elements as part of their training. They’re hungering for deeper teachings, and if witches of our generation don’t give to them, they will reject Wicca and create their own paths causing a schism in the witchcraft movement, if this isn’t happening already.

PP: Are you currently working on any new exciting projects that you would like to share with the readers of Pagan Pages?

Janet and Gavin:  We obviously are now up and running in cyberspace with our on-line course. The Progressive Magic course has now been running for over 10 months, and we hope to add some more modules to it.   As we said previously, we are now concentrating on working with deity particularly in the area of Trance-Prophesy.  We are currently are working on a book on the mechanics of this practice, and how to interact with the Gods on a personal level.

Bountiful Blessings and Thanks go out to both Janet and Gavin, for your mesmerizing insights from Witchcrafts past, present and future.

Collaborative Works of Janet Farrar and Gavin Bone

Janet and Stewart Farrar:

Eight Sabbats for Witches

The Witches’ Way

The Witches’ Goddess

The Witches’ God

Spells and How They Work

Life and Times of a Modern Witch

Janet and Stewart Farrar and Gavin Bone:

The Pagan Path

The Healing Craft

The Dictionary of European Gods and Goddesses

Janet Farrar and Gavin Bone:

Progressive Witchcraft

Tags: gavin bone, interview, janet farrar, progressive witch

• Interviews

Administrator December, 2008

Although best-known for her fantasy work such as the Westria series, Diana Paxson recently came out with a book on shamanic journeying and trancework called Trance-Portation which came into my hands recently and quite swept me away. A frequent reader on the topic on altered states of consciousness and both traditional and neoshamanism, I found her take on the subject fascinatingly fresh and exiting, and couldn’t wait to ask her some more questions.

PaganPages: Firstly, could you tell us more about yourself?

Diana Paxson: I grew up in southern California, but have lived in Berkeley since graduating from Mills College. I also did an M.A. in Comparative Literature at UC Berkeley. My first magical experience was a ceremonial lodge run by Marion Zimmer Bradley and based on the work of Dion Fortune. Marion and I founded Darkmoon Circle, a women’s coven, together in 1978. It is still going strong. I have been a consecrated priestess since 1982. I began working with shamanic practices in the 80’s, and with Germanic paganism in the 90’s. I have written two books on that tradition, *Taking Up the Runes*, and *Essential Asatru*. However I am probably better known to most of the pagan community as the author of novels with pagan themes, including the Chronicles of Westria and the Avalon series, which I took over from Marion Zimmer Bradley. I am still very active in pagan activities in the San Francisco area, with Hrafnar Garth and the Fellowship of the Spiral Path.

PP: There are a number of people, even practiced pagans that do not have a clear understanding of what shamanistic journeying is. Tell us more about what shamanistic journeying is – is it, for example, like astral projection?  What’s the difference?

Diana: In astral projection, the etheric body actually leaves the corporeal flesh and moves around, usually in the physical world. In trance journeys, consciousness is altered, and awareness moves through inner worlds much as one does in a dream, except that one has control over where one goes and what one does, and can remember what happened.

PP: How ‘real’ is shamanic journeying? Could it, for example, be considered an out-of-body experience?

Diana: One journeys through a symbolic reality which is “real” in the sense that it can represent and affect physical reality, but it is not that reality. OOBEs on the other hand, project the energy body into the physical world (see answer to #2).

PP: What is the relevance of shamanic journeying to the modern pagan or witch, and what are its particular benefits compared to other spiritual and magical practices?

Diana: Spirit journeys are an excellent way to get the conscious and unconscious mind to talk to each other. Most people use them to get information, such as advice on healing, or to contact spirits or deities for guidance. Within the context of a journey one can also address problems through visualization, and work on healing.

PP: What especially attracts you in the shamanic trance, as opposed to ritual magic or meditation, for example?

Diana: In my experience they are mutually useful. The techniques addressed in the book can help one to focus and alter consciousness in preparation for ritual magic or deep meditation. I often include a trance journey as part of a larger ritual.

PP: You write that in the beginning you had difficulty learning the techniques of trance, which is why Trance-Portation was written specifically as the ‘foolproof’ – methodical, inclusive and gradual – method of developing the ability for shamanic journeying. As a product of years of training and teaching, tell us the most common pitfalls the would-be traveler falls in. Have you had worse-case scenarios, and how did you overcome them?

Diana: In my experience, there is no “fool-proof” method for anything, but the exercises I’ve worked out seem to work for a lot of people, especially if they are willing to adapt them to their own needs. Chapter 13 of the book addresses some of the problems that can occur. When you set out to deliberately stir up the contents of your unconscious, sometimes you wake dragons. Some people find that they need to take things more slowly, go back to basics, or not do this kind of work at all.

PP: You were a prolific fantasy author before writing at least three books on spirituality and magick. How does your shamanic experience and/or allies affect your writing – both in fiction and non-fiction? Do you have any ‘rituals’ for when you write?

Diana: My experience as a priestess in various pagan traditions has enabled me to write about the practical aspects of spiritual experience. I have had many of the experiences I describe, though I have to confess that my magic does not always work in such a spectacular or dependable way (in fiction, the candles always stay lit and no one ever forgets the cauldron). I do use trance techniques to get my unconscious working on plot problems, and invoke whatever deities are most prominent in the book.

PP: In the section about finding a spirit ally or power animal, you mention that Michael Harner, the core shamanism trainer, counsels against using insects as allies – could elaborate on this belief, and add your own thoughts to it?

Diana: Not really. I don’t have any insect allies myself, but I know some people who have worked with butterflies and bees without any difficulties.

PP: Chock-full of practices and exercises, from sensing energy and communion with trees to mapping out the shamanic world you travel – your book includes so much! Including a section on re-living past lives in the shamanic state. I imagine this could have come handy researching your historical fantasy novels?

Diana: I have used reincarnation as an element in the Avalon books, but have actually never set a novel in a period in which I believe I have had a past life. On the other hand, I suspect that at times I draw on the collective unconscious to access certain historical periods.

PP: You also explain the use of cultural symbols as a sort mental doorway into the spiritual realm of that culture and what the symbol represents. How much does this depend on one’s understanding of the symbol and/or of the culture it comes from?

Diana: The more you can learn about a culture, the more accurate your interpretations of the symbols and beings you encounter will be. Context can matter a great deal.

PP: I was expecting and quite looking forward to a section devoted to the common shamanic technique of soul retrieval, but you have decided to pass over it as a technique too advanced for this book. Was that a difficult decision, and what brought it about?

Diana: Sandra Ingerman not only invented that technique, she covers it extremely well in her book, so there was no need for me to do it again, especially since *Trance-Portation* is already pretty long.  I do think that before doing trance therapy with others, one should develop trance disciplines via the exercises in my book or other training.

PP: However, your book devotes a lot of detail into a practice called Oracular Seidh or the Core Oracular Method. This is something extremely interesting that you have pioneered in reviving – please tell us more about that, and what led you to it.

Diana: Seidh is a magical tradition from the Viking Age, which includes an oracular practice. I may have been the first to reconstruct the practice as a way to serve the pagan community today. Oracle work is another advanced technique which requires the skills covered in Trance-Portation. I am planning another book that will build on this one and cover the techniques I and my group have been using for almost twenty years.

PP: What are the differences between the oracular seidh practice and practices in voudou and south-east Asian practices that seem similar?

Diana: An oracle answers questions, drawing the information from the Otherworld, the spirits, or sometimes from gods. In Voudou ceremonies, mediums are possessed by gods, who may sometimes answer questions. Sometimes a god may speak through a seer in seidh, but answers given by gods convey their own opinions, whereas a purely oracular answer may be more balanced. Deity Possession is another topic that demands a book of its own.

PP: Whereas other shamanic books are more dedicated to finding power animals and allies as well as soul retrieval, you have devoted a large portion of this book to seeking and communing with the gods. With a lot of modern paganism is in part an effort to rediscover and reaffirm the old gods, this is a very powerful way of connecting with one’s faith. You mention a very “interesting” first meeting with the Nordic god Odin. What kind of surprises have these first meetings had, and what have they revealed about the character of the gods?

Diana: The main surprise was that this was the beginning of a relationship that has remained as vivid and important in my life as any human connection.
Such a relationship can deeply enrich one’s life.

PP: The possibility of discovering the spiritual realms and meeting deities – how much is this dependent on prior research, and how much can it be research in itself? How could one go about with little to no information?

Diana: Research is a good place to begin. It will “prime the pump” and make it easier to contact a deity, it will help you to interpret what you learn, and it can act as a corrective to wishful thinking. On the other hand, you can benefit from what heathens call “UPG” (Unsupported Personal Gnosis), so long as you don’t insist that your insight is the only truth. If a lot of other people have the same UPG, you can begin to treat it as true, at least for our time.

PP: This is a question of particular import for people whose ancestral beliefs and deities are all but forgotten. As someone with Finnish ancestry looking to get back to his roots, it is extremely difficult to learn much more than the names of the major deities of my ancestors. Could shamanic journeying be the new way for pagan reconstructionism?

Diana: First, steep yourself in whatever information is available about the culture. Then do your journeying. To some extent this is what the Saami have had to do in order to reconstruct traditions interrupted and suppressed by the missionaries. You may not get “the” truth, but you will probably find “a” truth that will be useful.

PP: Thank you again, Diana! Finally, is there perhaps another book in the works?

Diana: Thank you for asking! <g> In fact, *Trance-Portation* is intended to be the foundation of a trilogy, of which the other two books will deal with Oracle Work and Deity Possession.  I will also continue to write novels. The book on which I am currently hard at work, *Sword of Avalon*, is set around 1200 B.C.E., covers the forging of Excalibur, and features guest appearances by several goddesses and gods.

To learn more about the westria series, be sure to visit, www.westria.org; the home of the Avalon series is at www.avalonbooks.net; and more about Diana Paxson’s pagan work, visit http://www.hrafnar.org/.

Tags: Diana Paxton, interview, shamanism, trance, trance-portation

• Interviews

Melanie Harris December, 2008

Raymond Buckland is a familiar name in our magical circles. Known as The Father of American Witchcraft for the instrumental role he played in introducing Wicca to the U.S., he is a respected occultist and the author of around 60 books, including the pagan classic Buckland’s Complete book of Witchcraft. He’s now turned his pen toward the fantasy genre, with the recent release of his first fantasy novel, The Torque of Kernow (Galde Press, Buckland Books, 2008). Buckland’s decades of magical practice add a strong dose of realism to his fantasy fiction; the Torque of Kernow is a fantastic tale, but the magical acts the characters perform throughout the story are quite authentic. When I heard about this book, I was very intrigued, so I caught up with Mr. Buckland to find out more about his debut on the fantasy literature scene.

Melanie Harris: Did you draw on your knowledge of real magic when creating the
elements of fantasy magic in the Torque of Kernow?

Raymond Buckland: Yes I did. I try to bring in as much authenticity as possible, to make it “feel” right.

MH: How long did it take you to write this book?

RB: I actually started it fifteen years ago!  I did about a quarter of it but then it got pushed onto the back burner since I was writing non-fiction for several different publishers. I wasn’t able to get back to it until about two years ago, and then could only work on it sporadically.

MH: Tell me about the setting for this story.

RB: As a fantasy it is set in a make-believe world, but that world is very loosely based on the southwest of England. The name Kernow is the old name for Cornwall, in England.  I also incorporate slightly changed forms of the old names for Devon, Wales and Scotland.

MH: Who is the most evil character in the book?

RB: “Evil” is a harsh term. The apparent antagonist is Zobort who – we learn as the book progresses – is one of the last giants from Elbra. It was his race that originally had brought peace to Kernow and established a rulership, presenting a gold torque as the symbol of that rulership. When the torque was lost by an early ruler, Zobort was sent to try to find it. The story deals with the race between Zobort and the others to find that lost torque.

MH: Tell me about the heroes of the story.

RB: The main protagonist is Shyre, a young farmer who is more or less pushed into the position of organizing the fight against Zobort’s forces and of leading the search for the long lost torque. Joining him are Sannungor, an ancient warrior who has a heart of gold but lacks many of the qualities of leadership. He relishes the thought of possibly becoming the next ruler of Kernow. Keyran is a beautiful black woman who is fearless and an excellent fighter. There is mutual admiration between her and Shyre, leading to a romantic involvement. Along with the group there is a dwarf named Yost and a trelf (tree elf) named Ozal.

MH: Is anything in the story based on a real-life personal experience?

RB: I think most authors bring in personal experience to an extent. I have certainly drawn on my years of magical practice and nearly sixty years of research.

MH: Now, although this is your first fantasy, this isn’t your first fiction novel, is it?

RB: No, it isn’t the first. Two of my earlier (non-fantasy) fiction novels that a lot of people seem to enjoy are The Committee and Cardinal’s Sin. I also have three others – all centered around World War Two – that will eventually see the light of day through Galde Press. I’m looking forward to their publication.

MH: I’ve heard you say you much prefer writing fiction to writing non-fiction. What do you love about writing fiction, and writing fantasy fiction in particular?

RB: I love the opportunity to just let my imagination run riot! Non-fiction can be very restrictive. I enjoy research as much as writing so I try to make my stories as fact-based as possible, which I think helps them seem more authentic. I enjoy creating and developing characters, as well as situations. But I have always had more ideas than I can ever put down on paper and fantasy allows me to include a lot of what I feel.

MH: Tell me something about your writing process for this story. For instance, did you plan it out first, or just start writing? Do you listen to music, or drink coffee while you write?

RB: I always plan the whole story in some detail, long before I start writing the actual thing. But even doing that, I find that there is plenty of room for spontaneity. Often the characters will lead the story off in a direction I hadn’t originally intended! I also work out the details of all my main characters, so that there is consistency with them, with their thoughts and actions. I detail their physical appearance, family, background and upbringing, weaponry, abilities, idiosyncrasies (do they lisp, stutter, part their hair down the center, that sort of thing), etc. Much of the early work I do in my head to get it sorted out. I’ll then make notes, then rough out an outline. All the writing I do, these days, is on the computer. I used to do everything longhand, many years ago. I don’t have music playing while I write (too distracting), nor do I drink coffee. I do occasionally indulge my love of chocolate, however! I can sometimes gaze out of the window, at our sheep, ponies, grazing deer, and numerous woodland folk. It’s a wonderful setting in which to write. I live on a dirt road, miles from anywhere, with no neighbors.

MH: What is your favorite book in the fantasy genre and what do you love about it?

RB: It has to be Lord of the Rings. Tolkien was such a brilliant writer in so many ways. He was truly an inspiration. Many people don’t realize just how much he researched and how much he based his stories and characters on mythology of various types. He was very deep and in many ways a genius, to my mind.

MH: Out of all the books that you’ve ever written, which are you most proud of?

RB: That’s a difficult question! I’ve written about sixty books and love them all! I think “Kernow” (and the books that will follow it in the series) is right up there. The three encyclopedias (The Witch Book, The Fortunetelling Book, and The Spirit Book) are favorites as are “Big Blue” and “Big Red” (Buckland’s Complete Book of Witchcraft and Buckland’s Book of Spirit Communication).

MH: What sets the Torque of Kernow apart from other fantasy novels?

RB: The authenticity of its magical practices…and the excellence of its writing! Sorry! (chuckles)

MH: Well, there’s no sense in hiding the truth! Have you already written the other books in this series, or are you writing them now?

RB: I’m writing them now and have plotted some of them. At my web site http://www.chroniclesofkernow.com you can read an extract from the second book in the series. I am, however, also writing another (non-fantasy) novel set in Victorian England, loosely based on the Order of the Golden Dawn, so I’m having to juggle my time between books. But then I’ve always been working on two or three books at the same time, so that’s not new!

Find out more about Raymond Buckland and the Torque of Kernow at www.chroniclesofkernow.com and http://www.raybuckland.com

Tags: chronicles, interview, kernow, Raymond Buckland

• Interviews

Administrator November, 2008

Being a huge Fae Fan, when Nigel Suckling’s book Faeries of the Celtic Lands plopped on my desk I was very excited, but also very guarded.  Having read a variety of Faery books, I expected this book to be much the same….’historic’ tales of Faery encounters, a brief dictionary of the Fae & Fae Clans, a bit lacking and usually a bit wrong.  I was pleasantly surprised by Nigel Suckling’s Faeries.   Nigel takes us through the world of Fae that Fae Fans dream of entering.  So complete in his writing Nigel Suckling takes us through the world of Fae from historic records of their first appearance, to the Celtic deities related to the Fae, to details on each clan of Fae like other writers have failed to catch.   If you are looking for an excellent book on Fae & Celtic Mythology I whole heartedly suggest reading Nigel Sucklings Faeries of the Celtic Lands.  In a  world full of boring Faery encounter books & fraudulent faery books, Faeries of the Celtic Lands is a refreshingly, educational alternative!  Nigel Suckling is quickly becoming one of my favorite writers and having read one book I am already looking forward to his others.

Nigel was nice enough to take time to bless us with a wonderful interview delving into his personal life and his work.  Talking with him the past month, I found him to be as great a person as his books are.  Here is the interview:

Thank you for taking the time to speak with us & Our readers!

First tell us about yourself, Nigel Suckling.  Where are you from, etc…

I was born in Southern Africa in the closing days of the British Empire. I came to England at just 16 with the intention of finishing my education as quickly as possible and getting back out there, but within a couple of years I was seduced by the place and have happily stayed ever since, living halfway between London and the south coast.

How many books, to date, have you published? Can you tell us briefly about them & on what subjects they are.

I’ve lost count of the number of books overall because many involved interviewing artists for the texts of what were essentially their books rather than mine. But of those in which the writing played an equal or greater part I think it’s coming up for about twenty. The first book on which I was given a completely free hand by my publishers was one about unicorns which I wrote for the artists Linda and Roger Garland to illustrate. It remains one of my favourites.

I have read your book Faeries of the Celtic Lands, the first question I am sure, readers will want to know is do you believe in Faeries?

Tricky question, but the short answer is yes of course because otherwise why would I write about them?

Have you had any experiences with them or seen them?

Apart from at the Faery Ball in Penzance last year, I can’t really say I’ve bumped into many that I could pass the time of day with . Nor can I say I’ve ever seen one in the flesh for certain, but there have certainly been many times and places when I have felt their presence and would not have been at all surprised if one had suddenly materialized in front of me.

Of all the Fae around the world what drew you to Celtic mythology & Fae?

My mother’s family were Irish, despite having lived in India for several generations as members of the British Raj, so I grew up believing absolutely in leprechauns and crocks of gold at the end of rainbows and so on. Even when that faded I was left with curiosity about Celtic mythology which leads inevitably to the Fae. There is a quite distinct quality to the Celtic attitude towards faeries that gets you much closer to them than, say through Greek or even Nordic mythology, even though the faeries themselves are essentially the same everywhere.

What compelled you to write Faeries of the Celtic Lands?  You mention in the prologue your fascination with Fae and Fae Lore, where does it stem from?

The main impulse was that in the many years I spent delving into Celtic mythology I could find no clear overview so that is what I wanted to do with this book. My fascination with Fae lore in general I can’t really explain, it’s just always been there.

When discussing Faeries, Pagan Lore & Beliefs always pop up, are you yourself Pagan?

A few years ago I had to go into hospital for an operation and at some point a nurse asked what religion I was. I was tempted to say ‘pantheist’ but then realized that of course she only wanted to know what kind of priest to call if it all went wrong, so I just said ‘none’. Pagan is probably the best description of what I am but I find the mystical aspects of all religions fascinating, including the Bible faiths. They’re all trying to unravel the same mysteries.

Do you follow a Celtic Path?

Above my desk I have a detailed schematic of the Celtic year which is kind of my road map to life.

Does your spiritual path affect you as a writer?

Absolutely.

We’d like to know a bit more about you, the person.

You’d have to ask my wife really, although when someone did that the other day she said that after thirty years of marriage she still has no idea what makes me tick.  Perhaps that’s why we’re still together.

What drew you to your profession?  Have you always wanted to be an author?

Pretty much, from the age of about 20 anyway. Before that it was just one of several possibilities. I was interested but it didn’t seem a very practical way of making a living. Which is true enough, but I went for it anyway because for me there’s no feeling like the arrival of the first copies of a new book. Not just the physical sensations like the smell of freshly printed pages, but that feeling of having just plucked ideas from the ether and turned them into something concrete that complete strangers can pick up and share.

If you could choose any other profession, what would it be and why?

An artist maybe. Originally I was equally interested in art and writing but only the writing proved popular. I did draw the Celtic picture border in Faeries though, and all my books have a lot of art in them.

How do you decide your topics for your books?

Given the choice, I just go for whatever’s at the top of my list of interests at the time, which was the case with Celtic Faeries and its follow-up Book of the Vampire. There are always several possible books hovering at the back of my mind and many more sketched out in the Ideas file. Publishers quite often approach me with an idea though, and if it excites me I’ll happily go with that. So far they’ve always been topics I’ve wanted to tackle anyway.

Do you have a favorite book/author?

Closely rivalling Tolkien is Canadian author Robertson Davies whose Deptford trilogy completely astonished me when I first came across it by chance in the late 80s, attracted purely by the cover. He produced a string of equally wonderful novels up until his death in 1995. What I love is his ability to bring out the magic and wonder in the everyday world.

Do you have any “Rituals” for when you write?

Of course, but nothing very formal. Washing up, for instance, is an almost necessary stage in clearing the mind for a day’s writing and a useful therapy for whenever I get stuck. A friend called round once and asked why I was doing the washing up when I was supposed to be sweating on a tight deadline, but often it’s more fruitful than just hammering away pointlessly at the keyboard.

Are you working on anything currently?

Several things. A couple of projects are far too fragile to talk about yet, but one is another book on fairies, much more light-hearted this time. With Celtic Faeries I wanted to look into the deeper, serious side of Fae but of course there is also a purely fun side which is what I’m now exploring. It’s a kind of practical guide to fairy-spotting.

Thank you so much Nigel.  I look forward to reading your upcoming books!!

If you would like to know more about or read updates on Nigel Suckling, you can visit him on his site:

http://www.unicorngarden.com/welcome2.htm

Tags: author, interview, nigel suckling, review

• Interviews

SageKatt October, 2008

Interview

Hi Celia, thanks for taking the time to visit with me today.  First let me say that I adore your music and so many of your songs move me in ways that I simple can’t explain and for even more reasons they really touch my soul.  I am thrilled to be introducing you to our readers this month as our featured artist in our Music Review section making its debut in this Samhain issue.   So if you’re ready lets get started.

PaganPages (PP): I know you just completed a show in Milwaukee, WI, which I understand was fantastic.  Are you from the area as I hear you frequent the city quiet often?

Celia: Yes, I am from the area.  I was born in Hartland, WI and raised in Big Bend, WI which is very close to Milwaukee.  I try to get back as often as I can.

PP: When did you know you wanted to be a singer/songwriter? And then get involved in performance arts as well.  I understand you were in the Off-Broadway premiere of Connor Macpherson’s “Rum and Vodka.”

Celia: Hmmmmm….I knew from an early age that I wanted to be on the stage.  I think I got bit by the performance bug when I “starred” in the Kindergarten Christmas show as Rudolph the Red Nosed Reindeer.  From then on I was in every show I could find my way into from the Girl Scout Play to The Grade School Musical to Community Theatre.  I chose a BFA in Theatre Performance from the University of Michigan and then headed to NYC to try my luck on the BIG stage.  I didn’t truly begin my singer/songwriter career until  after I left New York although I recorded a solo album of 13 original songs when I was 16 years old.  Don’t even try to find it.  I burned all the copies

PP: Where do you get your inspiration from?

Celia: Hmmmmm I get my inspiration from any given thing in any given moment.  If I only followed every impulse I would be prolific with a capitol P!  My influences have been Irish Folk Music, Musical Theatre, The Muppets, Buggs Bunny, Shakespeare, Gilda Radner, and who hasn’t been influenced by “The Wizard of Oz”!

PP: You have 5 cds on the market and each one making greater headlines than the other.  I felt your Breathe cd was correctly titled as it left me as  the listener with the relaxation and the ability to breathe again after 9/11/01.  Being a survivor of 9/11/01 I suffered from severe panic attacks and each time I listen to that particular cd I find myself in a different world, relaxed, calm and at peace.     Now you have released Alabaster, Red and Blue at a time when the USA is a time of heavy debate over a Presidential election, in disarray against each other regarding their race, religion,  and just plain tolerance for each other.  Your timing seems impeccable with each release.   The 2 songs in this cd Symbol and Alabaster, Red and Blue should make every person stand up and take notice of what is going on today and ask why did that have to happen and what is being done to stop it.   Do you start out planning your cds this way or is this just my way of thinking it”perfect timing”?

Celia: I am so glad to hear that my recordings have found you at the right times.  I have not really planned out many of my recordings so far.  The only one that feels that it was focused in the way of timing is “The Bard of Armagh:  A Tribute to Tommy Makem“.  When I heard that Tommy had passed on I wanted to record this tribute.  I completed it in 10 days.

PP: How was Trestle Foote Fairy born? And does she have any other family members?

Celia: Trestle started out as a disembodied voice.  Her name was inspired by a conversation with my Sister on a car ride.  You can read the story of how it happened on Trestle’s Myspace page: www.myspace.com/thetrestlefootefaerie
I had great fun with Trestle leaving voice mail messages for folks.  She came to life for the
first time in Jan of 2003 when she debuted “How Could I Live Without My Cellphone”.   No other family members for Trestle.  She is one of a kind.

PP: Perhaps soon she will do an interview with me for our PaganPages readers I know she has a lot to say and also has her own cd  as well.

PP: Tell me about your immediately family?  Is there that special someone in your life?  What about furry kids and where you make your home now?

Celia: I am the youngest of 4.  My eldest brother Marty passed over a few years ago.  He was a fantastic banjo player or as he would say it “A Purveyer of Banjosity”.  My Brother Brian lives in Milwaukee and is also a musician with the guitar as his main instrument.  He played all the guitar on “Fire in the Head“.  My Sister Annalise lives in Turkey and is an architect.  Yes, I have a special someone.  His name is Chris and we live together in Santa Fe, NM.  We are currently traveling.  I am responding from China.  No furry friends in my life.  My last pet was an African Spur Thigh Tortoise named Liam.  He now lives in the Phoenix area at an alternative school.

PP: I understand you have just finished touring would you like to tell me about that, I know you visited the Washington State and Wisconsin were there other states on your list as well?

Celia: Yes, on that tour I visited Oregon, Washington and Salt Lake City, UT.   The tour after that was a very quick weekend flight to Milwaukee.  All very fulfilling and enjoyable!

PP: I am sure our readers would like to know how long does it take for you to create your songs?  Are most of your songs your own creations?

Celia: Most of what I perform is original.  It is very rare that I do a “cover tune”.  Each song is different so it is really hard to answer how long it takes to create a song.  Some songs come quickly.  Some I am still working on since High School…or rather they have been shelved until something strikes me to finish them:)

PP: Growing up was there one thing you did that you would not want anyone to know about.  That one funny thing that maybe you tried while playacting?  I only ask because I have seen your act and performances and I can only imagine you as a child and what some of the things you must have pulled while a little girl and your parents still tell that one story that makes you want to crawl under the coffee table?  With your fabulous personality and talents you surely were not the normal every day child to have in the household.   What
would your parents tell us about you if I could ask them what you were like as a young girl?

Celia: Um….okay….After a bath I loved nothing more than dancing naked on the furniture.  I thought nothing of it until for my 5th birthday cake my mother made a little frosting figure that was supposed to be me dancing naked.  Some comments from the adults made me realize that this was taboo…so I never did it again.  Hmmmm me thinks I should make a night of it and heal that old wound.  I feel a bath coming on

PP: It is so nice at that age to be so innocent and carefree.  I remember being in Hawaii (Oahu North Shore) where they had the nude beach and being able to swin in the ocean nude when I was 21 and thinking of how free I was.  Maybe I need to find an ocean again LOL

PP: I read an email from one of your fans, Lori, of a show you did in Milwaukee, WI at Linneman’s Bar.  In this email she had to let the rest of us know what we sadly missed out on.  With Lori’s permission I want to share part of the email with our PP readers and would also like to get  your reaction for their love for you:

“In all the years I have known Celia, in all the concerts I have heard her perform, all of which were outstanding, tonight’s concert was THE BEST I have ever attended. The best! It’s 2:00 am, I just got
home. Celia played until midnight. Yup started at 8:00, ended at midnight, 4 Hours!!! 4 Unbelievable Hours of sounds coming from this woman that I would not have thought possible from a human voice. it. I’m speechless!!! Celia literally had people sitting there with their mouths open is disbelief. One of her fellow performers may have said it best when she, while dancing to the music and with a huge smile on her face grabbed my shoulders and shook me while shouting a long excited explitive that could only be interpreted as a show of appreciation for what she was hearing. Everyone was smiling and loving the music, everyone moving to the sounds. The bar owner wasn’t even mad that he wasn’t making any money, he was busy listening to the music.”

[Copies from an email received for Lori from the thecreativesymphonyofcelia yahoo group with permission from the author.]

When you read a statement such as Lori’s what was your reaction?

Celia: I smile.  You know that inside smile when your Dharma is being truly seen by those you share it with.  Very satisfying.

PP: Besides concerts in cafes, festivals, Pagan Pride Days where else do you perform and when is your next performance schedule?

Celia: All over.  Wherever folks gather I have played.  My next engagements are in Arizona in October and November.  I always love my shows there and I am truly looking forward to them.

PP: What are some of your favorite things in life?

Celia: Music, Sex and Cookies.

PP: A women after my own heart  YEA!!!!  If I get a chance to get to AZ in Oct or Nov I will bring the Cookies!!

PP : Do you a list of things you want to accomplish in life and if so what is left on this list to cross off?

Celia: I would like to attain Enlightenment……Dammit!

PP: Is there anything you want to tell our readers about yourself, that I have not touched on?

Celia: I have never smoked a cigarette, shot a gun, or vomited from drinking too much. I HAVE walked on Fire, worked as a Nanny on a Trip Thru Europe, and accidentally opened up for Melanie (folksinger from the 70’s) when she was late getting to the show.  My father (not a Dr.) delivered me and my birth notice said “Spontaneous Birth”.   It’s been like that ever since.

PP: I know your on your way to China can you tell us a little about your trip?  Is this a pleasure trip  or touring opportunity?

Celia: Not performing.  In fact, they made me sign a piece of paper that made me promise that I wouldn’t…talk about getting your wings clipped!  But I hope to bring The Trestle Foote Faerie out a few
times and grab some video:)

PP: Celia, I cannot thank you enough for taking the time to talk to me.   You’re a firecracker; and the energy you put into your work is felt the minute your voice is heard in the air.  Thank you for coming into my life and thank you for coming into the lives of our PaganPages Readers.

Celia: Thanks Faith.   Its been a pleasure spending time with you also.

Links:

Celia Cds
http://www.cdbaby.com/cd/celiafarran4

MySpace Links
http://www.myspace.com/celiaonline
http://www.myspace.com/thetrestlefootefaerie
http://www.myspace.com/atributetotommymakem

Celia on YouTube
http://uk.youtube.com/profile?user=CeliaOnlinedotcom

Tags: celia farran, interview, music

• Interviews

Administrator June, 2006