Category Archives: Reviews & Articles

Modern Paganism: Consciously Forgetting the Past?

Recently, I was involved in a discussion in a pagan group about the ambiguous nature of how modern pagans identify themselves, and their, seemingly, complete disinterest in their historic roots or traditions. Specifically, modern “Druids” and those who claim Celtic Paganism, but practice a naturalistic or animistic path and make no mind or matter of the Celtic Pantheon. And though, unfortunately, the person who started this discussion, that brewed into an all out protest, turned out to be entirely misguided, arrogant and disrespectful, I couldn’t help but identify with the sentiments of his original posting.

It is no secret that I often feel alienated from the greater pagan community. Just today I read a poll about online pagan connections vs. real life interactions, and it is a sad realization that I have neither of these. I communicate plenty, but no more than an exchange of a certain topic, and then we both (or however many are involved) move on with our lives. I don’t actually have any Pagan friends or associates.

Too many times, I do not fit inside the neat little package of whatever is expected, and so I smile, and move on leaving those connections undone, and it is, for the most part, because of the Modern Pagan ideology. It can be seen all over the online pagan community, from places like The Wild HuntWitches & Pagans, and even sadly the Order of Bards Ovates and Druids – druidry, in its essence, has been boiled down to nothing more than a nature based spiritualism, and speaks nothing of the true nature of the practice.

Druidry, itself, began as an Irish practice, the word Druid itself  derivative from the irish word druí. The art and practice of the druid, of course, spread and could be found all over the celtic worlds – but where are these roots in the modern practice? There is no mention, whatsoever, of its Irish heritage, or any celtic influence whatsoever. They completely ignore the religious side of the practice, removing celtic spirituality, and relate it to nothing more than arts, creativity and a oneness with nature. All of which are well and good in their own rites, but where are the deities? Where is the pantheon? Where is the Leabhar Gabhala, the Mabinogi?

Even if one does not associate themselves as a Druid specifically, the same notion can be seen all over modern “celtic” paganism – which has become practically indiscriminate from Wicca. I see so many practicing “Celts” name praise to a Roman or even Hindu Goddess, raise up Egyptian iconology, invoke the strength of Viking, Shamanistic or even Native American spirits and deities, and yet keep a strangely absent figure of the pinnacle deities of the Tuatha De Danann – or even Danu herself, and the convenient lack of ANY God or male figure whatsoever, save in a few remarks in a highly sexualized consort, making any figure out to be a supplicant and lesser to the Goddess figure, not the equal that balanced the coupling that was so important – not only in a matter of divinity, but as an entire concept – to the celts as a cultural whole.

More than once I have come across those who do not know the tales of the Tuatha de Danann, let alone know the significance they hold to the nature of magic and spiritualism, as well as the arts and sciences in the mythos and canon. Too often I have come across those who have never read the Mabinogion, do not know the difference between Irish or Welsh. Where is the education? Where is the pride in your culture? Where is the faith? How can you call yourself a Celt, but know nothing of their culture and abandon their practices?

Have we reached a turning page in Neo-Paganism where we simply reinvent and redefine instead of making the effort to connect, and learn from our ancestors and our past? Do we really take such freedoms for granted, and take such free-reign liberties and entitlements with our faith that we feel we can just make up whatever we want?

It is a sad, and hurtful thought for someone like me who lives and breathes her Irish blood. Who is so closely connected to those deities of the past, and whose culture defines and shapes her everyday life. Where are we to fall, in this new-wave paganism? Where we do not fit in the past era of reconstructionism, but do neither do we frolic freely with culture appropriations of new-age spirituality. And what future do our ancestral roots hope to gain when they are so easily abandoned and ignored?

 

A Review: Court of Fives by Kate Elliott

Court of Fives (Court of Fives, #1)Court of Fives by Kate Elliott
My rating: 5 of 5 stars

I have to say I was pleasantly surprised by this book. Not because I should have been surprised, but because of the rollercoaster this book threw me into.

Initially I was intrigued, as it continued on I was really, really unhappy. I even considered not finishing it – like so many other reviewers had done, at the exact same point as well. I’m glad I didn’t. We were all played – we all fell into the pit that I believe Ms. Elliott 100% intended to throw us into.
I didn’t like the father, I was unsure about Jessamy. I felt like there was not enough build up or explanation for the horror that this obnoxious Lord threw them into – he irritated me profusely, but I couldn’t really tell you why because there was not enough of anything to form a proper explanation – there was too much build up on the mother and the sisters for them to just be forgotten so suddenly and quickly, this new little Prince dude was way too predictable. But there is a beauty and an ease that Kate Elliott has in her writing, the sincerity and believability in the characters and how they interact with each other that is so simple and charming, and feels so real, that I just couldn’t give up on it. And as I continued, not that much further into my frustration did I realize that I was feeling exactly how I should be feeling. Everything was intentionally constructed in such a way that as soon as you crest that barrier of unknown and too little and too much all wrapped up into one – that you are hooked. Pieces start filing together, a little snippet of information here that makes your brain catch a spark of what is really happening – and you can see more coming, little reprieves of insight into Jessamy and her family that makes you understand the characters more. Suddenly, I sympathized with her. Suddenly, I didn’t hate the father anymore. Suddenly, I understood the mother and sisters are in no way forgotten – that is why there was so much build up. Exactly when you think the story is unraveling and not making enough sense, is exactly when all those snags are being pulled, tightening their grip. By the time I tipped the half-way mark, I could not stop reading. And by the end, I wished there was more.
I enjoy the perspective of characters, their differences, simplicity where it needs to be simple, building complexity where there needs more answers, and above all else – how beautifully she constructs relationships. Not in the romantic sense, but in how each character interacts with one another. It makes me wonder who inspired these characters, what event in her life spawned that banter of dialogue, who did she watch play out which scenes that inspired, as I can recognize the very true-to-life aspects in each one of them which makes it easy to relate, and care about these characters.
I also apprecaite Kate Elliott’s knack for very honest internal voice that is the most natural and brilliant comic relief I’ve read – A talent that made me literally laugh out loud in Crown of Stars so many times, I’m sure my husband thought I was mad – and was found again here in Court of Fives.

At times, it does feel a bit predictable, and seems to play very heavily on YA tropes – but it is woven into her own world so beautifully, that none of them seem to bother me. She makes them work – and the mythos that she has built for the realm is simply enchanting, and the way she slowly builds upon it – only giving you little bits at a time – only makes me eager for more.

The mythos and intrigue catches me far more than any romance arc, but it so aptly balances between politics / intrigue and cultural/spiritual circumstance between the romance, that there is plenty to hold the interest of a many number of different readers – and she accomplishes in what is relatively small book. Very well done. I was pleasantly surprised, and would recommend this book to those who enjoy Fantasy & YA alike.

View all my reviews

Here’s my problem with ‘strong female leads’…

A phenomona that should be dubbed “the Tauriel Effect”

Even though she wasn’t precisely a lead – I’m still Angry, PJ, dammit.

It’s a forced topic. Everyone now has become so preoccupied with the issue, they forget one of the most important parts of stroy telling: character developement. Or, good character developement, I should say. 

My biggest issue: They are fake. They feel so unnaturally forced and overdone that it makes me instinctively hate them – which is kind of counter-productive to the entire point of the “movement”. And I mean that in the very loaded sense of “trend”. It is now the -thing- to push all types of media/entertainment to be concerned, and include, with diversity, gender rols issues and including the “strong female lead” trope that many authors, I feel, fluffing their work with. Extraneous characters that they don’t truely believe in, that they are building on a basis of necessity to include, rather than organically developing the appropriate characters the story needs.

I am currently reading Mage’s Blood by David Hair, and though I have just started, I am already annoyed. I can’t tell if I like it. I’m not sold, but I also cannot simply abandon it, and it is frustrating because I can’t help but wonder if I would be so torn if it weren’t for this Elena character.

If there is a perfect example of a character being forced into the “strong femal lead” role, this is it … well, I’m sure many others, but this is the one slapping me in the face right now, and I’d love to send it flying across the room – but it is that gnat that nags and hovers in your face, but dodges your hit every time you try to smack it away.

Let me tell you, I am so ticked at this gnat right now, I’m about to whip out the fogger.

From the second we learn about this character, it is forced down your throat how much of a bad-ass she is. Beginning from how Gyle insistantly introduces her to Saint Lucia:

                   “ “Will this woman kill the children, Magister Gyler?”

                   “She’s a heartless bitch, if you will excuse the term, Holiness.” There, Elena, I’ve made your name known to the Empress-Mother, in the best way possible. Fame at last!” “

To how it is pushed, every, other, grueling line, how she struggles to push away her maternal instincts, and thwart-off the interests/praises of the men, to how she pushes herself in training when we, at last, get to actually meet her. It’s redundantly shoved in your face: Look at me, I’m a badass, I am tough, look how tought I am, I don’t need men, look, I am a badass! Am I a badass yet?

What a cunt! I am so thrilled! 

And even though I recognize that those previous quoted lines are written with a hint of cynicism, it is accepted as noteworthy and even impressive!

                   “ Lucia smiled gleefully. “Excellent! I like her alredy -” “

So, apparently, in order to be strong, and a badass, you must be a cunt. Awesome. Can’t imagine why type of shit is so exhausting to read…

But they don’t need to be so forced. Saint Lucia herself is an unbelievable badass, already, in just a few pages – and it happens all so easily and naturally, without thought or question. But, what a shocker, she is also a cunt!

But the evil-strong have always been easy. And yes, we do love them – as is epitomized by Cersei Lannister and how we drool over her, we love to hate her and for some sadistic reason (that says more about us than Martin’s writing talents) we STILL route for her. And the fact that this, already sinister, Saint Lucia is on the team we’re supposed to be routing for. So yes, we do love them…

But is that it? Do we get no sane, not-evil, stron ladies that don’t seem ungodly forced and pre-built awfulness? Because that’s all we’re going to get so long as people feel the need to include such characters for the sake of pop-culture demand and worry of back-lash.

And that shouldn’t be.

Stories and story-tellers should not be dictated what to write and when and about who and how – that isn’t what makes memorable, or meaningful tales or characters. That kills it – that kills all the magic and stifles muses. 

I have no idea if that is how Hair felt as he was writing this book – but that is certaintly of it feels, and is is incredibly off-putting.

I write to tell a story. I don’t take the time to go through the checklist of diversity to make sure I’ve inlcuded the “appropriate” amount of women-to-men ratio, or gays-to-straights, or minorities-to-nonminorities. I just tell the story. That’s it. I put in exactly the amount of WHATEVER characters the story needs. And that’s it. I let the story tell me what it needs and where – Not societal demands and politics.