There is more Pagan-related stuff popping up in the news and publishing world than usual right now. I wonder why. So here are some highlights:
• Gwendolyn Reece is a university librarian, blogger (Diary of an Occult Librarian), and scholar — one recent publication, “Impediments to Practice in Contemporary Paganism,” appeared in the most recent issue of The Pomegranate. So it made sense for the communications and marketing office at her employer, American University in Washington, DC, to go to her as their in-house expert on all things Halloween-ish.
• The phrase “post-Christian Europe” has become a journalistic cliché. So a writer for The Week imagines what a post-Christian and pagan [sic] world might look like.
So, could we go back to paganism? This is more than an idle question. Our era is still — much more than we care to admit — very much defined by Christian ideals, which — much more than we care to admit — were very much defined in opposition to pagan ideals. Looking at the pagan worldviews that once ruled Europe should give us some insight into the West today, and, perhaps, its future.
The article is free from much knowledge of actual contemporary Paganism outside of Iceland. But he does make the point that sacrifice was key to ancient Paganism, even though nowadays it is euphemized or just plain considered icky
• There is a type of book that I call “I go among the Witches.” Mostly I associate these with the 1970s, such as Susan Roberts’ Witches U.S.A. (1971), Hans Holzer’s The New Pagans (1973 but now on Kindle!), and the queen of them all, Margot Adler’s Drawing Down the Moon (original publication 1979).
Much touted by the internet press–but met with muted reservation by most witches, her book offers a sordidly pornographic and self-aggrandising narrative disguised as an elucidating look into the way witchcraft is practised in the United States. Belonging alongside a 1980’s issue of National Geographic (we’ll get to the pendulous breasts in a bit), exploitative British-tourist narratives, and freak-documentary, Mar’s book tells the tale of her search for authentic witchcraft in the most ‘extreme’ of American Pagan experiences.
• Want to sample Alex Mar’s book for yourself? Check this excerpt in New York magazine: “The Powerful, Unlikely Appeal of Witchcraft — Even for a Skeptic.”
That’s what this is like, the embarrassing wide-openness that witchcraft requires: a movement or voice or improv class, in which the actor is expected, required by her work, to throw herself all the way in. To make a flailing mess of herself as the only route to truer performance.
‘Cause her readers understand the thea-tuh. Or as others say, “Fake it ’till you make it.” Nothing about deity in this excerpt, however.