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Archive for Oct, 2013

New Orleans & Me reviews New Orleans By Gaslight

Bernard Fruge of New Orleans & Me wrote a very complimentary article on the anthology.

You can see it here:


Witchcraft and Steampunk

Witches In Steampunk Fiction

Witches are and have always been a popular trope to use in fiction and screenplays, now more than ever. We are experiencing an occult renaissance due to a combination of an unprecedented availability of information on the subject and the lack of laws prohibiting occult practice and study.

The first thing to remember — as some witches will be very quick to point out — is that Wicca and witchcraft are not one and the same. Wicca is witchcraft to be sure but not all witchcraft is Wicca. Even here in New Orleans, where voodoo practitioners have told me that Voodoo and Witchcraft are one and the same, they wouldn’t necessarily say that Voodoo is Wicca, nor Wicca Voodoo. They are two very different systems that work to achieve the same ends. The easiest and quickest way to think of it is that these are both religious systems that seek to encapsulate the ways and means of modern shamanism. That’s painting with a broad brush to be sure, but it is accurate.

Wicca As A Steampunk Anachronism

Two points can be raised about the ahistoric use of Wicca as a magick system in steampunk fiction. Point one: Wicca is based off of authentic Italian witchcraft practice and the practice of other similar systems the world over for centuries. The exact forms and words Wicca uses weren’t assembled and complied until the mid 20th century but for the casual reader of fiction, that really is a bit of a quibble. Individual practitioners ever since Gardner’s time have substituted their own words and ideas for the specifics laid down by Gardner and I don’t think it’s much of a stretch to imagine witches of an earlier time performing rituals that were equivalent to Wicca with a few changes here and there.

The second point to raise is that the migration, if you will, of Italian witchcraft to Britain or anywhere else could have easily occurred naturally through increased contact between cultures. With air travel being as predominant as it is in most steampunk worlds, it would be perfectly natural to imagine interested American, British or persons of any stripe becoming aware of the ways and means of Italian witchcraft and translating those forms into their home language for use. And so, even though modern Wicca as it is clearly did not exist in English prior to Gardner and his fellows, there is absolutely no reason to avoid using Wicca as a basic form of witchcraft practice even in the 1800s — in a steampunk world, of course.

Wicca Is A Historic Form

The form Wicca takes as witchcraft was constructed by Gardner and his fellows in the middle of the last century but the forms taken and assembled by them come from actual historic practice. The bulk of what appears as modern Wicca comes from Italian Witchcraft or Stregheria. Gardner and his fellows drew from a book entitled Aradia, or the Gospel of the Witches, a detailed examination of Italian witchcraft practice. So, the complaint that what Gardner was doing wasn’t traditional British witchcraft, in that it wasn’t a form exactly that British witches had historically practised, is true. But at the same time, the point Gardnerian Witches raise that they are using the forms witches have used for centuries is also true.

More important, to the practitioners of Wicca, is that as a religious and magickal system, it works. Wicca provides for the needs of its followers as evidenced by its meteoric rise from obscurity to one of the most predominant alternate religions available today. Part of the appeal of Wicca is its use of ancient systems and concepts found in cultures all over the world. The use of the protective magick circle, for example, appears in ancient Babylonian magick. Wands and other such similar tools as used in modern Wicca were used by the ancient Egyptians. This makes Wicca particularly well suited for use as a system of magick in steampunk fiction. It’s not the only historical system to be sure and systems like Kabbalist ceremonial magick and Freemasonry practice make for useful study for specific applications but Wicca, especially eclectic Wicca, works very well as a general understanding of the ways and means of real world magickal practice.

Wicca As A Remarkably Rugged Platform

The ways and means Gerald Gardner chose to assemble Wicca out of are historically accurate magickal models — they just aren’t the ways and means used by traditional British witches. Ironically, enough time has passed that many of the groups practising strict Gardnerian Witchcraft refer to themselves as Traditional British Witches but the fact remains that the form of witchcraft practised by Gardner and his fellows was a recreation and not an unbroken tradition of British witchcraft.

Eclectic Wiccans have shown us through their actual magickal and religious practice that the means of Wicca make for an amazingly rugged platform to which the specifics of nearly any culture’s mythology may be attached and used as operators. There is Greek witchcraft and Roman witchcraft, Egyptian witchcraft, Babylonian witchcraft, etc. I know a witch — a male witch, mind you, in Milton, Florida who yearly conducts the assumption of the Goddess Kwan Yin from Chinese mythology.

Forms like calling the guardian spirits of the four directions and tracing a circle to work in are nearly universal and have been utilised by almost every culture on the planet at one point or another. Attention to the four quarters and pouring libations thereunto appears, for example, in Voodoo. While those with an attention to detail can and should do some research on whatever specific pantheon or culture they intend to blend with Wicca, it is of great utility to append a few choice details to the overall superstructure of Wicca when depicting witchcraft in fiction.

Powwowing, or German-American hexcraft, is an authentic historic tradition of witchcraft one may wish to study in detail to provide “authenticity” to certain depictions of witchcraft practice in the Americas in the 1800s. The objection that some will raise that it isn’t witchcraft — based on its use and manipulations of the Bible — depend on one’s definition of witchcraft to begin with and the use of the Bible can be omitted in any case in any particular fictional depiction as one sees fit.

To make myself absolutely clear — the Salem Witches were most likely not witches of any kind or stripe, just disturbed girls and the public hysteria reacting to them. But if one wished to depict them as authentic witches, then one could do worse than to make use of a system cobbled together from Wicca, Powwow and Freemasonry — the latter depending on the education of the individual witch in question. Detailed research into these matters may be counter-productive as folk magick tends to look like folk magick no matter who practices it after all.

The Best And Worst Reason To Use Wicca As Your Witchcraft in Steampunk

When I was in grad school, I was working on a screenplay about modern day sorcerers fighting a secret war in New Orleans. My instructor had made the suggestion that rather than research existing historic occultism that I just make the magick for the story up. I looked on this suggestion with some disdain as I had recently discovered Wicca and had found the ways and means of magick, both in Wicca and ceremonial magick, to be utterly fascinating and beautiful and assumed my viewer would likewise.

At the very end of the script, I had my main character cloak himself and his two companions with an invisibility spell. I wrote out the English words I envisioned him using for the spell and then purchased a forty dollar two-volume dictionary of ancient Egyptian hieroglyphs (yes, I am aware that such dictionaries are largely a guess at how ancient Egyptian would be spelled and pronounced based off of Coptic). I translated the spell into ancient Egyptian — my main character was Black and had a tendency to use Egyptian ceremonial forms — and placed the translated spell in my script.

We would do readings of each other’s work in our screenwriting workshops. Various students would take on the roles of the characters and one student would read the narration and stage directions.

My best friend at the time, Alan, was reading the lines of my main character, which made me very happy. We were, all of us, writers not actors, so our performances weren’t great anyway so I was pleased to have my friend act as my main character.

He reached the part in my script with the translated Egyptian spell. I was thrilled.

And instead of the translation I had so thoughtfully provided, he looked at what was on the page and said out loud to all: “Humina humina humina,” to which no one batted an eyelash and the reading continued. And so I put forward the best and worst reason to just go ahead and use Wicca as your witchcraft in steampunk — your reader won’t know the difference and most likely wouldn’t care if they did.

Further Reading

Aradia, or the Gospel of the Witches

Some of Leland’s scholarship and translations have been called into question, however a more recent translation via Mario and Dina Pazzaglini answers most of these charges.

Open Source Gardnerianism

Without delving into the issue of secrecy in magick, let me just state that the texts of the Book of Shadows used by Gardner are all now public knowledge and public domain. Gardnerians have added on to this in order to make some sense of their traditions of secrecy and silence but everything at the core of the Gardnerian system is available to you via the library and the internet.

Wicca A Guide For The Solitary Practitioner

This classic by Scott Cunningham quickly and easily relates both the beauty and the structure of modern eclectic Wicca. If you only ever read one book on Wicca in your lifetime, make it this one.

Uncle Brother

I remember my Uncle Brother. His nickname was “Brother.” I want to mention that now so that when I refer to my Uncle Brother, you don’t think of me and my family as being incestuous rednecks out in the woods.

Uncle Brother had a passion for art. Painting, sculpture, all forms of visual art. And that’s just what I knew about for years. One day, I found out that the man wrote poetry. He had notebooks full of poem after poem. I didn’t even know he was into that. I’m not sure the rest of the family knew he wrote.

You see, there was a little problem with my Uncle’s art: it was god-awful.

I really can’t convey how bad it was. It was all so heavy-handed and ham-fisted: all glitter and gold paint and shininess. It was art as if a rich gentleman in the 17th century was given the ways and means of macaroni art and had evolved it as far as it could possibly go.

I recall one piece – an ornately carved wooden frame surrounding a mono-color canvas to which a sculpture of a bird, flat on one side, had been glued to the centre of the canvas and covered in silver glitter.

You could see where he was going with some of it but it really just was atrocious. And nobody dared to tell him. No one, not even the closest members of his family – who by the way, were almost all much better educated than he – would let him know how bad his art was.
I remember one Christmas where he made gifts of his art to my aunts and uncles. I was a young lad in my early teens and I and my mother and father and brother and my aunts and uncles and my cousin were all standing outside my uncle’s home.

The adults started making fun of him.

I was incensed. The man had poured his heart out to them – not that they realized it. He had incorporated his hopes, his dreams, his visions of a better tomorrow into his art – as all artists do – and he had shared this with his brothers and sisters – and they were laughing at him behind his back, right outside his very house. On Christmas no less.

I told them all they should be ashamed of themselves. A usually quiet lad, I let them know in no uncertain terms how vile they were being and how much the man loved them to share with them his art. And, to their credit, they accepted the rebuke and hung their heads low and stopped making fun of him and his work and went home.

My mother – well, we don’t have enough time for me to go on about my mother – she decided if I thought so much of my uncle’s art that I could hang it in my room if I wished. I guess what I’m trying to say is that she missed the point, most likely deliberately in response to being rebuked by a child. My uncle’s work – in this case, a glitter covered zodiac wall plaque – found its way into our washroom. In this way, my mother could say that we had hung it on the wall and be telling the truth and yet the piece would not offend the eyes of any of my mother’s friends.

My mother’s friends were those sort of people. The “keeping up with the Joneses” kind of people. Our church, a Black Baptist church, was full of them. I wonder now if that wasn’t the real sin my uncle had committed as far as the family was concerned. He produced art objects that were designed to be shown – well, what art objects aren’t? But they were so ugly that there was no way anyone in the family would hang them anywhere they could be seen.

And so rather than help the man to grow as an artist, rather than give him the knowledge and means to do better, or even try to do better, he was a pariah and without ever even knowing it. Or at least, I hope he never knew.

It pains me. It pains me so much to see such a great gift of passion squandered. And squandered by a world sorely lacking in beauty. Yes, his art was terrible but it could have conceivably gotten better. The man lacked the knowledge of what art was – what art could or should be – that an artist needs to grow better. He was a flower that no one ever bothered to water. They could all see the rain couldn’t reach this flower and they didn’t care. They just sat there and watched it wither and die.

I wish he’d gone to college. I wish he’d received a proper education. I don’t fault the man for making ugly art. I doubt he made it all the way through high school. He worked odd jobs and hustled here and there and lived hand to mouth and was always in debt to one family member or another. He was born in the ghetto and he lived in the ghetto and he died in the ghetto. I wonder if Michaelangelo or Beethoven or Shakespeare would have done as well as he in the situation he lived and died in.

I wonder what would have happened if he had lived in a country like Germany where you can get free education all the way up to a Ph.D. I wonder if he might not have gone to a great art school and developed an artistic sensibility to match his passion. And I wonder what great works he might have forged if he had. I wonder if the name Alexander Williams Jr. might have joined the pantheon of great artists. But he had no education, and far far worse, no realization that he so desperately NEEDED one and no patrons willing to sponsor him to develop his art and so a man of immense artistic passion is remembered by few and one day, relatively soon, it will be none.

Author Interview: Brandon Black

The foul felonious fiend Karma Girl lures our daring hero to a trap aboard her vessel, the pirate airship Doomtown! Will Brandon Black survive? And if so, how will he escape? Tune in!

Behind the Spider’s Eye: Night Magick by Philip D. Williams

Behind the Spider’s Eye is the heading I’m going to use for practical occultism posts and essays — whenever I feel the need to talk about paganism and crafting pagan ritual, that’s the heading I’ll use. Okay? Let’s begin!

Night Magick by Philip D. Williams

This book was an invaluable resource when the time came for me to write my first public ritual. I’ve always hated the Western colour symbolism that says “White = Good; Black = Evil” and have always opposed it. I thought my pastor cowardly and disappointing as a child when I asked him why we as Black people would go along with the whole Black is Evil thing and he refused to discuss the issue. He didn’t even have the sense to feign indignance at the thought of entering into a theological discussion with a child; the man just ran off apologetically as though he were terrified of even talking to me (I did have a bit of a reputation I imagine with the Sunday school teachers).

When I got a chance to perform my first public ritual with the CUUPS group in New Orleans, I wrote a ritual celebrating the wonder and the mystery of the Night. I used the four Persian Watcher stars as my watchtowers and celebrated the Dark Goddess. I “reversed the polarity” of the Four Elements and did meditations that connected us to their dark aspects.

Actually performing the ritual taught me two key things I would have to remember always when dealing with public ritual. One: there are always going to be people present at a public ritual who don’t take the occasion as seriously as you do. Two: there are always going to be hiccups — people not knowing where to stand, people having to hold the script and some other object at the same time, etc. That’s why it’s always nice to practice beforehand but some times you can’t prepare for what happens.

At the height of the ritual, a huge current of wind started blowing in the courtyard of the UU church we were holding ritual at. And a few pages of one of ritual scripts got caught up in the wind. Everything came to a screeching halt as we all watched these pages circle faster and faster around the courtyard and then get sucked higher and higher into the night sky and then straight up out of sight.

I sighed, exasperated, wondering what else could possibly go wrong. And my Wicca 101 instructor looked at me and said, “You wrote a ritual to the Night and it was literally accepted by it; some people go their whole lives waiting for a sign like that.”

Thank you CONtraflow III!

On behalf of myself, David Ducorbier, Gary Bourgeois, and the other authors of New Orleans By Gaslight, I’d like to extend our thanks to the staff and attendees of CONtraflow III as well as to our good friends in the Adventurers League of G.E.A.R.S. and especially to Raymond Boudreau and Charlotte Pringle. Emerging authors have few opportunities to make the reading public aware of their work and their existence and we very much appreciated this one. Thank you very much!

We had a wonderful time and look forward to seeing you all again next year!

CONtraflow III

I’ll be at CONtraflow III in New Orleans this weekend and I’ll be giving panels on steampunk with several of our New Orleans By Gaslight authors, including Gary Bourgeois and David Ducorbier. Our panels will be Friday at 1 pm and Saturday at 3 pm.

October 19th is my birthday so feel free to wish me a happy one!

New Orleans By Gaslight will be available for purchase at the convention and our authors will be glad to sign it for you!

Doubletree by Hilton New Orleans Airport Hotel
2150 Veterans Memorial Boulevard
Kenner, Louisiana 70062
Phone: 504-467-3111