Unlock the mysteries of the heart... Love is at the heart of everything we do. It is the intensity and ferocity with which we give ourselves to another. It is the unlimited, uncomplicated affection we have for our friends. It is the respect and small kindnesses we show ourselves each day. It is the magical essence that nourishes and animates all things. Featuring stunning illustrations by the author, this little guide will teach you to honour love's divine magic through spells, rituals and enchantments that will nurture your innate intuition, cultivate self-love and promote sensual well-being. The magic of an open heart will encourage your relationships to flourish by strengthening true bonds and healing old wounds. The Little Book of Love Magic enables you to connect and draw on love in its many guises to truly find the happiness you seek. Only through love can you take your spiritual practice to another level.

Witchcraft violence is a feature of many contemporary African societies. In Ghana, belief in witchcraft and the malignant activities of putative witches is prevalent. Purported witches are blamed for all manner of adversities including inexplicable illnesses and untimely deaths. As in other historical periods and other societies, in contemporary Ghana, alleged witches are typically female, elderly, poor, and marginalized. Childhood socialization in homes and schools, exposure to mass media, and other institutional mechanisms ensure that witchcraft beliefs are transmitted across generations and entrenched over time. This book provides a detailed account of Ghanaian witchcraft beliefs and practices and their role in fueling violent attacks on alleged witches by aggrieved individuals and vigilante groups.

In The Chain of Things, Eric Downing shows how the connection between divinatory magic and reading shaped the experience of reading and aesthetics among nineteenth-century realists and modernist thinkers. He explores how writers, artists, and critics such as Gottfried Keller, Theodor Fontane, and Walter Benjamin drew on the ancient practice of divination, connecting the Greek idea of sympathetic magic to the German aesthetic concept of the attunement of mood and atmosphere. Downing deftly traces the genealogical connection between reading and art in classical antiquity, nineteenth-century realism, and modernism, attending to the ways in which the modern re-enchantment of the world-both in nature and human society-consciously engaged ancient practices that aimed at preternatural prediction. Of particular significance to the argument presented in The Chain of Things is how the future figured into the reading of texts during this period, a time when the future as a narrative determinant or article of historical faith was losing its force. Elaborating a new theory of magic as a critical tool, Downing secures crucial links between the governing notions of time, world, the "real," and art.

Bringing together leading historians, anthropologists, and religionists, this volume examines the unbridled passions of witchcraft from the Middle Ages to the present. Witchcraft is an intensely emotional crime, rooted in the belief that envy and spite can cause illness or even death. Witch-trials in turn are emotionally driven by the grief of alleged victims and by the fears of magistrates and demonologists. With examples ranging from Russia to New England, Germany to Cameroon, chapters cover the representation of emotional witches in demonology and art; the gendering of witchcraft as female envy or male rage; witchcraft as a form of bullying and witchcraft accusation as a form of therapy; love magic and demon-lovers; and the affective memorialization of the "Burning Times" among contemporary Pagan feminists. Wide-ranging and methodologically diverse, the book is appropriate for scholars of witchcraft, gender, and emotions; for graduate or undergraduate courses, and for the interested general reader.

This book gives the beginner and experienced practitioner alike a modern, 21st century view into the powerful and often misunderstood magical current called 'Chaos Magick'. Written in a clear and easily accessible style it examines the theory behind many techniques used in magical, artistic, religious and scientific systems of thought; then links and applies them towards desired goals. Separated into two volumes the book can be used by the reader as a workbook with rituals, techniques and exercises to be followed, as a window into contemporary magical thought at the turn of the century or simply as a rollercoaster of a good read! However you choose to use it, this book will leave you feeling positive, inspired and ready to apply any of the methods presented to your own life.

Sophia Elizabeth De Morgan (1809-1892) was the wife of the mathematician and logician Augustus De Morgan and mother of the celebrated ceramicist William De Morgan. In this book, published in 1863, De Morgan, writing as 'CD' - with a preface by her husband signed as 'AB' - acknowledges that alleged spirit manifestations have faced much criticism and scepticism, but argues that it was a little-understood phenomenon that merited further investigation. She spent a decade on this research, and focused on the role of the mediums, people who were believed to communicate with the spirit world. She was aided in this by the arrival of a medium who lived with the De Morgan family for six years. Her chapters also examine in depth the process of dying and ideas about the afterlife. A first-hand account of the nineteenth-century spiritualist world, this book provides a fascinating glimpse into Britain's changing religious landscape.

This book will guide you if you wish to read more about hedge witchcraft as a pathway, or are already following such a path and wish to progress. It only has a little about hedge riding as this book has too small a scope to include it. Please read the accompanying book in the Pagan Portal series, Hedge Riding.

Who is Lucifer? The orthodox Christian view tells us that he challenged God, fell from Heaven, tempted Eve and created death and suffering. Then he became Satan, horned king of Hell. Yet as Lynn Picknett explains, Devil was only a new incarnation of the old woodland deity Pan, while Lucifer was a personification of the Morning Star, the planet Venus and its goddess. 'He' was therefore originally 'she', and a divine representation of love, beauty and human warmth. Indeed, many ancient goddesses were known as Lucifera, or 'Light-bringer' - an honour extended to Mary Magdalene in her true role as goddess-worshipping priestess and Christ's successor. While thousands follow Lucifer in order to achieve earthly wealth and power, Picknett explains that such misguided behaviour is far from true Luciferan principles - the audacious pushing ever outwards of the limits of human knowledge, startlingly exemplified by the little-known heresies of Leonardo da Vinci. Ironically, controversial modern scientists, who see no proof of a God, much less of a Devil, may possess the key to the existence of the old archetypal adversaries.; Urging a radical shift in both religious and scientific paradigms, Pi

Surrealist artist Max Ernst defined collage as the "alchemy of the visual image." Students of his work have often dismissed this comment as simply a metaphor for the transformative power of using found images in a new context. Taking a wholly different perspective on Ernst and alchemy, however, M. E. Warlick persuasively demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career.

A revival of interest in alchemy swept the artistic, psychoanalytic, historical, and scientific circles of the late nineteenth and early twentieth centuries, and Warlick sets Ernst's work squarely within this movement. Looking at both his art (many of the works she discusses are reproduced in the book) and his writings, she reveals how thoroughly alchemical philosophy and symbolism pervade his early Dadaist experiments, his foundational work in surrealism, and his many collages and paintings of women and landscapes, whose images exemplify the alchemical fusing of opposites. This pioneering research adds an essential key to understanding the multilayered complexity of Ernst's works, as it affirms his standing as one of Germany's most significant artists of the twentieth century.

This volume investigates the physical evidence for magic in medieval and modern Britain, including ritual mark, concealed objects, amulets, and magical equipment. The contributors are the current experts in each area of the subject, and show between them how ample the evidence is and how important it is for an understanding of history.