The Runic Seed was planted into my Soul

I have no need for a religious creed

My spirit ascends and is free, without a goal

I heed the Old Man’s advice, who moves with speed

When the world’s veil is pushed aside

Mystery plays with me Hide-and-Seek

Where Her Eternal Forms give birth at night

Attracting the strong, but frightening the weak

We all are Learners on the Runic Path no matter how far we get, Rune Master Ian Read recently wrote in a course he gave at Arcanorium College. I’m not a great fan of online-learning, but Clint pointed me into that direction recently (thanks, bro!) and I joined it for three months. Magical luminaries like Peter Carrol, Dave Lee, Ian Read and many other magicians from the Chaos Magic Current give courses there about all kinds of interesting things: courses on Mind Money & Magick, Following Spare’s Footprints, Galdrastafir, Sorcery & Alternative Science, Kitchen Magic, Aloha Huna Shamanism, Magickal Trance and many other interesting things can be found there. Seekers could learn directly from Pete Carrol to „pursue a bracing and invigorating program of martial magic to empower the inner warrior and to immanentise the eschaton in whatever way participants choose“ in a course he called the Jihad of Chaos. So should you be interested in practical magic and if you need some new approaches or inspiration, that’s the place to go. Ok, enough advertisement. Suffice it to say that the ‘Jihad’ Carrol is talking about is the real one. The Holy War here isn’t about killing, but is a „war of consciousness against conformity“ (Michael Kelly), which means „to stand against ignorance or tyranny“ (Sweyn Plowright) – fighting „against the inertia of the cosmos“ (Don Webb), against the stupidity of man, if you will.

However, recently I heard some people asking for introductory books on Runes. This really made me ponder, because I don’t think this is an easy question to answer. Sure, I have my favourite books. But at a deeper level I believe it doesn’t really matter what kind of books one reads in the beginning, because those dedicated to the Path will find their way ‘any-way’. Further the true meaning of the Runes cannot be found in books, no matter how knowledgable such an author seems to be. But even if this is the case we shouldn’t let people run into the wrong direction just because we somehow found our way inside (wherever that is where we are now). First of all, I should say that I hardly talk about Runes or magic with other persons, because it seems to be a waste of time and energy. (I look back at my teenager years/ early twenties with amusement, when I began to become nervous after five minutes when a conversation moved into a different direction than magic.) Most so-called occultists somehow seem to think that they know better what Runes are all about and that it’s ‘just another system’ and after all it doesn’t matter what kind of system one uses, because all of them lead to the same aim anyway. Really?

If I’d be asked by someone what kind of books I recommend for him  or her for learning about the Runes, I had to decide depending on the person. The ’shamanic type’ should probably begin with Jan Fries’ Helrunar. Those more into a traditional use of Runes should read Thorsson’s Futhark and Runelore. But all would get a copy of Sweyn Plowright’s Rune Primer. However, honestly said I do not think that Runes can be learned from books. It should also be noted that though I’m not absolutely new to Runes, I am considering myself a beginner and am still in the process of becoming familiar with the fundamental literature. (This stement is no wrongly understood modesty. It implies also that I haven’t read through or studied thoroughly every book I recommend. For example, I haven’t read most of the sagas.) It seems to me that in the beginning it makes sense to become familiar with a few academic books like Klaus Düwel’s Runenkunde and R. I. Page’s Runes. Especially the esoteric buff and occultnik should become familiar with the objective facts, regardless of how ‘dry’ or ‘boring’ they seem to be to him or her. Then a certain knowledge of the way our ancestors thought and what they believed could be helpful. The sagas and Hilda Ellis Davidson’s books come to my mind. The dedicated German speaking seeker should study Jan de Vries’ Altgermanische Religionsgeschichte. First then the esoteric works should be taken into account. How to practice ‘Rune Magic’ is next to impossible to explain as everyone will develop his or her own methods over the years, but Thorsson’s, Carrol’s and Fries’ magical methods are a good pointer how to enter this wyrd realm. At this stage subjective meanings will appear that will very likely contradict with (some of) the interpretations of other magical authors. My take on this is: follow your intuition. Noone can help you here except your ‘Deep Mind’ (Jan Fries) or, to say it in a more traditional way, your Fylgja. The only rule is: don’t universalise your own intuitive realisations. It is this subjective stage most of us are engaged in. Some say, there is no other stage to reach (than a subjective one), others are convinced that there is a level of meaning that is reflecting a traditional, objective knowledge. It’s not for me here to decide for you what take is the right one. But I recommend to think about the fact that a purely subjective knowledge will leave us with nothing more than a ‘NiTEiP ‘-attitude that we Chaos Heathens do not subscribe to (please correct me Elhaz fellows, if you disagree). To me this is one of the huge differences between Chaos Heathendom and Chaos Magic.

Let me exemplify how my chaos-magical approach to Runes (rooted in a ‘NiTEiP ‘-attitude) moved from a ‘Personal Gnosis Above All’-belief (PGAA – thanks, Henry!) – that considered my UPG [Unverified Personal Gnosis] as the most important one – towards a traditional approach to the meaning of the Runes (of course always supplemented and deepened by UPGs). When I worked with the ‘astral projection’-method Jan Fries suggests in Helrunar I somehow got to the conclusion that the Ingwaz-Rune – on one level of reference – is an entrance and symbolizes a vagina. I imagined Isa as the penis in this context. (Yes, Mr. Freud, I know it’s all suppressed sexuality, right? Or did I just read too much about Crowley’s sex magick? :-) Ingwaz – seen here as two united Kenaz-Runes – would symbolize fire and heat (sexual arousal) to me. On another, deeper level I saw an ‘alchemical’ process behind these three Runes (Isa, Kenaz, Ingwaz) and thought of the Isa-Rune also as the ‘I’, the ego. The ‘ice’ of the ego – its rigidity and illusory solidity – could be molten by the heat of Kenaz (‘gnosis’ in a CM sense) and so being transformed into ‘Ing’, an enlightened state of being, its essence or true Self. „Man finds his Ing“ has been a beautiful expression for this interpretation that caught my attention in Osborn’s inspiring (albeit rather untraditional) book Rune Games at that time. All this might look quiet weird and exremely subjective to you. Well, it is. But this is somehow the way things work (on a subjective level). And if you ‘feed your mind’ with accurate (traditional) data, better results will come out of your Runic Work. However, at some point I was made aware of the fact at Rune-Net that the traditional meaning of Ingwaz was the opposite of what I came to consider as one layer of its meaning: Ingwaz in no way does represent a vagina or female fertility (the latter meaning being encoded in Berkano amongst others), but rather male fertility manifested in the God Ing. Also the ideographic interpretation of Ingwaz proposed by Thorsson in Futhark is of an erected penis. (Oh yes, there exists Germanic sex magic. And Spare’s method of sigils – as original as it might look at first glance – has been known to our ancestors since centuries in the form of Bind-Runes etc. Always look to tradition first. Never underestimate the wisdom of the ‘ancients in your brain’ [John Balance].) I couldn’t agree more with what Henry has to say about the importance of tradition in his last article:

„I find that the more I research actual magical traditions the more I realise that the average modern occultist or Heathen has far inferior ideas to those that mythological or occult traditions have left behind. We really need tradition as a source of material for our creative, spiritual, and unconscious aspects to weave into reality. The depth and texture of a whole magical ideology cannot possibly be replicated in the half hearted attempts of individual seekers of whatever sort to invent their own. How can one person compete with centuries of people organically and indirectly collaborating across the ages?“

The same has been recently said by my brother, Hubert, who wondered how shallow Crowley’s Thelemic ‘mythology’ appears when it is compared to the richness, profundity and subtlety of the ancient Lore of our forefathers and foremothers. So I started to explore the traditional meaning of this Rune (Ingwaz) and, after that one, of all other Runes of the Elder Futhark. It’s not easy to let go of subjective ‘insights’ or visions and your own UPGs in favour of an ‘objective tradition’. But looking back, I think, this is exactly the point where I began to discover the far richer and greater worlds of ‘Runic Magic’ than before. All modern occultisms appear to me today as totally artificial, deficient and illusory ivory towers lacking the power and tested ‘down-to-earth’ approach of tradition. (Again, as said in another post, read Flowers’ The Northern Dawn before saying that our tradition is lost and unaccessible to us anymore.) I think that I knew intuitively about this intrinsic constructional flaw of western occultism, that’s why I always peered to the East until my Eye has been attracted by the strangely shining, northern Noxia-Licht [night-light] of Thule. The difference between the occult systems of the modern age and the Runic system of old is that in the latter there is no ‘final aim’, ‘last explanation of everything’, ‘final revelation of God’ or final state of consciousness like ‘Nirvana‘, ‘Eternal Bliss‘, ‘Samadhi‘ or ‘Heaven‘. If anything, there is the will to power, to continuance and enjoyment of life and the expansion of consciousness. I find these aims are of great importance today.

“The joy of life consists in the exercise of one’s energies, continual growth, constant change, the enjoyment of every new experience. To stop means simply to die. The eternal mistake of mankind is to set up an attainable ideal.” (Aleister Crowley)

The expansion of consciousness and continuation of life can be seen as the sole dictums of evolution itself. That’s why the attempt of some Ásatrú groups today to deny this evolutionary aspect of our tradition – like its contribution to the development of modern science – is not only historically wrong, but also dangerous in the sense that only science and traditional wisdom can prevent humankind from the ecological desaster we’re facing now and not hiding in the woods while dreaming up a romantic utopia in the past. Sweyn stresses the connection between our Heathen Germanic Tradition and modern ideas and ideals in his article ‘Heathenry and Modernity’:

„In many ways, the values developed by the Enlightenment thinkers can be seen as a real renaissance of the Heathen Germanic culture of freedom, law, pragmatic reasonableness, and individual rights. The success of this culture is obvious in the way it has become that basis of the values of the free world. The English language spread along with it, and has become the language of international trade, science, and politics to a large degree. So, while it is worthwhile connecting with nature and our ancestors, camping out and dressing in Viking gear at feasts, it is not necessary or productive to make that the major focus of one’s life. In the larger modern world, a world of our own making, we need to be participants. We need to be there to safeguard and carry forward the legacy and values of our Heathen ancestors as they have come down to us in the form of modern democratic freedoms. Something our ancestors were always prepared to fight for.“

In modern science the will to power is demonstrated by its attempt to control the environment. In the Heathen Germanic system of magic this will to power manifests differently and it shouldn’t be understood solely in a Nietzschen superman fashion (though everyone who knows me, knows that I love this aspect of Nietzsche’s philosophy). It is rather a power of the soul that is sought here and the ability to let the different ‘parts’ of the soul communicate with eachother and to enable them to work harmoniously. The work of the Rune Master then, perhaps, is the immortalization of those parts of the soul that make up the magician’s individuated personality (in a Jungian sense, not its persona) and to strengthen them to gain Sovereignty.

„[T]he power that Initiates seek is not the same as the power that politicians seek. We seek Sovereignty, not control.“ (Michael Kelly 2009: Apophis, p. 216)

This quest for meaning, transcendence and power is encoded in the Runic system. In this age the will to power manifests (amongst others) in an existential way as the need of modern man to find meaning in life. I think the worst consequence of the modern age is that it has isolated man from the world around him, that it has obscured  his ‘transpersonal will’ (Assagioli) or ’spiritual need’ (‘transcendent self-actualisation’ in Maslow’s model of the hierarchy of needs) and thrown him into a universe devoid of any meaning. This led finally to an emptiness and ‘inner desert’ – an existential vacuum – that existentialists felt so deeply inside them and that Tolstoi described in A Confession. To overcome that emptiness, that feeling of senselessness and „absurdity of one’s own existence“ (Camus) is only possible by the individual effort of each man by an act of (‘transporsonal’) will. Thus ‘the will to power’ is also a will to meaning, as Frankl has put it, who survived the horror of the concentration camp in Nazi Germany. There he observed that those who saw a meaning in life or believed in a ‘higher power’ or fate were stronger in spirit and were more likely to survive these inhuman conditions.

„… the striving to find a meaning in one’s life is the primary motivational force in man. That is why I speak of a will to meaning in contrast to the pleasure principle (or, as we could also term it, the will to pleasure) on which Freudian psychoanalysis is centered, as well as in contrast to the will to power stressed by Adlerian psychology [deduced from the Nietzschean concept, my remark].“ (Viktor E. Frankl)

By immersing oneself in the Runic worldview this will to meaning is manifested in the pursuit of power, knowledge and wisdom. But the meanings that are thus experienced are not created by man or his ego, but are uncovered and rediscovered by a transpersonal power and guidance that opens up and leads us on to greater deeds and mightier thoughts, where „one word leads to another word, and one work leads to another work“ as Fjölsviðr envisioned in the Hávamál. By delving deeper and deeper into the Runic realms we learn that behind the Runes – their actual shapes, sounds and meanings – greater Runes exist that man’s mind will never pervade completely. Layer after layer new meanings emerge and we are „approaching an infinite succession of veils, each of which parts to reveal another behind it“ (Dave Lee). This is how Runa is hiding and sought after eternally. This terrific, tremendous, sacred dance of consciousness and mystery, Óðinn and his Runakóna Freyja, Shiva and Shakti, spirit and matter, life and death and on and on ad infinitum, is where the meaning of Life Everlasting is created from moment to moment – and inbetween, where time collapses back upon itself like the waves of the ocean subside at the shore, Eternity gushes endlessly from no-where to ‘now-here’…  …from Ásgarðr to Miðgarðr. Um mik ok í mér Ásgarðr ok Miðgarðr!

„Everything copulates around me“, Spare laughed in ecstasy and hurled himself into this violent flame erupting from the creative Chaos we call rather unimaginatively ‘being alive’.

I updated my biography with mythical elements [this has been changed again, July 23rd 2010] that are not true in a ‘flatland’ logic sense. But they are true in the sense that they reveal the way my ‘dream self’ conceives reality. And in our days of gross materialism and spiritual illiteracy we forgot the language of Myth, Magic and Mystery. “Nature is a Language. Can’t you read?”, Coil once asked. And I ask myself, if I can read the language of my psyche and if I can learn to speak with her? I believe yes. I believe that this, in many ways, is part of practising magic. And I believe that such a language is encoded in the Runes. The Runes are far greater and far more mysterious than these 24 ‘letters’ look at first glance (or more or less than 24 depending on the Futhark you use; and there were many variations of each particular Rune). And, of course, our psyche speaks every night to us. Sometimes answers come in dreams. And most, if not all, spiritual philosophies emphasized that life itself is dream-like (that’s why they want us to wake up!). Others again purported that they can dream things into reality. Sometimes my life has been like this. Not really that I were dreaming things and then they happened (though I once dreamt that my grandmother will die a half year before it happened), but that I was longing for things or wanted some things to happen in a really strong way and then they happened. One thing was that I wanted to write about magic and other things that I feel deeply attracted to and – hocuspocus abracadabra – a guy named Henry asks me, if I’d like to write something for Elhaz Ablaze. Things like that, you get the picture. Life can be full of such coincidences. That doesn’t mean that life is about fulfilling every desire or that with magic ‘anything is possible’ like some New Age dreamers believe (or some newcomers to magic – no, not me, I never believed such childish nonsense :-). But what I’m talking about is that daydreams, secret desires, fantasy identities or other aspects of ourSelf can tell a great deal about where we want to go, who we want to be and what NEEDS to be done, if we are to become successful in our lives (a success defined by ourselves, not some normative ideas society holds). This in many ways is what Crowley called ‘the discovery of one’s True Will’. A Will, I believe now, that is more to be understood as a dynamic force and a PROCESS, not a static aim we have to get to. Matt Anon is such a ‘creation’ of my ‘dream self’. He is something my ‘everyday self’ (my persona) is not, but he embodies qualities to which I aspire. Anon is a ‘future self’ that functions as an attractor, a magical self that can do things ‘I’ couldn’t normally do. (At least, this is the ‘trick’ here.) And this is one of the definitions of magic: ‘Magic is a way to make things happen that ordinarily would not happen.’ (Flowers 1997: Lords of the Left Hand Path, p. 3) However, the test for the aspiring magician is mundane reality. A reality that must not be rejected, but one that is our arena and our playground. With work, discipline and one-pointedness it is possible to reach a sense of destiny, a destiny created by the magician – not karma, fate or chance.

This book is essential reading for anyone interested in runes or indeed European cultural history. Macleod and Mees decline to adopt the recent fashion in academic circles for dismissing the idea that the runes had any kind of magical significance, just as they refuse to pretend that different regions were hermetically sealed from one another. They steer a balanced path between emphasising the many mundane applications of the runes and their magical function, and indeed the book focuses on the latter, as may be inferred from the title.

The authors document and interpret scores of inscriptions from amulets, artefacts, monuments, and written texts, bringing incredible breadth and depth of learning to the task. Their vibrant enthusiasm for the subject matter is infectious, and consequently the book is anything but dry or boring. Indeed, there are even moments of high humour, such as a hilarious passage that recounts some of the more ribald love magic charms of the runic era!

The interpretations and explanations of the inscriptions are fleshed out with background perspective on cultural history and a real empathy for folk long dead, and this make the book much more than just a study of dusty museum pieces to be nit-picked and quarrelled over. The endlessly unfolding cultural and political evolution of Northern Europe over the centuries is explored through the angular scratchings of the runes, and the reality of Europe’s convoluted history is graphically exposed in the inscriptions that remain.

One of the most striking things that emerges from this book is the incredible diversity of runic writings. Although we talk about, say, “the Elder Futhark” as though it were a defined and uniform 24 character alphabet, the reality is that rune carvers modified the characters ceaselessly, obeying all manner of personal whims as to the orientation, style, and variety of ways of carving the runes. There is an almost aggressive outpouring of creative invention in the way that the rune carvers improvised on the basic themes of these archaic characters, a phenomena that we in our age of standardised spelling and formatting might struggle to grasp.

The book goes deep into the patterns and structures by which magical runic inscriptions on charms and amulets were composed. Indeed, their analysis of the five-fold structure of these inscriptions is elegant and brilliant, as is their discussion o the significance of terms like “alu.” Anyone interested in making their own modern rune carvings would benefit greatly from this book, which inadvertently serves as a detailed and clear “how to” manual.

In the course this analysis of the structure of runic amulet inscriptions the authors also underscore how indebted the Germanic runic tradition was to the Etruscans – for the fundamental magical structure used in the rune inscriptions was adopted wholesale from Etruscan/Rhaetic traditions. This is a fine illustration of the point that cultural exchange and mixing can sometimes strengthen the cultures involved and help them become more unique and distinct: this non-Germanic influence surely seeded one of the most distinctive aspects of Germanic culture. The tendency of some academics to only focus on specific regions (say, England) therefore risks grossly distorting our understanding of both history and the runes.

The book also makes the point that the runes were heavily used for Christian as well as Heathen purposes in later centuries, that they were combined with various other magical traditions, sometimes quite elegantly and even seamlessly, though it is clear that their place as a magical tool eroded by the middle ages and their usage became progressively more trivialised. This in turn underscores the complex cultural dynamics unleashed by the coming of Christianity, and the durability of Heathen cultural practices and aesthetics post-conversion, although the magical tradition of the runes seems to have ultimately declined into ignorance and ignominy.

The authors express some very valid criticisms of the use of the Icelandic sagas as sources for understanding rune lore, but their analysis of the Eddic poems “Havamal” and “Sigrdrifumal” concludes that these sources do provide valuable insights for understanding rune magic, again making the point that in the past some academics have been perhaps sceptical of these sources to an unjustifiable extent. This is very useful information, particularly as the mistake of seeing the sagas as a faithful representation of Dark Age Scandinavian culture seems very common.

I find myself disagreeing with the authors’ view that the various rune poems were merely mnemonics for remembering the rune alphabet orders, however. From personal experience I can assure the reader that memorising these poems for the most part) is far more arduous than merely memorising the Futhark alphabet(s) – indeed, I have forgotten my verbatim memory of the poems (though the substance remains), but remembering the correct Futhark order is easy and was, I found, almost a prerequisite for being able to absorb the rune poems into memory. An intelligent young child could happily memorise the rune names and order, but almost certainly not the poems.

Furthermore, the poems themselves seem to echo many aspects of Heathen culture and worldview and paint incredibly evocative images that, at least in my opinion, resonate much further than any putative modern mnemonic equivalent (“the quick brown fox jumps over the lazy dog” comes to mind). There are various other criticisms that could be made of the book, too, although ultimately it survives its flaws admirably.

On the whole this book is a revelatory window into the free-wheeling, anarchic, and bracing world of rune magic as attested by primary sources (as opposed to wishful thinking in either too-fanciful or too-cynical directions). It is fun, fascinating, and inspiring, and strongly, strongly recommended. The price tag is rather high, and this may dissuade some from making the purchase – but please, take the plunge, Runic Amulets and Magic Objects is worth every penny.

I have enjoyed what I have read of Galina Krasskova’s writings, so I was quite excited to review this book. Having devoured it, I have come to the conclusion that, although there are some discordant notes that did not sit comfortably with me, it is on the whole a valuable contribution to contemporary runic lore.

The book is not really for beginners, and for the most part assumes the reader already has (or is capable of acquiring) a grasp of the history of the runes, and indeed of Heathenry more generally. It focuses more on explaining Krasskova’s ideas and experiences pertaining to rune work, derived from her many years of experience.

Krasskova is one of those admirable Heathen/runic authors who is open about which of her claims have an historical basis and which come from her own invention or experience. In a world where many authors on runes present themselves as being historically/academically sound – only to then promulgate all kinds of fabrications as “authentic” – this is very welcome.

The book begins with some general comments on rune magic, including Krasskova’s thesis that the runes are sentient spirits; moves to a discussion of each rune (including the Anglo-Saxon runes, a rare inclusion); and then discusses theory and technique for applying the runes to various purposes such as magic, galdr (song magic, which she correctly notes as not necessarily being a runic practice), and divination.

The discussion of the runes themselves is thought-provoking and Krasskova has some fascinating interpretations and ideas. She accompanies her thoughts with translations of the three Rune Poems that history has bequeathed us – essential for anyone who has an interest in the runes – and her discussion is also accompanied by some evocative modern rune poems composed by Elizabeth Vongvisith.

Krasskova’s ideas on divination and singing the runes are very useful. Some authors on rune magic, being addicted to the vice of over-complication, leave the reader feeling overwhelmed and discouraged, whereas Krasskova makes one feel inspired to experiment and explore.

Despite my generally very positive impression, I did have a few raised eyebrows when reading this book. Krasskova’s ideas about runes as spirit allies are very unorthodox, but she pretty much presents the notion as though it were simply a matter of fact. I think a little more transparency with her readers would be appropriate on that score. I am somewhat sympathetic to the idea personally, but there are plenty of very experienced rune workers out there who do not adopt this notion and seem to have no difficulties at all.

Similarly, her claim that runes inevitably and necessarily like to feed on blood offerings is very unusual. I have known many experienced rune workers – and indeed, I am one myself – but I have never before encountered this notion. Again, Krasskova presents this idea as a simple matter of fact, whereas in truth it is quite unusual. I think for something potentially so controversial it would have been in good taste to have explicitly noted that many rune workers would disagree with this idea.

Perhaps Galina has simply assumed that, given her audience are likely to have some familiarity with runes already, they will know that these ideas are unorthodox. Nonetheless, I think that a simple acknowledgement or qualification would have been easy enough to include. Certainly such an inclusion would have been more consistent with her general openness about the difference between historical lore and personal innovation/experience.

Some of the book’s initial remarks on ordeal magic and spirit allies feel like introductory comments, but unfortunately the book does not really return to flesh these themes out. I rather wish the book had been longer; it ends rather abruptly and I felt like she had more to say. This is especially relevant given that this is a book for those who are no longer beginners and who are willing (and able) to dive deep.

I would hesitate to recommend this book to a beginner, but it certainly has given me pause and some fresh ideas for exploration, as well as inspiration to re-examine my own spiritual/magical practice. I still think that Jan Fries’ Helrunar remains unsurpassed as the best modern book on rune magic, but nonetheless Runes: Theory and Practice represents a considerable contribution to esoteric runic literature and offers many refreshing insights and reflections.

1) Galdor Made Me Into Road Runner

One day some years ago I was attempting to make my way to a friend’s home. It was a hot summer’s day and the train system had broken down, leaving me in the unenviable position of having to walk from Central Station to Stanmore (Sydney-siders will know what that means; the distance involved is about five kilometres). Oh, and I had something like twenty minutes to get there in time.

Despite the fact that normally I might have just called and cancelled, I felt it important at the time to connect with my friend, who had experienced a recent break up. One of my Odinnic poems came unbidden to my lips as I steeled myself to run the distance, knowing that I certainly was not fit enough to make the distance in the time available, particularly since I had a backpack with me.

As I began to chant the poem over and over, its rhythm taking a hold of me, I began to be filled with a stern vehemence. It was like a kind of berserkergang keyed to movement rather than violence. Swept up in my own roaring chant, I fairly flew the distance.

Strangely, I didn’t actually run, I just walked, albeit at a cracking pace, reciting my poem over and over. I covered the distance in exactly the time available, and not only that, but I was overflowing with energy when I arrived: not in the least bit tired. A totally bizarre display of physical power. I really should try to tap into that trick more often.

Less dramatically, I have found that I can get more energy to walk faster by simply increasing the tempo of my singing when I am out and about. Not exactly a new discovery – music has been used to synchronise rowers and marching soldiers for thousands of years – but I hadn’t realised that I could manipulate my own body into a swifter mode of action just by varying the tempo of my song.

2) Galdor on Stage

Things often get pretty intense when my band Ironwood performs: here is a photo from a gig – you can see the incredible proliferation of spirit orbs attracted by our magical music! Of course, a big part of our mojo is our vocals.

I often get possessed when I am on stage – in fact I think we all do – and my singing tends to take on a life of its own. Prior to our first gig, I had never been able to sing “extreme” vocals – the screeches, bellows, howls, and roars typical of extreme metal music. That was generally fine because mostly I sing “clean” in Ironwood, but sometimes I wished  could add just that extra layer of intensity to our performances.

On our first gig, after a while, I noticed a tremendous roaring voice coming back at me through the monitors. It seemed to sweep up the entire room and certainly drove me into total ecstasy. Then I realised: the voice was me! Presented with the immediacy and risk of performing for an audience had unleashed a wild and powerful new range of vocal expression for me, one that established a positive feedback loop with my trance states.

In recording settings I struggle to replicate these vocals, though my efforts for the next Ironwood album came out quite well in the end.

I think the magic of that first (and subsequent) gigs came from the fact that I didn’t recognise my own voice, and that dissociation sent me into a whirl of trances and altered states. Since then I’ve experimented a lot with exploring unorthodox ways of vocalising, and they can indeed send you into a huge range of worlds. Sometimes this practice will get me shivering spontaneously – classic Jan Fries-style seidh.

3) Galdor Duets

Apart from my time spent chanting within the Illawarra circle of the Jerrahi Sufis, in which I experienced an incredible array of magical states (not least because so many members of the circle were musicians and we’d really explore tonal chaos in our chanting), I’ve also spent a lot of time chanting with Donovan (which inspired this article from a while back). Donovan and I don’t get to do this together as much as we like, but it is always awesome.

I’d particularly like to share a recent, and quite bizarre, experience I had while rehearsing Ironwood vocals with my band mate Matthew. Matt and I were practicing a particularly beautiful but tricky duet passage that will be featured on the next Ironwood album. It is only a short span of music so we’d just sing it over and over again.

Something strange began to happen. I felt an intense sensation of electricity or energy moving up and down my limbs, through my body, my head, etc. It was like a powerful energetic vibration streaming through my body.

Then I had this intense impression that there was a third person in the room, forming the third point of a triangle with Matt and I, watching us as we sang. This presence seemed shadowy, hard to pin down, but benevolent. It was the most uncanny thing to be sitting there, singing with Matt, consumed by strange energetic sensations, watched by some ineffable but intense presence.

We stopped for a minute and I told Matt what I was experiencing.

First, he tells me that he is experiencing exactly the same energy sensation or whatever it was.

Then he tells me that he also can perceive the third person watching us…and that it is him! Matt’s perception, thanks to our singing, somehow has expanded beyond his body, and incredibly, I could sense the presence of his consciousness without any prompting or clue!

Neither of us can make any sense of the experience, but it was very empowering for us both. I chalk it up to the power of shared singing, the beauty of galdor and vocal-induced seidh-like consciousness. I am curious to see if we can replicate the experience: I wonder where it might lead?

Convinced yet that singing should be an essential part of most any magical practice? If not, give it a go and persevere. You’ll thank yourself for the effort.

Indeed, the “birdy” aspect to the word brings to mind the myth of Sigurd. When Sigurd tastes the heart of the dragon Fafnir he is granted the ability to understand the speech of birds and proceeds to experience some kind of magical initiation or expansion of consciousness. Perhaps hearing the speech of birds is a convoluted way of saying he became conscious of galdor: of the presence of magic suffusing all things.

Once we realise that the term galdor is not nearly as specific as some misinforming writers would have us think, we find ourselves in a position of immense freedom. While presumably there were various specific forms of galdor in days of yore of which no records remain, it also seems likely that there was a proliferation of styles of galdor, just as the old myths, customs, and even the rune alphabets varied from place and culture to place and culture.

Presumably individuals of magical inclination back then were as idiosyncratic as they are today (myth, sagas, and folk tales all seem to imply this conclusion).Consequently it seems reasonable to propose that song-magic innovation, undertaken with sensitivity to the mythic corpus, is perfectly “authentic”, at least in the sense of recapitulating exactly what the old sorcerers were up to.

Given the poetic proclivities of the Heathen folk (and the existence of an Old Norse poetic form called galdralag) it also seems appropriate to include rhythmic speech and poetry set to magical purpose under the category of galdor.

Recently I have been experimenting with singing in public: walking down the street, on the platform at train stations, in shops, you name it. It takes a bit of courage to openly sing in public: we are programmed to suppress ourselves, to package ourselves away from visibility (or audibility, more specifically), in contemporary Western society. At first I found it rather terrifying, and indeed my mind would turn constantly around that impossible question, “are the people around me judging me?” Sometimes I would feel so anxious that I would end up silencing myself.

Then I realised that the opinions of my impromptu audience were completely irrelevant, and that they were almost certainly not going to act on them if in fact they didn’t like the idea of me singing. Occasionally children laugh, or more commonly, stare in bewilderment, when I walk past them, singing happily away. Often I am shocked by the number of people who have no idea that I am singing because they have headphones in their ears, or because the surrounding traffic is so loud. Modern life is definitely not what our ears evolved to handle.

Apart from the fact that my singing technique is improving and I am feeling more creative (since I am now exploring musical ideas every time I go walking in public), I am experiencing deeper changes as a result of my public singing practice, and this leads me to conclude that I am practicing a form of galdor, at least in my own specific sense of psychological reconstruction.

My public singing is having effects that might be deemed magical in two senses. Firstly, it alters my relationship to my environment, including my relationship to other people. It modifies my experience of myself and the world around me, causing various fears to weaken, and correspondingly, causing me to feel more powerful.

Secondly, it is opening up the channel of my spirit. For example, when you sing your throat opens up. The vocal chords and neck muscles get massaged and strengthened, becoming more fluid and more definite. Normal speech becomes clearer, more compelling, and a little musical – all subtle “magical” effects. Even more importantly, this singing provokes feels of great joy and a lightening of life’s burdens. I feel very energised by my regular galdor, and unwittingly break into song in all sorts of moments – even when doing simple things like cooking.

If one of the central purposes of magic is to alter one’s consciousness (we might loosely call this seidh), and another is to bring empowerment (a purpose some see as a specific  purpose of the runes) then I think I have hit on an exceptionally potential-rich form of magical practice with my personal type of galdor.

What do I sing? Mostly improvised, wordless melodies. Sometimes I chant the names of runes or gods. Sometimes, rarely, I will sing songs from my band Ironwood, but mostly I just embrace the art of exploring my voice.You don’t necessarily have to sing to make this work for you – even just to recite poetry in a projective fashion would probably suffice.

Other advantages for this type of magic are that 1) you don’t need any special skills (since you aren’t singing to produce a “quality performance” and will in any case improve your “quality” of singing organically just by doing it a lot); 2) it doesn’t require any special preparation, memorising pages of middling-to-bad poetry, waving of obscure magical artifacts, dressing up in silly costumes, or anything else like that. All you need are a set of lungs and a throat. Magic that works in the here and now of daily reality is always preferable to me.

If you are not brave enough to sing in public straight away then I suggest starting by singing in “safe” contexts: while driving, or at home. Needless to say this will necessitate turning off your television (or better, driving a steam roller over it), and choosing to listen to music less (although I suppose you could always sing along to your favourite CDs).

When first singing in public, start off almost sub-vocalising or humming to yourself; don’t even bother with opening your mouth. There is no need to freak yourself out – just gradually increase the volume and physical obviousness of your singing as your comfort zone expands. It is perfectly alright to moderate your singing as appropriate for specific circumstances – I won’t sing as loud indoors for example.

One particular challenge is to not fall quiet or silent automatically when someone walks towards you. It might be scary, but once you can happily sing despite passers-by and the opinions of strangers you might start to feel a lot more cheerful and powerful. Certainly this is gradually unfolding in my experience.

The more I sing, the easier it feels to take other kinds of action in the world, to assert myself, and so forth. For example I have always had a strong telephone phobia, but recently it seems to have almost completey entered into remissiobn. Singing is very personal, yet also very public, and it enables one to reach a valuable equilibrium between internal and external worlds. If the philosopher’s stone is a thing of thought that can directly transform matter, then singing must surely be some alchemical agent – perhaps mercury – to help facilitate the process of transforming oneself into such a stone.

Of course, as alluded above, the names of the runes do lend themselves very nicely to song, and there is no reason why you shouldn’t apply runes to the art of galdor, even if strictly speaking rune-magic and galdor are two different things.

To my mind this sort of literally empty-handed magic is much more interesting, powerful, useful, healing, and deep than a lot of the more elaborate and effortful approaches. It draws on spontaneity rather than will and creativity rather than intellectual artifice. The old Heathens lived in a tough, often brutal, world, and from necessity I think they tended to prefer the quick and practical over the unwieldy and impractical. Hence my ancestors are reborn from the wordless song on my lips.

Reiki & Runa
I recently completed Level I and Level II training in Reiki, an energy healing art developed in Japan in the 19th Century.I have also practiced runic magic for years.Naturally I began to wonder whether some fusion of these techniques could be possible.

For years I have mouthed the attitude that one should not ‘mix up’ different magical traditions until one is well grounded in both.I believe I have this grounding.It will be interesting to see whether this experiment is still attacked as a ‘watering-down’ of both traditions.I would guess that any such accusations would be driven by an aggressive and idiotic spiritual isolationism, and not a genuine desire to preserve the integrity of the traditions at stake.

Without wanting to give away its ‘secrets’, Reiki is the skill of inviting ‘universal energy’ through oneself, into one’s hands, and then into the body of the patient. I found this to be a fresh and amazing approach to energy transfer, having only encountered the onerous notion that one MUST sacrifice one’s own energy to heal others. In Reiki, the practitioner is merely a conduit for the essential energy of the universe – a force which I believe corresponds in some ways to the Old Norse Önd, the divine breath that moves within all things (more on that below).

More advanced Reiki techniques utilise sigils and magic phrases to further empower the basic energy transfer process, and in particular enable transfer of energy to the past, future, or other locations. Transfers to the past are generally for a healing purpose; to the future and to distant locations are like any other spell cast to steer causality, and are not limited to healing purposes.

However, Reiki is bounded by an ethos of healing and non-violence, and it is argued that using this energy to harm others is dangerous (a common story, but not one that I feel the need to test). My Reiki teacher recommended that at the end of any kind of Reiki session, one should blow on the palms and rub them together to close the energy flow, and then declare “to the highest good and harm none.”

It is also central to Reiki ethos that one ask for permission before providing healing energy. A person should always have the right to decline energy gifts, no matter how sure you are that they should have it.

When I learnt these more advanced techniques I felt great difficulty in connecting to the sigils. I was already steeped in rune lore, and it seemed that runes, as symbol-word-sound complexes, could easily be used instead of the Reiki symbols. I am therefore talking about bringing the runes to bear on a form of magic that combines energy work, channelling, and visualisation. While Reiki is billed as a healing technique first and foremost, the runes open up limitless possibilities. Perhaps the Reiki Master training emphasises more options in technique (I believe it teaches more sigils), but even so I feel much more at home with Runa.

Of course, writers have talked about ‘signing and sending’ the runes for years, and techniques such as runic hallowing rites employ energy transfer, visualisation, and sigils (the runes). What discovery would I really be bringing to bear here?

I think there are some subtle touches to the Reiki approach which command respect – in particular, the very simple but powerful method of making oneself an energetic channel or vessel. I believe that Reiki techniques are refined and perfected for energy projection and channelling; authors on rune magic, on the other hand, are covering a wide array of disparate techniques and in my experience don’t provide comparable advice on runic energy work.

In particular I tried to work with some of Edred Thorsson’s Rune Guild energy techniques for years, and found most of them disappointing.

As such, I came to the point of feeling it necessary to experiment with fusing runic force to Reiki technique. More detailed outlines for how to try these techniques, along with the question of Reiki initiation, are discussed below.

Experiment One

The first experiment was very simple. I am informed that the word Reiki implies all energy, both horizontal and vertical. I immediately associated this with Jera – the runic map of horizontal or cyclic causality and energy; and with Eihwaz, the runic map of the world-column, the channel of vertical or linear causality and energy (incidentally, when combined, Jera and Eihwaz energies form the spiral, the whole and original energy structure of the Northern Tradition in my opinion).

OK, so I have correlated the idea of Jera-Eihwaz and the basic Reiki energy. I therefore attempted a simple healing energy channelling as is the basis of Reiki practice. However, instead of internally calling and visualising ‘Reiki’, I invoked Jera and Eihwaz. I then laid on hands as normal. This method is at least as effective as invoking Reiki energy, plus I find it easier to perform. Ultimately, I can see it being a much more effective basic energy healing method for myself and other rune wielders.

Experiment Two

I attempted to adapt the Reiki technique of sending energy into the future. This technique basically entails cupping your hands, visualising the desired outcome in the future, making the relevant sigils, and then channelling away.

All that I needed to modify was to channel runes relevant to my intent for the future.

As it happens, I was having some money difficulties (‘cash flow problems’) at the time. So I let Fehu be the rune of choice, letting it symbolise my receipt of money in the near future with no harm done to anybody for it.

Voila! An email 3 days later and a verbal discussion three days after that produced a situation in which unexpected benefactors came forth with monies that had been lying in stasis for me. Suddenly I found more than a thousand dollars winging its way to me. In both cases the benefactors contacted after I pondered these monies and more or less decided that they either might not come through or that I would forget about pursuing them.

In both cases the money had come from stagnant stores out of my immediate reach – , in one case held by the Rental Bond Board. From these sources the wealth was converted into, Fehu-style wealth – cash. One could joke that Sigurd was a Reiki master and Fafnir a particularly difficult patient.

Authors on magic often use wealth winning spells as an example of why one needs to take care in framing one’s magical intention. I like Phil Hine’s example best – the magician who enchants for money without specifying a possible source and without specifying that the winning of this money not harm others. The spell works alright – when an older relative of the magician drops dead and wills them the cash desired! I doubt this is a true story, but the point is well made.

The Reiki approach of saying “to highest good and harm none” at the end of the ritual therefore seemed a simple and elegant insurance policy against accidentally causing trouble from the main statement of intention. It is cheesy I know, but it seems like a useful safety catch if you aren’t in fact looking to cause harm! Of course, I’m sure these techniques would also effectively convey aggressive or so called negative intentions.

Experiment Three

What about sending rune energy to the past? When I was taught how to send Reiki to the past, it was framed in terms of healing the memory of past wounds. Practicing this skill was for me at the time quite emotionally fraught, as I have a few old but still rather open wounds from my childhood.

The method is similar to sending energy to the future. We cup our hands and visualise the past situation to which we desire to send the healing energy. When I have done this it has become a totally immersive experience – even entering the scenario as a magical persona or projection to personally deliver the goods.

I suppose it might be appropriate just to send Jera-Eihwaz energy for this technique. However I have also experimented with sending a runic formula tailored to a specific and very sad incident in my earlier life. Clearly great care should be taken to send the Well of Mimir (Memory) the right forces.

We can also use Reiki techniques to send energy to a person or place in the present – for example, for distant healing. The method is essentially the same as for sending energy to the future or the past.

For general purpose healing one could just send Jera-Eihwaz energy. If one has a more specific will, one could determine a statement of intention and encode it in runes to be sent. I must confess to not having actually tried this experiment, however extrapolating from the other experiments I do not see how it could fail.

So we can see that Reiki techniques can easily provide new options for applying runic power. There is one difficulty worth discussing however: Reiki initiation. Part of each stage of Reiki training involves an energetic initiation by a Master. Now, maybe this is just a device to keep people shelling out for the training, and maybe it actually does help one channel the energies. I don’t know – perhaps both theories are correct. With luck I will eventually become a Master and be able to find out for sure – in the meantime I can only speculate. Certainly, I find channelling runic energy to work better despite any comparable initiation. Then again, I have years of working with runic energy, so you would expect that something would rub off!

The other issue I feel I should address before turning to more useful technique outlines for runic channelling is that of runic stances. These have an odd history – as far as I can tell they were developed by rune magicians in the early 20th century who were as much interested in yoga and hermetic traditions as they were runes.

These days the Rune Guild is their most ardent promoter, arguing that they are a good method for channelling runic energy (as opposed to using galdor to project it). I believe the techniques discussed in this paper are a better alternative. They are no more anachronistic or historically implausible than the runic stances, which are after all a bad parody of yoga. However, these techniques are practical, don’t require you to stand in stupid looking postures, can be applied anywhere, and won’t hurt your back like some of Edred Thorsson’s recommended stances hurt mine. While it is clear that some postures are relevant to rune magic – notably the Elhaz stance for invocation of gods and other beings – others seem arbitrary, and from my experience none are that effectual compared to meditating, singing, or energetically channelling runic force.

Below I have provided practical discussion of the techniques in this paper. I hope you find some use for them. I recommend undertaking training in Reiki as a useful experience – even if you use runic energies exclusively once the training is done. I’d love to know what your experiences using these techniques have revealed.

1. Basic rune energy channelling (via hands).

a)Find yourself a patient (or yourself). Make sure you have permission to apply the energy.

b)Unless you intend to apply undifferentiated Jera-Eihwaz energy, you will need to work out and appropriate statement of intention and the appropriately corresponding runes. This can be accomplished by a few means – talking with the recipient to find out what they feel they need; divining with rune staves; meditating; or otherwise listening to your intuition. You might like to experiment with bind rune visualisations or melding several rune names into one to focus your concentration.

c)Touch the recipient. State in your mind “Jera-Eihwaz” three times, visualising the might of all the worlds’ energies – horizontal and vertical – streaming down into your head and up from your feet, into the vortexes of your hands and then into the recipient.

d)Once this connection has been established, call each rune in the same way, visualising and feeling its energy also. I also visualise the rune shapes and ‘hear’ the rune sounds.

e)Remember, you are just a conduit. Reiki practitioners claim that sometimes they experience clairvoyant insight about the recipient while providing the energy. I recommend circumspection about such insights – it has been found that some are true, and some are very false. The longer you apply your hands, the stronger the effect – an hour’s energy can be great, 15 minutes may well suffice however.

f)That’s about it for the technique! Don’t forget to rub your hands together and make a closing statement of will and the end of the session (e.g. the statement mentioned above, “to the highest good and harm none”, or another).

2. Sending rune energy elsewhere in time or space.

a)Again, you will need to determine the appropriate statement of intention and runes to be used and gain permission to send the energy if appropriate.

b)Cup your hands so that inside is a closed space. Visualise the target situation, time, place, or whatever, inside your hands. It may help you to let your visualisation become totally immersive.

c)State in your mind “Jera-Eihwaz” three times, visualising the might of all the worlds’ energies – horizontal and vertical – streaming down into your head and up from your feet, into the vortexes of your hands and then into the visualised scenario. I also visualise the rune shapes and ‘hear’ the rune sounds.

d)Once this connection has been established, call each rune in the same way, visualising and feeling its energy also. The longer you apply your will, the stronger the effect – an hour’s energy can be great, 15 minutes may well suffice however.

e)That’s about it for the technique! Don’t forget to rub your hands together and make a closing statement of will and the end of the session (e.g. the statement mentioned above, “to the highest good and harm none”, or another).

This paper won’t give you everything you need to start providing energy healing sessions to folk on the street – I have glossed over a lot of practical details that a good Reiki course should fill you in on. However, in day to day life you might just find these techniques bring a little more edge to your magic.

Finally, you may find that each hand seems to key to a different energy – in my case, my left hand keys to ice and my right hand to fire. This seems to be a normal thing, but I wonder how it could be used to make these techniques more effective still. Nothing about this kind of differentiation seems to be noted in normal Reiki lore.

To the brave may come the vision of the Valkyrie.
Dave Lee

The pathways lead us on since the screaming Lord awoke
Some heed unto the Need when the secret keys were spoke

The bridge wends ever on into worlds both dark and bright
Some hear the inner voice where the silence speaks aright

The journey has no end since such was never meant
Some feel beyond the veil where the ashen spear was lent

FIRE + ICE

The following description of the PROCESS that the Elder Futhark embodies, is purely SUBJECTIVE. I neither claim that my description of the Futhark is ‘true’ in any objective sense nor that it is of any value to anyone else than me. So why present it to others? Well, I would like to think that it inspires others how Runes can be applied on a individual level beyond the general presentation of each Rune as an ‘isolate’, seperate Stave.

A few years ago, when I was doing STAV with a few companions, I was taught to go through a series of ‘Tai Chi’-like movements of which every one was a Rune Stadha (but we were doing this with the Younger Futhark). I’d like to think of doing this with the Elder Futhark as a means of actualizing the whole cosmogonic process (that the Futhark embodies) in oneSelf. One could also sing through the whole Futhark or do the Stadhas & sing the Runes simultaneously. The idea behind this is to anchor the Runes in one’s psyche, so that they can become associated with certain states of consciousness.

Of course, it’s necessary to do some research and Runic Meditations before one can go through the whole Futhark. But after having stated the obvious I’d like to suggest the idea that the cosmogonic process (the ‘creation’ of the world) is not something that has happened once in a distant past, but that it is an ongoing process. It’s what Goethe called „dieses ‘Stirb-und-Werde’“ („this ‘Die-and-Become’“) that the Runic Process can symbolize and stimulate in the psyche of the seeker. Further I like the idea from Jewish Mysticism that „in the beginning was the Word“. As Galdor is a form of verbal Magic and each Rune Sound (I especially think of the „Kernel-Sounds“ as Thorsson calls them in Rune-Song, p. 33/34) is associated with a certain ‘cosmic’ / magical (cosmogonic ?) energy, it follows that each time we sing consciously the Runes with full concentration, we create the world(s) anew. Magic is then the methodology of re-arranging the world(s) (within or without) by projecting the sonic & visual energy of a particular (combination of) Rune(s) into the cosmos at will.

One word about the Übermensch: I was thinking about my use of the word ‘Übermensch’ in the Third Aett and if it could disturb some readers. But given the fact that the readers of Elhaz Ablaze are surely not ‘mainstream’ & must be rather anarchic spirits, it should follow that you are not ‘brainwashed’ by mainstream media. ‘Übermensch’ (superman) doesn’t imply the idea of ‘Untermensch’ (subhuman). The latter is a perverted creation of the Nazis, not Nietzsche himself. The opposite of ‘Übermensch’ is not the ‘Untermensch’, but ‘Mensch’ (human). It’s my conviction that the Elder Futhark describes an ‘evolutionary’ process on several levels: the cosmonogonic / cosmological and psychological / spiritual level. The ultimate aim of the Elder Futhark on the psychological / spiritual level is, perhaps, the Immortalization of the Soul / Consciousness of the vitki. Such a magician could be considered as a human being that has reached a divine level of existence and all traditions of ancient wisdom have some kind of a word for such beings, for example Xian (in Daoism), Bodhisattva (in Tibetan Buddhism), or Einherjar (in our Heathenism Tradition). I consider the word ‘Übermensch’ as an accurate term, because such a Rune Master is considered to have reached a level that is more than human (which doesn’t mean that he isn’t a human anymore). Yes, of course, this is speculation! It’s my opinion, personal belief, UPG (‘Unverified Personal Gnosis’) – whatever you want call it, dear. My ideas below are inspired by several sources mixed with my own intuition. The sources include diverse artists (bands) & authors like Fire + Ice, Death In June, Ironwood, Chris Travers, Leon D. Wild, Dave Lee, Jan Fries, Sweyn Plowright and Norbert (who taught me STAV for a while). However, the foremost inspiration has been the body of work created by Edred Thorsson – and, of course, my ‘Deep Mind’.

Each Aett has a certain ‘feeling’ attatched to it & represents a certain level of Initiation. I have given every Rune a ’sentence’ that I somehow associated with each Rune in some of my Runic Meditations (some of them are taken from the lyrics, in part or as a whole, from the bands mentioned above). Then I try to put every Rune in the context of a certain stage of development. The First Aett describes the cosmogonic process (more or less), then I ‘jump’ from that macrocosmic to the microcosmic level (this happens somewhere inbetween Kenaz, Gebo & Wunjo). Please keep in mind that this description is not at all a final piece, but rather a fragment that reflects a part of my understanding of the Runes. Please regard it as an exercise in ‘poetry’ rather than a metaphysical interpretation of the Runes. At some point, it has been suggested, one should write one’s own Rune Poem. I haven’t yet reached that point. However, here we go!

THE FIRST AETT (The Beginning of the Universe / Spiritual Childhood):

FEHU („Eternal Fire. My Being broadens itself over the Vastness of Space!“):

Fehu is the primal movement, the ever extending fire emanating from Muspelsheimr. This eternal extention becomes

URUZ („UR-Form and Form-Giver. I begin to wax and thrive!“):

Uruz is the vital force that shapes all things. Audhumla is licking the Giant Ymir out of the frost that emerged from Niflheimr. As the forms are eternally shaped by Uruz, another force originates:

THURISAZ („Shifter and Resistance-Breaker. My Will is Coming Into Being!“):

Thurisaz is the necessary agent that breaks through all resistance. The three forces of Fehu-Uruz-Thurisaz are so primal, chaotic and ancient that they can only be perceived – in the context of cosmogonic processes – as ‘blind’, unconscious, gigantic movements.

ANSUZ („Ancestral God-Conscioussness. I Give myself to mySelf Eternally!“):

It’s only now that the first consciousness emerges in this evolutionary process that becomes conscious of itself (the First God, Odhinn) – this is the mystery of Ansuz. The triad Odhinn-Vili-Vé dismembers Ymir & creates the universe. This results in

RAIDHO („Holy Order. Rightly I Ride Along the Runic Roads!“):

Raidho – the Holy Order emerges from the sacred consciousness of Odhinn-Vili-Vé. From the Holy Order enflames the spark of knowledge and creativity.

KENAZ („Controlled Fire. I enflame the Holy Spark.!“):

Kenaz is the Promethean Fire given from the Gods to Men. Thus, for example, the discovery of making fire reflects man’s divine ability to use knowledge creatively, which leads to new skills that man continually develops and improves. This is the realm and power of Kenaz. It is also the fire of passion and sexuality, which leads to ecstasy when controlled and used wisely.

GEBO („The triple Gift. The more I Give, the more I Get!“)

Man receives the triple gift (Gebo) from the Gods: the Body (Lík) symbolized by the Tree is ensouled by Life-Breath (Önd) & Consciousness (Ódhr). „Wind and Thought have shaped the Trees.“ (Ian Read) As man fully develops these faculties he reaches

WUNJO („Strength Through Joy, Joy Through Strength. I balance the forces within mySelf!“):

Wunjo represents a perfectly balanced & harmonious state that the aspiring vitki experiences as Joy. Wunjo also embodies the sacred bond of friendship and the Joy experienced in a community. Man is a social animal, but the Runer must necessarily be also a lonely wolf.

Here, in the First Aett, man is spiritually still innocent. The end of this process, Wunjo, is the aim of the naive mystic and in a negative aspect this state can become the obsession for the wooly cotton- brained New-Age romancer. But to the Rune Magician Wunjo is only a necessary requisite.

THE SECOND AETT (The ‘Catastrophes’ & Ordeals of the Magician / Spiritual Maturation):

HAGALAZ („Crisis Leads to Enlightenment. Hail the White Grain!“):

Man’s spiritual childhood is interrupted by a shock that initiates a process of transpersonal growth & spiritual maturity. Hagalaz is the seed of destruction that has encoded in it the seed of enlightenment: the Hail-Stone.

NAUDHIZ („Need-Fire. Seeker, overcome thyself!“):

Naudhiz represents the hardship of life. The Need-Fire is created. This is the necessary friction to test the will of the magician. Finally, it brings progress in his magickal development.

ISA („Silence of Ice. Silence all the senses and listen to the Voice of Silence!“):

In the process of these distressful transformations the vitki must find a silent place within himSelf. By cultivating silence the magician finds a resourceful state within him that is the Region of Pure Will. Thus he develops a mature sense of self without an excessive ego („body armor“). However, nothing ever remains the same…

JERA („Cycles within Cycles. Through Faith in mySelf and my Rhythm I move easily through the Cycles of Life!“):

The vitki realizes that for everything there is a season. As he sows so shall he reap. By observing the cycles of nature he learns about the cosmic ‘laws’. He realizes that the processes in the macrocosmos mirror operations of the microcosmos (his soul). They become allegorical, alchemical keys that bring forth procedures to explore the soul. Thus he finds the World-Tree…

EIHWAZ („Yggdrasil, Pattern of the Worlds. The Fire of the Yew brings Immortality to my Soul!“):

The vitki wanders between the worlds and is taught the mysteries of Life and Death: Eihwaz – Great Initiator! Here he learns about the worlds and their ‘laws’.

PERTHRO („The Three Norns. I Weave my Wyrd with Mighty Deeds!“):

Perthro teaches about the Wyrd and Orlög. Understanding his Wyrd the magician knows there is only one thing worth pursuing: to strive for the Divine within. This is the mystery of

ELHAZ („I strive for my Higher Self. Elhaz Ablaze!“):

Elhaz expresses Man’s longing for the Higher Self. This leads man along the thunderbolt-path, along the serpentine spiral (the shape of Sowilo), to his divine consciousness. Elhaz ignites the Holy Fire of

SOWILO („Eternal Sun, Guide me along the Serpentine Path to the Knowledge of my True Self!“):

Sowilo: the sacred, silent, synthesizing Self is experienced fully for the first time! Here the goal & the way are the same. The Sacred Self is the aim of the magician, but it is also the necessary requisite to travel along the initiatory path without the danger to get lost & become mad. One of the very fascinating features of Runic Mysticism is the fact that this is not the end of the spiritual journey. Rather it’s another beginning.

THE THIRD AETT (The Great Initiations of the Rune Master / Spiritual ‘Übermensch’):

The third Aett shows the Path of the Rune-Master and his Great Initiations…

TIWAZ („Supporter of Heaven, Mighty Pillar of the Sky God!“):

Tyr is the Lord of Law and the Guardian of the Holy Order. The Irminsul is established from within to without. The transcendent centre within the psyche must be fully established – the esoteric location that some German Rune Magicians of the early 20th century have called ‘Thule’.

BERKANO („Pregnant Mother, Container of Strength!“):

Berkano teaches secret growth, the process of Becoming, Being, Decaying and ‘Rebirthing’ is used for the power of the magician. Thus he becomes aware of the Other within. Our ancestors have thought of that quality as a Being independet of the magician’s Self:

EHWAZ („The Golden Wedding. I strive for the Alchemical Marriage!“):

This is „the lonely path towards the eightlegged steed“ (Ian Read). The Fylgja / Valkyrie reveals herself to the vitki. He’s on the cutting-edge of overcoming Death. Marr er manns fylgja („The Horse is the Fetch of Man“).

MANNAZ („Consciousness is Holy. What is Whole, is Holy!“) :

The bipolar structure of man’s consciousness reflects the divine origin of the human psyche. The conscious Mind / Intellect (Hughr) and Remembrance / Intuition (Myne) unite and are enflamed with Inspiration by the Wode-Self. The Well of Urdhr streams eternally from ‘below’ (Jung’s ‘Collective Unconsciouss’ / Myne) to ‘above’ (the Hughr). Thus the ’super-consciousness’ (Roberto Assagioli) is created at the centre between those three faculties (Hughr, Myne, Wode).

LAGUZ („The Waters of Eternity open up. Flow Along the Runic Rivers!“):

Laguz is the final test. The ancient waters of Life-Force, the Ur-Waters streaming from Niflheimr, pervade man’s Mind, where the accumulation of wisdom & his transpersonal growth become an endless process, if he’s on the path of the Rune Magician, because Laguz is a crucial point. I would like to define the path of the magician against the path of the mystic here (for the sake of playing around with ideas):

You could say that these forces – Laguz – are so strong that the sense of Self will be absorbed by the ancient waters (the path of the mystic). Mystics often speak of this experience as an ‘oceanic feeling’ (cosmic consciousness). One could say that the mystic cures his fear of death by confronting Nothingness (Dave Lee). He gives in & submits his sense of Self to the Life-Force (Laguz); the cosmic Ur-Waters of Laguz ‘consume’ him. He looses his individuality & dissolves into that Cosmic Ocean like a drop of rain. From the mystic’s point of view the following happens: He realizes that he has no individuality, it’s an illusion – he has always been the Ocean. Thus he looses all fear. In the context of this article, I want to argue that, if any mystic could follow that initiatic path so far, his journey ends here.

The magician instead has to ’seperate’ his Ek from that turmoil, because magick is about control. LHP magicians are control freaks! But this Ek is not the ego at all, as Dave Lee so aptly demonstrates in his Master Work Bright from the Well. Rather it is Spare’s Kia, Verdhrfölnir or the ‘Ultimate Observer’ (de Ropp’s ‘Fourth Room’ or Lilly’s ‘Center of the Cyclone’ or Osho’s ‘The Watcher on the Hill’). To stay in the metaphor from above: The rain drop does not dissolve and mingle with the Cosmic Ocean, but remains its individuality.

INGWAZ („The Principle of Wihaz. Gestation and Transformation. Man, Become God!“):

By isolating himself from all these changes around him, the vitki starts a controlled process of absolute transformation. The storage of the Life-Force of Laguz leads to the gestation of the Seed of Immortality. This seed becomes the ‘Body of Light’ (or what the Vajrayana-Buddhists call the ‘Diamond Body‘). „Man finds his Ing“Rune Games, Osborn & Longland).

DAGAZ („The Morning of the Magician. Atheling, Awake!“):

Dagaz dawns as the darkly shining Noxia-Licht („Night-Light“) of Enlightenment. This Rune is central to the understanding of the essence of Odhinn. Dagaz leads directly to the synthesis of all polar extremes. It’s the Paradox that lies at the centre of the Mystery of Wodhanaz. By uniting the opposites (f.e. ‘Man’ & ‘Woman’) a third thing is born (f.e. a ‘Child’). This is an eternal process. The journey has no end since such was never meant.

OTHALA („Eternal Soul. I, the Winged Ing, repossess my own Space!“):

Othala represents the individuated psyche (in a Jungian sense). This is man’s reclaimed estate of kingly existence, his Immortal Soul. „There are Thrones underground and Monarchs upon them.“ (Coil)

Putting Dagaz as the last Rune of the Futhark could symbolize that the process of ‘uniting the opposites’, that finally leads to what has been called enlightenment, is eternal and never-ending. On the other hand as Fehu symbolizes movable possession (the extension of the Self), Othala represents the end of this process, symbolized by the ‘rewon’ kingly estate (the perfected Self).

I’m in the beginning of learning Galdor. It seems to be a very difficult art. The Runes – the ‘tools’ of Galdor – seem to be of such a mysterious nature that they never can be understood fully. When you move nearer to them, they seem to move further away from you. This lies at the centre of the mystery of Runa. It has been said that the fatalistic acceptance of the fact that Runa will never be fully grasped is the hallmark of a true Odian (a seeker who does not worship Odhinn, but rather emulates the way of Odhinn). Such a vitki explores the dark magick of the Germanic LHP. Let me conclude with the words of a magician, whose words never fail to illuminate my mind:

“In galdor-type magic, the self is fully-conscious at the moment of projection of the will. In other words, the magical self extends its will at the same time the observing self sees it all happen. The observing self is unfazed by the focus of the magical  self – context is not lost, even though the magical self is in a narrow, focused, fanatical state. This is the nature of this kind of magic – that the observing self is present throughout it, and that the consciousness of the wizard is doubled.
So, what we are really developing in our magical work is the ability to split our attention in this way, to bring the observer-perspective into even our most passionate and intense trances. The path of the magician emphasizes both the transcendent and the immanent, worldly aspects of life, in contrast to the way of the mystic, who seeks to transcend the whole show.”
(Dave Lee, Bright from the Well, p. 134).

Reyn til Runa.

- Peter J. Carroll, Liber Kaos

If it is possible to effect changes in reality simply by changing one’s beliefs, then it logically follows that words must be powerful tools of magic.

Putting it another way…you can make things true simply by stating them as fact, provided that your statement is convincing.

It further follows, then, that the most basic foundational skill of magic is to speak and write convincingly and with authority. To develop this talent, one should study oratory, rhetoric, acting, art, poetry, hypnosis, psychology and propaganda. Practice telling stories, anecdotes and jokes as a means of making a point. In order to develop the glamour of authority, the magician requires a broad general knowledge. Study history, philosophy, mythology, religion and languages.

The ability to speak multiple languages carries with it the glamour of the world-traveller and renaissance-man. In the US, a facility with French will make one appear cultured. Spanish, streetwise. To speak and read in archaic and forgotten tongues is especially impressive as this taps simultaneously into the archetypes of priest, scholar and mystic.

It should be clear by now that it really doesn’t matter much which particular languages one chooses to study. Each has a slightly different, though equally positive effect. Much more important are the foundational skills and the conviction with which you speak. No-one’s going to think you streetwise as you stutter through your basic, overly formal high-school Spanish. Likewise, no-one’s going to mistake you for wise and powerful Magus if your command of the Elder Tongue extends no further than chanting the Futhark in your deepest D&D voice. On the other hand…maybe they will. There’s a sucker born every minute.

Hail Chaos! Viva Loki! Aum Wotan!

Finally our empty talk reached critical mass and, with my discovery of the crappy but easy-to-use Weebly blog system, Elhaz Ablaze was born. It was (and is) an ugly site to look at, but we hoped that we could fill it with enough worthwhile content that readers would not mind.

Of course, we had absolutely no idea who would be interested in what we had to say. As far as we knew, the notions that we have come to refer to under the rubric of Chaos Heathenism would fall on dead (as opposed to deaf) ears.

Actually I have to admit that I hoped to provoke hate mail for the controversial opinions we and our guests have presented. But to date we have gone unscathed (much to my Loko chagrin).

Instead we have discovered that people actually seem to like our stuff – and moreover we seem to have some kind of readership, at least guessing from the Google Analytics thingy I set up in early January.

Since January 4, 2009 we’ve had some 1,238 unique visitors, 2,763 visits and 8,693 page views. Not bad for what must be one of the weirdest Heathen/magic/martial arts sites on the ‘Net! I have no idea what the patronage was like prior to that unfortunately.

I don’t know whether we are preaching to the converted (perverted?) or whether we are actually opening folk to new perspectives – I’d like to hope for a bit of both.

Certainly we felt terribly unrepresented by the bulk of Heathen writings out there and we hoped that we weren’t the only ones. Consequently, one of the joys of Elhaz Ablaze is that it has put us in touch with folk on similar wavelengths to ourselves. It’s a relief to know that we’re not alone.

I’m also pleased that we could invite Matt Anon to join our group. I’ve known Matt electronically for years and we are like cosmic siblings (despite having never met), so to have his ideas presented alongside mine is a deep privilege.

One of the fundamental principles of Elhaz Ablaze is our commitment to the notion that there is only OPINION in Heathenism: there is no orthodoxy and anyone who claims a monopoly on truth in such a sketchy cultural manifestation as ours is a fraud.

Hence, I love that we contradict ourselves and disagree with one another. Nietzsche says that the more permissive a culture is, the stronger it is; the more restrictive it is, the more brittle and weak it is. We want Heathenism to be strong, and therefore it must be pluralistic. I’m proud that Elhaz Ablaze has become a model for this ideal.

That extends also to our guest writers, who do a great job of both agreeing with and contradicting both us and each other! I might not entirely agree with, say, Sweyn’s views about modernity (see his articles in the guest section), but I’m proud to offer them a home, to defy the widespread anti-modernity Heathen attitude that I myself tend to adopt.

For myself, I settled into a regular writing discipline from day one of the site and maintaining my journal has really assisted my spiritual development. Keeping a public diary, writing short monographs on magical subjects, etc, has enabled me to objectify the sometimes all-too-ephemeral unfolding of my spiritual experience.

This in turn has helped me to integrate the various facets of my existence to a much better degree than I have ever achieved – Elhaz Ablaze for me has been a powerful alchemical vessel. Although, of course, there is a great deal more work to come, and many a loose end yet to be brought to roost in Wyrd’s weave.

When I am lost to myself I can turn to my writings on this site and they anchor and reintegrate me into Mimir’s gift of memory, so essential to the nourishment of my personal microcosmic Yggdrasil.

Indeed, writing my journal has been like mapping out a vast and unknowable continent. Every entry I write feels utterly essential to my being once it is done. Some time soon I will read over everything I’ve done – it will be fascinating to retrace my steps over the last year (and the earlier essays I posted in particular).

This journal has been a profound anchor and way-station for my evolution (and in the last year I can barely start to express how much my life has changed, mostly for the better, though certainly not without great struggle and suffering).

Given it is our first birthday I feel it is high time to explain the name Elhaz Ablaze.

Elhaz is a rune of polarities – consider the Old English Rune Poem (this translation by the inestimable Sweyn Plowright):

Elk-sedge is native most often to the fen,
It grows in water; it wounds grimly,
Burning with blood any warrior
Who, in any way, grabs at it.

The fen, the marsh, the swamp, is a liminal place between land and sea. We know these were holy places to the arch-Heathens – the bog offerings archaeologists have found alone confirm this. Yet for all of its liminal openness, the marsh is warded by the elk-sedge – sharp grass, the points of the elk’s antlers, the reach of a deadly blade.

Elhaz represents, therefore, all the beauty and magic of vulnerability and mystery; but also the strength and integrity of the wild beast that dwells within the wetlands. It represents our desire to deal only with those on the ‘level’. This isn’t a question of elitism or anything silly like that, more a question of taste and time management.

Why Elhaz Ablaze? The fire to me represents the overflowing flames of inspiration, magic, possession, enlightenment, purification, celebration, Life itself. The two words in combination to me suggest the meeting of frost and flame, fire and water: in Elhaz Ablaze all oppositions are subsumed into a greater and dynamic whole.

In a sense, then, Elhaz Ablaze is the necessary conceptual twin to Chaos Heathenism. Chaos Heathenism is a philosophy built on the notion of Elhaz Ablaze – the Chaos offers us liminality and magic, the Heathenism offers structure and integrity. In combination they create a synergistic conflagration.

Where to from here? Speaking for myself – I am about to go travelling for six weeks and this journal will likely be fallow in that time. However I will soon post up my voluminous (circa 13,000 word) essay in response to Alain de Benoist’s book On Being a Pagan.

This essay was written originally for Heathen Harvest, where it will also soon appear, but they have graciously let me present it here on Elhaz Ablaze too. I figure it should offer plenty of mind-meat in my absence for those that care to read it!

A word on the creative process of this essay. I took extensive notes on the book as I read it, until my brain was super-saturated. Because the book provoked me emotionally as well as intellectually it put me into an intense fervour over the fortnight or so that I read it.

Then, the day before my current university course started, I sat down with all my notes and wrote the whole thing out in one sitting. Since then I’ve been tweaking a little bit and getting a little bit of feedback from a few trusted readers (Volksfreund deserves particular praise in this regard).

In short, the writing of the essay was itself an act of applied seidh. I utilised extended altered states of consciousness, full activation of my deep mind, variegated forms of trance and seething, runic incantations and the riding of my Wode – my personal River of Fire – into the arms of inspired creation.

I could not have written it with cold blood, but thankfully I did not have to. So when you read it, please see it for what it is – an exercise in poetry as much as philosophical discussion.

Now – what next? I really cannot predict what I’ll do once I get back from my adventures (or what I hope amount to adventures), and I’ll be very busy with my studies as soon as I get back. But I’m sure that wherever the creative impulse leads me, you’ll read about it right here.

Oh yeah, that reminds me, Ironwood’s debut album has received amazing press. We still have copies available – see below for some reviewer responses. If you like beautiful, emotionally intense folk music with some heavy excursions – or intense, provocative metal with dreamy acoustic explorations – plus magical lyrics and consciousness-altering atmospheres – well, check it out!