#shani oates

[toxicrants]

Currently all of 3 pages into Shani Oates' 'Tubelo's Green Fire' and already I remember why I put this down the first time.

She really goes for it with the thesaurus and just flies from one thing to the next, even within the same paragraph. Not to mention claiming all these different cultures had myths about 'angel' creatures mating with humans but just names a load of random cultures with no in depth analysis nor references.

[arcane-offerings]

Shani Oates. The Devil's Supper. Montréal: Anathema Publishing, 2021. Paperback edition. 275 pages.

Shop link in bio.

View this post on Instagram

A post shared by Arcane Offerings (@arcaneofferings)

[linillinil]

I asked SnapchatAI to write up an argument for using the Hail rune for shapeshifting practices, specifically with wolf spirits in the Norse context. These thoughts have been supported by Shani Oates’ book Wolfs-Head.

I’m surprised to say that it isn’t horrible.

-

The Hail Rune & Hamramr

The Old Norse rune poem describes the rune Hagalaz as being associated with hail, which can be seen as a symbol of destruction and chaos. However, some scholars have suggested that the rune may also represent the transformative power of change and upheaval, making it a good candidate to represent the wolf in the Norse context.

The wolf was an important symbol in Norse mythology, representing both danger and protection. The god Odin was often depicted with two wolves by his side, named Geri and Freki, who were said to be his constant companions. The wolf was also associated with the god Tyr, who sacrificed his hand to the wolf Fenrir in order to bind him and prevent him from destroying the world.

The concept of hamramr, or "shape-shifting," was also an important part of Norse mythology. Warriors were said to be able to take on the form of animals, including wolves, in order to gain strength and power in battle. The wolf was seen as a particularly powerful and fearsome animal, making it a popular choice for those who wished to take on its form.

The rune Hagalaz, with its associations with destruction and transformation, could be seen as a fitting symbol for the wolf in the Norse context. Its angular shape and jagged lines could represent the sharp teeth and claws of the wolf, while its association with hail could be seen as a metaphor for the wolf's ferocity and power.

Overall, while the Old Norse rune poem does not specifically mention wolves or any other animals, the rune Hagalaz could be seen as a good candidate to represent the wolf in the Norse context, particularly in the context of hamramr or shape-shifting. Its associations with destruction and transformation make it a powerful symbol that could be used to evoke the spirit of the wolf in Norse mythology.

How to use the Hail rune to connect with the Wolf spirit in your practice

Connecting with one's wolf spirit can be a powerful experience, allowing an individual to tap into their inner strength, courage, and intuition. The Hagalaz rune can be used as a magical tool to help facilitate this connection, by harnessing its transformative power and associations with the wolf.

One way to use the Hagalaz rune to connect with one's wolf spirit is to meditate on the rune, focusing on its shape, energy, and associations. Visualize the rune as a gateway or portal to the world of the wolf, and allow yourself to be drawn through it, feeling the transformational power of the rune as you shift into your wolf form.

Once you have connected with your wolf spirit, you can work with the Hagalaz rune to help strengthen and empower your connection. You might carve the rune into a piece of wood or stone, or draw it on a piece of paper, and use it as a talisman to carry with you. You could also incorporate the rune into a ritual or spell, invoking the transformative power of the rune to help you connect with your wolf spirit and access its strength and wisdom.

Overall, the Hagalaz rune can be a powerful tool for those seeking to connect with their wolf spirit. By harnessing its transformative power and associations with the wolf, you can tap into your inner strength, courage, and intuition, and awaken the power of your wolf spirit within.

[chattering-magpie-uk]

My Library 2023

https://chattering-magpie-uk.tumblr.com/post/678621392706633729/my-library https://chattering-magpie-uk.tumblr.com/post/706343230825005056/my-library-2023-part-1 https://www.tumblr.com/chattering-magpie-uk/707953005854654464/my-library-2023-part-2 https://www.tumblr.com/chattering-magpie-uk/709334194146459648/shani-oates-the-odinn-triology https://www.tumblr.com/chattering-magpie-uk/709334578…

[forbidden-sorcery]

The Wild Hunt is popularly held to be a troupe of spectres and demons, usually depicted as mounted hunters; sometimes accompanied by hounds that trawl the sky at night gathering departed souls, sometimes even to a cacophony of 'rousing and rough musick.' Seeing the Wild Hunt was and often is considered a very bad omen, usually foretelling a Time of strife, misfortune, madness or death. In some story variants, the Hunt directly achieves its end by fright or exhaustion, And according to much folklore the living unfortunate enough to cross its path, are to be seen swept up within its infernal train. This strange and awesome folk belief was particularly endemic during the early Middle Ages, In each region, the spectral rider is often described as dressed in black, occasionally headless and is generally a local figure in folklore, a past hero or mythical figure from legend, Accounts report how 'fire spurts' from the hooves, mouths and noses of phantom horses and hounds, which are often only two or even three legged.                 An appearance of Herne the Hunter in Windsor Forest is often followed by tragedy or disaster, often of national importance, Herne is probably the most famous stag-horned leader of the Hunt and is often linked to the Gaelic deity 'Cernunnos' (who in turn has been tenuously linked to the striking Palaeolithic wall painting of a 'sorcerer' figure at Les Trois Frères cave complex). Although the mythological origins of this cult may be reasonably placed within Iron-Age Europe, there is no tangible association between Herne and the Gaelic deity 'Cernunnos' that should push those origins of the Wild Hunt back into pre-history, Herne is a hunter, 'Cernunnos' is not, Their roles are in fact entirely different. But what is particularly relevant is how the Hunts seem to frequent the same territory: these are generally corpse ways, spirit paths, ancient forests and other liminal places, These processional ways are interstitial points of commune with discarnate forms. Lights, magnetic phenomena and eerie sounds denote places of especial power, profound and subtle points of interaction between the human psyche and its environment, induced by radon gas, ions and sonic vibrations of these geomantic centres. Funeral processions and the Wild Hunt' are also linked in many traditions at sites all over the country. In fact, Saxon spirit paths and ritual causeways named ‘daeda-waeg,' formed the Iater 'corpse-ways'.

Shani Oates - Tubelo’s Green Fire

[blackthornwren]

The Devil's role is a complex one; by default it generates doubt and fear, leading us to question everything we hold dear and believe in. Those things encompass the nature of being, the omnipotence of a god or gods, the causality of interdependency between ourselves and them, but mostly how to gauge our virtues and vices by clear and licit boundaries. Every day we ask at some point if the Devil was a necessary fiction borne of an autocratic dualistic monotheism?

Shani Oates, The Devil’s Supper, pg. 62

[spiral-nature]

The Devil’s Supper, by Shani Oates

The story of the Devil has been told by many over the years — by those who think they know him and by those who wish they did. The Devil’s Supper begins by inviting the reader to listen to his tale and drink from his cup.

Shani Oates gives a history of primal deities, how in recent times they have been viewed as evil, but that it was not always the case. As an example, she talks about Set and how his actions against Osiris was out of necessity with no intention of evil. Many gods had both negative and positive forces within them and were not seen as intrinsically evil or good. There was no duality as in Christianity. To create and destroy, all things were deemed necessary.

[Read the full review.]

[eiruvsq]

Artist & Illustrator:

Lupe Vasconcelos

"Hekate"

Tempera Gouache Illustration for the book "Crafting the Art of Tradition"

By Shani Oates (Anathena Publishing, 2016)

http://www.lupevision.com

[skepticaloccultist]

The Devil’s Supper

"The Devil's Supper" Shani Oates

The devil's history is a forking path, one that has wend its way from times of yore through a maze of cultural conditioning, folkloric interpretation and whole cloth fabrication. The Devil has been many things to many people and fits a service of ideas across a span of time now into millennia.

Shani Oates is a well known author of contemporary traditional witchcraft and the Maid of the Clan of Tubal Cain, that path of traditional witchcraft that finds its origins in the writings and teachings of the late Robert Cochrane. Her previous works have given considerable shape to contemporary craft practices, and her insight into the practicalities of craft practice is immeasurable.

Her latest, "The Devil's Supper", is a superb journey through the narratives that have shaped our modern idea of the Devil and his role in society, theology, and witchcraft. Oates' gives us a tour of the fables and legends, from the Mesopotamian through the Graeco-Roman, into the middle ages of Europe, it is a tale of manipulation, speculation and theological propaganda.

In the Devil's Supper Oates provides a context for the slow shaping and reshaping of this figure "The Devil" and those accused of worshipping and having relations with this being. From a "being of the air" to the eventual physical materialization in the form of succubi and incubi the Devil and his supposed followers come from a long narrative of theological suppression, historic revisionism and cultural appropriation.

There is in the work a particularly British perspective, a line being drawn so directly from the ancient past to the English countryside, which makes sense given its author is a leading figure of a well respected British tradition. It treads concepts laid out by previous authors, and gives the reader an astoundingly detailed and compact history - each chapter could nearly be expanded into its own volume.

The volume itself is another spectacular binding by Anathema. A shimmering slightly metallic looking cloth black cover with a devilish impression to the front board and silver lettering to the spine. Rich cadmium red endpapers with a fabric texture highlight the similarly deep red ink highlights used throughout the design.

The pages are of a vellum-like smooth, just slightly off-white, paper and the entire work is heavily illustrated throughout in historic black & white images, woodcuts, and etchings as well as beautiful illustrations by artist Lupe Vasconcelos. It is a wonderful design top to bottom, for which Anathema should be commended. (Though I must ask, why no index? Such a wonderful bibliography and no index leaves an, albeit tiny, blemish on this otherwise perfect volume.)

Shani Oates is herself part of a living current of traditional British Witchcraft and will, I am sure, continue to add to the dialog and development of Craft practice. "The Devil's Supper" is a delightful romp through the historiography of that figure who has haunted European thought for centuries - the Devil.

Find a copy of The Devil's Supper here:

"The Devil's Supper" Shani Oates

[unfetteredwood]

An interview with the amazing Shani Oates. While not really an influence on my practice anymore, certainly a huge inspiration in the past. 

[arcane-offerings]

Shani Oates. The Devil's Supper. Montréal: Anathema Publishing, 2021. Paperback edition. 275 pages.

Shop link in bio.

View this post on Instagram

A post shared by Arcane Offerings (@arcaneofferings)

[chattering-magpie-uk]

Two interviews with Shani Oates the Maid of the Clan of Tubal Cain

On the Blackchair – Shani Oates BiblioSophia ~ an interview with Shani Oates.

[thetavernintheforest]

This leads me to believe that Odin was, in fact, either riding an octopus or a spider.

That's my take on the myth now good luck trying to change my mind.

[forbidden-sorcery]

Pazuzu, an early Sumerian wind daemon, is an important prototype we should consider in the cumulative mask we have come to accept as typical of the Devil. His monstrous countenance induces terror; complete with knobbly horns, talons, and wings, his visage is truly frightful. Nonetheless, from within his dedicated cultural framework, he and other winged spirits were strictly ambivalent, originally called upon for judicious protection and revenge in matters of the living, rather than the dead. Many hundreds of years later, Pazuzu and several other arcane wind spirits were effectively demonized under the uncompromising Hellenization of Mesopotamia. We should understand therefore, that when it did change, he became a needful parallel catalyst within humankind to provoke ambivalent causality through a higher will, albeit one masterfully disguised as an embodiment of evil, presenting his historiography with a supreme paradox.

Shani Oates - The Devil’s Supper

[blackthornwren]

More than once it had been exclaimed that I was a changeling child, left by the Fey Folk. And yet I thrived, even as my grandmother whispered into my ear that I was one of yours. So often she would stare into the crackling flames about the hearth, then look upon me, intently reading the visions that unfurled before her saddened eyes. Sighing, she would catch her breath, grasp my hand, as if to reassure me. "It's a fair exchange," she would whisper. "It's a fair price." Brevity was the gift of your raging winds.

Revelation by Shani Oates, The Scalding of Sapientia, pg. 160

[spiral-nature]

The Devil’s Crown, by Shani Oates

So, it begins with Cain.

Most of us are familiar with the Abrahamic tradition surrounding the first-born son of Adam and Eve. After his sacrifice was rejected by Jehovah, Cain killed his brother, Abel in a jealous rage. He was cursed, given a mark, exiled and left to wander the earth. In The Devil’s Crown: Key to the mysteries of Robert Cochrane’s Craft, Shani Oates delivers further insight into this figure from the northern parts of the world. Readers learn about the tradition based upon the beliefs of Robert Cochrane, an English occultist and the founder of The Clan of Tubal Cain.

[Read the full review.]