The Awenydd Identity and Cultural Appropriation

Introduction

I’m writing this essay because, over the past few months, I have noticed a number of people speaking either of their reluctance to identify as awenyddion due to fears of cultural appropriation or more generally voicing their concerns about English and American Pagans appropriating the term.

I first came across the term awenydd ‘person inspired’ in Natural Druidry by Kristoffer Hughes. In its lightning-like connection to the awen ‘poetic inspiration’ and used as a descriptor of one who quests and gives voice to this divine breath in poetry I intuited it was the word I’d been searching for to describe my spiritual path (I had formerly identified as a bard). This was confirmed by my patron god, Gwyn ap Nudd, on the Winter Solstice in 2013. Since then I have served Gwyn as an awenydd by giving voice to his myths and those of other Brythonic deities, the lore of the land, and the ancestors. With Greg Hill I co-founded the Awen ac Awenydd website and, with Lia Hunter, we have been working on compiling an anthology featuring the voices of other modern awenyddion.

So it came as a bit of a shock that my adoption of the awenydd identity might be seen as cultural appropriation. And that, much worse, I might have unwittingly influenced the choice of others to appropriate the term. Over the past few weeks I have led discussions on the topic on the Awen ac Awenydd Facebook page and discussed it with Greg by email and would like to share some conclusions.

The Awenydd Identity

Firstly I will provide an introduction to the awenydd identity. The earliest use of the term awen is found in Nennius’ History of the Britons (828) where he refers to Talhearn ‘Tad Awen’ ‘Father of Inspiration’, chief of the famous bards Aneirin, Taliesin, and Cian. This may be our first reference to an awenydd.

Here it is important to note that bardism has its roots in an older Brythonic tradition. From the Iron Age, throughout the Roman-British period, until the Anglo-Saxon invasions all of present-day England, Wales, and southern Scotland were part of a shared Brythonic culture. Taliesin and Aneirin composed poems about the battles between the Brythonic rulers and the Anglo-Saxons which gave rise to the fall of Yr Hen Ogledd ‘The Old North’. As the invaders pushed the Brythonic peoples west they took their stories and traditions with them, leading to them being maintained in Wales.

In his Description of Wales (1194) Gerald of Wales speaks of awenyddion ‘people inspired’ who ‘when consulted upon any doubtful event, they roar out violently, are rendered beside themselves, and become, as it were, possessed by a spirit.’ Their answers are described as ‘nugatory’, ‘incoherent’, and ‘ornamented’ yet can be explained the ‘turn of a word’. These are hallmarks of both poetic and prophetic language. Their inspiration comes from states of ecstasy and dreams. The awenydd is depicted as a solitary spirit-worker and soothsayer.

In medieval Welsh poetry awen originates from the cauldron of Ceridwen and/or from God. It is seen to flow from Annwn, ‘the Deep’ or ‘the Otherworld’, where the cauldron is guarded by Pen Annwn. In The Story of Taliesin receiving (or in some versions stealing!) awen from the cauldron, thereby becoming an awenydd, is the source of Taliesin’s omniscience and mastery of the bardic arts.

The term awenydd is consistently used as a synonym for an inspired poet. For example the fourteenth century poet Dafydd ap Gwilym describes himself as an ‘awenydd gwyrdd’ ‘green poet’. Lewis Glyn Cothi, in the fifteenth century, refers to Grufydd ab Rhys and his kinsmen as ‘awenyddion’.

In a letter to his cousin (1694) the Welsh poet Henry Vaughan speaks of an orphaned shepherd receiving awen when the ‘hawk upon the fist’ of ‘a beautiful young man with a garland of green leaves upon his head… a quiver of arrows att his back’ flies into his mouth and awakes in him ‘fear’, ‘consternation’ and ‘the gift of poetrie’. This of interest because it is suggestive of awen being gifted by a numinous figure – perhaps Maponos/Mabon, a god of youth, hunting, and music/poetry.

During the Druidic revival, awenyddion are conceived radically differently. In hisBarddas (written in the late 18^th century but published in 1862), Iolo Morganwg speaks of Awenyddion as ‘Aspirants’ who have ‘no privileges’ within the Gorsedd of the Bards of the Island of Britain until they have completed three years of discipleship. Only then may they graduate from the lowly status of Awenydd to ‘Primitive Bard Positive’. Iolo states that Awen comes ‘from God’.

Following Iolo, in his introduction to the heroic elegies of Llywarch Hen (1792) William Pughe refers to Awenyddion as ‘disciples’ who are examined for their ‘understanding, affections, morals, and principles’, undergo ‘severe trials’, and must ‘learn such verbs and adages as contained the maxims of the institution, and to compose others himself, on any relative subject, doctrinal or moral’ to gain the the degree of ‘Bardd Braint’ a ‘Bard of Privilege’.

Here we find the awenydd as the lowest position within a highly moralistic order based on Christian concepts. We are miles away from the shepherd lad being gifted with inspiration by an unnamed god.

The term awenydd is defined today in The Dictionary of the Welsh Language as an ‘(inspired) poet; bardic pupil; inspired person, genius’. In modern Wales it is used to refer to poets who write in strict metre.

Like many terms some parts of the meaning of awenydd have changed through the centuries, but its essence remains the same. It consistently refers to somebody who receives awen from the divine (be it the Brythonic gods and spirits or the Christian God) and expresses it in well crafted poetry.

Last year, on the basis of these two underlying currents, at Awen ac Awenydd we created our own definition of the awenydd identity – ‘an awenydd is a spirit-worker and inspired poet in the Brythonic tradition’.

Cultural Appropriation

Awen ac Awenydd is a community of self-identified awenyddion. Some of us, such as Greg, live in Wales and are Welsh speakers. Others, such as myself, live in other parts of the UK, or in America, and are learning Welsh. For us the question has risen of whether we are appropriating the awenydd identity.

To answer this question we need to understand the concept of cultural appropriation. This came into use in the 1980s as part of the discourse critiquing Western expansionism and colonialism. It entered the Oxford Dictionaries in 2017 where it is defined as ‘the unacknowledged or inappropriate adoption of the customs, practices, ideas, etc. of one people or society by members of another and typically more dominant people or society.’

Cultural appropriation involves a dominant culture taking elements from a minority culture and using them to make a profit, for fun, or for fashion, without giving anything back. This is often done without knowledge of or sensitivity to their meaning within the culture they are taken from and is a form of colonialism. This differs from cultural exchange in which the interchange is mutually beneficial.

Examples of cultural appropriation include the adoption of ‘exotic’ aspects of Indian culture following the economic exploitation of the Indian subcontinent by the British Empire, the claiming of the religious term ‘Shaman’ outside the indigenous religion of Siberia and its neighbouring peoples, and the use of ‘Sweat Lodges’ from the Amerindian tradition against the wishes of the Lakota elders (who suggest casually employing their techniques may be harmful to the participants).

Unfortunately, since the term has become fashionable, there have been a proliferation of more superficial examples such as an eighteen-year-old girl wearing a cheongsam to her high school prom and the row over Jamie Oliver’s ‘punchy jerk rice’.

Am I Appropriating?

So the question arises of whether English and American Pagans (members of dominant cultures) are appropriating the term awenydd from the Welsh (a minority culture) thus engaging in an act of colonialism.

First off I’d like to say that this question is based on the presuppositions that there is an absolute distinction between England and Wales and that Wales has been colonised by the English. There is a strong argument for the English colonisation of Wales over the last thousand years. There are numerous examples of military (Anglo-Norman castles), economic (mines, reservoirs), religious (the English Prayer Book), and linguistic (the Welsh Not) oppression. However, Wales along with England and Scotland, has benefited from oppressing other countries as part of the British Empire. More positively there are numerous examples of mutually beneficial cultural exchange between Wales and England (such as the Anglo-Welsh poetry of Henry Vaughan, David Jones, and Dylan Thomas).

These issues are complex, thorny, put our presuppositions into question, and do not take into consideration that for many centuries beforehand present-day England, Wales, and southern Scotland were part of a Brythonic culture which remains alive within the land and our shared heritage.

During our conversations Greg suggested, as a general condition, that an English or American Pagan would be appropriating the awenydd identity if they were doing so without knowledge of the Welsh culture and its Brythonic roots and were profiting in some way without giving anything back. For example an English Pagan selling courses on becoming an awenydd without knowing the background of the Welsh myths and mispronouncing the names would be appropriating.

Since I discovered that the stories of the Brythonic deities have been preserved in the Welsh myths I have been studying them and sharing them online and through performances in my local community. I’ve written three books based on the lore of the land and Brythonic mythology. I occasionally give talks and workshops sharing my knowledge and facilitating connection with the Brythonic gods. I am slowly learning Welsh, am a member of Preston’s Welsh Club, and for the past few years have made sure that Welsh poetry is included in the World Poetry Day event I help organise.

I believe I’m making the necessary effort to learn about the Welsh/Brythonic culture and language. Yet could it be said I’m profiting financially and in terms of status from selling it to other English people? Possibly, but my financial gains from books, talks/workshops,and poetry performances are miniscule in contrast to the amount of time and effort I’ve put into research and creative writing, plus the majority of my work is available for free online to people of all nationalities. And there is really nothing to be gained in terms of status by identifying with a little known path – it’s not like I’m declaring myself Arch High Druid of the Old North or Chief Bard of Gwyn ap Nudd or something.

Conclusion – In the Eyes of the Gods

More fundamentally it’s my personal belief that what we call the awen and the deities associated with it are much older and deeper than human concepts and distinctions. When Gwyn appeared in my life seven years ago I was completely befuddled by the question of why a wild Welsh god would want anything to do with a suburban English poet. It’s taken me that long to unravel his connections with the Old North and role as a psychopomp guiding the dead and the living back to Annwn and presiding over the mysteries of the awen as the guardian of the cauldron of Ceridwen.

For me being an awenydd is a religious calling based on my relationship with my patron god. It’s not something I can give up because I’m afraid someone will accuse me of cultural appropriation.

This was proven when I tried taking down the term ‘awenydd’ from my blog and the Annuvian Awen symbol I’d been gifted. It hurt. Both are essential to my relationship with my god and to my soul.

My personal decision to continue identifying as an awenydd is based on this feeling rather than logical and political arguments, which always break down into meaninglessness in the eyes of the gods.

*With thanks to discussion and feedback from Greg Hill, who is a paradigmatic example of an awenydd who honours and serves the Brythonic gods and is engaged in modern Welsh culture, having learnt Early Welsh and provided translations of many Welsh texts into English as part of his vocation.

On Vocation and the Mystical Collage

Vocation, from the Latin vocatio ‘a call or summons’ by God/a god, is rarely discussed in the Pagan communities, yet it is central to other religions. Why the silence? Is it because not all Pagans see Paganism as a religion? Because not all are called to revere and worship and serve the gods? If only a few of us receive such a calling and there is no framework of support within the major Pagan organisations, how do we navigate the highs and lows, the trials and pitfalls, of trying to live a vocation that has no precedent in the modern world and cannot be wholly reconstructed from the ancient?

These are questions I have been faced with, have wrestled with, have returned to time and time again during the last seven years over which I’ve finally responded to my calling by serving an apprenticeship to the Brythonic god Gwyn ap Nudd and making a lifelong dedication to him as his awenydd.

At the very beginning I knew of no-one else who had a received calling from a god. Having discovered the awen and the Brythonic myths through Druidry I met others within the Oak and Feather Grove and the Druid Network who offered support, but only a few who could relate to my experiences.

Only a few people experienced the awen as a burning all-consuming force demanding total dedication, that could only be quenched in the ice of a death-god, that would only be satisfied when its flames were seared as words onto a page, the cost of whose burning is burn-out and the ashes of depression.

Thus, for the most part, I stumbled through the mist and the darkness with the guidance of my god as my only certainty and, in my darkest moments, sometimes wondered if I could even trust him, he of many names and guises, whose realm is one of uncertainty and illusion, whose hounds are not always hounds. (So far his lack of pretences to truth and lack of false promises have always proved true).

Through speaking openly about my experiences and reaching out to others I slowly began to find other polytheists who had experienced a similar calling and shared all the same problems. The main one being that we have no support structure, no guidance, no place within secular society or the big religions. That we all know in our hearts what we are doing by building devotional relationships with the gods and spirits of the land and bringing inspiration to our communities has value, but this cannot be seen or understood by a society that values material wealth and economic growth above all else.

Because of this it is impossible to make a living from such a vocation. Yet some people manage to find careers through which it might be expressed such as teaching, counselling, conservation; some even get paid for their art. Others take any job that pays the bills and leaves the mind free for the true work.

I am currently making a small amount of income from book sales, writing for Gods & Radicals, and from my Patreon supporters, and have been able to live off this because my parents put me up. However, as this ultimately unsustainable, I am aware the time has arrived to return to part-time work.

Perhaps this has always been the case. Mysticism has never spoken to the masses, yet for those who follow such a path, the words of the mystics of the past are like bright shining jewels that glitter above the abyss, and can be life saving. Thus I write to add words born out of dedication to my gods to that glittering collage in the hope they will shine for others in the future.

The question I pose to others is how can we support each other when there is no institutional support? How can we make our collage outshine the allure of goods and wealth? How can we work together as co-creators of a world in which the gods are honoured and the land and its spirits are respected?

One of the reasons Greg Hill and myself set up the Awen ac Awenydd website and several awenyddion set up the Facebook group was to create an online space for such discussions. I’d be interested to hear the response of people from the wider Pagan and Polytheist communities.

Shattering the Nunnery

Somewhere between here and Annwn

a part of me is cloistered

thinking already
about the spring flowers

as she paints another saintly visage.

In another life she has been drinking
the truth from a forbidden cup.

The saints no longer look the same:

their hands are red with blood and filled
with splinters and chips of stone
from shattered pagan idols.

The stained glass is blood stained.

Her voice catches on the songs and tears
as if upon nails – she SCREAMS

and the stained glass shatters.
The nunnery falls down.

~

This poem, which is based on a spirit-journey, signals my release from a malaise I have been calling ‘nun envy’. Although I realised Christianity was not for me when I experienced its dull and stuffy sermons and the patriarchal presence of the Christian God in my local C of E church as a Brownie at church parade a part of me has longed for learning and ritual and shared devotion in a religious community.

I have been deeply jealous of Christians because they have a system of support for people who have a sense of vocation. For those who are called to serve God there are ways of living by this calling. Vicars and priests receive an education and a salary for their work and nuns and monks lead lives of dedication to God based around prayer, manual labour, and artistic and intellectual pursuits without worrying how to pay for housing or food. When I hit thirty-five I realised that was the last chance I would have of becoming a Christian nun and living what looked the ideal life except for… the Christianity.

Of course, I decided against, because I did not want to betray my god to the God and saints of the religion that destroyed the pagan traditions and, in particular, demonised him and the Otherworld he rules.

Yet, still I kept yearning for what Christian monastics have. Researching local monasteries and abbeys. Finding myself drawn to Preston’s Carmelite monastery.

 

Visiting the Tabor Retreat Centre, which was once a Carmelite nunnery but is now run by the Xaverian Missionaries (this provides regular meditation classes, Lectio Divina, short courses and even a book club as well as retreats which I’d have loved to go to … if only I was Christian!).

 

Wanting to go back to the ruins of Fountains Abbey (which I visited every weekend when I worked at the Yorkshire Riding School) to sit and mourn something I will never have.

A strange impulse I believe may be rooted in a past life as a nun. A few years ago when I read in a biography about the ritual burial of Julian of Norwich – entombed like Christ to become his bride and an anchoress who would never see the outside world again I felt like I was being buried alive. As if I’d experienced something similar before. I flung the book into my wardrobe, slammed the door, and went for a walk feeling immensely grateful for my freedom to see trees and taste the fresh air.

I’ve always had a push-pull relationship with Christian mysticism, art, literature, and song. A yearning for its richness and beauty but a dislike of its unhealthy obsession with suffering and punishment.

As a consequence of years of learning about how nearly every splendid church and cathedral is based on the takeover (violent or non-violent) of a pagan sacred site; how nearly every haloed saint is associated with the defeat of a pagan mythic figure or with the slaughter or conversion of pagans; how the Christian tradition is founded on the death of paganism, it has finally lost its fusty-fingered hold on me.

Being an awenydd attempting to reweave the ways between Annwn and This-modern-world isn’t easy. But I think I will be able to do it better and more happily now my yearning for what Christians have and my nun envy is gone. From the ruins of the shattered nunnery may new shoots and tendrils grow.

 

Review: A Kindness of Ravens by Rhyd Wildermuth

Rhyd Wildermuth is a writer, anarchist, theorist, bard, and the co-founder of Gods&Radicals. A Kindness of Ravens is his second book. At its core lie Rhyd’s struggles to re-establish the cultus of Brân ‘the Raven King’ and bring an end to capitalism. These quests go hand-in-hand.

The book’s based around a haunting vision of ‘The City At The Gates Of The Dead’ where Rhyd stands beside a dead bard of Brân’s and sees a settlement, a town, a city, built and destroyed then a ‘last city… encompassing the world… And I saw what was coming.’

The cause of this destructive cycle is disenchantment which ‘follows disinheritance, displacement from the land into factories and mills and offices.’ Capitalism cuts us off from the land and creates cities where there is no place for gods, spirits, the dead, poets or the poor.

Rhyd’s work is inspirational because it not only elucidates the problem but offers solutions: ‘a change of place consciousness and a resurrection of class-consciousness, a solidarity between peoples and the spirits of place, a new treaty with the land and its inhabitants (living and dead, seen and unseen)…. we must see every place our home and a site of beautiful resistance.’

One of my favourite pieces, which has been a continuing influence on my thought and work, is ‘Awakening the Land: Madness and the Return of the Welsh Gods’. Narrated from a cliff-face in Snowdonia (which Rhyd climbed to ask advice from giants!) it seamlessly interweaves the stories of Brân with the personal and political.

Rhyd says ‘to know a god you must go mad’ and contrasts the divine madness of the awenyddion with the ‘sanity’ of waging out time for work and waging war. Against ‘the desolation of disenchantment’ he evokes Brân as a revolutionary figure who ‘embodies the land and its power’.

A problem Rhyd draws attention to is ‘trying to world in a god most don’t know’. Elsewhere Rhyd speaks of worlding the gods into existence: a process by which the gods come into the world through us. This can be beautiful and awe-inspiring but also frightening and disruptive.

Unlike members of older religions, contemporary polytheists have few scriptures or predecessors to turn to. It’s even more difficult when communications come from gods only a handful of people have written about from a polytheistic perspective. In the Welsh myths, Brân acts as a bridge for his people. In A Kindness of Ravens, Rhyd acts as a bridge for Brân and the revolutionary potency of his mythos.

Much of this book is intense: written with the raw, uncensored force of the untrammelled Awen. Rhyd’s masterful at taking you into his world to see through his eyes vast seams of injustice, the anger of his gods and the dead, the sorrow of ‘the Singers in the Dark.’

There are plenty of ravens and examples of kindness and care for others too. Rhyd writes ‘As long as we’re happy to enjoy the safety and protection of systems-of-meaning which devalue forests and Black bodies, our gods will be our own personal secret story.’

Rhyd advocates a polytheism wherein the land, gods, ancestors, our communities, the personal and political are intrinsically linked. The fates of all are bound up with the hegemony of capitalism and the imperative to resist it and build a better world.

A Kindness of Ravens is a revolutionary book: an inspiration for artists and activists and a way-marker for polytheists. I return it to my shelf with the firm belief it will be influential for many years to come.

Available through Lulu HERE.

Review: Bard Song by Robin Herne

This review is long overdue. Coincidentally I was re-reading Bard Song with the intention of reviewing it at the time Robin published his recording of Gwynn’s Guest, dedicating it to me, which has spurred me along.

I’m not sure if I can give this book an objective review as I’ve owned it so long and like it so much. The pages are scored with under-linings. Against many of the poems are pencilled a’s, b’s and c’s from my attempts to decipher complex metres. The spine bends open on my favourite poems, which I return to frequently, have shared with my local Poetry Society and used as examples in Bardic workshops. But I’ll give it a go.

Robin Herne is a polytheist Druid based in Ipswich. Bard Song provides an introduction to reading and writing honorific and seasonal poetry (in English) in mainly Welsh and Irish metres. This fulfils an important role in Brythonic and Gaelic polytheism, giving people like myself who have not yet mastered the language of their gods the tools and inspiration to compose poems based on Celtic metres. It also opens new and exciting vistas for future developments within poetry as a whole.

In his introduction Robin speaks of the Awen, the source of Bardic inspiration as ‘a wild spirit, a passionate and consuming Muse that imparts not just pretty turns of phrase, but a new vision of the world.’ Poetry is a magical art which can be used to commune with and honour gods and ancestors, attain and express a spiritual vision, record history, praise (or deride) a person and for fun. Its ultimate purpose is re-enchantment.

The first four parts of the book are divided in accordance with the Gaelic festivals; Samhain, Imbolc, Beltaine and Lughnasadh. In each section Robin introduces the festival with associated myths, traditions, deities and suitable metres before sharing a selection of his poems, many of which have been used by his clan in ritual.

For Samhain, Robin introduces the forsundud, an Irish genealogical poem for the ancestors. We meet the Cailleach holding ‘cold vigil’ in ‘The House of Winter’ and rutting stags. ‘Gwynn’s Guest,’ one of my favourite poems of all time (written in tawddgyrch cadwnog metre) records St Collen’s encounter with the Welsh Fairy King on Glastonbury Tor. The first stanza captures Gwynn’s wild nature so perfectly I can’t resist quoting it;

‘Wind tears the Tor, unravels hair
Bound in plaits fair, wild blood yearning
For thunder’s roar, this hill my Chair,
Blessed wolf’s lair, white fire burning.

Tribes rise and fall…’ And the ending is wickedly humorous.

At Imbolc’s core stands the hearth of Brigit. ‘Sisters of the Hearth’ introduces her triple role as smith, healer and poet. ‘Brigit’s Song’ takes place in her Hall. Robin’s words in ‘Three Flames’ resonate most strongly with my personal experience of her as Brigantia, goddess of northern England and the fires of inspiration which consume and heal;

‘Light of compassion white burning
Thaw the ice that scalds my mind
Stir the flesh from torpor afresh,
Night-blind, scars mesh; pray be kind.’

The section on Beltaine speaks of magical and military poetry. ‘Cu Chulainn at the Ford’ provides a heart-wrenching representation of Cu Chulainn and Ferdiad’s tragic battle in Ae Freisilighe metre. On a more cheerful note we find ‘The Honey-Tongued,’ dedicated to Ogma ‘carpenter of song,’ who is the patron god of Robin’s Clan. Since its publication this poem has fittingly given its name to a new brand of mead.

Lughnasadh introduces the stories of Lugh and Tailtiu, recording Lugh’s arrival ‘At Tara’s Gates’ and Tailtiu’s death and ‘funereal commemoration.’ It covers the story of Gobanos, a god of smithing and brewing and there is also discussion of famed cauldrons in Celtic mythology and the important role of select brews in the arts of inspiration.

I have mentioned only a small selection of poems and themes. In later chapters Robin shares poems devoted to Heathen, Greek and Roman gods and those written for fun. In the appendices he provides guidelines for writing in Irish and Welsh metres. These are clearly introduced with rhythmic and syllabic patterns with examples. For Englyn Penfyr;

‘######a##b
###b##a
######a’

‘The old hunter sought the beast in the night,
Though without might, hope never ceased,
Yet frail, his skill found the feast.’

I have learnt vast amounts from this book about Celtic metres, composed some poems of my own in the Welsh ones and found it to be an excellent resource for use in Bardic workshops. Robin’s dedication to the Old Gods shines throughout his work and this alone has inspired me on my path as an Awenydd and polytheist.

Bard Song is a must read for Bards, Fili and people of Celtic and other polytheistic religions. I’d also recommend it highly to all Pagans and to poets looking for new and exciting metres with origins in the British Isles.

***

Bard Song can be purchased through Moon Books: http://www.moon-books.net/books/bard-song

Robin’s most recent poems, which continue his exploration of world mythology in carefully chosen metres can be found in Moon Poets: http://www.moon-books.net/books/moon-poets

His blog ‘Round the Herne’ is here: http://roundtheherne.blogspot.co.uk/

Review: ‘The Morrigan: Meeting the Great Queens’ by Morgan Daimler

Morgan Daimler is a Celtic Reconstructionist and dedicant of Macha based in New England. She teaches Irish myth, magic and folklore and has published nine books as well as poetry and prose in a variety of magazines, journals and anthologies.

The Morrigan: Meeting the Great Queens is a short, introductory book (eighty pages) in the Moon Books Pagan Portals series. By bringing together material from ancient Irish texts and academic sources it aims to provide readers new to the Morrigan with a basic introduction to this goddess, those who share her title, Badb and Macha and other associated goddesses such as Nemain, Be Neit and Grian.

The result is a tightly packed text with an abundance of subject matter to learn from and plenty of references to follow up. Morgan’s research is thorough and she demonstrates a learned understanding of the original texts and scholarly viewpoints. Morgan’s approach is to let the stories of each goddess speak for themselves. Whilst she presents contrasting viewpoints and shares her own, she encourages the reader to seek their own interpretation through further study rather than leading them to her own conclusions.

The benefits are that she provides a holistic picture of the Morrigan and introduces her to newcomers without swaying their opinion. A slight cost is the book doesn’t flow as well as it could. As someone with only a vague knowledge of Irish mythology, I found myself frequently having to pause and look back to check names, associations and references to texts rather than being guided forward by the author’s argument. I also found the APA method of citation where references disrupt the text irritating. These are my only criticisms.

What I liked best about this book is that as well as sharing her academic knowledge of the Morrigan(s), Morgan shares her personal experience of each goddess; what it feels like to be in their presence, their physical appearance and their role in her life. These gnoses permeate her prayers and invocations.

Importantly for newcomers, Morgan astutely points out the differences between ‘working with’ and worshipping a goddess. The former is a temporary arrangement governed by specific guidelines and goals. The latter is based in relationship (she warns that when you invite a deity into your life you never know how it might go!) and interactions, which for her mainly take the form of prayers, meditations and offerings.

Morgan does not shy away from confronting moral questions raised by worshipping a goddess connected with war and death. She presents her own resolutions and also challenges readers who may have been drawn to the Morrigan as a ‘Dark Goddess’ to think what this means to them before applying this category.

A hidden gem of particular interest was Morgan’s description of ‘reconstructing celtic seership with Badb.’ Here she shares her use of the ancient techniques of ‘imbas forosna’ ‘tenm laida’ and ‘dichetal do chenaib’ with Badb’s guidance for divinatory purposes. The latter, which involves the spontaneous recitation of poetry is something I’ve felt compelled to do for a while and, inspired by Morgan, hope to try in my own way in the future.

Overall this is a cracking introduction to the Morrigan(s) and I’m sure there will be plenty of hidden surprises in it for everybody. I would recommend it to anybody new to this goddess who is looking for a trustworthy starting point, devotees of the Morrigan wanting to learn more about others’ experiences and anybody interested in polytheism in general.

The Morrigan: Meeting the Great Queens is officially released tomorrow and is available here: http://amzn.to/1Bh3LCs

Personal Religion?

A couple of days ago I read write-ups of the OBOD (Order of Bards, Ovates and Druids) 50th anniversary gathering on Glastonbury Tor, on the blogs of Joanna van der Hoeven and Robin Herne.

http://downtheforestpath.wordpress.com/2014/06/09/celebrating-50-years-of-obod/

http://roundtheherne.blogspot.co.uk/2014/06/the-people-of-peace.html

It sounds like they had a grand time. Although one of the things Robin acutely pointed out was the irony that although the main topic was peace, the powers of place, including Gwyn ap Nudd and the Tylwyth Teg (the People of Peace) were not addressed or involved.

Why should that bother me? OBOD aren’t all pagans or polytheists. Hundreds of different religious groups use the Tor for various ceremonies- that’s part of its power and draw, and the eclecticism and chaos that constitutes the spirit of Glastonbury.

It was not until this morning I perceived my vexation was the symptom of an approaching realisation; I awoke with an image of the OBODies on the Tor in my mind combined with an overwhelming gnosis clear as the dawn; THIS ISN’T MY RELIGION.

I know the OBOD doesn’t pretend to be a religious organisation… however my discomfort about the lack of commonality I feel with Druids outside The Druid Network has been growing for a while. I’m beginning to feel the distinctions between my path and those of some other Druids are so huge that there is no meaningful common ground at all.

Plus… I recall Nimue Brown mentioning to be a Druid you must walk your path with conscious intent as a Druid. Looking back, I have done this as a Bard, and now do so as Awenydd. I believed these paths fitted under the umbrella term Druid but now I’m not so sure.

And I’m not so sure I did the right thing in claiming the name Druid for my religion pretty soon after joining TDN, on the ground I was a member of the network and a grove. It was much later I was gifted with the name Awenydd by Gwyn ap Nudd and the spirits of my local landscape.

So I’m beginning to wonder now whether my path as Awenydd, which is based in these relationships and expressing them through poetry, is not the religion of Druidry but a personal spirituality I live religiously?

I also wonder, because my practice focuses more on ‘anthropomorphised’ deities and spirits than most Druids whether I’m more of a polytheist? In answering that I find myself drawn back to the issue of commonality… I once wondered whether I was a Brythonic polytheist but decided I wasn’t as I don’t know enough about all the deities and their lore in depth, haven’t made enough effort to learn Welsh, and don’t follow a joint ritual structure.

So I wonder now…

Can polytheism be religious without commonality?

Must religion have a name?

Is personal religion a contradiction in terms? And is it possible to live a personal religion?