Project move
The best laid plans... The project hasn’t worked out so well as a stand alone blog, so I’m moving any future CabalProject post to my main blog ManinMink, and onto my Twitter.
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roma★
almost home
let's talk about Bridgerton tea, my ask is open
he wasn't even looking at me and he found me
Lint Roller? I Barely Know Her
trying on a metaphor

⁂
Today's Document
DEAR READER
Misplaced Lens Cap

Origami Around
Acquired Stardust
2025 on Tumblr: Trends That Defined the Year

★
Keni
Xuebing Du

titsay

blake kathryn
we're not kids anymore.

seen from Malaysia

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@thecabalproject-blog
Project move
The best laid plans... The project hasn’t worked out so well as a stand alone blog, so I’m moving any future CabalProject post to my main blog ManinMink, and onto my Twitter.
x

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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The Doreen Valiente Foundation
The Collections of the Doreen Valiente Foundation (DVF), are one of Britain’s prominent independent collection of Objects, Artefacts and Documents relating to the history and origins of Wicca and modern Paganism in Britain. This collection is the accumulation of Doreen Valiente (1922- 1999) over fifty years. These documents, objects and artefacts include items that Doreen created herself, had gifted to her by Gerald Gardner, or object that she had acquired over her life time as a practitioner of many craft traditions. The Collection houses some 700 objects and artefacts, as well as over 2000 books, documents and manuscripts; these including many rare first editions, as well as Doreen’s personal diaries and magickal documents. A key piece of the collection is one of Gerald Gardner’s original working Book of Shadows.
Doreen Valiente is credited as a Mother of Wicca, a title deserving to the woman who was a key figure in the emergence of Wicca and who unassisted took the sketchy and mis-credited material of Gerald Gardner’s Wica: Book of Ye Arte Magickal and redesigned the traditions base material, through her own writings and poetry. Doreen transformed the old material and produced the new text of the Gardnerian Book of Shadows which is still used by all Gardnerian covens across the world. During her life time Doreen was not only an initiate of Wicca, but of many Craft traditions of Britain. Doreen Valiente passed on the first of September 1999, and her collection of objects, artefacts and documents were passed onto John Bellham-Payne a Co-Founder of the Centre for Pagan Studies.
John Bellham-Payne made the greatest altruistic decision of removing this prominent collection from his private ownership and gave it to the nation and so the Doreen Valiente Foundation was formed on the 6th March 2011 as a charitable trust, taking all legal ownership of the collection. The DVF is now working towards a permanent location for the Centre for Pagan Studies which will incorporate a museum of for the Collection and act as an education and research facility for Paganism in Britain.
You can find out more @ : centre-for-pagan-studies.com and doreenvaliente.org
-The Cabal Project
The Cabal Project 2015
2014 was the year the project got dropped; we had full intentions to launch into the new year of 2014 in full swing, with so many plans such as our plan for Cabal Quarterly, featuring some new and amazing artists who produce some of the most amazing work. However I cannot figure out how it never happened, a few weeks fell behind, then a few months and now we are at 2015, missing a whole year.
2015 will be the year of trying to get something moving… let’s hope… we’ll be starting with a total overhaul of the blog content…
I can say that we will be contacting as many artists, writers and people as we can aid us in creating new materials for the project!
-ManinMink
The CABAL Project: Featured Artists of the Month
Leigh Luna
“How to be Reborn”
Here over at the CABAL Project we have this great enjoyment of the work of Leigh. Her illustrations and Zines are elegantly crafted and produced. Her work shows the lighter side of our aim for the project, that not all art produced around occultism and ritual has to be of a darker nature and that there is polarity and shades in ritual arts. We have with the collaboration of Leigh picked out her finest work, featuring in this post is the final installation and is an in-depth forage into her “How to be Reborn” Zine.
“Leigh Luna lives in Minneapolis but would much rather live in a tree house. She spends the vast majority of her time making comics and illustrations about woodland adventures. Her comics are highly influenced from growing up in New Mexico and Colorado. She greatly enjoys making perfect bound books, going to yoga and attending the Minneapolis College of Art and Design.”
Website, Tumblr, Twitter, Instagram.
The CABAL Project: Featured Artists of the Month
Leigh Luna
“Healing”
Here over at the CABAL Project we have this great enjoyment of the work of Leigh. Her illustrations and Zines are elegantly crafted and produced. Her work shows the lighter side of our aim for the project, that not all art produced around occultism and ritual has to be of a darker nature and that there is polarity and shades in ritual arts. We have with the collaboration of Leigh picked out her finest work, featuring in this post is an in-depth forage into her "Healing" Zine.
“Leigh Luna lives in Minneapolis but would much rather live in a tree house. She spends the vast majority of her time making comics and illustrations about woodland adventures. Her comics are highly influenced from growing up in New Mexico and Colorado. She greatly enjoys making perfect bound books, going to yoga and attending the Minneapolis College of Art and Design.”
Website, Tumblr, Twitter, Instagram.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
The CABAL Project: Featured Artists of the Month
Leigh Luna
Here over at the CABAL Project we have this great enjoyment of the work of Leigh. Her illustrations and Zines are elegantly crafted and produced. Her work shows the lighter side of our aim for the project, that not all art produced around occultism and ritual has to be of a darker nature and that there is polarity and shades in ritual arts. We have with the collaboration of Leigh picked out her finest work, featuring in this post one image from each to show her range and skill, with a few larger more in depth posts coming in the following days.
“Leigh Luna lives in Minneapolis but would much rather live in a tree house. She spends the vast majority of her time making comics and illustrations about woodland adventures. Her comics are highly influenced from growing up in New Mexico and Colorado. She greatly enjoys making perfect bound books, going to yoga and attending the Minneapolis College of Art and Design.”
"How to be Reborn"
"Doppelganger"
"Patterns"
"Healing"
Website, Tumblr, Twitter, Instagram.
Rational (Working Statement):
“Ritual as an Art form”: Artist, Designers and Writers all have some rituals when working on their own pieces and projects and so this Project is the focus on that Ritual and the Foundations of our Working Practises.
Details and Content:
Taking inspiration from artist work such as Heather Hansen’s “Empty Gestures” (2013), Bohyun Yoon’s “Merge” (2004), AA Bronson’s “Invocation of the Queer Spirit” (2008-2012), Ryan Brewer’s “Sacred Spheroid (Dissolution Yantra)” (2010-2011), Trisha Brown’s “Revolution” (2006) and Jody Jock’s “10 ov Swords” (2011-2012).
We are presenting to you the First of the CABAL Projects: Ritual. This Project is aimed to focus you back to the foundations of Ritual work and how we can create ritual work through a range of materials and methods. You can submit as much work as you want in any given material. This work can be a new creation or an earlier piece of work as long as that work fulfils the project criteria.
We are opening this Project up to several criteria:
Ritual Construction: Work undertaken during ritual.
Examples of this are a work of stream-of-consciousness style creative non-fiction such as “Conjurers”. An Object created using ritual methods such as Heather Hansen’s “Empty Gestures” (2013), or a Painting, Automatic Drawing, or Sculpture that has achieved construction during a working Ritual or Ritual practises
Ritual Action: Performance Art of Ritual.
An Example of these criteria is the performance Ritual and the Documentation of Ryan Brewer’s “Post-Paradise” (Black Lodge Sweat), (2013). Documentation of Meditation and Path working practices in conjunction with Ritual work. The documentation of said Ritual Action can be submitted in the form of Video, Audio or Image.
The Focus: Work targeted on a Result
This is work that embodies the pure focus and intent of the actions of Ritual. Examples can be taken from Austin Osman Spare, His work in Sigil construction. Another example is the work of Hollie Anderson and her “Totems for Scared Children”, and the Hokō style figure.
Pure Ritual: The Essence of Ritual
This work is that which has the essence of Pure Ritualism and the practices of the Artist. Examples of these criteria are taken from AA Bronson’s “Invocation of the Queer Spirit” (2008-2012), Ryan Brewer’s “Sacred Spheroid (Dissolution Yantra) (2010-2011).
Our Mantra for this Project: Ritual is “Don’t just make Art be Art”, be the Ritual Action, Construction, Focus and Purity of your work and Ritual.
Project Submission Guidelines and Copyright information can be found on the Blog. We regret that we won’t be accepting: recipes for rituals/ spell work. How-to manual of the occult are not Art or Culture and don’t fulfil the above Criteria. Please provide your contact details so that we may keep in contact in regards the hosting of your work.
Enjoy, and we here at the CABAL Project hope to see your work in the coming months.
-David M. Johnson (Creative Director)
Deadline: 02/02/14. This is not a strict Deadline and piece that are Submitted early will be Hosted on the Blog soon after Submission.
The CABAL Project: Featured Artists of the Month
Rodriel Tramell "is an artist of which nothing is known".
"It's Your Universe" Or "Gift of the Gods" 14x17 Rodriel Tramell, Los Angeles California 2008
Crosshatched Micron Ink Pen
CABAL Archive.
This Document was donated, along with a couple of other 19th and early 20th century books by the ManinMink.
This Document isn't strictly Occult, and is more religious in nature, however it has influenced the work of the ManinMink, who is an Occult Designer. The Document is a hand written 19 page essay from the early 20th century, dating from around 1930's to 1940's. It is entitled Suffering of Scripture and as far as we can say it's written regarding the mutation of Scriptures and the word of God.
Anyone interested can access a copy of this document. Message us for details more details.
Dimensional Sigils: Material and Making - ManinMink
This short work by the ManinMink details some of his exploration and experimentation into the field of Dimensional Sigils in connection with his Design practices.
His work is currently featured here on our Blog.

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The CABAL Project: Featured Artists of the Month
ManinMink.
“My work is an experiment into the marriage of spiritual occultism and experimental psychological tools in the form of Kinaesthetic Mental Learning tools as Sacred Objects.
As a practicing Occultist my work is highly influenced by religious texts and practice from many of the world’s religions and cultures, I have used sources from Christian and Jewish Mysticism, Modern poetry and Occult practices as bases for the concept of each individual piece.
I am a keen observer in the purity of material and the working of the materials from the source to the final object. During the period of work I had undertaken a complete submersion into the practices of ritual and an almost priesthood; abstaining, fasting and praying daily in the pursuit of a pure Form. Much of my work was undertaken in a complete ritualistic manner, each stage of the Forms production was laid out precisely from conception of design to the final finish of the wood”
Dimensional Sigil 141. Psalm of David.
Inner of Sigil 141
The Tree
Hebrew Magic Square.
Tide
Rational (Working Statement):
“Ritual as an Art form”: Artist, Designers and Writers all have some rituals when working on their own pieces and projects and so this Project is the focus on that Ritual and the Foundations of our Working Practises.
Details and Content:
Taking inspiration from artist work such as Heather Hansen’s “Empty Gestures” (2013), Bohyun Yoon’s “Merge” (2004), AA Bronson's “Invocation of the Queer Spirit” (2008-2012), Ryan Brewer’s “Sacred Spheroid (Dissolution Yantra)” (2010-2011), Trisha Brown’s “Revolution” (2006) and Jody Jock’s “10 ov Swords” (2011-2012).
We are presenting to you the First of the CABAL Projects: Ritual. This Project is aimed to focus you back to the foundations of Ritual work and how we can create ritual work through a range of materials and methods. You can submit as much work as you want in any given material. This work can be a new creation or an earlier piece of work as long as that work fulfils the project criteria.
We are opening this Project up to several criteria:
· Ritual Construction: Work undertaken during ritual.
Examples of this are a work of stream-of-consciousness style creative non-fiction such as “Conjurers”. An Object created using ritual methods such as Heather Hansen’s “Empty Gestures” (2013), or a Painting, Automatic Drawing, or Sculpture that has achieved construction during a working Ritual or Ritual practises
· Ritual Action: Performance Art of Ritual.
An Example of these criteria is the performance Ritual and the Documentation of Ryan Brewer’s “Post-Paradise” (Black Lodge Sweat), (2013). Documentation of Meditation and Path working practices in conjunction with Ritual work. The documentation of said Ritual Action can be submitted in the form of Video, Audio or Image.
· The Focus: Work targeted on a Result
This is work that embodies the pure focus and intent of the actions of Ritual. Examples can be taken from Austin Osman Spare, His work in Sigil construction. Another example is the work of Hollie Anderson and her “Totems for Scared Children”, and the Hokō style figure.
· Pure Ritual: The Essence of Ritual
This work is that which has the essence of Pure Ritualism and the practices of the Artist. Examples of these criteria are taken from AA Bronson's “Invocation of the Queer Spirit” (2008-2012), Ryan Brewer’s “Sacred Spheroid (Dissolution Yantra) (2010-2011).
Our Mantra for this Project: Ritual is “Don’t just make Art be Art”, be the Ritual Action, Construction, Focus and Purity of your work and Ritual.
Project Submission Guidelines and Copyright information can be found on the Blog. We regret that we won’t be accepting: recipes for rituals/ spell work. How-to manual of the occult are not Art or Culture and don’t fulfil the above Criteria. Please provide your contact details so that we may keep in contact in regards the hosting of your work.
Enjoy, and we here at the CABAL Project hope to see your work in the coming months.
-David M. Johnson (Creative Director)
Deadline: 02/02/14. This is not a strict Deadline and piece that are Submitted early will be Hosted on the Blog soon after Submission.
Part of the Work that we are doing here at the Project is creating an Archive of historical Occult imagery and early 20th century occult photography. These are all merely copies of original's, but we are collecting them together to form the basis of a visual archive and resources that we hope will eventually be open access to all interested.
This archive also contains works of Artists that are both current and historical.
What is in the Archive?
Alexandrian Ritual Photography
Cecil Williamson
Charles and Mary Cardell
Charles Clark
Charles Pace
Chastity Rite: The Secret Arts
Clan of Tubal Cain Photography and Documents
Doreen Valientie
Druidic Photography
Eleanor Bone
Farrar (Janet and Stuart) Ritual Photography
Gerald Gardner (Isle of Man Museum of Witchcraft)
Jay Anderson
Laurie Cabot
Lois Bourne
Madeline Montalban
Monique Wilson, (Lady Olwen)
Patricia Crowther
Ralph Harvey
Raymond and Rosemary Buckland
Raymond Howard
Rosealeen Norton
Sybil leek
Tandem Books
Pagan/ Occult New Cuttings (1950-Present)
Museum of Witchcraft (Boscastle)
And a Large Collection of Unknown Photography. This is a working Archive that is continually being added to and If you have an interest in the Archive or have any Visual documents that you think would help us build this archive then please get in touch: [email protected]
The CABAL Project: Featured Artists of the Month
Andrew Schmidt
We owe a huge thank you to Andrew for his generous submission of work to the Project, We are in such awe of his work that we have spread the pieces over two post so that we were able to show you the full range of his work and practices.
“I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic. Art is, like magic, the science of manipulating symbols, words, or images, to achieve changes in consciousness.” -Alan Moore
I divine order from chaos, crossing the thresholds of science, art, and magic, configuring constellations of languages and the symbols that build them to create new universes. Complex, magical grid systems and ancient sigils are ever-present; archaic computers, lost technologies. On top of those ornate frameworks, I introduce unpredictable elements into my work, oozing drips and stains and map them into new signs for communicating and visualizations of alternate realities. I am pushing the boundaries of what drawing is and the space that can be defined within a page. I create new dimensions within unfamiliar planes and chart interstellar spaces.
111+111+111+111+111+111
Theban Amulet II
Theban Amulet II (Detail)
Prophecy
Triangulation
Triangulation (Detail)
Theban Amulet III
Sun (666)
"Conjurers" is a short work of stream-of-consciousness style creative non-fiction based on intimate practices, conversations, and folklore gathered from my teachers and colleagues, old Rootworkers and Conjure people spanning from the Ozark hills down to the swamps of New Orleans. - Doc Screeches
Email, Facebook, Blog

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
The CABAL Project: Featured Artists of the Month
Andrew Schmidt
“I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic. Art is, like magic, the science of manipulating symbols, words, or images, to achieve changes in consciousness.” -Alan Moore
I divine order from chaos, crossing the thresholds of science, art, and magic, configuring constellations of languages and the symbols that build them to create new universes. Complex, magical grid systems and ancient sigils are ever-present; archaic computers, lost technologies. On top of those ornate frameworks, I introduce unpredictable elements into my work, oozing drips and stains and map them into new signs for communicating and visualizations of alternate realities. I am pushing the boundaries of what drawing is and the space that can be defined within a page. I create new dimensions within unfamiliar planes and chart interstellar spaces.
Deep Field + Chaos Magic Install (2013)
Chaos Magic (2013)
Deep Field (2013)
Chaos Magic Detail 1 & 2 (2013)
Digital Mysticism Detail 1 & 2 (2013)
Digital Mysticism (2013)
Resin Spots VI (2012)
"Conjurers" is a short work of stream-of-consciousness style creative non-fiction based on intimate practices, conversations, and folklore gathered from my teachers and colleagues, old Rootworkers and Conjure people spanning from the Ozark hills down to the swamps of New Orleans. - Doc Screeches
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Conjurers, from Moses to Mawmaw Collette
Bible Conjure begins with Black Moses, or maybe God if you're one of those folks inclined to believe in a mighty Creator. But like Gran Wassat used to tell, "Moses was tha light," she say, "Moses comin' don off tha moun'ain, he cover his face to keep tha light in." Moses struck that rock in the desert, commanded water to come on out and it poured out its guts onto the glassy sand. Glimmer-eyed Ramses was no match for this Conjure Man. Black Moses raised up his wooden death-stick against the Kemets (a foreshadow, you know, of the Root Doctor Chris-Chris and the twisted serpent raised up on the cross), turned their rivers into running blood-water, and struck down the first-born spawn of that nation. But y'all know how that story goes. It's set to repeat in my hands, the tingle-tingle in the tips of my long fingers pointed out like spears against my enemies. Blood-water of that body seize up against itself, seize up in the name of the + the + and the + etc. etc. Written sigils hung down-down in the fire, burnt up offerings left between the red-stained horns of the Altar. Moses, through a big papyrus bullhorn, shouted out instructions for building that golden box. He's setting down in ink how we make our workin'-tables, how we mix up the inscent for driving out the enemy, and the holy-hyssop annointin' oil that's spread out across that Altar, spread on the horns, the spoons, clamps, claws, knives, and little forks we use for Workin' the Spirits.
"Exodus 30," Gran Wassat say, "that's all you need to know 'bout that."
The inscent smoke rise up from the terra-cotta dish. In the name of the + the + and the + etc. etc. that smokey-smoke stings the eyes of the Enemy, and flushes red his low-hanging balls that drag the dirt. Holy Spirit come down in a cool flame, a light springing out my eyes-holes. "Cover it up!" Gran Wassat say, "Lest you lose your powa'." That low-down Enemy, crawlin' his way in the body as snakes, lizards, spiders, groun' puppies, and all manner of slimy, mud-covered bastards. I'll tell you a secret, it was originally told to me by Pawpaw Bill, you want to give someone those things? You want to do left-hand work with the Enemy? You take you a shed snakeskin, dry it out real good, grind it up with the dirt from a murderer's grave and some cayenne peppa', then you feed that mess to them. You sprinkle that mess in their food, or mix it in their drink. Then they'll have those things inside of them, that wriggling mass of serpents in their gut. Those snakes will make them bend down to you, they will. Use shed snakeskin to make them hurt, and flayed off snakeskin to poison them.
What is this Powa'? Is it in that light spewing forth from the face of Moses? Was it on that there moun'ain that he climbed down off of? A secret hut of powa' and might, built from cypress wood and painted with tar and black hen feathers. It's coverin' up a hole in the ground that spews out yellow vapors into the dark room. Breath in those vapors like that Prophet at Delphi, a real Hoodoo Woman, you know, breath them into your body and you'll see where that powa' comes from. You'll see the Holy Spirit like an osprey, bullet-flying down from the sky. "Keep that cold-fire in your heart," Gran Wassat say, "an' you'll know wha' Moses knew."
"Solomon the Wise," Mawmaw Collette say, "was one of my ancestors, he lay his hands on me when I got this powa'."
Solomon had his conjure-pot (a bronze haint-vessel) sitting there in the Temple next to the Altar. Everyday, or at least three times a week, the King would talk in his haint-language and rattle the bones of Moses and Aaron (a conjurer of the grand sort, secretive, who kept all his tricks locked up behind a Veil). The powa' gave Solomon his wisdom. These yellow vapors spewed up through the cracks in the Temple floor, yes they did, and showed the King many wonderful things. The Book of Wisdom can be used in noonday conjurin' to knit together a golden protective-sweater against the Enemy. Or, if you happen to do midnight conjurin', the left-hand work, you can make a man's heart burst in his chest.
Solomon looks up from his bronze haint-pot then dabs at some sweat dripping down from his thick eyebrows. "Here's what you do," he say, "you get you a small coffin, like for a child, or you can make a small box out of wood, then you paint it black, all black, you know, all over it's black. Then you take the second chapter of that book I wrote, you rip it out of its binding, you know, and you lay on top of those pages the photograph of the person you want to hurt. Then you take twelve needles, if you can get gold ones that's the best, then you stick eleven of them through that photograph and all those pages. When you come to the twelfth one, the last needle, you take that one and you put it right through the heart of the person you're workin' on. And when you put that mess in the black coffin you say, Let the blood flow, or, Let it stop passin'. Then, depending on what words you spoke, that person you're workin' on will have one of those hemorrhages or that blood will stop completely. Then you take that coffin and you bury it in the ground like you're buryin' a person alive. And under this sign they'll lose, they'll just waste away, they'll just die away."
Solomon looks back at the haint-pot, dips a big wooden ladle down into the swirling, glowing liquid, then fishes out some yawning wights who he quickly gobbles up.
Root Doctor Chris-Chris is hanging off his rickety old cross, but he's not hurt. He's bleeding, but that blood's nothing but streams of living water flowing down off a mountain. He looks down at his mama who wipes away at his feet pierced by a railroad-spike, all crumpled up and crippled. (Mama Mary saved that hanky for years before bringing it first to the Holy Mountain at Athos where she buried a small clipping down-down underneath the floor of a stone hut belonging to a blind goat-herd. Then it's said she gave the rest of the brown-stained cloth to Joe Aramatheas who carried it along with Chris-Chris's blood-cup to the Angle-land). But anyway, Chris-Chris was born to be a Root Doctor, yes sir. He had the powa', he had the blessing of the Holy Spirit, when in the crystal River Jordan he was dunked and drowned by Jonny B. He died one time, came back like many other Docta's I know, came back with two heads, one lookin' around in this world, one stuck in the Shady Kingdom. You want two heads like me? Naw, you don't really. I don't think you've got what it takes to split your skull in half. If you want to be a two-head docta', follow this formule set down in the Psalter of Qua-trains, written in old Irish by conjure-monks then hidden in a bog for a few hundred years before some poor bastard dug it up while cuttin' peat. Here's what that book says: you find yourself a cold, wide river, like the Jordan itself, although I imagine it's probably got hot waters, but you can go to one of those desert places in the bogs or swamps, a place out in the wilderness where no one else goes, and find yourself a cold, wide river. You wade out into the water holding a bowl of burning inscent, and when you reach a spot that comes just up to the top of your chin you stop and stand there. You stand there like Adam and Eve when they were doing penance, you stand there till the Holy Spirit comes down and drowns you. Two-Headed Chris-Chris, drowned in the Jordan, rises up with powa' and might, two fists full of bone-dust and a tongue of fire lapping at his bald head.
This Root Doctor was famous for doing all sorts of things that we still do today. He healed the sick and dying soul with words and with sacred pastes made from the stuff of the earth. He drove out devils and haints from troubled minds in the name of the + the + and the + etc. etc. and always kept company with the low-down and rough sorts. Those folks who know the old ways, the street ways, who drink till they forget in alehouses, the tobacco ways, the ways to kill and resurrect. The Good Docta' knew that people like this need freedom, and so he broke their bonds, he melted apart the chains that enslaved them, and that enslave all folks, even today. The Good Docta' taught them to Work the Spirit, to move their hips to the beatandto the roar made from two hands clapping together. "When you workin' tha spirit," Mawmaw Collette say, "you really free, your bonds fall down, your spirit rises up to God above."
I Work it. Two times a week I Work the Spirits, do that Great Work, that Alchemy Work, boiling down that pain deep inside of me then letting pure Spirit rise up and pour out onto the Horns of the Altar. "Work it!" Mawmaw Collette yells.
The low-down trouble-making Twelve learned to Work. They were friends of the Root Doctor. They witnessed the best trick he ever laid down, that dyin' and comin' back up out the ground trick, the one every good Docta' knows. At the Pent-Ye-Cost the Twelve Conjurers gathered together in a small room with a bunch of their friends and some lady-folk to talk about the Powa', and to smoke lots of thick cigars and drink cups of rum. Peter, who keeps the Keys to Heaven and Hell, was about to have himself an epiphany (cause he had always been quicker than the others, you know) when a sudden rushing wind blew open all the windows and blew out all the thick cigars. The Holy Spirit came down-down there in tongues of fire, each one resting on a head. "You see," Mawmaw Collette say, "that where the cunjurers come from, from tha blessing of tha Holy Spirit. Moses, he come from God tha Fatha', but us, we come from tha Holy Spirit." I wrap up my own head in the Holy Spirit, that Fire that gave Mama Brigit her Sight, the Fire she kept locked up in Ireland. You want to Work? You get yourself the blessing of the Holy Spirit, you wrap your head in that Fire and Work it.
In 1912 Pawpaw George, White Magnus Su-preme in the Bog-Water tradition of Arkansas Rootwork, makes his living off of distilling down flower essences in an old copper still hidden in one corner of his stilted-house. He gave all but one of his brown teeth to the Enemy in exchange for knowledge of the Work. At a dusty three-way crossroads (cause no one in town ever dared craft a four-way devil-route) Pawpaw George wrenched out each dan lanfèr, which he then tossed onto a black handkerchief spread out in the middle of the three-way. "After ten," Pawpaw George say, "I was bleedin' all over the ground there, but I ain't leavin', no I stay there till the Black Man himself come to me. I won't tell you but once, George, you get yourself off this here ground, you go home an' make yourself a copper-pot still an' you bail down them flowers and leaves until they thick as honey. You bail that down an' they's not one thing in this world you won't be able to accomplish. An' to think, I gave all my teeth for that powa'."
Pawpaw George tried to get his woman the only way he knew how, by conjuring her into marrying him. But that man didn't know that pretty ice-eyed Margaret was a workin' woman, she worked the roots better than any man around. She rose up on Pawpaw George one day and witched his eyes for looking the wrong way at her bee-hind. He lost his sight for three years until he managed to distill down half-a-pound of catfish bones and pokeroot into an eye-saving paste that's still passed around in rural parts of Arkansas today. Spreading that mess all over his face those scales that took his vision fell off and dropped to the ground. The first face he saw, or so the story goes, was ice-eyed Margaret standing there smiling in the doorway of his stilted-house. They were married shortly after, in the sight of God and the forty-three haints they shared between them.
"When my mama birthed me," Mawmaw Colette say, "I was tha seventh child of two Root Docta's, I was born with tha veil stretched ova' half my face as a sign of the Holy Spirit on me. I come from th'ty-three generations of Black-Eyed Cunjurers and Magnus-People in tha line of Peter tha key-keeper, who got his powa' from the Root Docta Chris, who was sanctified in the blood of David and Solomon the Wise, who was blessed by the rattlin' bones of Moses an' Aaron, who was named by God. Lord, I'll tell ya, that powa' is sweet."
- Doc Screeches
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