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The song of the ancient Norn

NornsLet’s celebrate the opening of the half-month of Laguz with a story I found on the wind, sent by the whispering waters for your pleasure.

Wyrd is a strange and terrible thing.  Born of the primal stirrings where frond and scale and stippled claw rise upon the turbulent froth of land and sea and sink back into the depths to be ground down into nothing and made anew.  So it was in the beginning, a swirling turmoil of nothing, filling the void of Ginungagap with limitless possibilities that soared and failed and rose once more. Nothing was permanent, nothing sacred, nothing whole or fixed or centred.

The first of the Nornir, before even naming or knowing herself, plucked a single frond from the depths and twisted it, once, twice, three times.  She held it fixed, noting the once, noting the twice, noting the thrice; a thing, a shape formed from three identical actions, one rising swiftly after the other.  She twisted again, over and over; still the first three twists remained, setting the pattern for the later ones. As she span the frond into a long thread she gave herself a name, a face, and hands that she might spin with greater skill; and all these things became fixed within the fibre of the primal thread.  Words formed and she whispered to the thread of its story, and of hers, the two entwined. She whispered of time: a time when the thread was, and a time before when it was not.  Now the thread became a measure against which to place all other things, there was a time before it had been, and the present moment of its becoming, and a time yet to come when it would endure and grow.  This last measure was strangest of all, for the Norn knew it must be, for she intended it, but she also had no choice, for she had become the spinner and her pattern was set, just like the thread she span.

She saw a starfish floating upon the brine and named it as it passed, and and she plied the first thread into a second and then a third and the starfish road upon the waves and was cast ashore and it rested in the light.  The waves crashed upon the land, and though the sea did not know it yet, the bucking waves themselves were tamed by time and the Norn was able to count them as she span.  As the sun dipped below the horizon the starfish let itself be lifted once more and carried by the waves back into the depths of the sea, and where it had been there was a star imprinted upon the sand.  The water softened the star shaped sand-hollow until it was smooth once more, but the memory of the starfish was written into time and the Norn remembered it, and the sand remembered it and the sea remembered it.  When the sun rose again the next morning it was not a new sun, no longer fresh born from the churning sea, but rather a reborn sun rising from the depths to take its place in the sky once more.  All was changed and Wyrd flowed.  The churning water became caught in the spindle of the Norn and was plied into thread, and with every twist of the Norn’s spindle the world was shaped.

Then the Norn spoke laws and made for herself a fine cloth of the primal threads which she cast about her shoulders as she trudged across the land.  Where her feet fell the land settled, the thrusting mountains stilled and their peaks were dusted with the first snow.   The molten rivers of hot lava which had danced, undifferentiated, with the waters, plunged down into the earth to escape the weaving song of the Norn and contended themselves with dominion over the land below where all remained hot and swirling and unformed.  The ice giants ceased to roar and thunder; some lay themselves peaceably upon the earth whilst others keened for the time before the awakening when they had lacked knowledge and been happy – or at least they supposed they had been. Before time, when all was still, they moaned, when memory refused to lodge itself within the cracks and the creaking of the spindle did not disturb their stillness.  The Norn took pity on the keening giants and set out to the North.  She trudged onwards into the scatter of the stars and wove a bridge across the land and on into a place of cold and mist and forgetting. This she offered to the ice giants who accepted with grumbling voices as they turned their brittle bodies towards their new home.

Still the spindle of the Norn ceaselessly turned and caught within its tangle rock and blood, bone and timber, burning sparks and coal-black cinders.  The great coil of threads grew so vast that the Norn climbed inside it, hanging her spindle at the heart of the weaving.  She sang as she spun and drew into the weaving her own sense of self.  She sang of the waters she loved and beneath the coil of the weaving great rivers formed and deep wells where memory pooled and combined and birthed things as yet undreamed.  Working tirelessly in the centre of the weaving she could see the pattern unfurling. The weaving became a tree with her spindle at its heart; the songs she sang into the threads flowed through the fibres and whispered to the beings of purpose and pattern and the nature of being which the Norn had learned oh so long ago now back when the thread first formed.

The tree grew and the pattern shaped and formed and flowed and the song ran in ripples that curved and eddied and sometimes snagged upon root and branch and severed limb.  So caught up was she that the Norn forgot to hold herself apart and became as one, entirely, with her weaving.  She dreamt of herself tending the tree, spinning the threads, weaving and mending and cutting to keep the tree alive and the pattern flowing. So it was that the Nornir were born from the dream of the primal Norn who is their mother, and also part of them, and also their daughter who is the weaving itself and the flow of Wyrd and the laws spoken into the weaving and written within the pattern.  And this is one of their songs, heard within the flow of the threads and held within the mysteries of Laguz and Perthro.   Laguz, Laguz, Laguz which is the depths and the flow and the forming and the shaping and the whispering of that which is ever changing but holds to a pattern of unfathomable complexity.  Perthro, which is the hidden secret and the well of memory and the song of the ancient one.

Crystal Healing

Crystals have been used for healing and magic since ancient times. Cultures including Egyptian, Inca, Aztec, Greek and Stone Age European all worked with these beautiful gifts of the earth.  Priests, shamans, magicians and healers used crystals to contain, transmit, restore, rebalance and extract energy; building a huge body of lore around the properties, uses and benefits of crystals, stones and metals.

Today holistic healing is often understood as working with vibration – every object, every energy, every thing has its own vibration which we can work with to bring about change.  Modern science has now confirmed that different crystals resonate at different frequencies, creating unique vibrations.  This discovery helps to explain why crystals of different mineral content, structure, and colour work to assist with particular diseases, disorders and imbalances.

My own training incorporates a shamanic approach to crystal healing.  Shamanic practitioners take an ‘animistic’ approach to the world around them, we don’t see crystals as simply having unique properties - we work with each crystal as an individual being, a spirit gifted from the earth to assist us in the healing of ourselves and our world.

Crystal healing works on all levels to bring about physical, emotional, mental, spiritual and soul-level healing.  Receiving a crystal healing is a beautiful experience which brings about deep relaxation and long-term healing.  I also incorporate crystal healing into shamanic ceremonies as their energies bring powerful support to power and soul retrival work.

Below you will find more information about specific aspects of crystal healing.  I have also put together a selection of books at the top of this page that you may like to look at for more in-depth information about this powerful healing method.

I learned crystal healing from the lovely Bhavna Mistry of Life Healing Values.  She teaches intuitive crystal healing right from beginners level through to incorporating crystal healing into our own established practice.

Working with a healing matrix

A healing matrix is created by placing crystals on and around the body.  Each crystal has unique properties and is ‘programmed’ by the healer with a particular healing purpose.  Each crystal performs its own unique task during the healing, but is also part of a wider matrix which works to balance, release and restore energy across the body.  Common matrixes include the placement of crystals at the chakras, the creation of a balanced pattern around the body, or a clustering of crystals around the centre of a particular illnesses, injury or site of imbalance within the body.  During a healing I will normally adjust the matrix a number of times, removing crystals that have completed specific tasks and positioning new ones to move the healing forward to the next phase.

Working with pendulums and wands

Pendulums and wands are crystals which are not placed on the body, but are rather used by your healer as tools.  You may be familar with the concept of ‘dowsing’ (using a tool to locate a lost or hidden item), this is a very common technique used within crystal healing to find areas on the body that need to be worked on.  Pendulums and wands are also used to connect your matrix together (helping the crystals ‘talk to each other’), clear and extract blockages within the energy body (e.g. opening the chakras and meridians), and promote the flow of healing energy through the matrix.

Colour healing with crystals

Colour healing is a powerful form of healing in its own right, but there is a great deal of crossover between crystal and colour healing because crystals are, after all, prized  for their beautiful colours and brilliance.  I have already mentioned that crystals work with the chakras and, of course, many of the best crystals to use with a particular chakra will share its colour.  On other occasions, a crystal matrix may be made entirely of crystals in a single colour, bringing powerful healing on a particular spectrum.

Spirit guidance

Because I work under guidance I seek to develop a relationship with each of my crystals so that I can understand how best to use them for healing.  My practice is, of course, always guided by spirit and there are times when the guiding spirits and ancestors of people I work with will also come forward to assist in the healing.

What does it feel like?

Different people experience the crystals in different ways.  Some report a gentle sensation such as the flow of reiki, while others feel heat, a pulsating energy moving through them and, every now and then, someone will ask if there was an earthquake during the healing!  It is common for people to feel that they go to a deep, peaceful place during healing and, those who are psychically sensitive may receive messages and guidance during their treatment. No healing is the same but a crystal healer will normally seek to bring you into a receptive state at the beginning so you are open to the healing and will ensure that your energy body is sealed and you are fully ‘present’ before finishing.


I enjoyed my crystal healing session very much, and felt very relaxed and refreshed – similar to the effect I get from a yoga lesson but without actually having do to anything!  I was surprised when Magin told me afterwards that she had detected a problem with my left shoulder and had spent some time working on it.  I had strained the shoulder a few weeks previously and it was causing me increasing discomfort, but I hadn’t mentioned this to her at all.  There was no instant miracle cure, but I’m pleased to report that the pain disappeared completely over the next few weeks.  Linda, North London

 I found Magin provided a warm and holding space that gave me nurturing and rest. This brought it’s own depth which allowed two important new images to emerge, which I am still working with and gaining benefit from. I would happily recommend Magin.  Tim, South East London

Horns of Power

Horned GodI have had lots of fun creating this colour version of my black and white illustration accompanying my piece ‘A Small Mouse’ in Avalonia’s Horns of Power: Manifestations of the Horned God.  I have worked with this magnificent God many times since writing the piece and his many facets never cease to amaze me.  The picture will be available via my on-line gallery in the next few days.

The site is born

This is my very first post on my new site.  The site has been birthed over theYuletide period 2009 and when I say birthed, I mean that it was extremely painful and wouldn’t have occured without the tender ministrations of the lovely Kay Gillard (  Web-pains aside this has been a wonderfully magical time for me, full of exciting new plans, powerful energy work and creative outpourings.

I have high hopes for 2010 and expect much hard work, lots of fun and opportunity. 

Yuletide blessings one and all!

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