Review: The Legend of Tarot


The Legend of Tarot – Alexandra and Noa Page

If you need more evidence that Hylia loves you, I have another Legend of Zelda tarot deck, The Legend of Tarot deck. (See here for my review of another Zelda tarot, and the Triforce Spread)

The Legend of Tarot combines the Legend of Zelda with the tarot into its own interesting form. The suits are shifted to fit the world of Hyrule; Swords are Swords, but Wands are Sticks, Cups are Bottles, and Coins are Rupees.

lotdeathThe images on the cards derive from across the series, pulling characters from each era and timeline it seems, with an emphasis on Ocarina of Time and Majora’s Mask. The cards are not directly inspired by the Smith-Waite tarot, but draw more on the interpretation of the creators relating to the meanings of the card. For instance in this deck Death is not a figure of Death, with corpses below and a weapon in hand, instead it is Sheik, standing in the night playing the Goddess Harp, transforming into the Princess Zelda, playing into the interpretation of Death as transformation. The creators also opted to switch the elements of Air and Fire, so Swords are Fire and Wands are Air, and the meanings and images on the cards have been shifted to match this change.

I’ve yet to decide if these changes work against the deck or support it, as is often a concern with a deck that breaks out of the Smith-Waite model.

lotbackThe artwork is very well done, though not a style specific to the games, it is not so alien as to not work with the imagery either. Each card is framed the same way, with two Triforces in the upper corners, and two overlapping circles, one highlighting the suit or trump’s number, the other embracing the image of the card. While I don’t know what purpose this serves, if any, it is a pleasing artistic touch. The backs of the cards are symmetrical, always happy to see that, with a simple, yet beautiful image of the Triforce and the Ocarina, gilded with a gold foil. Another intriguing artistic element of the deck is the coloured borders of every card, I cannot figure out what the logic of this is, in the sense that I don’t know the pattern used to decide what colour is on each card, if in fact there was a pattern. The suits tend to have a loose colour scheme, but that it is. The bottles, for instance, is shades of blues, greens, and purples, and there is no pattern I can see within the suits. I find it works though, the colours are reminiscent of the meanings in an intuitive way, so they help reinforce the moods of the cards.

This deck comes with a small book, just a bit bigger than the cards themselves, and just over 100 pages. It explains each card, starting with a key statement almost a second title, and then a paragraph on the image and what it means. As the deck isn’t based on the Smith-Waite, it is very helpful to see how the meanings and cards connect, but the book will also be of great us to anyone unfamiliar (or less familiar) with the tarot.

All in all this is a gorgeous deck. I still have a bit of trouble linking some cards to traditional meanings, but taken as their own thing, they work wonderfully. The colours are rich and elegant, the art is beautiful, and it’s Zelda and Tarot.


Review: Legend of Zelda Tarot


Legend of Zelda Tarot – Britt Hoyer

I know this will come as a shock to many, but I’m a huge geek. Now that you’ve recovered from the surprise I’ll continue with my review.

lozt3As soon as I found out there was a Legend of Zelda Tarot I had to buy it, I didn’t care it if was good, if it was true to the historical tarot system, I just knew I needed to possess it, and I haven’t been disappointed.

The Legend of Zelda Tarot is a fan made project, not an officially licensed Nintendo product. It is based off the Coleman-Smith tarot, but illustrated with characters and themes from the Legend of Zelda.

Each Suit, and the Majors, draws their imagery from another game in the Legend of Zelda series. The Major Arcana draws from Ocarina of Time, and Majora’s Mask, Rupees (Pentacles) are based on A Link Between Worlds, Swords are based on Skyward Sword, Bottles (Cups) are based on Wind Waker, and Wands are based on Twilight Princess. These suits match the games fairly well, and artistically it is very interesting to see the variation in styles, the more cartoonish Bottles compared to the more realistic Majors, or the styling of the Swords. It is especially interesting when the same character (Zelda or Link) is illustrated on several cards to match the styles of the games.

lozt1The art is amazing, it’s not just a matter of matching images, Hoyer has done an excellent job of illustrating the characters into new roles. She has also done a great job of “translating” the images and symbols. In a few cases I feel a detail was missed in favour of the Zelda themes, but over all these can be overlooked, and require some shifts in how a card is read. For instance the Lovers card has the two lovers looking at each other, which changes the dynamic and meaning of the card. Or for a symbolic miss on the Wheel of Fortune the four elemental creatures have been replaced with creatures that don’t match elementally. I can’t tell if I’m bothered by the loss of the Elemental/Zodiacal symbolism, or if I should take it as the fact that Hyrule (and the related worlds) are another place, so need their own symbols. Many of her interpretations were brilliant, I’m especially fond of Batreaux as the Nine of Swords, and despite the complaint about the creatures on the Wheel, the card itself is delightfully geeky having both the Four Great Fairies, and TARO-TORA-ROTA written in Hylian (as it appears during the era of Ocarina of Time) around the Wheel.

lozt4There is not an accompanying book, which is understandable, though unfortunate. Though the deck does come with a few cards containing keywords, so those unfamiliar with reading the tarot can at least get a rudimentary sense of the readings until they learn more. The cards themselves are a good card stock, they feel just slightly thinner than standard tarot, but it is hard to say. Also while most tarot decks are printed on flat stock, these cards are printed on card stock with air cushions. (Air cushion is when a card has very slight indents on the surface, when you look at it up close it appears to have almost a canvas/woven appearance.) This makes the deck a lot better for shuffling than most decks, something I actually really appreciate. In terms of production values the only place the deck falls short is the box. The box is made of a thinner stock than the cards, my top flap had been ripped off by the time it reached me (a fluke of packaging, but shows the strength of the material). While this is a point against the deck, to be honest most tarot boxes never last, so the fact this one is more flimsy than most, really isn’t a problem in the long run.

While this deck is a bit niche in the appeal, both to myself and my clients, it is a great deck, and I do plan on working with it. If you’re a tarot reader and a Legend of Zelda fan, then you seriously cannot go wrong with this deck.

I perform a reading whenever I get a new deck, asking it about itself, which I’m going to share now, so you can get a sense of the deck.

What will this deck teach me: Ace of Swords: On a general level, this means the deck will teach me to read with clarity. The deck will teach me to separate what is important from what is not to better understand the situations. Now here we see where the Zelda theme adds another layer. This card is Fi, so for a card about teaching, we’re already off to a humourous start. Fi is one of the many babysitting characters of the series, who teaches you how to do things, and in general guides you through the game. You probably ignore Fi, but call on them when you’re stuck or confused, meaning this deck will teach me to look a bit deeper, to think differently and problem solve.

What is the strength of this deck: Hanged Man: This deck is open, it’s receptive, and it’s easy to work with. By accepting it as it is, it allows me to view things from another perspective. From a Zelda perspective, this card is Sheik, which makes me think the strength of the deck lies in its ability to deceive, not in a malicious sense, but in the sense of being what it needs to be at the time.

What is the weakness of this deck: The Hermit: The meanings of the deck are a bit insular, without knowledge of the series you can’t really get the full depth of the reading. (Though in defense, I’d argue the same goes for the Christian/Golden Dawn imagery in most tarot decks which even many readers are ignorant of.) Zelda-wise the card is Dampé, specifically after he is dead. This strikes me as saying a weakness of the deck is that is isn’t too active, that it will only show you what you’re looking at, meaning you really have to be clear on the questions you’re asking. (Which could relate back to the deck teaching me to look deeper and read with clarity)

Finally I’d like to share a simple spread I created for this deck. Unsurprisingly it is based on the Triforce.

Triforce Spread


This spread is a problem solving spread. It doesn’t give you a sense of the future, which is a good thing because if you’re actively following the advice of the cards and trying to do something, any future it shows you’d be trying to change anyways. You can either use this spread for a specific problem, or for more general advice on where you should direct yourself in your life.

The cards are dealt facing to the centre of the Triforce, so the top of the card is closest to the centre, for the sake of reading reversed cards. The Triforce cards are where you need to apply a trait in your life. The quest of the Hero isn’t about letting things happen, it’s about applying, about doing. So these cards are always about action you need to take. The Goddess cards are gifts you will receive, things that will work in your favour, opportunities to look for, what will help you. The caveat is these will tend to be things that won’t really come along until you’re applying yourself. You have to prove you’re worthy of the gifts.

1: The Centre: The centre of the Triforce represents you, your problem, your situation. It may explain the root of the problem, or why you’re having trouble with it, why you can’t see it clearly.

2: Power: This is where you need to apply Power in your life. This is where you are weak, and you need to apply strength to solve the issues you’re facing. This could be externally, or internally, something you need to confront in the world, or deal with in your self.

3. Wisdom: This is where you need to apply Wisdom in your life. What aren’t you seeing clearly? This is where you’re turning a blind eye, where you aren’t seeing the full picture, where you need to look deeper. This can show where you’re not thinking clearly, or show how you should reframe and rethink about the issue.

4. Courage: This is where you need to apply Courage in your life. This is where you’re holding back, this is where you need to let go and do what needs to be done. What aren’t you facing, what aren’t you addressing? This is not the area where you need to think and plan, this is where you need to go forth and conquer.

5. Din: The gift of Din is the blessing of Power. What support is there for you? What reserves do you have, how will this situation turn to your favour? Is this an opportunity that opens for you, or a treasure you have to grab and use? Where will you find the Power you need to continue?

6. Nayru: The gift of Nayru is the blessing of Wisdom. What will be revealed to you? What knowledge do you have that you can use now? Is this revelation internal, or is the insight brought from elsewhere? What clarity is brought to you, and how does that change your situation?

7. Farore: The gift of Farore is the blessing of Courage. What pushes you forward? What will help you push forward in the tough spots, what keeps you going? Is this a breakthrough in the problem, or support from someone? Is this a never say die attitude, or the renewed courage when you see the armor of your foe crack?

So geeks of the tarot realm, go out, and get The Legend of Zelda Tarot, it’s awesome, fun, and useful.

Review: Sumerian Exorcism, by M. Belanger


sembSumerian Exorcism: Magick, Demons, and the Lost Art of Marduk – M. Belanger
Dark Moon, 2013, 9781482521733, 180 pp.

Disclaimer: Michelle is my friend, so while I try to remain unbiased I acknowledge the potential for such is present.

Mesopotamian culture set the foundation for many elements of the modern Western world, and that includes the influence on magick. While the magick of the ancient Near East is often a feature in pop culture and obliquely referenced in paganism and magick generally in terms of Inanna it is rarely more than loosely based in actual beliefs and practices.

This book is a step towards helping shed some light on the actual practices of the time by sharing translations of the original source documents of various magickal tablets, most notably the Maklu Texts made famous by their reference in Simon’s Necronomicon.

The book is a collection of various texts, translated by academics, not by practitioners, and presented with some interpretation and explanation. The fact that the texts are academic translations is important to me, because while academics still have their own bias, when a text is translated by a practitioner they often translate to support their belief which may or may not be factually correct.

Michelle provides the necessary background material, when possible, to help the reader contextualize the spell. Whenever a god or demon or class of spirit is mentioned Michelle gives a brief introduction to them, knowing that the average reader, even of a text as focused as this, might not know whom they are discussing or praising. Sometimes there is a clear parallel between an ancient practice and a modern one, and when noted Michelle will often draw the link out for the reader. Also whenever something is suggested or implied in the text, but not stated probably due to being “common knowledge” to the priests at the time, Michelle fills in the gap or at least makes educated guesses. For instance a few spells reference the way a demon or influence might “melt away” and be burnt, so it’s suggested (and I’ll agree) that it probably referred to making a wax figurine or tablet to be destroyed.

The spells included cover what one would expect in general from a magick sampler text, there are curses, praises, exorcisms (imagine that), protection spells, blessings and more. This text is more for the academically inclined. If you’re looking for a how-to guide to ancient Mesopotamian magick and religion, this won’t be it, it might fill in the gaps and inspire, but won’t give you the foundation you need. The bibliography would also be a great starting point for a more involved study. For students of the western traditions of magick it will be interesting to see the origin (or at least oldest recorded description) of various ideas and both see where some practices came from, and perhaps rekindle part of them in your modern work.

Review: Drawing Down the Spirits, by Kenaz Filan and Raven Kaldera


ddtsDrawing Down the Spirits: The Traditions and Techniques of Spirit Possession – Kenaz Filan and Raven Kaldera
Destiny Books, 2009, 9781594772696, 338pp.

The idea and practice of spirit possession is one that is growing in the modern magickal and pagan communities. Despite the long and deep roots in a variety of traditions all across the world the practice more or less died out in Western traditions, but in the last decade or so it’s an idea and experience that is becoming more popular. In this book Kenaz Filan and Raven Kaldera start to fill in the gaps for the Western traditions and open up the conversation of possession.

First off, this is not a how-to book. If you’re looking to learn how to be possessed you can stop reading this review now because this isn’t the book you want. Filan and Kaldera suggest that people can’t learn to be possessed generally, it’s something that’s “wired” into you, and while I’m not sure I agree they still make very solid points about the role of the horse. (Horse is a term from the African diaspora religions for someone being possessed or ridden by the spirits, and is borrowed in this book.)

While not a how-to guide, the book is very thorough for what it does cover: the history of possession, traditions around the world, theories behind it and the spirits called into the horse. There are two elements to the text that really hit me as crucial reading for those getting into possession, but not from a tradition with an understanding or living history of the practice. The first is about the care of the horse, both in terms of the woogity and the mundane. They discuss how possession should be treated in safe, sane, and consensual manner, how to work with the spirits to set up boundaries. It might seem great to be able to be ridden by a patron deity, but despite ideas that such figures only work for your best interest, sometimes a spirit may go for a ride when it’s not wanted or even problematic. Kaldera and Filan give ideas for negotiating with the spirits, and ways to invite and close off possessions.

On the mundane side they cover the depth of what needs to be considered before, during, and after a possession. For instance most people inexperienced with possession might think it just happens, the horse stops, opens, and the god steps in, but the period of transition between self and possession can be a bit rough on the body, the horse might lose control of their limbs, so it’s addressed how to make sure they’re safe in that process. Also an emphasis on aftercare is covered, because having another spirit controlling your actions for a while isn’t necessarily the most comfortable or easy experience. The horse may need to be lulled back to the themselves, given food and drink, or a quiet place alone to settle down, and all of these ideas and more are laid out for the reader.

The second element I felt was crucial for readers is the discussion of the role of the horse in the community. Filan and Kaldera show how the horse is a social role, it’s not about the horse being someone big and important, but about what they can do for their religious community. Between the care and the context, I think the modern practitioner and group can get a sense of how to work with possession.

The book is written in a way that shifts back and forth from theory to experience, it’s filled with a variety of stories from Kaldera and Filan’s past that illustrate their points, without having so many that the text seems to be more about discussing cool experiences to prove how awesome the authors think they are.

As said right away, if you want a how-to guide on possession, this isn’t it, but if you’re curious about the phenomena or part of a group working with it, this text will help explain and explore what it means to work with the spirits in this way.

Tarot Review: The Transparent Tarot, by Emily Carding


transtarotTransparent Tarot – Emily Carding
Schiffer, 2008, 9780764330032, 280pp., 78 cards.

There are plenty of tarot decks out there; many are derivative and boring, some are interesting, but only briefly, few are really engaging, and rarely are they unique. I would say the Transparent Tarot is unique.

If you missed hearing about the deck when it came out six years ago, it is exactly what it sounds like: a transparent tarot deck. Each card is printed on a durable transparent plastic card. I can say they’re durable as I got the deck when it first came out and still use it, and my cards are fine. The image of every card has been distilled down to its simplest essence. So while the Smith-Waite tarot has images so detailed that you could spend hours noting the littlest aspects of the cards, the Transparent Tarot cuts it down to what Emily thinks is the most essential meaning of the card.

4 of Swords

4 of Swords

swords04[1]For instance the 4 of Swords (drawn randomly from my deck) is transformed from the intricate image of the Knight in a specific posture in the tomb with a stained glass window (that tells its own separate story) and everything to a simple outline of a person laying down with a sword at their side and three above them.

(See the difference? That’s typical of the reduction that Emily has done in her art)



The art is minimalist, both in what is included and how it is illustrated. The images are in a style of pointillism, which allows the images of the cards to combine much easier than they would if the images were solid lines and colours. While the Minors are fairly standard the Majors were completely redone. Instead of reducing a complex image to its essential core Emily took the archetypal quality of the Majors and created something new. For instance the Emperor becomes a city skyline, and the Magician is now a red and a white dragon wrapping around each other in a manner reminiscent of a caduceus. I will freely admit not all of the reinventions resonate with me and my understanding of the cards, but they do work well.



So why transparent cards? What good are they? The deck works just fine as a regular tarot deck, but where it shines is the fact that cards can be placed on each other to give you more information. In doing a three card spread you could put down two cards in each spot, and read them as a single image because they blend together. This drastically changes the possibilities your reading has.

You can just combine cards to get new images and meanings, or you can make it more complex. For instance the significator card is something I rarely find useful. Here is the reading, and here is you off in the corner. With this deck you can deal out a significator and “walk” it through the reading. You place the significator over the Past card, interpret it, then put it on the Present card, interpret it, then the Future, and whatever else is in the reading. This is also really interesting for readings involving groups. You could do a spread about a partnership of some sort, and move their respective significator cards over the reading, to see how the same events will be different for them.

Any way of understanding or framing the world in a schema can become part of the way you read with the deck. When doing a reading you can deal two cards for each spot, the bottom is the internal aspect of the answer, the top is the external. Read them together as a single image, and then separate the cards to understand the individual facet. You can do Body, Mind, Spirit. My favourite though is to deal down four cards in each position (using a very simple spread due to the amount of cards involved) representing Atziluth, Briah, Yetzirah and Assiah, the Qabalistic Worlds. In this method Atziluth is on the bottom, and Assiah is the top card. This allows me to look at a situation and see how it is manifesting in my life (reading them all together), seeing what is just physical/mundane (Assiah, this world) and follow it up the ladder of creation to see how it is being influenced, or influencing the higher realms, and where the issues (if any) are originating. While definitely not something I’d do every reading, when I really feel something is important, or I’m stuck somewhere it’s a great perspective to take.

My tarot mentor would combine the Transparent Tarot with other decks. He’d do a reading with one deck, and then place transparent cards over the rest, or walk a single one through as the signficator.

Here the three cards are combined. A dead knight from whom two dragons rise to encircle a city, interesting and evocative image.

Here the three cards are combined. A dead knight from which two dragons rise to encircle a city, interesting and evocative image.

You can overlap the cards “cleanly” so the edges line up, or you could be more freeform, because if a card is directly on top of another, or half off, or rotated slightly, all of these will change the resulting image.

The deck comes with a book that is nearly 300 pages long, which for a tarot deck is impressive. The card explanations have a description of the traditional image, why Emily picked the image she did, and for the Majors she even gives an example of three cards put together and how they could be read.

There are two issues with the deck that I must address. The cards are thicker and wider than average tarot cards, and they’re plastic not card stock, this makes them difficult to shuffle. Also since they’re clear plastic they get dirty easily and pick stuff up, so make sure to keep them wrapped up, and more so than other decks make sure you’re reading on a clean surface or you’ll really need to wipe the cards off when you’re done.

I have over 25 tarot decks (I’ll tell you when I’ve had enough!) and the Transparent Tarot is probably one of the three or four decks I use regularly. It was a hit when it came out, and then it faded away, and I think some people saw it just as a novelty (as arguably any speciality deck is) but I feel it’s a deck that can be as creative or insightful as the reader is willing to make it.

Review: Grimoires, by Owen Davies


51Mp9yLSz1L._SL160_[1]Grimoires: A History of Magic Books – Owen Davies
Oxford, 2010, 368pp., 9780199590049

If you’re an academically and/or history driven ceremonial magickian, then Grimoires is a book you really need for you collection.

After reading a few reviews about this book, I feel I have to make one point clear: This is an academic text, this is not a book about magick, it is not how to understand or use the grimoires, it is a look at the texts, the social influences on them, historical documents, and how they have changed over time. If you want an overview of grimoires for your magickal practice, look elsewhere.

Davies covers the history of grimoires, going as far back as we can and still understand the texts as grimoires, arguably sometime around the BCE/CE crossover, up until the present day. Along this journey he touches on a variety of factors that influenced the grimoires. It would be too easy to conceive of them as something isolated in the field of magick, but they’re not. Grimoires grew and were shaped by pressures from the Church, by popular fiction, by technology, cultural exchanges, and perhaps something spiritual. “They not only reflected the globalization of the world but helped shape it.” (5) Davies doesn’t write as a magickian, doesn’t write as a believer, but as a historian analyzing the texts and the histories, and that’s to the benefit of this book, otherwise it would be too easy to assume lines of thought persisted only due to magickal reasons.

When we think of grimoires we tend to think of the same handful over and over, but what really intrigued me was how many grimoires were identified and created in the Middle Ages. All of the text was interesting, but the interplay of the grimoires and the medieval Church were really fascinating. Davies covered how various grimoires survived, but more importantly why they were used, and how they were viewed. You could see some of the push and pull around the Church and the grimoires, as both an organization threatened by their existence, and yet obviously making use of them. In that same period Davies makes a case for the “democratizing” magick through the printing press.

Another plus for the book is that lot of magickal histories tend to drop off in the Renaissance, pick up with the Golden Dawn, maybe address the OTO, and then jump to the present. Davies on the other hand covered all that time between, as grimoires flowed into North America, becoming pulp books sold everywhere, in mail order catelogues even, and how they were a part of rural American cultures right up into living memory. This type of continuous thread of thought and practice is just what he traced from the earliest records, through the Dark Ages, into the Renaissance, to the present.

The data itself in this book is amazing, unfortunately Davies has a habit of throwing in random knowledge which seems less to illustrate a point, and more to illustrate his knowledge of something obscure. At first these little side-trips were interesting, but by the end of the book these details felt like they were detracting from the big pictures. When discussing an interesting text, there will often be an inclusion of one of the more unusual spells, even when it is irrelevant to the discussion of the text itself.

As someone who recently finished a university degree in History, with my final paper on Liber Iuratus Honorii, I found this book an excellent resource for creating the context and background for my paper. As a ceremonialist magickian I find this book invaluable to help me centre my practices both in their own magickal tradition, as well as a historical reality.

Review: Hands of Light, by Barbara Ann Brennan


handsolightHands of Light: A Guide to Healing Through the Human Energy Field – Barbara Ann Brenna
Bantam, 1988, 294pp., 0553345397

This is a rereading review. Hands of Light was probably one of my first energy work books I read way back, I was possibly still in high school then, which is scarily more than a decade away… For various reasons I’ve felt the need to go back and recover some old stuff, and this book was high on my list.

Hands of Light is probably one of the best books I’ve read on the energy body and energy healing, it definitely has its flaws, but overall it’s a great book.

Let’s look at the flaws first. First and foremost this book is very newage in its delivery, the author’s language jumps from culture to culture with little-to-no understanding of the basics, but using them as buzzwords. (The highest levels of your chakras exist in the Ketheric template, for instance) The book deals with channelling, spirit guides, white light, universe as happy-love, and things like that. The material is great, and even when she’s framing it as newage as possible there is a lot of good stuff in the book, you just have to be willing to filter out some of that language. The second problem is this text is very prescriptive. Red means this. A bulge here means that. Cancer will look like this. If you don’t know me, I have issues with prescriptive texts like that, people can and do perceive (not even see) things radically differently, and our energetic bodies, like our physical ones, are too complex to say X=Y with certainty, but it might be a good indicator. Must like the newage language, if you’re willing to reframe her descriptions as personal and a bit nebulous you’ll get more from it. Originally I thought she was more of an authority, so I tried diagnosing and evaluating people by her colours and symbols, sometimes they were right, sometimes they were wrong. Perceptions don’t map 100% across people. (Normally I wouldn’t comment about that in a book, but as I went through that way back I thought I’d bring it up.) I assume that is in part due to Brennan’s background, she has an M.S> in Atmospheric Physics and worked as a research scientist with NASA (these claims pan out), which may not be the most conducive to accepting a more flexible subtle reality.

So what are the good things about this book? It is detailed. It’s nearly three hundred pages (which are 8.5X11) so there is a lot in here. It covers the aura, how it interacts with the “Universal Energy Field,” therapy and energy healing, physical manifestations of psychological-energetic imbalances, the chakras, major chakra patterns, how they operate and interact, past life damage and healing, layers of reality and the way templates affect the bodies, various methods of perception, how to heal and a lot more. Brennan covers the basics all books on the subject hit, but does so more in depth, and covers a lot more.

The book also has a lot of exercises, and case studies for you to work with, these really help people who want to learn, and they’re practical and effective. The perspective and depth of Brennan’s work is what sets it apart. Even after all this time it’s the only book I’ve read that really handles the idea of multiple layers of the energy body in a way that’s rational and informative. Usually it’s glossed over or not mentioned, but her model is the one closest to my own, as well as the models used by several groups I’ve worked with.

With everything she covers this book really is probably the best resource or place to start, if you’re willing to be a bit more flexible, and divorce the newage language. I honestly think if you work through this book, follow the instructions, then you’ll have an amazing foundation for energetic healing.

While it is white light newage, no doubt, if you’re looking for a book on the energy body, and how to work with and heal it then this book is a great starting point and resource.

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