The

Ironwing Tarot

Lorena Babcock Moore

THE IRONWING TAROT celebrates the ancient art of blacksmithing and
its connection with shamanism. The deck is inspired by nature, geology
and metallurgy, and the sacred Black Metal itself. Images are
nontraditional but illustrate familiar Tarot themes using original
personal symbolism. The suits, face cards, and several of the Major
Arcana have been renamed. Cards depict women only, offering an
alternative and personal view of a traditionally male craft. Those who
love the Goddess will find Her here, perhaps in unfamiliar forms,
opening a path of beauty, strength, and power. Images are symmetrical
and iconographic so the cards can be contemplated in the same way as
mandalas or other formal abstract sacred art. They are intended to be
powerful and evocative even if the viewer cannot understand
everything in the picture, although studying the descriptions will make
them more meaningful. Many cards have accurate depictions of
obscure plants, fungi, insects, fossils, and other natural history
curiosities, drawn in the style of scientific illustration. Occult and
astrological symbols were avoided. Originals are black and white 5"x7"
ink on scratchboard to emphasize contrast and detail.
Designed as a personal spiritual tool, the Ironwing Tarot was created
from within a shaman's perspective, rather than simply being about
shamanism. Since early childhood I have followed a solitary shamanic
path that has developed depth and complexity through initiatory
experience, dreamwork, and a lifelong study of nature, art, and writing.
I do not have formal shamanic training, nor am I affiliated with any
culture or teacher. I have walked the paths of the shaman, scientist,
and artist, and they have become a single road.

Card
Card Backs and Title Card
The card backs illustrate the Four Elements: a vulture feather (Air), a
flaming iron meteor (Fire and Earth), and a double spiral whirlpool
(Water). The title card shows an iron bell-rattle, an alternate version of
the Two of Bells. It is shaped like two pomegranates riveted to a
handle made of flared tubing. In this type of bell, the jingling pellets roll
through the handle back and forth between the two bells.

What is the Tarot?

The Tarot is a card game, an oracle, a tool for self-discovery and
creative inspiration, a diverse art form, and a collector's item. It is not a
religion, although traditional Tarot imagery has much Christian
symbolism, and modern decks explore diverse spiritual paths. A Tarot
deck has an undeniable presence, a feeling that the collection of 78
mysterious images adds up to something greater than a stack of odd
picture cards. Depending on one's choice of perception, it can be
inviting or threatening.

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IRON GEOLOGY
Iron is the most stable element in the universe, and is the last element
formed in the burned-out cores of dying stars. Its atomic symbol is Fe,
from ferrum, the Latin word for iron. Iron accounts for one third of the
earth by weight, and the heart of the planet is nearly pure iron. A liquid
outer core surrounds a solid inner core. Both are iron with up to 20%
nickel and other elements. Convection currents in the outer core
generate the earth's magnetic field, although the mechanism for the
field's polarity reversals and changes in intensity are still not well
understood. The earth's mantle, which makes up most of the planet by
volume, is mostly dark green iron and magnesium silicates such as
olivine (peridot), pyroxene, and garnet, and other iron-rich minerals
such as magnetite and spinel. In the earth's crust, iron is the fourth
most abundant element (after oxygen, silicon, and aluminum), but
native metallic iron is extremely rare. Iron is highly insoluble in oxygen-
rich water but readily combines with oxygen, especially in the presence
of iron-loving bacteria. Iron in the crust occurs as silicates, sulfides,
and the oxides formed when these minerals are exposed to oxygen in
groundwater and the atmosphere. Iron oxides are natural "rust" and
provide most of the orange, red, and brown colors in soil and
sedimentary rocks. They are mineral pigments and iron ores.
Proterozoic "banded iron" ores, 2.2 billion years old, provide evidence of
an abrupt change on earth. At that time, stromatolites and floating
"blooms" of cyanobacteria (blue-green algae) became extensive enough
that the oxygen they produced during photosynthesis was enough alter
the atmosphere. Formerly composed of hydrogen, methane, and
ammonia (which would be toxic to most modern life), the atmosphere
became rich in oxygen, which eventually encouraged an explosion of
life. In the old oxygen-poor atmosphere, iron that weathered out of the
rocks was quite soluble in seawater, but as the oxygen level rose, iron
became insoluble and precipitated out on the seafloor as hematite and
magnetite, filling several basins around the world with thick alternating
layers of iron oxide and ordinary seafloor silica sediment. Although
compressed, folded, and altered by the heat and pressure of
metamorphism, banded iron ore exposures as found today still
preserve the record of this ancient event in stromatolite fossils and
single microscopic algae cells. The name "banded iron" comes from
the alternating layers of black magnetite, gray metallic hematite, and
red jasper (hematite-stained chert, or microcrystalline quartz). The
most famous are from Michigan and Minnesota and the "tiger iron" of
Australia. Tiger iron contains yellow and blue iridescent layers of
tigereye, which is chert with inclusions of chrysotile, an iron-rich silicate.

THE BLACK METAL

Ore must be heated or smelted to burn or melt off impurities and
concentrate the pure metal. In a primitive smelter, ore is piled in a
small furnace over a charcoal fire. Heat is carefully maintained for

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several hours, and the ore melts into a pool of silica slag with a puddle
of molten metal underneath. Copper was the first metal to be worked,
since it is found in native metallic form as stream pebbles or in the rock
as veins and nodules. Smelting was discovered when such rocks were
heated to melt out the copper. Iron ores were discovered later,
probably as a by-product of copper smelting since they often occur with
copper minerals. In an iron smelter or bloomery, the bloom or lump of
new metal must be reheated and hammered flat several times to work
out any slag bubbles and to even out the composition, since carbon
concentrates at the top of the bloom as the molten metal cools. Each
bloom is unique, and some are harder than others. A modern steel mill
produces metals with precise compositions and specialized properties.
The words iron and steel are used interchangeably. Steel is iron that
contains a small amount of carbon, which makes the metal harder.
Pure iron is softer than steel but only a metallurgist or experienced
smith can tell the difference. It is also called "wrought iron" ( a term
sometimes incorrectly used for ornamental steel that has been bent
cold and welded, not forged). Cast iron objects are very hard and
brittle, and are made in a foundry, where liquid molten iron is poured
into molds for heavy items such as manhole covers, cauldrons, and
pans. Because of their dark gray color and tendency to blacken with
age, iron and steel are called the black metal, so the metalworker who
forges them is a blacksmith.
blacksmith. Forging
Forging is shaping metal by hammering
it. Copper, silver, and gold are heavier than iron but are soft metals
that can be hammered cold. They become hardened as they are
worked, so they are periodically annealed or heated to soften them.
Thin pieces of steel, such as wire, can be bent cold if they are annealed
first. But most steel is too hard and brittle to work cold, so it must be
heated to about 1500 degrees F. The hotter the metal, the more
malleable it is, and the easier it is to hammer or bend it. Iron is heated
in a forge,
forge, which may be an open hearth fueled with coal or charcoal, or
a partly enclosed furnace fueled with propane. A clean-burning
propane forge is easy to use because the metal is always visible and
the air and gas are easily adjusted. A coal or charcoal forge must be
skillfully tended for maximum heat without the open flames that waste
fuel and oxidize metal. Air is blown with a hand-cranked or electric fan
or (rarely) a traditional bellows. The smith blows air, adds fuel, or
sprinkles water as needed. If the iron is left in too long, it will turn
white-hot and burn, and clinkers (slag from impurities in the coal) will
smother the fire. The iron is heated until it glows bright orange, and
hammered until it cools to a dark red. Depending on size, this can be a
few seconds or several minutes. Once it cools to a black heat, it is too
hard and brittle to hammer, and is returned to the forge. The smith
usually works with several pieces at once to conserve time and fuel,
and the alternating tasks of hammering and moving the pieces to and
from the fire becomes very efficient as the smith finds the rhythm of the
work and draws energy from it. This is an intense state of

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concentration that engages mind and body but frees the imagination,
an active trance similar to that produced by a shaman's drumming and
dancing. The smith returns from the "journey" with a physical token,
shaped in part by this state of mind during the work.
Blacksmithing is universally a man's craft that is traditionally forbidden
to women. In the U.S. and Europe, it has had an artistic revival since
the 1970s, and contemporary art blacksmithing has attracted several
talented women whose work is distinctive for its organic grace and
innovative design. Women are still not completely accepted, but
blacksmithing classes are attracting greater numbers of young women.
Until recently, a blacksmith was also a farrier (someone who shoes
horses). Modern blacksmiths are rarely farriers, and some farriers do
not work with hot metal.

Iron Mythology
Symbolically, iron is all that is cold, hard, heavy, and sharp. It is the
ultimate "masculine" material and is associated with Mars, the Roman
god of war. Hematite gives the Red Planet Mars its color, and blood
derives its red color from the iron in hemoglobin. Blacksmithing gods
bring technology and civilization, since they provide tools for the
conquest of nature through agriculture, building cities, and making war.
Because blacksmiths make the tools for other crafts, they represent the
practical skill and divine inspiration of all craftsmen. European
blacksmithing gods are solitary primitive tricksters, including the Norse
Volund (Anglo-Saxon Wayland), Finnish Ilmarinen, Roman Vulcan, Greek
Hephaistos, and Celtic Goibniu. They are masters of all metalworking
and make objects of supernatural beauty with the power of ultimate
salvation or destruction for the bearer. The Celtic goddess Brigid is
often associated with smithcraft as a patroness of the hearth fire and
creativity, but she is not a smith herself. The mythical figure that can
be most closely identified with the themes in the Ironwing Tarot is
Ogun, the West African "spirit of iron" and blacksmithing. In Ifa,
Voodoo, Santeria, and related traditions, Ogun (or Ogoun) is the male
orisha associated with weapons, war, and technology. But he is also
the swift remover of obstacles, protector of the home and provider of
employment, and the guardian of the forest. He clears a path through
the trees but leads the way deeper into the wilderness, with his
machete in one hand and a bundle of medicinal herbs in the other.

SHAMANISM
Shamanism is an ancient religion rooted in animism and nature-
worship. It has been practiced in most cultures and has its origins
among Paleolithic hunters. Using a drum, rattle, singing, and/or
dancing to induce a trance state similar to lucid dreaming, the shaman
journeys with the help of tutelary spirits and animal helpers. She
travels to the Underworld, which is often the Land of the Dead, the
home of the ancestors, and the place of "black" spirits of earth and

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metals, illness, and animals. She also visits the Upperworld, the abode
of "white" deities, birds, and celestial spirits. The shaman may visit
both places in the same journey, and receives gifts of knowledge,
helping spirits, or supernatural abilities. Her most well-known
traditional function is to find and restore the soul of a sick person or to
drive out the spirit that is causing the illness. She is also called upon to
guide the souls of the dead and conduct funeral rituals. She may find
game animals, water sources or precious stones, and lost objects or
people. She offers prayers to the spirits of the land at earth shrines,
holy wells, and oracular trees. She communicates her experiences with
the spirits through creative work as an artist, musician, dancer, or
storyteller. Although she may have other shamans as teachers, she
receives instruction primarily from the spirits in an evolving lifelong
relationship. A shaman's career often begins with an initiation in the
form of an illness or an encounter with a harmful spirit, for which only
cure is to accept the shaman's vocation. Refusal can lead to death, but
people are often reluctant to accept the "call of the spirits". A shaman
walks between worlds, spending much time alone with nature spirits,
and her life becomes intertwined with strange beings and mysterious
obligations. This difficult path inspires fear along with respect, and
relegates the shaman to the fringes of the community even in societies
where a such a person is traditionally accepted.

Shamanism and Blacksmithing

The blacksmith shares several magical abilities with the shaman, such
as conjuring feats, mastery of fire, singing or storytelling, and the ability
to drive off malevolent spirits and attract helpful ones. Both
shamanism and blacksmithing are often hereditary vocations, requiring
the approval of ancestor spirits. Shamanism has a particularly strong
connection with iron in West Africa and among several peoples of
Siberia and Central Asia. The Yakut, Buryat, and Mongol shamans
adorn their costumes and drums with forged iron bells, chains, spirit
figures, arrows, and objects that resemble bones and feathers. A Yakut
proverb affirms that "the shaman and the smith are hatched in the
same nest." The shaman and the smith are both respected and feared.
According to Kira Van Deusen, iron reflects this ambivalence in Siberia
even today. The "black metal" from under the earth is associated with
"black" shamans who guide the dead and work with spirits of disease,
yet are feared as sorcerers (personal communication, 2003). In his
Shamanism, Mircea Eliade (1964) relates several stories of the
shamanic power of iron. The shaman may travel over the Iron
Mountain and visit the Underworld master blacksmith. The initiate's
body is destroyed, his head forged on the anvil, and his skeleton
reassembled with pieces of iron.
In these tales, iron conveys a sense of darkness, danger, and
formidable difficulties that are the ultimate test the shaman's power
and physical endurance. How did iron change the shaman's Otherworld

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geography? Did the use of iron objects guide shamans to new places
and new spirits, or were old stories reinterpreted? The iron ornaments
on the shaman's costume work in several ways. Some spirits have an
affinity for iron and others are afraid of it. Chains, arrows, and spirit
figures are a form of armor. Their shapes are inspired by the unique
working properties of the metal itself. Iron bones and feathers are
tokens of the shaman's initiation and allow communication with the
spirits that inhabit them. These objects are similar to older versions
made of bone, wood, ivory, and bird or animal skins. The forged cone
bells are hung in pairs from iron rings or chains, strung on the iron
crosspiece of a drum, or fastened onto bowed musical instruments.
Thin copper cones made from curled sheet metal or cut tubing are also
used, but they do not have the elaborate workmanship of the forged
bells. Similar ancient rattling ornaments that predate metalworking
include musselshells, deer hooves, and seedpods.

Modern Shamanism
Several authors have recently popularized some of the healing
techniques that are common to all shamanic traditions, adapting them
to modern urban use through books and workshops. Modern shamans
practice in a variety of ways, and the criteria that define a "shaman",
"shamanic practitioner", or "shamanic methods" are subjective and not
well defined. Each shaman, modern or traditional, has a different
background, a unique personal style, and specializes in certain
methods, tools, or types of work. There are also people who do
shamanic work but do not call it that.

To me, the shaman's most important function is to help people make or

rediscover a healthy, intimate, and creative connection with nature, so
they can find and use their own spiritual strength to confront fears and
claim unused power. Help is given only when requested, and the
shaman's first task is to know whether to do anything at all. She is a
compassionate listener for those who need someone outside the usual
social and religious roles to help them through the "weirdness" of grief,
illness, anxiety, recurring nightmares, or other strange experiences.
She helps focus, re-direct, or dispel the potentially destructive energy
that builds up at such times. She creates sanctuaries and purifies
living and work space where fear and confusion have entered. She
interprets her Otherworld journeys in art and words so that others may
share her visions and live closer to the earth. My own art has this
purpose, whether it is a personal project or work undertaken for
someone else. My ironwork is "alive" and is small enough to be held,
carried, or worn. Pieces are interesting to study and handle. They are
talismans for holding strength and transforming power from deep in
the earth.

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STONES
In prehistoric times, someone who knew how to find flint for tools, clay
for pots, ochre for paints, or turquoise for ornaments would have been
a valuable individual who was at once a scientist, an artisan, and
perhaps a "medicine" person. Certain stones were precious because of
their usefulness, beauty, and rarity, so it was inevitable that they would
also be used for sacred purposes. As metalworking developed, some
minerals acquired new value as ores. Pre-industrial metalwork was
difficult, dangerous, and unpredictable, so it quickly became mysterious
and magical. Stones and metals retain some of this type of attraction
today because of their innate appeal. Since the Ironwing Tarot has a
geological theme, you may wish to use stones when working with the
cards. Stones listed below were chosen because they are pictured on
the cards or are otherwise geologically appropriate for the theme of the
deck. Metaphysical properties were not considered. Hematite and
small meteorite specimens are appropriate for the entire deck.

Shaman's Pebble Oracle: Collect a bag of pebbles. You can assign

pebbles to certain cards, or create your own oracle to use with the
cards or by itself. In addition to its color, texture, shape, and
composition (if you know it), each stone will carry personal significance
related to where you found it, which will help determine its intuitive
meaning. Study and meditate on each stone separately, then see how
they affect each other as a group. Write down words or phrases that
describe and interpret each stone. Try "throwing" the pebbles to
determine how you will "read" them. Your collection will reveal its
purpose as an oracle and the type of questions it will answer. The
results will not be as specific or detailed as a Tarot card reading.
Instead, expect to see a general but strong overall mood or direction.

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Natural Objects for the Suits & Elements
SPIKES/FIRE: thorns, spines, twigs, resins
COILS/WATER: shells, flowers, beach finds
BLADES/AIR: feathers, leaves, herbs, paper
BELLS/EARTH: roots, gnarled wood, bones, fungi, seeds

STONES FOR THE MAJOR ARCANA

O The Lodestone: magnetite

I The Magician: garnet crystals; labradorite
II Red Earth: stromatolite or other fossil
III The Forge: garnet beads; rose quartz
IV The Anvil: any well-formed crystal
V Tradition: amethyst
VI Connection: twinned crystals; a string of stone beads
VII The Road: pebbles with veins or eyes; horse fossils
VIII Crystallization: pyrite
IX The Hermit: geode or concretion ("hidden treasure")
X The Wheel: a stone "donut" (flat bead with a hole).
Olivine (an iron-magnesium silicate, a major constituent of the earth's
mantle) and serpentine (olivine's metamorphic counterpart).
XI Strength: quartz crystals (Herkimer diamonds)
XII Trance: petrified wood, picture jasper
Agate and jasper are gem names for microcrystalline quartz, which is
also called flint, chert, and chalcedony. Iron oxides provide most of the
colors in agates, including petrified wood. In "picture" jasper, minerals
are deposited along microscopic fractures and create tiny landscape
patterns.
XIII Death: vivianite, fossil ivory, bones. Rusty steel.
XIV Quench: basalt (black seafloor volcanic rock); amber
XV Molten Iron: carnelian
XVI The Tower: coal or jet, charcoal, black shale or slate
XVII The Star: crystal cluster
XVIII The Moon: moonstone (white or gray iridescent feldspars), silver,
white mica, quartz sphere
XIX The Sun: sunstone (orange iridescent feldspar), carnelian,
iridescent obsidian, citrine, gold
XX The Furnace: Snowflake obsidian - black volcanic glass with gray
patches that are sprays of tiny quartz crystals.
XXI The World: a stone sphere; magnetite

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READING THE CARDS
Divination is part of all shamanic traditions. The Tarot may not seem as
"shamanic" as bones or pebbles, but it has enduring appeal as an
oracle because its structure allows for a variety of artistic
interpretations and works for many types of questions. The shaman's
journey itself is a specialized type of divination, but cards and other
methods are not a substitute for it. You cannot "journey into" a picture
by looking at it, although the technique of contemplation is a powerful
way to explore the spiritual gifts of any image. Tarot does not diagnose
or treat illness, solve legal or financial problems, or do any work for you.
Reading the cards is an art and a sacred game. It stimulates your
imagination, intuition, and subconscious. It reveals connections and
mirrors fears, hopes, and motivations. It suggests new or forgotten
options and gives you something to think about when you're stuck. The
intention is to show what type of energy is at work in a situation,
provide insight on a question, identify sources of power (perhaps
unknown or unused), or suggest ways to solve a problem. Ideally, all
cards are neutral and carry equal weight. In reality, you will feel
affinities for certain cards and aversions to others. These may change
over time or with different situations. Some cards will seem especially
significant, others will fade into the background. These reactions affect
your interpretations and are worth exploring. Set aside enough quiet
time to work with the cards. Reading when you are tired, ill, rushed, or
stressed is confusing and exhausting. It is unethical to read for
someone who has not requested it. If you wish to read for someone
who is absent, especially if they are ill or troubled, read for yourself, not
the other person, and ask "What can I offer?"

SPREADS
Although not essential, a "spread" or formal layout in which each
position is assigned a specific meaning can make it easier to interpret
the cards. There are hundreds of Tarot spreads. Those given here are
the ones I use most often, and two were created specifically for this
deck. Mix the cards on a table or the floor, or hold them in your hand
and shuffle them overhand by repeatedly splitting the deck in several
places and redistributing the cards throughout. Stack them and cut the
deck. Lay out the spread and put the rest of the cards aside, then turn
all the cards over and study them. Notice your initial impressions about
the pictures and their relationship to each other. These intuitive
reactions are as important as the descriptions given in this book, but
you will lose them if you turn to the descriptions too soon. Notice how
many Major Arcana, Number Cards, and Spirit Guides are present,
which suits are dominant or missing, any numbers represented more
than once, and whatever other patterns appear. Then consult the
descriptions for more details.

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The Lodestone Exercise
This is how I introduce people to the deck, informally or as part of a
reading. I also use it when I am asked for shamanic help, since it offers
insight that helps determine what (if any) work is appropriate.
1. Order the deck: Major Arcana; Number Cards (Spikes, Coils, Blades,
Bells); Spirit Guides (Apprentice, Gatemaker, Madrone, Shaman for
each suit). Spirit Guides can either be placed with their suit, with the
Apprentices following the Tens, or grouped together after the Ten of
Bells. Ordering the deck shows respect for the cards and the occasion.
It introduces others to the structure of the deck, particularly if they are
unfamiliar with Tarot.
2. Have the person look through the entire deck and pick out their
favorite cards or those that speak to them strongly (most people will
pick 3-8) and lay them out however they wish. Move the cards around
to see how they play off each other. Or have the person choose cards
for the Four Elements.
3. Have the person describe what they see in the cards.
4. Offer your interpretation, using your reading experience and intuition
as well as the descriptions in this book.

You can use this exercise with the Four Element Spread. The reader
selects four shuffled cards. The questioner looks through the rest of
the deck and chooses four more cards, one for each element. The two
element sets are compared with each other.

Four Element Spread

How and where energy is most active, and how to use it.
1 2 3 4
1. FIRE: Inspiration, creativity, self-image, motivation.
2. WATER: Emotions, relationships, attachments.
3. AIR: Intellect, thoughts, conflict, learning.
4. EARTH: Health, work, projects, possessions.

OPTIONAL ADDITIONAL CARDS:

5. CHALLENGE: potential internal or external obstacle. Often a
preconception or distraction.
6. OPPORTUNITY: Unrecognized strength, skill, or advantage.
7. SYNTHESIS: How to tie all the cards together and use their energy.

How do the elements in the cards match up with their positions? How
do they affect each other? Cards in which the suit element matches
the position (such as Coils in the Water position) show particularly
strong energy - an Ore (such as the Ore of Blades in the Air position) it
represents a significant opportunity to explore. If it is one of the four
"double element" Spirit Guides (such as the Apprentice of Bells in the
the Earth position), it can be a strong affirmation or a warning of
excess.

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Three Windows Spread
Divide the deck into Major Arcana, Spirit Guides, and Number Cards.
Shuffle the piles separately and pick a card from each. This standard
spread has several interpretations.
Major Arcana: The lesson or opportunity in the situation.
Spirit Guide: An aspect of yourself to draw upon or develop.
Number Card: A focus for action or attention.
FOUR WINDOWS VARIATION: Separate the Ores from the Number
Cards and pick one. The Ore can represent a way to activate the other
cards.

Triple Star Spread

This layout illuminates a connection between two people or two parts of
the self. It is patterned after the Major Arcana card XVII - THE STAR.
Study this card and description first. The card can be left out or
shuffled back into the deck. When reading for one person, the left side
is the contemplative inner self, and the right side is the active outer
self. When the question involves two people, read the spread both
ways and let the cards determine which side is which.
4 5 3
2 8 9 7 1
6
1 What A is standing on: environment, immediate past.
2 What B is standing on.
3 Person A now: self-image and how she relates to others.
4 Person B now.
5 What A is looking at/wants B to see: focus, inspiration.
6 What B is looking at or wants A to see.
7 A's barrier to communication with B.
8 B's barrier to communication with A.
9 Their connection - the gift of The Star.

The Hermit's Mirror

To see the seeker's face on Major Arcana card IX - THE HERMIT. Study
the card and description first. The card can be left out or shuffled back
into the deck.
1 2
4 5 3
1 The Mirror - Me now.
2 The Dark Moon - What I seek in entering the dark.
3 The Lantern - Light I carry for myself and others.
4 Medicine Bag - Relevant knowledge from past experience.
5 The Path - What I must leave as a gift for others.

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 REFERENCES AND RESOURCES

BOOKS
Shamanism: Archaic Techniques of Ecstasy by Mircea Eliade.
1964, Princeton University Press, 609p.
Anthropology classic and the first book to explore shamanism as a global
phenomenon. Siberian shamanism and blacksmithing.

The Forge and the Crucible by Mircea Eliade.

1962/1978, University of Chicago Press, 238p.
Metalworking magic and myth, including blacksmithing and alchemy.

Shaman: The Wounded Healer by Joan Halifax.

1982, Thames and Hudson, 96p.
Photo essays: Introduction to traditional shamanism worldwide.

Nomads of Eurasia, edited by Vladimir N. Basilov.

1989, Natural History Museum of Los Angeles County, 192p.
Catalog of the exhibition "Nomads: Masters of the Eurasian Steppe". Chapter
on shamanism has photos of iron items.

Treasures of Tibetan Art by Barbara Lipton and Nima Dorjee Ragnubs. 1996,
Oxford University Press, 295p.
Description of Garba Nagpo, with photos of paintings and statues.

Geology of the Lake Superior Region by Gene L. LaBerge

1994, GeoScience Press Inc., 313p.
Excellent nontechnical discussion of banded iron ore formation.

WEBSITES
Mineralogy Database: www.web
www.webmineral.com/
mineral.com/
All known minerals: composition, crystallography, etc.
Life Force at the Anvil by Tom Joyce:
www.artmetal.com/project/Features/Africa/
A blacksmith's photos of spectacular West African iron.
Shamans, Stories, and Music: Kira Van Deusen
www.kiravan.com
www.kiravan.com
Author of The Flying Tiger and Singing Story, Healing Drum.
Journey to Other Worlds
www.museum.state.il.us/exhibits/changing/journey/intro.html
Illinois State Museum photo exhibit of 19th-century Siberian
traditional culture, including shamanism.
Anvilfire: www.anvilfire.com
Blacksmithing FAQ's, information, news, and links.
Tarot Passages: www.tarotpassages.com
Tarot book and deck reviews, links. Article: "Tarot and the Shaman"
by Valerie Sim).

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MAJOR ARCANA
The 22 Major Arcana are identified as archetypes or personifications of
universal ideas. In addition to their role in the deck as a whole, they
form a self-contained sequence that is comparable to a journey, an
initiation process, or a cycle of self-discovery or spiritual development.
Numbers are always written in Roman numerals and are an important
part of the symbolism of each card. In the Ironwing Tarot, the Major
Arcana depict iron geology, blacksmithing tools, and metal refining
processes. Aspects of the shaman's initiatory experience appear in
some images. Drawings are accented with three varieties of
handground red ochre, the most ancient and widely used of all mineral
pigments. Handprint pictographs in red ochre are found on rocks all
over the world. Red ochre is hematite, an iron ore and a black metallic
gemstone. It symbolizes the glow of ore in the furnace and iron in the
forge, the color of the living earth, and the blood of the smith. All iron
oxides were used as mineral pigments for thousands of years before
smelting technology developed and the minerals were identified as iron
ores.
In a reading, the Major Arcana are not more important than the Minor
Arcana, they are just different. They can be interpreted as important
events, long-term cycles, or outside influences in a person's life.
Several Majors in a reading indicate a complex situation or a time of
significant change.

Hematite varieties used in the pictures:

Red: Soft, porous, nonmetallic rock from a copper mine.
Brownish Red: Hard red semi-metallic layer in limestone.
Dark Purple: Heavy gray crystalline metallic ore.

EXERCISE: Major Arcana Patterns and Progressions

Lay the cards out in three rows as shown:
0 I II III IV V VI VII VIII IX
XXI X XI XII XIII XIV XV XVI XVII XVIII
XIX XX

Compare each pair or triplet of cards. Just look at the images first, then
compare the descriptions. How are the images similar? How might the
first (lower number) image evolve into the second? What other
progressions can you find? Traditionally, 0 (The Fool) begins a cycle and
XXI (The World) completes it and brings it full circle. Cards X - XX are
sometimes interpreted as a "higher", more complex, more spiritual, or
more intense expression of the basic roles or stages presented in cards
1 - IX, echoing the alchemical tenet, "as above, so below." Some pairs
are a better or more obvious "fit" than others. The unique imagery of
the Ironwing Tarot yields interesting insights with this exercise, but it is
different from a layout done with a traditional deck.

- 13 -
0/XXI:: HEARTPATH: The white-clad Lodestone girl stands still with her
back to the viewer, hands trailing the new fire of birth, looking into the
Unknown as symbolized by the magnetite crystal. The dynamic World
dancer faces the viewer, having taken the magnetite crystal and its
secrets of the Unknown into her heart and transformed herself into
iron, hands trailing the fire of command and body holding the promise
of rebirth.

I/X/XIX - CIRCLE DANCE: The Magician combines the Four Elements in

their raw natural form, creating the Wheel that she learns to ride
through a new cycle to triumph as the Sun, the ultimate cyclic wheel
and creator of elements.

II/XI/XX - INITIATION: She learns the ancient secret knowledge of Red

Earth, uses it to develop her own Strength as she integrates body and
spirit, and is reborn anew after enduring the Furnace of testing. Each
step is deeper and more focused, and gives more surprising rewards.

III/XII - BIRTH: Creative work is unending and its Source is never

depleted, whether in the fiery, active chamber of the Forge or hidden in
the dreaming, watery silence of Trance. The branches in the Forge bear
leaves, flowers, and fruit. The roots in Trance are turning to metal and
stone.

IV/XIII - LAW OF NATURE: Physical laws reflected in the Anvil give order
to the world, but the ultimate Law is the Death and dissolution of order.

V/XIV - Tradition begins and defines one's path of spiritual study,

whether alone or among others. Quench defines its moments of
healing triumph, synthesis, and perfection.

VI/XV - BURNING: When heated any longer, the welds of Connection

will burn and melt into Molten Iron.

VII/XVI - TRAVEL: The Road grows ever wider, the traveller moving
faster, until there is nowhere left to go.

VIII/XVII - BALANCE: In a black spring, crystallization reveals organic

and inorganic reactions that regulate the chemistry of earth and life.
Over the night ocean, two observers see a living Star and a mineral
Star, and their unity in each other.

IX/XVIII - MIRROR-WINDOW: The Hermit carries a lamp into the dark, to

the water's unknown source. At the ultimate destination, the shining
Moon reveals all, yet it is not what it seems, and perhaps not what the
seeker envisioned. Even the face of the seeker herself has changed.

- 14 -
 0 The Lodestone
(The Fool)

A little girl finds a fascinating shiny black metallic crystal that

inspires her to set out into the Unknown in search of the stone's
significance. She holds it carefully in hands that are receptive to
new experiences. Her hands are painted with red ochre, symbol
of blood and beginnings, the first color that a newborn baby
sees. She wears the white of innocence, and her hands glow
with new life. The ancient painted handprints of her ancestors
offer enduring encouragement, and hold tiny iron crystals that
hint at the black metal's possibilities. She consults a compass
for direction, but the black crystal mysteriously diverts the
needle. Without a guide or knowledge, she simply trusts the
earth as she begins her journey. A compass works because the
magnetized steel needle is sensitive to the earth's magnetic field
and points to the magnetic north pole. If it is laid on a rock that
contains magnetite, the needle swings wildly or points in the
direction of the crystals instead of North. Magnetite is a heavy
black metallic iron ore. Like iron, it will attract a magnet. Rarely,
a piece of magnetite is a magnet itself. This variety is called
lodestone. It will attract small ferrous objects such as iron
filings, steel pins, and other pieces of magnetite.
In magnetite sand, lodestone crystals are easily identified
because the other magnetite grains appear to stick to them.

- 15 -
 I The Magician

Her asymmetrical mask indicates the ability to see and act in the
material world and that of the spirit. She carries iron objects for
the Four Elements and the Tarot suits: a sparkling spike lamp, a
coil-bordered water bowl, a pomegranate bell spilling garnet
crystals, and a podlike knive with a half-moon blade. We do not
see who she is, but only what she does, and what she wants us
to see. On her right side, her fixed gaze and neatly tied hair show
focus and self-control. On her left, wild hair reflects the flashing
ecstatic visions of the shaman's trance. She works with the raw
elements, calling them in and combining them to serve her
creative will. She may do this without knowledge, skill, or
experience, but only with an innate connection that allows her to
be an open channel for power. She has much to learn, but she
has overcome any fear or hesitation at handling the elements
and enjoys the work for its own sake. Her command of material
resources can initiate movement with little thought for its effects.
She is the essence of dramatic, original communication, but is
also a subtle manipulator. In a whirling dance of energy, her will
moves and manifests all, then moves on. She knows the value
of performance. The object is not to show off or to deceive
people with conjurer's tricks, but to allow her audience to
participate in her work. Through sacred theater, she expresses
transformational magic. She uses the dark glamor of her craft to
illuminate the work as she describes each step. Nothing is
secret about the process, yet when it is done, the finished object
holds even more mystery and power for those who watched its
creation. As a shaman, she provides a focus for the imagination,
faith, and fears of the watchers. Dancing between two worlds,
she gives substance to visions and personifies the initiate's
hidden world for others.

- 16 -
 II Red Earth
(The High Priestess)

Crowned with horns like the moon, the extinct Australian

Pleistocene tortoise Meiolania carries iron ore on her back in the
form of stromatolites fossilized in bands of jasper and metallic
hematite. Jasper is a kind of agate colored with red ochre.
Stromatolites are algae colonies that form mounds of banded
limestone. They are among the earliest life forms on earth.
Stromatolites replaced with iron ore like the one in the picture
are about 2.5 billion years old. The fossil tortoise represents
geologic time. Extinct 25,000 years ago, she is remote and
unattainable as a living being. But she speaks through the rocks
that she carries, and all of earth's history is laid out on her shell
like a map or a book of oracles and wonder tales. The dome of
her carapace is cracked and sutured like the sliding plates of
Earth's puzzle-ball crust, and the channels and ridges on its
surface resemble lunar landscapes and vanished watercourses.
She guards the "strong eye" of the seer and reveals secret doors
to mysteries that we would not have guessed existed without
questioning her with sincerity and humility. She challenges us to
look beyond the veil of willful ignorance and learn to know,
understand, and love all that is true and real in Nature, not
simply be infatuated with the ideal or make-believe. Scientific
knowledge that is discovered, recorded, and used with care and
respect does not diminish the earth's mystery or magic, but
illuminates its unique wonders, its fragility, and its deep living
power that is the source of our own life.

- 17 -
Traditionally she is the High Priestess, the diviner's card, the
Seeress who opens a gate to the unconscious. She is Guardian
of the Mysteries, the meticulous keeper of secret or forgotten
knowledge. She is the sibyl uttering prophecy in the smoky cave
or interpreting rustling leaves in the oak grove. She is Kwan Yin,
the Chinese goddess who originally rode a tortoise as the
patroness of divination, and whose oracle of turtle bones was the
ancestor of the I Ching. She is the geologist reading patterns on
a fossil tortoise shell in a dry river, painting a map in red ochre
on a boulder and speaking a story that becomes a stepping-
stone to the ancient flowing water.

BOX TURTLE
She has been called Earth Island.
The early spring forest trembles
As she dives for a mouthful of creek sand
To build the world.
From a leathery mud tomb,
From eggs as soft as a clutch of grubs,
From the reeking brushpile kingdom of centipedes,
Pangaea emerges.
Her ribs and vertebrae are fused into a map
Of the planet's sutured carapace.
She feels her shell eroding
Even as new growth rings stretch
Over a spine marked with her own tracks.
Turn her over at the end of each age.
Rattle out her bones like sand.
Then her shell is emptier than a geode,
White and fragile as anyone's skull.

- 18 -
 III The Forge
(The Empress)

The forge is shown as a pomegranate full of the seeds of creative

fire, blowing clean hot air and twinkling sparks. A flower and
leaves shelter it and cool the outside as part of the living earth.
The pomegranate or "garnet apple" (Punica granatum) is one of
the oldest domestic plants, long associated with health and
abundance because of its medicinal properties and myriad of
jewel-like fruits, and because its flowers and fruit are the color of
red earth. It is also the fruit of the Land of the Dead, and gives
that place its own strange vitality that connects it closely with
Life and keeps the world of the shades from being cold and
empty. In the pomegranate forge, the Veil between worlds is a
curtain of flames that is too bright to look at.
Among African smiths and ancient European metalworkers, ores
and metals are rare "children" of Mother Earth: the mines,
smelter, furnace, and forge are Her body. The forge is the
inexhaustible womb of the smith's creativity. All ironwork is born
there in the bright heart of the Goddess of creation. With each
piece of iron it heats, the world is new. Cold hard steel becomes
soft and glowing, ready to be transformed with the energy of the
smith's life. The shapes that form under the hammer are those
of leaves and blooming branches, and spark-filled fruit enclosed
in braided roots. The receptive nature of the forge draws the
smith back again and again, a comfort and a challenge. Looking
into it is like staring into a volcano, or a forest fire, or a star.
When a smith dies, her body is cremated and the ashes are
returned to the forge, the crucible of new life.

- 19 -
 IV The Anvil
(The Emperor)

An anvil reflects branches bearing the tiny leaves of a desert oak,

and sinks roots towards the center of the earth. The anvil is the
blacksmith's tool, sacred symbol, workbench, altar, and deity. It
radiates authority and demands respect, for it is the ultimate
source of order, the world axis and the center of the universe. It
holds the deep energy of the earths core and the solid strength
of a growing tree. Its face reflects sun and starlight. Symbol of
the limits and laws of physics, it grounds the smith in the working
reality of the Middle World, poised between the Upper World of
space and the Lower World of stone and ancestors. Traditionally
this card is the sacred king who renews the land or the tyrant
who destroys it. The anvil imposes structure on metal heated in
the chaotic birth-chamber of the forge. A smith cannot shape the
hot metal to her will without the stability of the anvil to anchor
the work and move the iron under her hammer. The anvil's ring
is the song of her life force, and is proof against malevolent
spirits. The sound can indicate how the anvil was made, whether
it was cast from molten metal or forged into shape. If it rings too
loudly, magnets are stuck on it to dull the sound. The horned
anvil is used in the Americas and Europe. Most weigh between
50 and 150 pounds, though they range from 25 lb. jeweler's
anvils to 600 lb. industrial shop giants. The horn is used for
shaping curves and the tip can be used to flare a piece of pipe.
The smith works while standing, and the anvil is placed on a
stand at a convenient height. Dozens of hammers, tongs,
chisels, and other tools are often hung on the stand, ready for
use. They declare the smith's ownership of the anvil. Asian and
African anvils (and Iron Age European ones) are flat-topped
stakes, simple blocks of steel, or even large flat rocks. The smith
works while sitting on the ground, using a few tools that are kept
in a small box.

- 20 -
 V Tradition
(The Hierophant)

At the door of the smithy, she stands ready to enter or turn away.
The hidden doll dressed like the Lodestone child is her soul and
her power of choice. The face of Tradition in the center of the
door is protected with horned ancestor figures. Handprints show
that this has been a place of teaching and learning for many
generations. Five windows offer a glimpse of the wonders within.
They are also mirrors that encourage the seeker to study her own
reflection and know herself before entering. The smithy can offer
spiritual guidance or oppression. Its traditions and resistance to
change are its strength and weakness. Its rules define Home
and Exile. Its discipline ensures that everyone has meaningful
work and a place in the hierarchy. It can be the ideal
environment to develop skills quickly and to nurture confidence
and efficient habits. It is a place to learn practical knowledge
and to preserve arcane lore, to hear beloved legends and
heartfelt personal stories, to embrace a vocation that will earn
money and respect, and to find friends, mentors, and students.
If accepted, the candidate will enrich a living tradition with her
original ideas as she learns. But if she is too different, she may
be denied a place or be unable to make one for herself, and will
go her own way alone. She may be invited to visit after proving
herself elsewhere, but enters as a stranger. She honors the
House of Tradition but makes her own path if she does not find
respect for her Self there. It is not which path she takes that is
so important, but that she find one and know that it is right for
her.

- 21 -
 VI Connection
(The Lovers)

Two women draw with charcoal on a turtle shell, each unseen by

the other. But they decorate the center together, and find that
their visions are more alike than they might have guessed. The
plants are Partridgeberry (Mitchella repens), a creeping
evergreen that grows under conifers in old forests in the eastern
U. S. Each pair of white fragrant flowers unites to form a single
red berry with two flower scars and two seeds. Connection
requires trust, the choice to work on a partnership, and the
willingness to abandon the freedom of solitude. It is made with
understanding and the willingness to allow it to grow and change
over time. She who refuses all entanglements will stand at the
crossroads forever. This card offers the freedom of choice, the
attraction of union, and the challenge of commitment.

The bright steel and black iron ring shows six ways to join two
pieces of iron, a metaphor for the level of commitment between
two people, or between a person and a beloved place, idea, or
project. Starting with the hand-shaped hooks at the top, the
connections become hotter, more permanent, and less
reversible:

- 22 -
1. Hooks: Cold links interlocked and easily unhooked.

2. Wirewrap: Cold-wrapped steel wire holds pieces together.

Easily unwrapped while cold, leaving the pieces unchanged.

3. Cable Twist: Two pieces twisted together like rope. Can be

unravelled but must be heated to straighten them.

4. Hot Rivets: Holes are punched in both pieces, and hot rivets
are hammered in to hold them together. To separate them, the
rivets can be cut out but the holes will remain.

5. Forge Weld: Two pieces are heated until the surfaces are
almost melting, then hammered together, becoming one in a
shower of sparks. One of the most magical and difficult
blacksmithing skills.

6. Pattern Weld: Soft wrought iron and hard high-carbon steel

are hammered and forge welded many times to form hundreds
of layers. Carbon diffuses out of the steel and into the wrought
iron, producing a new steel with a homogeneous composition
that is stronger than either of the original metals alone. When
polished and etched, it shows complex patterns like those on the
double crescent knife. Like the knife, this complete union has a
double edge. It is unbreakable without destroying the metal, but
it offers possibilities that are not to be found any other way.

- 23 -
 VII The Road
(The Chariot)

Horsehead blacksmith tongs hold horsetail flywhisks, symbols of

purification and authority that are used by West African and
Tibetan shamans. The smith uses tongs to grip and manipulate
a piece of hot iron. Tongs are made in many shapes, each for a
specific job. In European tradition, the jaws are called the "bit"
and the handles are "reins". The fanciful horsehead pattern is
similar in shape to the "hammer eye" tongs that are used when
forging a hammer. The split handles with horse's hooves
indicate movement with a sure sense of direction and a well-
defined goal. If the tongs represent control, the hammer
represents skill. The smith keeps her eye on the work, not her
tools, and her mind is always a step ahead in the forging. She
must hit the hot iron in the proper place and with the right touch.
If she is too gentle, the blow will have no effect and her energy
will be wasted. If she is too forceful, the work will be ruined.
With concentration, self-control, and confidence in her skills, her
will and her spirit ride the rhythm of the hammer. The hammer
and tongs are the smith's means of achieving magical flight, the
equivalent of the shaman's drum or "wind horse". The result is
useful objects like the horseshoe, which represents travel and
the taming of horses, and thus the human use of iron to
dominate Nature. It also represents the responsible use of
power, and shows one way that the smith can clear the way
ahead for others as well as herself. Ogun, the West African
orisha of iron and blacksmithing, is he who "opens the road" and
the "Wild Man" who protects the primeval forest.

- 24 -
 VIII Crystallization
(Justice)

A pyrite "sun" disc of radiating iron sulfide crystals dissolves in

the water of a chalybeate (iron-rich) spring. Pyrite precipitates as
a coating on three hazelnuts, making them sparkle like gold or
silver. Pyritohedra, crystals with a shape unique to pyrite, form in
the black mud. The two cairn-like clusters are typical of cubic
pyrite crystals. The red one is an iron oxide pseudomorph after
pyrite. Pseudomorphs are crystals that have been replaced with
another mineral but retain the original crystal's outer form.
This card represents chemical reactions in nature and their
continual adjustment between depletion and replenishment.
The delicately balanced chemical reactions that sustain life on
earth are often obscure or misunderstood, and some are made
in what we would consider "hostile" environments. In the picture,
springwater dissolves pyrite and becomes enriched with sulfuric
acid and iron, making it anoxic and poisonous. Mud blackens
with carbon from rotting organic matter. But bacteria that thrive
on sulfur become active when the decaying hazelnuts fall into
the water and disturb its chemical equilibrium. Pyrite
crystallizes, water clears, and balance is restored. What is lost in
one place is found in another, and both are equally necessary.
The two coiled shapes, a white tusk on the left and a black horn
on the right, are the Dream Gates of Roman mythology. False
dreams come through the Gate of Ivory, and true dreams through
the Gate of Horn. Reality and illusion define each other. Does it
matter which is which? The truth in dreams depends on how we
interpret or act on them. It may be apparent immediately, or
unfold over years. The gates offer a choice in perception, and a
warning to recognize cause and effect everywhere.

- 25 -
 IX The Hermit

She walks alone up the creekbed, seeking the source of the

water and the origin of the red ochre pebbles that she finds in
the gravel. Inspired by solitary exploration, her visions become
increasingly complex as she travels, and she records them as red
ochre pictographs on the rocks, a shaman's map of Otherworld
geography. She seeks spiritual insight but also records her
wisdom, becoming a teacher and a guide for others. Her
medicine bag holds accumulated knowledge and her secret
reasons for journeying alone into the dark. It may hide a
precious talisman, a gift from a spirit guide, an old memory, or
pebbles collected on her journey. Her iron lantern lights the way
for travel under the dark moon. The lantern and pictographs
may guide others who come later, but she herself goes cloaked,
hidden, and alone, unseen and unnamed. Others follow the light
of her work without looking into her eyes. If you would see her
face, look for your own reflection in a pool of dark water by
starlight.

DARK MOON MEDITATION

The black mirror becomes a pool under a scorched hollow
stump. The gnarled roots have old half-healed scars like eyes
full of water that become windows on the stars. Floating on the
water surface there are rotting leaves, a drift of ashes, a raven
feather. A black jaguar left her pawprint in the inky mud beside
the pool. Stones the color of midnight lie underwater, old
seafloor basalt pebbles in magnetite sand.

- 26 -
 X The Wheel

A red twisted iron wheel is marked with eight nails for the
Solstices, Equinoxes, and cross-quarter fire festivals. The nails
appear to anchor the twist as it repeatedly turns away from the
circle then returns in an endless wave. Four small wheels
represent the elements and suit symbols: sunwise from the top
left they are Blades, Spikes, Bells, Coils. The World Axis, a
stylized tree with five roots and five branches, bisects the
picture. Inside the Wheel, a girl transforms her pale heart into a
small red bird that she offers to ancient Fortuna, who replaces it
with a larger heart made of sprouting leaves. Perhaps a forest
will grow inside it. The hands of the Goddess of Fate are twigs of
the World Tree.
With the returning sun, the Wheel sprouts new shoots. Through
the year they grow thick with leaves, flowers, and ripe fruit that
eventually wither and burn. The flaming wheel rolls away and
splashes into the cold River, to emerge bare and bright once
more, cleansed of the Old Year's ashes and already quickening
with new growth.
Sometimes we cannot act, and must wait with trust until the
Wheel turns or until it is turned under other hands. But
sometimes we must grasp it and turn it ourselves, a risk filled
with hope.

FOUR ELEMENT SONG

Power of Earth surround me,
Strength of Water flow in me,
Voice of Wind speak through me,
Fire of Life burn in me.

- 27 -
 XI Strength

The shaman's ribs become smoldering bone flutes and her

breath bubbles away in smoke as she faces the ordeal of
initiation. She finds the limits of her endurance and reaches
beyond them. A tutelary spirit directs the transformation, and
her ribs are replaced with iron trumpets. A tiger helping-spirit
appears in the form of a blacksmith's bellows and blows its
breath into her heart. Her head radiates white light with hooks to
recapture shattered soul fragments, which become fixed in the
form of quartz crystals. She is not a passive observer, since it is
her body's survival instinct that drives her spirit, and the strength
of her spirit that renews her body and allows her to be
transformed into a healer. Now she reaches behind her heart
and breath, and finds power to draw upon to use for herself and
others when the need is greatest.
The iron trumpets are similar to those used for protective rituals
in West African blacksmith's societies. The crossed horns and
the tiger belong to the Tibetan Buddhist protector Garba Nagpo,
a blacksmith who rides a goat with crossed horns and carries a
tigerskin bellows. The quartz crystals represent the shaman's
power. Australian Aborigine shamans swallow quartz crystals or
have them surgically implanted in their bodies as part of their
iniatiatory ordeal.
The double-terminated scepter crystals in the picture are from an
old streambed locality in Virginia. They are more complex in
shape than New York's famous "Herkimer diamonds" but are
from the same limestone formation.

- 28 -
 XII Trance
(The Hanged One)

She climbs an iron shaman's tree that is decorated with white

cloth strips, a traditional offering for sacred trees in Siberia and
in Britain. She seeks visions in the abode of Upper World spirits.
She is pregnant with a shaman-daughter, a new project, a
dream, or only with herself, and hangs unknowing and vulnerable
between earth and sky. Her companions have disappeared, or
perhaps she has sent them away so she can wait alone in the
night rain. The inward way has vanished, but the outward path
has yet to appear. Two labyrinths offer passage into the the
Lower World. The left is the chakra-vyuha of India, a charm for
protection in childbirth. The right is a "Baltic Wheel" from
Germany, used for ritual dances. Two roots curl around a cave
entrance. The left one is iron from a bloomery or primitive
furnace. Rainwater has weathered it and revealed the woodlike
grain of the metal. The right root is wood that groundwater has
replaced with iron oxides, preserving details of bark and branch
scars. In the damp soil of the cave entrance, iron becomes wood
as wood becomes iron. There is no dramatic destruction and
rebirth, only a gradual and almost imperceptible metamorphosis.
The bird is a poorwill of the western U.S., a kind of nightjar
related to the whip-poor-will. It is the only bird in the world that
hibernates. It sleeps upside-down through several weeks of
winter in a crack in the rocks, a hole in the earth, or a hollow
tree. A night-flying insect eater, its summer call echoes over and
over in dry prairie canyons at dusk. The shaman's mask is the
bird's face, with its chant of power and huge dark eyes that track
dusky moths in starlight.

- 29 -
 XIII Death

The rusty mask shows the ultimate fate of all iron that is exposed
to the earth's atmosphere. Oxygen and water vapor return the
metal to the same oxide minerals that are pictured on the Ore
cards, since iron silicate and sulfide minerals in rocks are
transformed in the same way through weathering. The mask
weeps corrosive tears of salt crystals, a reminder that Death -
even when it is "natural" or welcome - is always a difficult and
shocking change. Rusty steel is also a disturbing symbol of the
destruction of civilization itself.
The skull sprouts crystals of vivianite, an iron phosphate mineral
that forms when bone phosphates combine with iron oxide in
water. Vivianite is the pigment blue ochre and the commercial
"bluing" that protects steel. It gives a rare blue color to fossil
bones and mammoth ivory. It sometimes crystallizes from ashes
when a body is burned, forming the "jewel-like relics" of Tibetan
Buddhism, the greenish-white glassy pebbles found in the ashes
of funeral pyres. One of these pebbles hovers over the third eye
of the mask. Below the skull are diagrams of human bone under
the microscope. Details of the bone become a circle of flying
vultures.
Any personification of Death is a mask, yet death also reveals
truths that cannot be known any other way. The shaman learns
to see this mask in her own face. The moment of death and the
brief period of transition bring about strange fleeting
transformations. A gate is open and the Otherworld intrudes
upon everyday life as it does at no other time. There is much to
be learned in facing this experience fully aware. It will energize
the work of letting go and the difficult process of rebuilding and
accepting new growth.

- 30 -
THE HOUSE OF BLUE EARTH
Where bones crumble into chalk
and blood dissolves in Riverwater,
Where the rusting Iron Gate collapses
among petrified tree roots,
Blue ochre fills the spiral crypt of a snail shell
with a cloud born of rust and ashes,
A map of the Hidden Land scrawled in the dust
On the threshold of the House of Blue Earth.

THE OLDEST RIVER

When someone you love dies, every creek and river that you
know becomes the Oldest River of all, the One with many Names,
and each gives a different tale of the Crossing. The River flows
through hollow Sky to star-filled Ocean. It sings through deep
places under the earth. Its source may be a rivulet of tears, or a
drop of blood that the water has washed clean of pain and iron,
leaving it clear as rain on the sea.

HOUSE OF RED EARTH

The House of Red Earth is built only of hematite,
Of iron oxide the color of blood and burning steel,
Of sandstone bridges and shale canyons
That give back the same light as Mars.
A redrock house of souls built the same way everywhere,
Handprints on every continent, saying
"This is who I am: I am Red Earth, I am Life."
It began so long ago that only the youngest of us
Still remember when the child Creekwalker found
A rusty pebble that no one yet called iron ore,
A rock that colored her hands and compelled her spirit
To paint creatures on a cave wall
Or spirals on a carved bone,
To trace patterns in ochre on the skin of dancers,
To brush streaks of red dust into a dead friend's hair,
A gentle uncomprehending offering that said
"One day I will follow you and know everything,
But then it will be too late to come back and tell the others.
Only your spirit is real now, but it speaks
To the stone in my hand."
From the CD-ROM, "Collecting and Using Mineral Pigments"
copyright 2001 by Lorena Babcock Moore.

- 31 -
 XIV Quench
(Temperance)

A new forged iron bowl is quenched in cold water, creating a

cloud of steam that cracks ice and melt icicles. Boiling water
bubbles and hisses around the metal, which is glowing orange at
first but turns dull red and finally dark gray as it cools. The round
waterdrops and sharp ice mirror the bowl's transition from hot,
soft and malleable to cold, hard and brittle. Quenching declares
the forged shape perfect, consecrating the iron to its intended
purpose. Hammering and quench-hardening gives the bowl a
bright ringing sound that the raw metal did not have. Once the
bowl is polished, it is returned to the forge and heated only until
it turns black, then quenched in oil. Magnetite firescale
combines with burnt oil to form a glossy black coating, a bit of
alchemy that keeps the iron from rusting in water or discoloring
in fire. If the metal is too cool, the firescale will not form. If it is
too hot it will set the oil on fire, and the black finish will not stick.
The elements work together to create the bowl. Their mystical
union completes a fit container for their continued synthesis. It
may be a healer's vessel for burning incense or scribbled paper,
or for floating herbs in the cool water of a black scrying mirror. It
may be a crucible for roasting ores or melting metals. A clay
vessel has the same uses. It too is a product of the combined
elements, and a potter's kiln is very similar to a gas forge. A clay
bowl is earth shaped in water, hardened and finished in fire. An
iron bowl is earth shaped in fire, hardened and finished in water.
Because iron does not stretch, blacksmiths often compare
forging iron to shaping clay. Under the hammer, copper curls
unexpectedly and silver writhes with a mind of its own, but iron
moves only according to the hammer's blow. But smiths and
potters do not combine their crafts, though they may admire and
collect each other's work. Clay and iron complement each other.

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 XV Molten Iron
(The Devil)

She stands in the same position as the little girl in the Lodestone
card. She has grown up and found a beautiful but potentially
deadly source of raw power in a mesmerizing pool of molten iron.
It offers inspiration and temptation, an overwhelming attraction
that can teach her the joy in feeling alive or shrivel her soul and
crumble her heart into lost fragments. She stands on a burning
sheet of steel. The torn metal is beginning to melt into the pool
except under her hands and feet, where it remains cool as she
forms it into coils, symbols of her tenuous self-control. A giant
centipede crawls up her back and into her hair. It represents
rising energy that can be a source of health and creativity but
brings chaos and illness if not used wisely. If she faces the inner
surge of energy and the outer source of power with awareness
and courage, she can find more life without harm to herself or
others. If she does not face them, they become oppressive. She
places herself and others in bondage to her ignorance, a path of
separation that leaves nothing to fill the emptiness but fear.
The rare and beautiful giant Sonoran Desert centipede
(Scolopendra heros) grows to 8" long. It is bright orange with
yellow legs and blue-black head and tail. A fast-moving predator
of insects, its front legs are modified as fangs, and its poison is
comparable to that of a scorpion. It is nocturnal and usually
hides under rocks, and is rarely seen except on humid nights
after summer rains.

- 33 -
 XVI The Tower

Wildfire ignites the three fuels of ironworking - charcoal, coal,

and petroleum - at their source in nature. A torching tree leaves
a charcoal shell that will crumble into white ash. Coal seams
explode in poisonous smoke, turning the creek into hot sulfuric
acid. Fire and boiling acid enter deeper rocks and ignite oil that
has pooled in limestone fractures lined with calcite crystals. The
elements attack each other. Without fuel for the forge and
smelter, the smith's craft ceases to exist, and her skills and
magic lose all meaning. She becomes the fire that burns out as
it consumes fuel and oxygen. The falling moth wings, striped like
a tiny firefighting aircraft, represent her experience and the
ability to travel and avoid danger. Shattered and useless, they
blow away in the hot wind. Falling into fire without wings brings
release. A door opens in the air, and the cooling ashes nourish
strange life that can exist no other way. What was precious is
stripped away, what was useful is exhausted, and what may be
salvaged is yet unrecognized.
All metalworking is ultimately destructive for people and the
earth. Charcoal is the only fuel that is potentially a renewable
resource. But it needs whole forests to feed a smelter, and
making it creates heavy smoke. Coal is more efficient and burns
hotter, but its sulfurous smoke is toxic and creates acid rain.
Coal mining is destructive and dangerous, and exposes sulfide-
bearing rocks to weathering that produces the acid drainage that
kills streams. (Oddly, the orange mineral deposits found
downstream are pure iron oxides and iron sulfates that yield a
nontoxic orange pigment powder when dried.) The most efficient
but least abundant metalworking fuel is propane gas, which
burns clean and hot, without smoke. But it is dangerously
explosive, and air pollution is created during petroleum refining.

- 34 -
 XVII The Star

A blazing iron meteor falls toward the sea during a meteor

shower, while a basket star (Gorgonocephalus) rises from the
depths. The sea star is a rare creature of cold arctic oceans. A
woman stands on a banded iron ore outcrop and watches the
sea star, while another stands on a rock full of star-shaped
Pentacrinites crinoid fossils and watches the meteor. Each tries
to attract the other's attention, yet each seems oblivious to the
other. A third star of divine light unites their two visions. Two
great unknowable places in nature, outer space and deep ocean,
become one for a moment. The women are dressed in painted
fish skin clothing in a style formerly worn by Arctic people on both
sides of the Bering Strait. Bare feet show a comfortable
connection with the earth that allows them to recognize the
wonders appearing in sea and sky, and find the spark that lights
a path of hope. They are watching a miracle, the numinous flash
that illuminates the ordinary when least expected. They could be
aspects of the same person: the active, outward-directed self,
and the contemplative, introspective self. They could be
strangers who find that they are sisters. They could be friends
who have quarrelled, stunned by an opportunity for reconciliation
when they have forgotten how to see each other.
Crinoids are close tropical relatives of the sea stars. Both are
Echinoderms, like sea urchins. They are abundant as fossils in
some limestones, and the stalk fragments are disks that look
like wheels or coins with four, five, or six-lobed flower-shaped
holes in the center. Only Pentacrinites and a few others are
actually star-shaped. Crinoid fragments that weather out of the
rock are sometimes collected as beads, and in Kentucky they are
called "Indian money."

- 35 -
 XVIII The Moon

The coyote Moonback stands between two rare Moonwort ferns

(Botrychium lunaria of subarctic grasslands). They form a
ladderlike gate into the spiral halls of the Full Moon, an open
window or eye on the Otherworld. The moon is also shown in
eclipse, when it turns the color of hot iron. She talks to a coyote
skull, speaking with an ancestor or vizualizing her own skeleton
in a shaman's exercise to focus the mind and spirit. Her
backbone is made of crescent moons, with the seed of a
Moonseed vine (Menispermum canadense) at the top. Her
hands hold the water of the River that runs between worlds,
stirring beauty and madness that brings recurring dreams,
frightening delusions, and overwhelming emotion. There is no
way out of the swirl of confusion except through the gate and
behind the mask. The mask shows two contradictory aspects of
the Moon Goddess as Coyote the Trickster. One hand beckons
as her eye glows with invitation, the other is held up in warning
as her closed eye defends her secrets.
Moonback was a real coyote with a black stripe like a long braid
that ran from her ears to the tip of her tail, and a crescent of
white fur over her shoulders. Though she disappeared about the
time this picture was finished, her black-striped daughters and
granddaughters still run singing through the stony desert washes
near my house. During lunar eclipses, they howl to bring back
the moon.

- 36 -
 XIX The Sun

An iron figure stands on steel suns that are so hot that the metal
has begun to glow red. Standing under a flaming iron sunwheel,
she absorbs its energy as black iron does, until she begins to
glow and become a sun herself, warmed by her own white-hot
heart. She makes a door in the red wall of firelight, and controls
her own crackling black blaze and cool white glow at will. She
need not conserve her heat, but feels it streaming and radiating
from a molten core.
She is the Burning Shadow that flames without being consumed,
but grows and warms others. Yet she does not see herself as
others do, so she perceives light and dark, hot and cold, increase
and decrease, with different eyes. She may not always know
whether there is too much light or not enough. She stands inside
the furnace, under the smokehole, and looks out the door. The
next card, XX - The Furnace, shows the view from the outside.

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 XX The Furnace
(Judgement)

A starlike human figure of molten iron glows white in the door of

a coiled furnace with a pomegranate chimney. She emerges
from the spiral cave of testing, the red earth maze, the
alchemist's athanor, the secret house of fire where raw ore is
refined into pure metal. All that was impure is burned away. All
that was unnecessary has run off as liquid glass, which can itself
be refined and blown into beads and vessels. The dark green or
black glassy silica slag that is poured off iron in the smelter is
very similar to obsidian in composition and appearance.
She blazes with the intense radiance of new iron, the ore of
blood and human handprints now utterly changed, reborn in a
stronger form. She greets the world with new understanding and
purpose, glimmering with revelation. She guessed none of this
before she entered the Mystery, the cold dark hole of the
furnace, the burial mound of trial and transformation. Now she
illuminates its doorway with her own light as she re-enters Life.
The snake-haired White Goddess oversees all such changes,
renewing herself as she sheds brittle and outgrown skins. She is
the Milky Way, and the net of stars that she sprays across the
sky is a path made of thousands of glowing furnaces whose
bright hearts will ultimately give birth to iron as they cool and
turn dark.

- 38 -
 XXI The World

An iron figure dances and combines the elements in triumph

upon the interlocking iron crystals of the earth's core. Her coiled
legs spring out of the water as her bladelike mask pierces the
sky and the spikes of her fingers spin fire. Her body opens like a
bell to reveal a lodestone crystal at her heart. The child's
mysterious pebble has become the lodestone that draws her
unerringly to the magnetic heart of the earth, and the dancer's
compass needle that keeps her aligned with its rhythm. She
draws the four elements into herself with skill and synthesizes
them in full knowledge and understanding. She has created
herself, having experienced her limitations and fully explored the
freedom that she has within them. She dances arrival,
completion, and wholeness. Yet she is not static, and every part
of her moves in balance, ready to begin a new journey on which
she gives birth to a new road.
The criss-crossing lines behind her are Widmanstatten patterns
of interlocking iron crystals. They are seen in many iron
meteorites and rarely in certain types of steel welds. Iron
meteorites are thought to be the shattered cores of proto-
planets, so they are among the oldest objects in the solar
system. Since the earth's core is mostly iron, geologists assume
that it looks similar to iron meteorites.

- 39 -
NUMBER CARDS
THE MINOR ARCANA include the sixteen Spirit Guides and the forty Pips
or Number Cards. Like playing cards, the latter are numbered Ace
through Ten in each of four suits. Tarot suits correspond with the Four
Elements. The Ironwing Tarot suits are named for basic blacksmithing
motifs. Cards illustrate small sacred iron objects for the Four Elements
that give ironworking its transformative power. Objects are different for
each card. They were carefully chosen to reflect the meaning of the
cards and to suggest the creative possibilities of iron. Objects become
more sophisticated or difficult to make as the numbers ascend, and the
shape and use of each object defines growth symbolism within a suit.
Most objects are designs from my own work, but a few are magical
items from traditional iron cultures. All are talismans, shaman's tools,
and trade items. Many also have everyday uses. The objects are
sacred not just because of their intended use, but because the material
is precious and so are the smith's time, physical energy, and
imagination.
ORES replace the traditional Aces. Each shows a different iron oxide
mineral, with suit assignments based on the mineral's geologic
environment. Each features an elaborately forged object to inspire the
blacksmith's skill.
In a reading, Number Cards represent everyday motivations, moods,
concerns, and activities. The number sequence identifies stages of
development in a learning cycle expressed as the growth of elemental
energy. The cycle can apply to a project, relationship, skill, spiritual
search, or attitude. To interpret the cards, look at the number
symbolism, the suit element, the appearance and use of the iron
object, and any plants or creatures in the picture. If a number appears
more than once, consult the corresponding card from the Major Arcana
for additional insight. The universal ideas illustrated in the first ten
Major Arcana parallel the more personal and specific themes of the
Number Cards. (To see this, choose a number, pick out its Major
Arcana and four Number Cards, and compare them with the
descriptions and the Number Symbolism table.)

NOTE: Traditionally, Spikes/Wands = Fire and

Blades/Swords = Air. A few decks (and readers) assign Spikes to Air
and Blades to Fire. The Ironwing Tarot explores and honors this
difference in the Eight of Spikes and Four of Blades, which can be read
either way and are intended to help bridge the gap between the two
systems.

- 40 -
NUMBER SYMBOLISM

ORE: Birth, source, and gift of the raw element.

TWO: Duality, balance, choice: Opportunity and responsibility (Fire),

union of opposites (Water), attraction and conflict (Air), collaboration
(Earth).

THREE: Creativity and evolving complexity: divine inspiration (Fire),

nurturing source (Water), truth and revelation (Air), talent and practice
(Earth).

FOUR: Stability; finding or creating sacred space. Protection (Fire), rest

(Water), boundaries (Air), consecration (Earth).

FIVE: Disruption and lessons related to inexperience rather than

outside influence. Challenges of timing (Fire), acceptance (Water), self-
control (Air), grounding and confidence (Earth).

SIX: Shared success and a pause for reflection. Self-confidence and

trust (Fire), memory (Water), planning and progress (Air), practical gifts
and service (Earth).

SEVEN: Seeking a challenge from outside. Aspects of the shaman's

initiation: confronting and claiming power (Fire), interpreting dreams
and visions (Water), a trial or test (Air), using sacred tools (Earth).

EIGHT: Intense work that leads to change and growth. Innovative

communication (Fire), release (Water), breakthrough (Air), perfection
through repetition (Earth).

NINE: Achievement, arrival, ultimate expression of elemental energy:

endurance (Fire), harmony (Water), alertness and complexity (Air),
mastery and recognition (Earth).

TEN: Completion and transformation. The element in a specialized,

overdeveloped, and restricted form. In shamanic work, the element
applied to a specific purpose, often publicly or for the benefit of
another: extraction or purification (Fire), fulfillment (Water), cutting off
or banishing (Air), authority and leadership (Earth).

- 41 -
SPIKES - FIRE
Imagination, intuition, motivation, creativity.
Traditional: Wands, Clubs
The tapered rod is a basic blacksmithing motif, and gives iron designs
their energy and tension. The first step in many blacksmithing projects
is drawing out a sqare-sided bar, or hammering it into an elongated
point. During this process a square cross-section must be carefully
maintained or the tip will crack. Once it has been drawn out, the bar
can be twisted to add a sense of movement, or rounded by flattening
the corners and hammering the piece while rolling it on the anvil. A
tapered spike can ground energy like a root or a tent stake, radiate it
like a branch or torch, or focus it like a thorn or pin. Spikes carry the
illuminating, purifying, and protecting power of fire.

The ability of the Spikes to conduct heat and fiery energy increases with
the numbers. The One, Two, and Three become increasingly complex in
shape, and their lamps become more varied, but they are essentially
light bearers that derive much of their energy from the fire they carry.
Like the Three, the Four and Five work with quartz to produce their
energy, though it is not the power of light. The Four locks in and
amplifies protective energy. The Five brings creative fire in a new
direction that is ultimately a dead end until the iron begins to glow with
its own living light in the Six. In the Seven it gains the power to change
shape and divide itself, taking flight in the Eight. The Nine and Ten
both create and conduct energy, the Nine dispersing and fanning it
outward and the Ten focusing it to a single point.

- 42 -
 Ore of Spikes

A torch splits a boulder of Proterozoic "banded iron" ore, a

metamorphic rock made of alternating layers of gray metallic
hematite and red jasper (hematite-stained agate). The twisted
spike draws fiery energy from the rock, the round pod
concentrates it into light, and the antlers or branches radiate it
as heat. Beyond the torch, ore glows in the furnace. The shape
of the spike recalls the bar topped with an iron ball that is used
to stir ore in the furnace and break up clinkers in the forge. The
first of the Fire cards offers the gift of the self-purifying fire of the
spirit and imagination, and the birth of inspiration and passion.
HEMATITE (ferric oxide, Fe2O3) is the most abundant iron ore. It
occurs in heavy gray metallic and lighter weight dark red
nonmetallic forms. Because it is fully oxidized, it is one of the
most stable minerals in the earth's crust. Before refining in the
smelter, all raw iron ores must first be burned or "roasted" to
drive off water and fully oxidize the rock until it becomes
hematite. Hematite yields a dark red or purplish-black powder
when crushed, which identifies all forms of the mineral and
makes them valuable as the mineral pigment red ochre. As an
artist's paint it is also called Venetian Red, Caput Mortuum,
Indian Red, and other names. Like all iron oxide pigments, it is
lightfast and nontoxic. It is used to color concrete and ceramics,
and is an abrasive (jeweler's rouge) for polishing silver. Shiny
black metallic hematite is used as a gemstone, but even this
kind is dark purplish black when crushed.

- 43 -
 Two of Spikes

A beetle watches between two torches, one of polished steel that

sparkles with smoldering incense, and one of black steel that
flames with scented oil. Each torch is split into two rootlike
points that hold hidden suns to suggest that each side holds the
seed of its opposite. One is not better or more desirable than the
other. The lanterns are the complementary powers of knowledge
and intuition, observation and imagination. Together they
represent choice as a gateway into opportunity and
responsibility. The beetle is the balance point, looking forward
with its real eyes that are hidden, and appearing to look
backward with the large false eyes on its thorax. The eye pattern
is a disguise to fool or startle birds which would react quite
differently to the beetle if its back were plain. So even though
the beetle does not "see" with these "eyes" in the ordinary sense,
they do affect its environment and give it an awareness that it
would not otherwise possess. In this way they are similar to a
shaman's "spirit eyes", a decoration or mask worn on the back of
the head to indicate the ability to see in two worlds. The beetle
is an Eyed Elater (Alaus oculatus) of the eastern U.S., a sun-
loving click beetle that visits flowers. Click beetles can jump
several feet when startled, making a clicking noise as the two
thornlike projections on the back of the thorax snap against the
elytra, the beetle's hardened forewings.

- 44 -
 Three of Spikes

Three fantasy lamps illuminate the mysterious swirling dark of

the imagination. They are reminiscent of the three-legged tripod
upon which the ancient Roman sibyls sat when they uttered
prophecy in their caves and shrines. The crystals form in cool
water in limestone, a hidden connection with water that
emphasizes the volatile nature of this card. An iron basket twist
lantern holds a lightning bug in a temporary shelter decorated
with sparkling quartz "dewdrop diamond" dipyramids, a rare
crystal form without prism faces. The tiny crystals are found in
geodes and sometimes break loose, making the hollow stones
rattle.
At its heart, the scepter quartz crystal has a dark oil-filled crystal
that grew in hot petroleum-rich brine. The clear quartz
overgrowth crystallized later in cool clean water. Smoking oil
contains the power of prophecy in its fumes. The ancient oracle
of Apollo at Delphi uttered her predictions in delirium while under
the influence of toxic gases rising from petroleum pools in the
rocks under her cave. Here the poison burns away and leaves a
bright, hollow room within the crystal.
A spiked iron braid holds two glowing fluorescent geodes. They
are beekite, a wavy-ridged variety of chalcedony that forms on
geodes (and occasionally fossils) that have weathered out of the
rocks and are lying loose in the soil. The silica on the surface of
the stone dissolves and re-precipitates into eyelike whorls that
fluoresce slightly purple in sunlight and glow green under a UV
lamp.
The three lamps indicate creativity as magic or madness, the
light of divine inspiration from an unexpected and unknown
source. This light is drawn through the hot iron spikes, spiralling
through the twists before it is is caught and radiated with
glittering clarity in the crystals.

- 45 -
 Four of Spikes

Four interlocked tent stakes enclose quartz pebbles that are

carved or painted with "watching" eyes, creating a safe,
impenetrable enclosure. Two natural octahedral diamond
crystals form a doorway of adamantine purity, both transparent
and reflective. Wherever the viewer stands, each crystal's
ordered brilliance offers the focus of a four-sided pyramid. A
whorl of purifying incense outlines a spiral entrance and exit path
between the crystals.
The four iron spikes are sacred to Ogun, the West African orisha
of iron, and are used for protective corner-marking around a
house or property. The Tibetan phurba or "magic tent peg"
(sometimes incorrectly called a dagger) is used in a similar way
for pinning harmful spirits. The iron-wrapped river pebbles are
similar to protective amulet necklaces worn by West African
women. The eyes are from the European tradition of carving or
drawing watching-eyes on doorposts and other items to keep
away the "evil eye."
The maze design is from Roman mosaics. It is a unicursal maze
with a single path to the center, but the four quadrants are
traced one at a time, each in its turn. Here it represents the four
directions and the center of a home or temple, a revitalizing
sanctuary to which one can return again and again, a place that
feels like the center of the world. A comforting place to visit, it
can be limiting if used as a permanent dwelling, though without
such a place, a house is just a camp. To find or create a sacred
place is to make a home for the spirit.
This image also represents setting an intention or making a
formal statement of desire or purpose, or returning to one's
original inspiration during a creative project or spiritual work.

- 46 -
 Five of Spikes

Five cut nails strike a flint, but no fire is born. Cut nails are the
raw material for much of my jewelry. Sharp thin flakes of freshly-
broken flint will start a fire when struck against clean steel, but
the nails in the picture are still coated with magnetite firescale
that flakes off when they hit the weathered surface of the round
stone. The stone is a fossil Micraster sea urchin from British
Cretaceous chalk. The famous flint nodules and fossils from the
chalk are usually shiny black with a dull white hydration rind (a
zone of soft, porous flint that has been partially dissolved in
groundwater). Fossil sea urchins are one of the Druid "snake
egg" charms mentioned in Pliny's Natural History. Thus they can
represent a source of magical creativity born of the World
Serpent. But fossil sea creatures are Water and Earth, and only
reveal Fire when broken. Here great creative potential is
temporarily thwarted by lack of knowledge and self-confidence,
insufficient preparation, or use of the wrong tool. The creative
spark gutters only in the wind of fear that it will catch fire and
burn.

- 47 -
 Six of Spikes

Six branches on an iron agave stalk bear sparkling seedpod

lanterns. Six leaves and two young plants surround the stalk.
Agaves or Century Plants grow in southwestern desert grasslands
and are related to yuccas and lilies, not cacti. The rosette of
heavy grayish green leaves grows to several feet high. Leaves
are edged with stout thorns and tipped with spikes. After a
decade or more of growth, the mature plant produces a tall
woody stalk with pink, yellow, or fiery gold flowers. The torch-like
flowerstalk can be seen for miles, blooming with the triumph of
life at the Summer Solstice, inspiring optimism that is powerful
enough to share. Nectar-feeding bats pollinate the flowers at
night. The plant dies as the seed pods ripen, but small leaf
rosettes or "pups" at the base of the plant continue to grow.
Some flowerstalks produce tiny leaf clusters instead of seeds,
showering the ground with the green stars of new plants that
take root immediately and bring life to the dust.
For years the plant stores the sun's energy in the form of sugar,
and spends all its sweetness to produce the huge flowerstalk
before dying. In this case, the swollen hollow base of the dead
stalk fills with another kind of sweetness and hides a dripping
honeycomb, while honeybees swarm like glittering sparks among
the seedpods. Perhaps a huge black carpenter bee will excavate
its home higher in the stalk, leaving tell-tale piles of sawdust.
Slow and harmless, it will "come to the door" to investigate if you
tap gently on its hole.
The hollow wind-rattled agave stalks hold the song of the
grasslands. In southern Arizona, a few people make didgeridoos
out of them. When blown and given the energy of the player's
breath and life, the instruments make a fine booming sound with
a wide range of tones.

- 48 -
 Seven of Spikes

A stag beetle and a pair of tiny flaming iron antlers crown a

shaman's ornamental hair comb. The antlers are shaped like
those of the extinct Pleistocene Giant Elk Megaloceros. Below
are two Carbon Antlers or Candlesnuff Fungi (Xylaria hypoxylon)
that grow on rotten or burnt wood and look like charred black
antlers covered in white ashes. The most experienced and
powerful Siberian shamans once wore iron antlers on their caps
as symbols of their ability to travel to the Otherworld, perhaps
riding on the back of a deer spirit. This iron comb, warmed with
her spiritfire, protects the top of the shaman's head, where her
soul can enter and leave her body. It also protects her hair,
since touching the hair can imply control over a person's soul. It
draws power like an antenna, bringing awareness of the life force
in the smallest, highest tree branch and grounding it in the
shaman's body. She wins this ability through a journey that
challenges her confidence as she travels, and stretches her
imagination as she relates her story to others. She who accepts
the internal challenge of initiation enters a secret place to
confront and claim power.

- 49 -
 Eight of Spikes

When the shaman calls the spirits and uses precise timing to
focus power, the smoking iron feathers on her costume
transform into real feathers for magical flight. A caracara spirit
blows fiery music into a bird bone flute, a gift of inspired,
innovative communication. The caracara is a rare southwestern
grassland relative of the falcons. It is famous for preying on
rattlesnakes but usually eats carrion. Intelligent and curious, it
has a wild but confiding presence, like an American Garuda, the
mythical benevolent vulture spirit of Tibetan and South Asian
mythology.
The shaman's songs and stories inspire the people and remind
them who they are. A shaman knows the languages of animals,
plants, and the earth itself, and acts as a translator for the
people. She may speak to the spirits using her own secret
language. She knows that to name is to call, and sometimes her
visions can only be described in ways that are mysterious to
others, yet compelling and unforgettable. She sees when the
time is right for a swift flight of inspired words that linger like the
memory of a bonfire.

- 50 -
 Nine of Spikes

Twisted hairpins decorated with hands generate magical heat in

response to the rhythmic song of the cicadas. The shaman's
ecstatic dance of endurance gives wings to one who journeys
underground. Drawing on all resources and calling up reserves
of energy, she holds creative power at its most intense, and
transforms whatever she touches. Three cicadas crawl up the
central pin: the wingless nymph has broken out of the ground
and clings to the spike, its outgrown skin brittle and ready to
burst. The newly-emerged adult rests and sings in the iron pod
while its wings enlarge and harden, then flies off into the sunlight
with the blessing of the hands that release it. This is Magicicada
septendecim, the famous Periodical Cicada or "Seventeen Year
Locust" of the oak forests in the eastern and midwestern U.S. It
has a black body, transparent orange wings, and red eyes, and is
not seen except in brood years, when its overwhelming ecstatic
noise fills the midsummer forest with buzzing cascades and
rhythmic hooting. The stout dark green Summer Cicada or Jarfly
is larger and appears every year, rasping its sunset song under
black-veined wings. It looks similar to the Asian cicada that is an
ancient symbol of transformation and rebirth. Sonoran desert
cicadas are small and steel-gray, and their buzzing songs vibrate
through the saguaro forest in the white heat of high summer.

- 51 -
 Ten of Spikes

A desert Pinacate Beetle (Eleodes) stands on its head in its

typical defensive posture, trying to fend off ten malevolent black
pins. Entomologists traditionally use black steel pins to mount
dead insects for study. Such pins typically have very tiny heads,
so it is not clear whether these pins are truly attacking the
beetle, or merely facing off against each other in a beetle's
nightmare. Their tips glitter with the feeble spark of overspent
fire, exhaustion and burnout inspiring a weary defense. Or it
could be the burden of defensive tension itself that needs
release in a flare of pent-up energy.
At their most extreme, the pins can represent a long-term
spiritual poison that shamans would interpret as an intrusion, a
toxin that causes illness, emotional distress, or damage to the
soul. Interpreted as a spirit or some type of foreign energy that
has become lodged in the body, it is not necessarily bad in its
own right. It can be a memory, an attachment gone awry, a
recurring nightmare, or anything else that has taken root where it
does not belong. Some shamans can extract such intrusions in
the form of black pins or other small items, or they draw them
out into a specially-prepared object, a bowl of fire or water, or a
closed vessel. The extracted poison can then be destroyed or
transformed without harm to anyone.
The picture is deliberately ambiguous, since the pins could
represent the intrusion with the beetle as the shaman's helping
spirit, or the beetle itself could be the intrusion with the pins as
the shaman's power to destroy it.

- 52 -
COILS - WATER
Emotions, relationships, connections.
Traditional: Cups, Hearts
Coils are common in forgework designs and have many variations:
flattened spirals, vertical-sided scrolls, and corkscrew vine tendrils.
They have a fluid, inviting organic quality that recalls the healing power
of flowing water. Small tight coils become loops and chain links, a
powerful symbol of connection and interrelationship, whether it is with
other people, the spirit world, or the land. Coils express the Water suit's
flowing, emotional quality better than iron cups, although a few cards
depict vessels in addition to coils where it is appropriate. Iron vessels
have a deep, earthy hollowness, as static and solid as a water-worn
rock. They embrace whatever is put in them, shutting out the world and
providing a crucible for mysterious transformations.

- 53 -
 Ore of Coils

Iron coils cradle the shell of a paper nautilus that holds a

fountain splashing over bubbly-looking iron ore. The first of the
Water cards offers the gift of the divine presence and a swell of
emotion, the ability to see connections and adapt, and the birth
of empathy. The paper nautilus (Argonauta argo) is a squidlike
deep sea creature related to the Spirula cephalopod shown on
the Shaman of Coils card. The paper nautilus is unique in that
the males are tiny and have no shells, but the females secrete a
large fragile white shell as a brood chamber for their eggs.
Broken shell fragments wash up on Atlantic beaches after
storms.
The iron ore is GOETHITE (ferrous hydroxide, aFeO.OH,
pronounced "gertite"), the second most abundant iron ore. It
occurs in dark brown metallic and yellowish brown nonmetallic
forms. It is often found as small but heavy stream pebbles or
ventifacts (wind-polished pebbles). It forms mostly in
sedimentary rocks, especially sandstone and conglomerate,
where it may replace wood or form coatings around quartz
pebbles. It often crystallizes as rounded bubbly nodules of
radiating needle-like crystals. This is called a "botryoidal" crystal
habit, from a Greek word for a bunch of grapes. Hematite often
crystallizes in this form, and so do many other minerals. Goethite
is the mineral pigment brown ochre or raw sienna. Burnt sienna
is raw sienna that has been heated or "calcined" to oxidize some
of the goethite to hematite. Most "rust" is goethite.

- 54 -
 Two of Coils

The One coil replicates itself, finding a mirror and a companion.

Two twisted steel snakes, one shining black and one bright
polished, hold eggs in their mouths. They assist each other's
hatching and devour each other's tails, forming a mutual
attraction of opposites, a double Uroboros. The ending of one
attachment flows into the beginning of another, and both are
entwined as part of a single cycle, a flowing exchange of energy
between poles. It can mean anything from a brief meeting to a
serious healing interaction that will either dissolve or
metamorphose into a more powerful but different relationship
when its immediate purpose is served. The shaman heals
herself and honors the power of those who ask for help. The
wounded healer in the shaman's heart unites with the seeker's
hidden strength.
This pattern of many continuously reversing twists is made on an
eight-sided bar. It is more difficult to work than a four or six-
sided bar, since it is closer to round in shape and their is less flat
metal to grip. Before each twist is made, the hot metal must be
quenched as far as the previous twist so it does not change
shape. Only the current twist remains hot and moves. The bar is
kept straight, and is only curled into a spiral when all the twists
are done.

- 55 -
 Three of Coils

The energy of the Two, spiralling back and forth in partnership,

creates a sacred whirlpool Source and hatches the means to
carry and share its power.

A three-sided dipper and a three-legged cauldron wait beside a

sacred well. Bubbles float in the dark water under windows in the
well cover, between a triskele of coils that forms a handle. The
water is alive, creeping through fractures in the rock, the hidden
flow echoing under hollow hills, then rising and bubbling into the
light through a hole in the stone. The well is the source of life
and community, a reminder of the people's dependence on
nature and each other, and a metaphor for an inexhaustible
source of healing to which anyone can return at any time. The
cover protects the water, the dipper brings it up for use, and the
cauldron allows it to be used and shared. The two triskele
spirals are offerings to the well, recalling the Iron Age iron rings
and other votive objects found in European bogs. Water is not
drawn from the sacred well without making a gift to its source.
Keeping this balance is one of the shaman's tasks. When she
offers her healing skills to others, she allows elemental power to
flow through her without draining her own strength. Later she
returns alone to her personal source of healing to rededicate
herself.

- 56 -
 Four of Coils

The whirlpool is stilled, the vessels are dry and open to the sun
and air, and the coils unfurl from their dance or lock together in
rest.

A hornpod or Devils Claw entwines with its iron replica, two

vessels for new life holding the hope of seeds and memory of
water, but not yet the promise of rain. They speak of the gift of
isolation, even when it is disguised as loneliness, and the need
to listen to one's own heart even while in communion with
another. The interlocked pods hold temporary stillness in a time
of patience and voluntary withdrawal. In the desert, the dry heat
and intense sunlight are as essential to life as the rain. Prayers
for rain are inappropriate, since the rain always returns in its own
time. Until then, the desert's deep strength, like a sheet of dark
iron under the dusty earth, trusts and waits.
The Devil's Claw or Unicorn Plant (Proboscidea) blooms in desert
washes after the summer monsoon storms. Although the
stonelike seeds must have rain in order to sprout, the plants will
not grow unless the midday soil and air temperature is close to
100 degrees. The pink or yellow fragrant flowers produce fuzzy
green pods with a long curved "horn". When the pods ripen, the
horn splits into two (rarely four) curved hooks. The hooks catch
on the legs of passing animals, transporting the pods and
scattering seeds. The Tohono O'odham Indians cultivate the
pods for basketweaving.

- 57 -
SAGUARO SKELETON DREAM

In the black volcanic mountains

I came to a saguaro's grave.
Resigned to pain and rot, it may have fallen
With a heavy gasp, swollen with winter rain.
Or maybe the black slime illness carried off the flesh,
Leaving the creaking skeleton
To shatter in a monsoon stormwind.
The fallen one has as much presence on the ground
As it had in the now-empty air,
The arms once upraised to the sun in trance or prayer
Now embracing the ground with equal reverence.

I will stretch out on the ghostwood poles,

Fit my hands to the arm ribs,
Rest my feet on the rootknobs.
Bright heat will settle on my back like a sheet of copper.
Ravens will not know my hair
From the haze of cobwebbed spines.
Huge rainmaker beetles will drop out of thunderclouds
And find shelter under my fingers.
My vertebrae will collapse
Among snakeskins and silver cactus bones,
Just before the floodwater carries it all down the wash
In an ecstatic torrent of sand.

We will rise as hornpods and hummingbirds.

Our spiritwalk will follow Jaguarundi's tracks.
We will dance with gray hawks and red dragonflies.
Our songs will ripen and rattle on the wild gourd vine.
Coyote will sing them
When She calls the ocotillo flowers
Out of the illusion of death.

- 58 -
 Five of Coils

Attracted to each other, the coils of the Four awaken to

intertwine in an elaborate chain of knots and riveted disks. But
some coils are still too fragile for such complicated joinery, and
they snap under the stress.

A broken chain of iron brittle stars surrounds a living brittle star

with a broken arm. A brittle star's arms are fragile and break off
easily. They can regenerate but are never as long or flexible as
the original. The iron arms on the chain are made of high-carbon
spring steel, which is strong enough to use for tiny detailed
forgework. But the delicate arms shattered when the steel was
quenched at too high a temperature. Spring steel cannot be
quenched while still glowing orange or it will become brittle. It
must be buried in sand or earth and cooled slowly to soften or
"normalize" the steel and release the stress of forging. After that
it can be reheated and quenched in oil to harden it. The chain is
still linked together, so it is not completely destroyed, but
contemplating the damaged links only brings the disappointment
of loss and the urge to abandon something that is too fragile to
work with. This kind of stress interferes with healing. With a
change in expectations, the chain could be salvaged and made
into something different, or started over from a stronger position.

- 59 -
 Six of Coils

The tangled broken loops of the Five disengage and reshape

themselves into a single related sequence of natural growth that
changes easily as it develops.

Iron bangle bracelets are forged into the shapes of Giant Kelp
(Macrocystis pyrifera), the huge brown coldwater algae of the
Pacific Ocean. Each bracelet shows one or two parts of the
seaweed: the holdfast (rootlike bulb that anchors the young
plant to rocks), leaflike blades, gas bladders that keep the
mature plant afloat, and the coils of new growth. Each bracelet
has different variations, and collectively they form a rhythmic,
wavelike series that remains connected as it grows, just like the
living seaweed. New growth, curling like tendrils toward the light,
often recalls old memories. Deep memories remain as part of
the body, rooted like the stonelike holdfast with its tentacles.
But they find purpose or release in clear flute music, the rhythm
of surf and currents, and the smooth embrace of delicately
rippled iron around a strong arm.

- 60 -
 Seven of Coils

The flowing waves of the Six constrict into a circle of tight coils,
even turning inward to form a vessel.

Water spills from a covered iron bowl forged in the shape of a

seven-tentacled jellyfish. The graceful fantasy vessel is
ultimately too small and restrictive, so the water pours out,
bringing confusion and a sense that reality is slipping away. A
live Moon Jellyfish escapes. The bowl's shape is attractive but it
lacks the symmetry of living jellyfish, which have an even number
of tentacles. Jellyfish are lovely but insubstantial, impossible to
hold or even see clearly, and some of them sting. When left to
float free and not grasped tightly or forced into a rigid form, their
beauty is one of the soothing mysterious wonders of the ocean,
from which true dreams and oracular visions emerge.
The harmless Moon Jelly (Aurelia aurita) lives in northern and
temperate oceans worldwide, and in some years thousands of
them form cloudlike swarms for a few midsummer weeks, then
disappear. In a single night, hundreds of them may wash up on
a sandy beach, a strandline of full moon bubbles that vanishes
by noon.

- 61 -
 Eight of Coils

The circle of illusions in the Seven is dispelled, the bowl

overturned, the coils loosened.

A skate hangs poised for flight above an iron replica of its shiny
black egg case. Skates are small, shallow water relatives of rays
and sharks. The coils once anchored the egg case to a safe
place, but with the skate's hatching, they have come loose from
their attachment and are disordered, since the case is no longer
needed. Nearly invisible on the sandy seafloor, the skate is born
with the ability to flutter swiftly through the water, but it will not
feel or know this until it leaves the egg case. In the natural
process of growth, something once necessary is being left behind
before it becomes a trap. Although an emotional echo may
remain, a solitary quest begins for greater depth and a wider
perspective.

- 62 -
 Nine of Coils

After long exploration, the freedom of the Eight finds its perfect
expression.

A chain with nine double links and coiled charms surrounds a

nine-spiral shaman's mirror that hangs from one of the triskele
offerings from the Three of Coils. The chain is an ancient Central
Asian design. This one is part of a horse ornament from
Afghanistan. The coiled wire charms (copper, silver, or black
steel) are the first metalwork that I learned. Siberian and Central
Asian shamans use a small round metal mirror for divination,
seeing spirits, and finding lost souls. Most mirrors are bronze or
iron antiques from China, where they were made for two
thousand years. Where these are unavailable, hammered
copper mirrors are made locally. Pouring water over the mirror
clarifies the shaman's vision. In return for the triskele gift, the
sacred well provides a mysterious artifact, and the ultimate
healing power of water grants a wish, completes interlocking
connections, and restores a soul.

- 63 -
 Ten of Coils

The interlocking loops of the Nine come to life and begin to

revolve, summoning an entity greater than themselves.

A chain of iron snails creeps in a swirling endless circle. Its

flexible coolness and smooth polished coils are soothing to touch
and contemplate. Its movement conjures a snail spirit, the
essence of its wholeness, that carries the chain forward in
harmony. The pieces are permanently interlocked, without
beginning or end, and in joining together they create something
more powerful than a handful of links. The chain and its snail-
spirit bear a whirlpool of natural cycles. They are consecrated to
this use in healing individuals and groups that wish to regain the
balance of the spiral.
This card can indicate a long-term relationship, stability and
accord within a group of people, or the satisfying completion of
something in which one has invested a great deal of emotional
energy, and that now acquires a life of its own. It can also mean
an attachment or emotional task whose purpose is now fulfilled.

- 64 -
BLADES - AIR
Intellect, thought, conflict, analysis.
Traditional: Swords, Spades
Bladesmithing or knifemaking uses so many specialized techniques
and skills that it is a craft in itself, requiring precision, careful planning,
practical design, and knowledge of metallurgy. The quality and
usefulness of the finished blade depends on the smith's knowledge and
control of different types of steel, specialized forging and finishing
techniques, temperatures of forging and quenching, and ways to test
for weakness at every stage of the blade's creation. Blades pictured on
the cards are not weapons exclusively, but have everyday and sacred
uses. They represent clarity of thought and sight, defensiveness and
separation, intellectual challenge, constructive conflict, and rational
problem-solving.

- 65 -
 Ore of Blades

A chopper with curly handles splits a concretion, a layered

sedimentary nodule similar to a geode, spillng a puff of sun-gold
powder on the air. The first of the Air cards offers the gift of the
heart of a split stone. Exposed instantly, it bursts the dark open
like a flash of truth or a surprising insight, and reveals the hidden
treasure of a new idea. The shape of the blade recalls the Ace of
Spades in a standard card deck. It is engraved with a red-tailed
hawk skull. Above the blade, earthstars scatter yellow ochre-
colored spores on the wind, offering them to the sky like sacred
smoke. The earthstars are Geastrum fimbriatum and the rare
multi-pored Myriostoma coliforme. Earthstars are specialized
puffballs that look more like tree seeds or sea creatures than
fungi. The thick outer rind splits into rays that curl back and
elevate the papery inner spore sac. Another species, Astraeus
hygrometricus, is called the Water Measurer because it curls up
when dry and opens in wet weather.
LIMONITE and YELLOW OCHRE are informal names for several
soft, amorphous-looking yellowish minerals that are difficult to
tell apart and often occur together. They form lightweight
powdery nodules in soils and sedimentary rocks that are exposed
to water and air. Mostly goethite, they also include other hydrous
iron oxides (jarosite etc.), iron sulfates, and iron carbonate
(siderite). They are low grade but abundant "bog ore" and the
only common yellow mineral pigment. In India, yellow ochre it is
called "gold clay" and used as a cosmetic.

- 66 -
 Two of Blades

The handle of the One folds into enclosing sheaths as the blade
splits in two and recognizes its division.

These two 19th-century Chinese fisherman's knives, shaped like

small fish or seahorses, are simple masterpieces of "primitive"
blacksmithing. The knife would have been tied to the
fisherman's sash, since his clothing had no pockets. The sturdy
blade swings freely on a single rivet through the podlike handle,
and is used for cleaning fish and opening shellfish. Double lines
are chiselled around the rivet to make it look like a fish eye. The
long point is for untying knots in nets, so these knives can cut
through trouble but are better used to delicately unravel it. They
are ready for useful work, but to preserve peace they do not
engage each other. Much knowledge remains hidden. This is a
time to stay watchful, clarify intentions, and study mechanisms,
not take risks with details. It is time to respect privacy or to be
together but work separately in peaceful silence. It is a time to
know what to lovingly reveal and what to keep hidden to avoid
conflict, to reconcile ideas or just agree to disagree.

- 67 -
 Three of Blades

The blades of the Two open, their edges curling with energy, as
the enclosing handles become a third seeking blade.

A dangerous-looking triskele of shrikes and thorns is ready to

whirl into the heart. A trident flashes three double-bladed words
of truth, and a shattered mirror of illusion falls into the night rain.
High in a tiny attic room, a heart-shaped trefoil window
illuminates three sources of loss: one pane missing, one
cracked, and one broken. Three corresponding eyes watch from
the center of the frame: one eye open, one closed, and one half
open. Even the fear of "What if...?" is exposed as a delusion.
Shrikes are uncommon gray predatory birds, masked like
raccoons, that impale their prey on thorns. They look like tiny
hawks but are Passerines (songbirds), and are more closely
related to the mockingbirds they superficially resemble. They
prefer grasslands and old fields where there are plenty of thorn
bushes and a clear view from an exposed twig.
The trident is one of several iron tools used in Tibetan Buddhism
to cut through illusions that are obstacles to growth and faith.

- 68 -
 Four of Blades

The curving, curling blades of the Three dispel a storm but

shatter into four pieces. The salvaged fragments are wrought
together in a simple defensive tool.

A wildland fire rake cuts a furrow through soil and sand to

expose cool wet pebbles that smoldering, creeping fire cannot
cross. This U. S. Forest Service tool is used only in the
Southeast. It is light but efficient, and individual blades can be
quickly replaced if broken. A fireline must cut through leaves,
roots, and humus to expose "mineral soil", the nonburning zone
of sand, clay, and rocks (often damp even if the surface is dry)
below the accumulated flammable organic matter. It establishes
a boundary between what can be protected and what must be
given up for lost. To define a safe place, the firefighter must
know her limits as well as those of the tool and the barrier she
builds. Then she can turn her back on the line and rest, recover
stability, and perhaps prepare a defense.

- 69 -
 Five of Blades

The triangular beaklike blades of the Four have scattered and

grown spiky serrated edges.

From below, she contemplates a shaman's ladder of hawk-

shaped sawblades arranged for a feat of mental endurance. To
ascend, she must become like a hawk, and either fly over the
blades or climb without injuring her feet. This is a difficult and
potentially dangerous situation, or at least an intellectual puzzle.
She must enter unavoidable conflict and make decisions without
needed information. If she can turn the blades into wings, the
ladder will vanish with her flight. Otherwise, she gathers courage
at the bottom, and with each rung that she ascends, the blades
grow smaller and less menacing. One at a time, she gains
another useful tool to assist her with the next step, and one
more weapon against failure. At the top, she applies what she
learned, and grows feathers.

- 70 -
 Six of Blades

Having learned to soar, the winged blades of the Five come to

rest beside still waters, becoming a bird whose bladed beak cuts
new designs from an old map.

On the left is a sandhill crane of the prairie marshes, and on the

right is a great blue heron of rivers and wooded swamps. They
stand with entwined necks and beaks on a pair of steel scissors
with bird handles, representing an intellectual partnership using
rational thought, new ideas, and untried methods to solve
problems. The swimmer's six-feathered bird mask represents
the role of the nature spirits in scientific work. Her six-oared boat
embodies the knowledge, trust, and careful planning that carried
her on a journey of discovery. Now she leaves it with confidence
and swims peacefully to a mysterious new shore.
Cranes and herons both carry the soft gray colors of winter
clouds. Cranes wander through the central U.S. in winter, the
flocks feeding and resting in corn fields from Arizona to
Kentucky, circling and trumpeting the ancient song of vanished
prairies. Herons are solitary hunters of fish and crayfish,
guardians of shores and rivers, standing motionless on one leg
on a muddy bank or croaking a warning before taking flight from
a dead branch and sending it crashing into a swamp pool.

- 71 -
 Seven of Blades

The scissors and beaks of the Six create patterns of growing

complexity, requiring more blades and a tighter grip with both
hands.

African forged and wire-wrapped finger knives surround a wrist

knife with a beaded leather cord that protects or reveals the
blade. Two skeletal hands wear the blade, a shaman's gift of
power after the trial of initiation. The finger knives test and
identify strength and weakness. This shaman's test is primarily
intellectual, forcing her to seek out diverse and unusual sources
of information. In doing so she learns to recognize real and
perceived forms of manipulation. The conflict may appear to be
with someone else, but it is within herself, like the mirrored birds
facing off in a dance or ritualized combat. The Bald Ibis or
Hermit Ibis (Geronticus eremita) was once found throughout
Europe and Africa but is now very rare and confined to a small
part of Morocco. It has iridescent black feathers and a bare red
head and beak, giving it a resemblance to its close cousin, the
Turkey Vulture.

- 72 -
 Eight of Blades

Manipulating the blades of the Seven requires sacrifice and is

vulnerable to interference. Spreading like a circle of tailfeathers,
the blades reorganize into a trap or a doorway.

A woman with shorn hair covers her face, unwilling to see the
braids hung like trophies from the blades of a throwing star, or
the ring of staring faces. But the sabotage is within her mind,
and the power she has given up is only symbolic. Disorientation
reveals the true path. The hole in the center of the bladed disk is
a window to freedom if she is willing or able to look for a way out.
The staring faces are only empty masks peering through the
weapon's finger grips. They vanish when a capable hand grasps
the blade. When hung on a pole, the star becomes a wheel, and
a harmless garden tool for cutting through the tangle of self-
doubt and temporary outside interference that binds her like
rotting roots. When two or three of the blades are hung together,
they interlock and work even better, and when they turn in
unison, ringing against each other, the singing steel frightens
intruders from the garden, whether feathered or human.

- 73 -
 Nine of Blades

The tight ring of blades in the Eight bursts in a puff of feathers

and multiplies, flying in all directions.

A raven mask, her eyes glowing with concentration, confronts a

swarm of arrowheads. She tries to see them all at once, and
finds them multiplied, since each has three blades. Is she their
sender or their target? Raven could easily be either one. Or
does she merely hoard them, intrigued by the cold gleam of their
edges? She is a collector of strange objects, an intelligent
problem-solver and an expert flier who rolls upside down for fun
as she dances on swirling air currents. The arrowheads have
eyes that might be for seeing their way, but the holes are vacant.
They are for whistling, not watching. In the wind of flight, they
scream in triumph or warning, agonized or exulting. In a
situation of such changing complexity, only the movement itself
has meaning.
The arrowheads are ancient Chinese and Scythian whistling
arrows. The triple beaklike iron blades are ornamented with
round bone beads carved with bird's eyes for soundholes.

- 74 -
 Ten of Blades

The flitting arrows of the Nine regroup for attack or escape in a

high-speed vortex.

The labrys is an ancient double-bitted axe of uncertain origin and

purpose. It has the look of a ritual or cult object, since it is too
dangerous for any practical cutting use, and too clumsy to make
a good weapon. The wide blades resemble the chopper on the
Ore card but are much larger. The forging of two matched curved
blades on a balanced handle is a nervewracking test of the
bladesmith's concentration, endurance, metal knowledge, and
design experience.
Here the axes resemble owls, and the blades bear etched
feather designs. Whirling double-edged thoughts and words
hone tension to a final, brittle edge. The winged blades take
flight and cut down all, while the talons are poised to carry off
whatever is left. But the talons are also handles with a sure grip.
If caught midflight in a steady hand, the catcher wins a nearly
circular blade to slice a new way ahead, and keen eyes to
glimpse an opening in the night air.

- 75 -
BELLS - EARTH
Physical body, possessions, work, wealth.
Traditional: Discs, Pentacles, Coins, Diamonds
Bells are usually cast from molten metal, especially iron, brass, or
bronze. They can also be fabricated from thin sheet metal, including
copper, steel, silver, and gold. HIstorically, forged iron bells are rare
except in Siberia, where small ones were made for shamans, and in
West Africa, where they have many shapes and are used as musical
instruments and magical objects. Forged iron bells have a unique dark
sound that recalls the anvil's ring, the voice of the black metal. Small
bells of many types have been used around the world as protective
decorations on clothing or animals, as cult offerings at sacred sites,
and as money or trade objects. They have the same ancient universal
appeal as beads or gemstones. In shamanic traditions, bells are used
to communicate with the dead, attract helpful spirits, and frighten away
unfriendly ones.

The Bells on the cards are inspired by the shapes of various plants, and
several also have historical counterparts. They progress from two
simple discs struck together, to ancient pellet bells with the source of
their sound hidden in the dark, to open domes with elaborate clappers,
to combinations of flower and pod forms that have no clappers but
derive their sound and power through interaction with each other.

- 76 -
 Ore of Bells

A bell in the shape of a seedpod hangs over shiny black

magnetite crystals. The flowers and pods are the Ice Plant,
Ghost Flower, or Indian Pipe, Monotropa uniflora, a pure white
translucent plant with no chlorophyll. A tiny relative of the
Madrone, it was once common in rich deciduous woods in the
eastern and central U. S., but is becoming rare since it prefers
old forests and cannot grow in disturbed soil. The hanging
flowers turn up as the seedpod blackens and ripens. The first of
the Earth cards offers the gift of the earth's eternal strength and
comfort, the seeds of growth and health, and the birth of
beautiful created objects.
MAGNETITE (ferrous oxide, Fe3O4) is metallic black, as hard and
heavy as steel itself. It is the firescale that forms on steel in the
forge. It is a common but minor constituent of many igneous and
metamorphic rocks, and is abundant as layers or nodules in
certain rare igneous rocks and in ore deposits of copper and
other metals. All magnetite will attract a magnet, and this is
sufficient to identify it. Hematite and a few other black metallic
minerals look similar but are nonmagnetic. Magnetite crystals
sometimes partially alter to hematite. Called martite, these
octahedral crystals are dark reddish black and nonmagnetic.
Lodestone magnetite specimens are natural magnets
themselves. Magnetite is a major constituent of "black sand"
deposits found on beaches and in creeks, rivers, and desert
washes in areas of igneous or metamorphic rocks. Look for
black streaks in light colored quartz sand. A magnet will
separate the tiny octahedral crystals from the other minerals and
yield a concentrate that can be used as iron ore or ground into a
cold black mineral pigment. The pigment retains some of its
magnetic property even in thin layers of watercolor paint. It is
sold as an artist paint as Mars Black or Lunar Black.

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 Two of Bells

These small iron cymbals are forged from two flat discs, one
blackened and one polished. They are similar to the hammered
bronze relics found in the ruins of Pompeii and the cast iron or
brass tingsha bells used in Tibetan Buddhist ceremonies. As
cymbals they are struck flat or slid against each other to make
metallic snapping sounds. One cymbal is held in each hand with
the chain hanging between them. As tingsha or tiny gongs, only
the edges are struck, giving a sustained hard ring. The edges of
this set have been split and curled for a more intense sound. A
riveted chain keeps them together. The links and rivets, like the
bells themselves, form a practical partnership. Without such a
collaboration for a specific purpose, there would be no sound or
rhythm in the metal. The moving balance between opposites -
dark and light, movement and stillness, sound and silence -
awakens the player and the listener.

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 Three of Bells

The round wild desert gourd with hand-shaped leaves inspires

three types of primitive pellet bells. Variations on a simple
natural shape show skill that holds the seeds of more
challenging projects. All three bells are forged out of sheet metal
but are made using different techniques, and each interprets the
gourd design in its own way. The bell rattle with a forged tendril
handle has holes to amplify the sound of whatever moves inside.
The gemlike jingler on the handle is an ancient type of bell.
Similar clay examples from South America predate metalworking.
The claws on the large bell look like the stripes on an unripe
gourd, and allow the pellets to be exchanged for different
sounds.
The Coyote Gourd or Fingerleaf Gourd (Cucurbita digitata) is a
delicate climbing desert vine with dark blue-green leaves, long
coiled tendrils, and yellow trumpet flowers. The vine sprouts
after summer rains and withers within a month, leaving the bitter
thin-shelled gourds ripening in the sand.

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 Four of Bells

Bells in the shape of Bur Oak acorns hang below a bracket

fungus that grows on oak trees. The richly-ornamented bells
hold the promise and grounding power of real acorns, and create
sacred space wherever they are used. Bur Oak (Quercus
macrocarpa) has the largest of all acorns, and the heavy cup is
edged with a unique fringe of mossy spines. It is a Mississippi
Valley tree that is the common oak throughout much of the
Midwest, growing in open grassland rather than forest. The
fungus is Ling Chih or Reishi Mushroom (Ganoderma lucida)
which grows on deciduous trees in North America, Europe, and
Asia. Its nearly identical relative, G. tsugae, grows on fallen
hemlock trees. It is a traditional Chinese medicine that is
revered for its value as an immune system stimulant and general
cure-all. Its deep purple stalk is as gnarled as an oak root and its
beautiful red ochre fan-shaped cap shines as if varnished. It
destroys living trees but also returns dead trees to the earth,
enriching the soil for sprouting acorns. The acorns and fungus
are the seeds and destruction of sacred groves, but only if they
are left to grow. They are also precious in their own right as food
and medicine, but their value disappears in rot if they are merely
hoarded.

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 Five of Bells

Five bells in the shape of Sacred Datura flowers surround a living

flower that opens in response to the heat of the newly-forged
iron, a strange and miraculous interaction between a natural
object and the art that it inspires. Like the flower, the bells hold
the living warmth and life of the earth, although this can be hard
to recognize at times. The flower blooms at night, a white spiral
trumpet fringed with coiled tendrils. The deep purple throat of
the funnel gleams like an eye. At midday the flower is a withered
rag on a poisonous plant whose prickly seedpods tumble in the
dust. When first taken from the forge, the bells do not ring, and
the dull noise of rough firescale on hot metal clinks like failure.
But polishing uncovers the bright sound. By cool moonlight, the
bells brighten and ring, and the flower unfurls and breathes out
the perfume of a medicinal plant whose smoke cures lung
ailments. The worst poverty is separation from the land, but
touching the earth, even very briefly, brings renewal.

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 Six of Bells

Three urnlike Wild Ginger flowers bloom below the bells they
inspired. The six sacred vessels offer each other an exchange of
gifts of the senses. The flowers bring their scent, color, and
pattern, and the bells bring their sound and permanence. The
form and symmetry of the bells and flowers mirror each other.
The bells are forged from flat triangles hammered over a hole in
the anvil. But the final shape is neither flat nor empty, but full
and round to resonate with the clapper which is also hollow and
flared like a flower. At the center is the most common species,
Asarum canadense, which has a single purplish-brown flower
between two fuzzy leaves that die back in the winter. The other
two are rare evergreen species that have rosettes of glossy
leaves and many flowers. Asarum shuttlworthii has large spotted
flowers like jars with flaring rims, and Asarum virginicum has tiny
brown juglike blooms. The Wild Gingers, also called Heartleaf
and Birthroot, are endemic to the Southern Appalachian old
growth forest. All have thick fingerlike roots that smell and taste
like the unrelated commercial gingerroot. The sturdy flowers
grow close to the ground and are nearly invisible under the heart-
shaped leaves. A close look reveals delicate green, brown, or
maroon mouths springing out of the earth.

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 Seven of Bells

Cone bells have no clappers and make noise only by striking

against each other. They are used on Siberian and Central Asian
shaman's costumes, drums, and string instruments, and are
often hung in pairs. The two tiny bells at the top of the picture
are traditional Siberian style, and the others are variations that I
have forged. The hands on the steel link are ready to lock
together. The bells are finished and perfect, ready to manifest
their "soul" through use. If they are not gathered onto the ring
and claimed for their intended purpose, they will make no sound,
and will scatter and become lost. The effort and materials in
them will go to waste. The ring is decorated with a woodland
fungus that is shaped like the bells: Craterellus cornucopioides,
called Trumpet of Death because of its purplish black color and
Horn of Plenty because of its shape and because it is edible. But
what is ripe now will decay if not harvested. In order to honor the
materials and creative energy in a sacred object or tool, it must
be put to the work that gives it power, even if it becomes worn
out or damaged. It has no meaning if it is merely admired.
Iron ornaments on traditional Siberian shaman's costumes are
believed to be alive, and to have souls that prevent the iron from
rusting. Most iron objects, including jewelry and tools, do not
rust if they are used regularly, but only if they are neglected.

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 Eight of Bells

A West African anklet holds traditional dance bells made with the
precision, grace, and organic vigor that is typical of old African
iron. In silver and goldsmithing, the elongated hollow pod shape
is called a spiculum. When hammered from sheet metal it is
quite difficult to make. It is easier to form in iron, but creating so
many variations requires skill that only comes with repetitive
practice, attention to detail, love of the work for its own sake,
and the ability to make a sacred ritual out of a routine task. The
anklet itself has two podlike sides that hold rattling pellets. The
two center bells have clappers and can be used alone. The top
one, hung from a strand of iron beads, is a heavy plate curled
into a cone. The bottom one is made from two thin sheets folded
over at the edges. The four long pods are hollow and make noise
as they strike against each other. Traditional anklets, belts, or
necklaces may hold dozens of these pod bells in various shapes
and sizes. The two round bells are usually held in the hand and
struck with an iron thumb ring. This instrument, called a frikiwa,
is played to accompany drummers. The bells are not just
ornaments or noisemakers. All of them have iron's spiritual
power for strength and protection, and its practical value as
currency.

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 Nine of Bells

A steel sistrum or bell-rattle holds nine pairs of hammered sheet

metal discs, nine pod bells, and two sets of nine cone bells made
from curled sheet metal triangles strung on sliding steel rods. Its
wealth of bells proclaims the mastery of several complicated
designs and forging techniques. The product of many hours of
solitary work, its sound now showers listeners with the
abundance and mystery of the Goddess, who blesses a sacred
instrument that feeds the spirit in lively play or solemn ritual, a
masterpiece that becomes a beloved treasure. Crowded with
noisemakers, this instrument has a very short handle, suitable
for holding in the hand or mounting on a stick. The intricate
design achieves the ultimate goal of the bell-smith's craft:
making the fullest use of limited resources in an elaborate and
unique instrument that sounds as beautiful as it looks.
The sistrum is best known as an ancient Mediterranean ritual
rattle that was widely used but is specifically associated with Isis,
the Egyptian cat goddess Bast, and the ecstatic dances of the
Maenads. Based on archaeological examples and the
instruments depicted in ancient pictures and statues, this type of
sistrum was made with a cast bronze handle and u-shaped top
that was drilled for several sliding rods made of copper, bronze,
or iron. Hammered iron discs were sometimes strung on the
rods. But the sistrum, like the drum or the flute, is a widespread
instrument of ancient origin that has had many variations
through time and around the world. It can be as simple as a
child's toy made from a handful of shells strung on twisted grass
on a forked stick, or as elaborate as an ornamented pole for
carrying in processions and hung with cymbals, bells, rattles, and
ribbons.

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 Ten of Bells

These black iron and polished steel bell-rattles are abstract

versions of the Buryat shaman's "horse sticks" that are
sometimes used instead of a drum. The horse stick is a
specialized type of sistrum. Traditionally the stick is of wood or
iron with a carved wood or cast bronze horse head at one end
and a hoof at the other, with copper or iron cones attached to
hooks along the shaft. Sometimes feathers and small animal
skins are hung beside the bells. Horse sticks are symbols of the
blacksmith's wealth and skill and the shaman's authority, and
thus represent material security and spiritual power for the entire
community. Here the bells are of my own design, inspired by
flowers and fungi. One rattle is for the "black" shaman's Lower
World journey, and one is for the "white" shaman's Upper World
flight. Between the bells and their spike handles hangs a horse
ornament or shaman's pendant with coils and feather-shaped
blades, a hook to unite the two bell-rattles and a design to unite
the elements in the last of the forty Number Cards.
The shaman's title is not assumed, but given when she shares
her work with others and is unafraid to be what the spirits have
made her. Once she is accepted, her magic and even some of
her helping spirits belong to her tribe or clan as well as to
herself. This is why shamanism is often a hereditary occupation,
although shamans without such background may also be called.
If she has no tribe, the spirits guide her solitary travels and allow
her to reach those who ask for her help on the road.

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SPIRIT GUIDES
These sixteen cards are traditionally called Face Cards or Court Cards,
and are often assigned two elements, one for the suit and one for the
rank. Rank titles vary from one deck to another, but those from the
Rider-Waite-Smith Tarot and its derivatives are probably the most
familiar: Page, Knight, Queen, and King. In the Ironwing Tarot, they are
Apprentice, Gatemaker, Madrone, and Shaman. Elemental
assignments are the same as those in the Crowley-Thoth Tarot. The
Spirit Guides depict four idealized stages of a woman's growth in the
skills and mysteries of the smith's craft and the shaman's calling.
Although based on traditional Tarot Court Cards, the Spirit Guides do
not represent personality types, physical traits, roleplayers in a power
struggle, character flaws, or personality disorders. Instead, they are
personifications of helpful, practical power: messengers, pathfinders,
teachers, and guardians. Teacher and student define one another in
the Apprentice and Madrone, while the Gatemaker both unites and
separates them, representing independent study or self-taught work.
The Shaman is utterly solitary in her interactions with the spirits, yet her
ability to work on behalf of others confers her identity and authority. All
sixteen cards are aspects of a single person...YOU. In a reading, they
represent the questioner: you or the person for whom you are reading.
At the same time, they may represent other people, events, or stages of
a relationship or project. If you see aspects of a particular person
reflected in a card, remember that this is changeable and depends on
your perspective. Such assignments should be specific to a single
reading or exercise.

EXERCISE: Meeting the Spirit Guides

Lay out the sixteen Spirit Guide cards as shown below.
HORIZONTAL: SUITS & ELEMENTS (left to right): Fire - Water - Air -
Earth
VERTICAL: RANKS (top to bottom):
Apprentice/Earth
Gatemaker/Air
Madrone/Water
Shaman/Fire

1. Within a Suit: Which themes are common to all four cards? What
progressions can you find? Each suit depicts the same "person" in
different roles. You can see this in the faces and in the other symbols
on the card. The young honest face of the Apprentice is self-absorbed
as her Earth-centered work demands. The mature face of the Madrone
is attentive to others, controlled yet complex with Water-born emotions.
The stylized iron Gatemaker holds the sharp intensity of Air, and the
eyes of one transformed in Fire look through the Shaman's mask.
2. Within a Rank: How do the cards relate to each other? What might
they say to each other?

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3. Which One is You? Which card seems the most familiar or
approachable? Which is the most alien? Why? How does this change
as you use the cards and come to know them?
4. Double Elements: How do these cards express their extremes?
They may suggest a need to develop the element, or an unusual
abundance of it that needs to be used.
Earth of Earth - Apprentice of Bells
Air of Air - Gatemaker of Blades
Water of Water - Madrone of Coils
Fire of Fire - Shaman of Spikes
5. Suit Elements and their Characteristics
SPIKES - Fire: They radiate attraction and warmth, and inspire
movement and intensity: the Apprentice's joyful spark, the
Gatemaker's comforting glow, the Madrone's glittering warmth, and the
Shaman's powerful blaze.
COILS - Water: They both soothe and magnify emotions. The
Apprentice's pure refreshment, the Gatemaker's drenching yet
bewildering emotional release, the Madrone's strong flow and subtle
currents, and the Shaman's immense tide.
BLADES - Air: They study and analyze, collect knowledge, and clarify
thoughts and communication: The curious Apprentice, the fierce
Gatemaker, the austere Madrone, and the solemn Shaman.
BELLS - Earth: Survivors who thrive in the material world, bringing a
sense of the sacred into work and everyday life: the Apprentice's avid
collecting and experimenting, the Gatemaker's careful craftsmanship,
the Madrone's practical generosity, and the Shaman's lack of material
attachment that draws wealth and distributes it.
6. Pairs of Elements - Rank and Suit: Some complementary patterns
and their opposites. Can you find other examples?
Earth of Fire & Fire of Earth:
The Apprentice of Spikes calls a small winged shadow creature into a
circle of river pebbles, while the Shaman of Bells grows wings to carry
shades beyond the River.
Earth of Water & Water of Earth
The Apprentice of Coils visits a pure spring to bring water into light,
while the Madrone of Bells uses water to shape living rock in the
darkness of a cave.
Earth of Air & Air of Earth
The Apprentice of Blades shapes a cold blade from a single winter leaf,
while the Gatemaker of Bells grows a proliferation of urnlike flowers in
the shady forest and the desert sun.
Air of Water & Water of Air
Air
The Gatemaker of Coils views the wide waters of emotion, while the
Madrone of Blades guards their hidden source.
Air of Fire & Fire of Air
The Gatemaker of Spikes uses the hottest wildfire, while the Shaman of
Blades uses the icy flame of deepest cold.

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Water of Fire and Fire of Water
The Madrone of Spikes awakens a thunderstorm, pulling rain and
lightning to her chosen place, while the Shaman of Coils finds her way
through smoking remnants of a hurricane across the vast sea.

APPRENTICE - Earth
Traditional:
Traditional: Page, Princess
Apprentices are Daughters of Earth, bound to the land but drawn to
explore their elements as they learn to use the tools of their craft. Each
has a task appropriate to her element. They are students who are not
yet ready for initiation, so they do not work with hot iron, but only with
clay, ore, or cold metal. Their downcast eyes focus on the work that
absorbs their attention and on the earth that sustains them, but they
also use the phases of the moon to track the seasons and other natural
cycles. Their work is easy but essential, and uses their energy and
enthusiasm to build skills, confidence, and maturity.
PURPOSE: Apprentices are curious, innocent dreamers and
messengers who assist those who are starting a project, learning a
skill, exploring the earth, entering a new phase in life, or looking at an
old situation in a different way. They show how to accept risks and
welcome new beginnings.

Apprentice of Spikes:
She makes and tends fire for forge, camp, and hearth.
WAXING MOON of expansion and brightening.
Apprentice of Coils:
She finds springs and carries water for quenching hot iron and for
drinking, bathing, and healing.
FULL MOON of exploration and dreaming.
Apprentice of Blades:
She applies the study of form and pattern in nature to the design of
beautiful functional tools.
WANING MOON of consolidation and withdrawal.
Apprentice of Bells:
She identifies and collects iron ore for smelting and paint pigments,
and coal and charcoal for fuel.
DARK MOON of isolation and introspection.

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 Apprentice of Spikes
Earth of Fire

She uses a flint striker and a steel tent stake to start a small fire
that is contained within a ring of waterworn river pebbles, a bit of
simple, useful earth magic. Her unbound hair reflects her feral
spirit, and it is is entwined with clean-smelling Sweetgrass since
she has chosen the Fire Shaman's path of purification. Also
called Holy Grass, Hierochloe odorata is an aromatic sacred
plant that grows in northern grasslands in Europe, Asia, and
North America. Once the cut grass dries and its perfume
develops, the leaves are brought indoors and spread on the
floor, plaited into braids and hung on the wall, or burned to clear
the air with their sweet scent. The rope on the tent stake
represents self-sufficiency and independence. With her
connection to the earth and the ability to kindle fire, she creates
her home wherever she makes camp. The glowing spark ignites
her imagination and attracts a moth with eyed wings (Automeris
cecrops, a Sonoran Desert species whose poisonous spiny
caterpillars feed on oaks). In creating light, she must confront
the shadows that appear. The moth personifies her fears and
the wild, enchanting mysteries that are partly illuminated in the
tiny flame of her rising power. She is aware of potential dangers
in the dark, but her sense of adventure guides her search for an
animal ally. The warmth of her fire lures small cats and makes
domestication possible, even as the light identifies her as human
and separates her from the wild jaguar spirits who watch and
wait for her to grow strong enough to meet them.

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 Apprentice of Coils
Earth of Water

She wears a coiled silver headband in hair that ripples like a

flowing creek. She pours springwater from a spiral-eyed black
clay jar into an iron cauldron adorned with more spirals. The
water will quench hot metal, cool burns, and refresh the spirit.
She holds precious drinking water in her hand and awakens to
the Water Shaman's power to soothe and heal. She is sensitive
to moods and atmospheres, and explores everything through
emotions. When threatened she retreats to her personal source
of spiritual and emotional purity, whether it is in nature, other
people, or herself. She finds her way unerringly through the
forest to where the sacred spring, source of water and life, flows
from the rising moon. In its misty spray, rare ferns surround her,
and she sees hidden connections that reveal sacred meaning in
nature, leading her naturally to divination. She uses the
cauldron of water as a "black mirror" for moonlit scrying. The
clay jar and the iron vessel are both ancient Chinese designs,
over 2000 years old. The Walking Ferns (Camptosorus
rhizophyllus) grow only on limestone near springs in the
Appalachians. Their name comes from the way the coiled
leaftips sprout new plants, forming a carpet of tiny evergreen
leaves on wet mossy rocks. They can survive only in clean
flowing water.

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 Apprentice of Blades
Earth of Air

In one hand she holds a Winter Orchid (Aplectrum hyemale) with

its single white-veined leaf and a root that looks like a quartz
pebble. In the other hand she holds a primitive iron knife that is
designed to look like the plant. The orchid's flowers decorate her
hair, which is worn in a severe but elaborate style that reflects
her fascination with symmetry and detail. Serious and
intelligent, she loves knowledge for its own sake, exploring the
natural world as a scientist. She has just begun to walk the path
of the Wind Shaman, the Interpreter of Nature. She studies the
balance between form and function, observation and
measurement, planned symmetry and spontaneous creative
chaos. She offers her breath to the earth and plays the xun, an
ancient Chinese clay vessel flute. It is decorated with a Winter
Orchid seedpod, and the notes she plays become more pods
scattering seeds. Her knife is an ancient Eskimo iron savik from
northwest Greenland, made from a meteorite flake hammered
cold between basalt boulders and set in a carved bone handle.
Like the knife, the Winter Orchid is a unique blade made to
endure the cold alone. It grows in moist deciduous woods in the
eastern U.S. The bluish-green leaf sprouts in September,
survives winter under the snow, and withers in May when the
stalk of tiny purple and yellow flowers appears. The related
Cranefly Orchid (Tipularia discolor) grows in pine woods. Its leaf
has black spots and is bright purple underneath, and its flowers
appear in August. These orchids, like several other Appalachian
spring wildflowers, have nearly identical Asian relatives (Tipularia
japonica and Oreorchis patens) in mountain deciduous forests of
the Himalayas, Japan, and the Russian Far East.

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 Apprentice of Bells
Earth of Earth

She uses a mortar and pestle to grind iron ore for pigments and
smelting. Her braids show one of her simple practical skills. Her
hair is tied with antique Chinese tiger bells that are used on
shaman's clothes throughout Asia, pellet bells with soft hollow
voices that speak to cave spirits in the dark. To work in a sacred
place without interruption, she retreats to a natural sandstone
rockhouse in the forest. A rock arch or bridge further separates
her from the ordinary world as she sets out on the Earth
Shaman's path as a guide into the Underworld. She grinds
brown metallic goethite pebbles collected from the creek and
stacked into cairns. Filled with white quartz pebbles, the ore is
abundant in the sandstone as nodules, ribbonlike layers, and
petrified wood. The rounded quartz pebbles and sand are from
veins in Appalachian metamorphic rocks, carried west in a long-
lost river and deposited as delta sediments 400 million years
ago. Now this honeycomb-weathered sandstone forms
spectacular cliffs and arches in southern Illinois, Ohio, and
eastern Kentucky. There is coal in the crumbly shale above it,
and she gathers this along with forest fire charcoal as fuel for the
forge and furnace. She is drawn to collect and study all of
earth's treasures but generously uses or gives away her finds.
They are her work and her self, and this communion gives her
patience, concentration, and determination.

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GATEMAKER - Air
Traditional: Knight, Prince
Gatemakers are Initiates of Air who seek knowledge, the most precious
treasure of any craft and the one most easily lost. Through practice and
self-discipline, their understanding and control has deepened until they
have become their craft and are made of iron. They are protective iron
gates that separate the useful, domesticated elements from their wild
and often dangerous counterparts. Because of their many creative
challenges and possibilities, gates are popular projects with
blacksmiths and are among the most elaborate and complex examples
of the craft. Because of its formal beauty and its essence of finality, the
Iron Gate is a symbol for death in Siberian, ancient Greek and Roman,
and some Christian traditions. The Gatemaker may be self-taught or
have a teacher, but works independently on her chosen path and
develops her own style. She is accountable for her work but does not
yet lead others or seek recognition. She solves problems and gains
essential knowledge with every new challenge, and her creativity has a
strong intellectual aspect.
PURPOSE: Gatemakers direct those who are deeply involved in a
project, learning a difficult skill, or working through transitions. They
don't just guard the way, they create it. As aspects of She Who Touches
and Changes, they show how to eliminate obstacles, control a rapidly
changing situation, recognize personal power, and channel potentially
destructive energy in useful ways.

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 Gatemaker of Spikes
Air of Fire

Her iron body is a protective vessel for the domesticated fire of

heart, hearth, and home. She is crowned with sewing needles
that form the ribs of a magically fringed fan decorated with fiery
celestial symbols of stars and suns. The fan is used to stir up
the fire and to clear the air of all that is stale or harmful. It is
also a privacy screen that brightens any camp or dwelling, and its
magical beauty protects tent walls and house windows. Beyond
her tamed haven, the most severe and dangerous aspects of
wildfire are raging in the pyrocumulus clouds, firewhirls, and ash
devil that form above her head. She easily attracts this kind of
intensity, but can also control it with her original and innovative
ideas. In her creative work she follows the nomad's tradition of
art and magic in everyday functional objects. Her tools are
precious iron needles that were twice born in air and fire: forged,
air cooled, polished, and heat treated to be strong and sharp.
Her clothing, blankets, and tents do more than just keep out the
rain, cold, and sun. Their embroidered or woven designs are
inspiring and comforting, impervious to fear and harmful spirits.
Beautiful for their own sake, they are empowered with her
visions and perhaps with the traditional and familiar sacred
designs of her people. In this way she creates a home for others
as well as for herself. The two black widow spiders turned white
when she claimed them as helping spirits, and they taught her
how to twist her hair into ropes for the shaman's ascent to the
starry path of the Milky Way. She climbs the ropes into the sky
far above the wildfire, and returns safely with new visions that
give spirit and power to her creative work, her home, and her life.

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 Gatemaker of Coils
Air of Water

Her face peers from a thicket of iron vine tendrils in a cypress

swamp, while two egrets fly overhead out of the mist. Dreamy
and contemplative, she looks out at the wide river or the windy
lake, taking in the vastness of the water's ever-changing moods
and colors. The scene could be anywhere on the Mississippi
River from Louisiana to southern Illinois. The bald cypress trees
grow in the swamp forest where trembling earth meets dark
water. A swollen hollow trunk and vertical projections or "knees"
that arise from the roots allow the trees to breathe and keep
them from drowning.
She calls the huge plankton-feeding paddlefish from the depths.
Polyodon spathula is among the largest and most ancient
freshwater fish, but it is becoming rare due to overfishing and
pollution. This harmless, graceful swimmer is the spirit of the
unspoiled waters of the Great Lakes and midcontinent rivers,
and she weeps for a lost world. The lights hanging over her head
are the interlocking starlike bones of the "paddle" that
disarticulate and wash up on gravel bars when the fish dies. Her
tears awaken a water lotus, symbol of the love that heals and
gives soul to works of art. She is unafraid to feel, since this is
the source of her creativity. Her gifts are songs and poetry that
share emotions, dreams, memories, and imaginary worlds with
others in healing beauty.

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 Gatemaker of Blades
Air of Air

The steel blades of her fingers form her ribcage, opening to the
winds and covered in icicle daggers from the swirling arctic
stormclouds that become her breath. Two curved blades
resembling falcon talons symbolize her bold but defensive
nature, and conjure the predatory bird spirits that bring a focus
to her restless intellect. She wears an iron falcon like a helmet,
and the face above her head is an image of her concentration
and the force of her thoughts. It is ideas that motivate her, not
emotions or objects. A worthy challenge sends her thoughts
whirling with interlocking plans and possibilities. Her warrior's
mind delights in guiding their complexity towards a meaninful
goal. A forceful but intimidating communicator, she directs
anger and disorder into constructive action and can be a
powerful advocate, but can also attack with the falcon's deadly
speed. She is able to speak and act rationally in a difficult
situation, and is willing to say and do what others will not. She
understands the power of words to unite or divide, to release
anger when there is no other choice, or to break through the
impossible.

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 Gatemaker of Bells
Air of Earth

She is a bell forged in the shape of the flower, leaves, and

seedpods of Virginia Snakeroot, Aristolochia serpentaria, a
medicinal Pipevine from the southern Appalachians. The tiny
plant's common name comes from its purplish brown flower,
which looks like a snake head. She seems to be asleep or lost in
thought, but she is always growing. Her work is slow but rich and
complex, and she gives it her loving, careful attention, completely
absorbed in what she makes and in the creative power of the
changing earth. She moves at the pace of green growth
according to the seasons, sometimes exuberant, sometimes
nearly hidden. The results of her work swell with their own life
like seeds or chrysalids, ready to open out and fly. She draws on
her roots to give them wings. Although shaped like a fragrant
flower, she sprouts Pipevine leaves as if she were the plant's
gnarled, human-shaped root. Flowers of three other Pipevine
species surround her: A. coryi (Spotted Pipevine) and A. erecta
(Swanflower) from Texas, and A. watsonii (Desert Pipevine) from
Arizona and California. Desert Pipevine's blackish purple leaves
are nearly invisible among gravel in the bajada washes where it
sprouts after a little rain. All Pipevines are food plants for the
Pipevine Swallowtail butterfly (Battus philenor), whose horned
chrysalids are shown above the butterfly dancer. Pipevines are
close relatives of the wild gingers (Asarum) on the Six of Bells
card. Small and nearly invisible so close to the ground, the
flowers have the presence of sacred jars, pipes, or trumpets
because of their rich earthy colors and unique shapes. The
heart-shaped or arrow-shaped leaves are shining dark green and
purple. The voice of earthsmoke breathes through the singing
bells of the flowers.

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MADRONE - Water
Traditional: Queen
Madrones are Mothers of Water who combine emotional depth with
understanding. They balance relationships and community
responsibilities with solitary creative work. They are mature artists and
accomplished teachers with authority, confidence, and wisdom. The
Madrone knows her own worth and that of her work. She has mastered
her craft and and perfected a specialty, and others seek her out
because she creates sacred space wherever she works or lives. The
tiny mask she wears represents her soul as reflected in her work and in
those she teaches. The title "Madrone" comes from the Arizona
madrone tree (Arbutus arizonica). It grows in Sonoran Madrean
evergreen woodland from the Sierra Madre in Mexico to the "sky island"
mountain ranges of southern Arizona and southwest New Mexico.
Never abundant, madrones grow singly or in small groves among
evergreen desert oaks, Arizona cypress, Apache pine, and other trees
that are unique to this rare type of forest. They evolved in the warmer,
wetter climate that existed here before the Ice, and are related to the
rhododendron, mountain laurel, and sourwood trees of the southern
Appalachians.
For the purpose of the cards, the name includes the Arizona madrone's
better-known sisters, the Pacific madrone (A. menziesii) and Texas
madrone (A. xalapensis), and her little sisters, Manzanita and Uva Ursi
(Arctostaphylos). Her name is related to the Spanish "madre", Latin
"mater", and English "mama". She is the Great Mother who nurtures
projects and relationships as well as people, and Her presence is
especially strong in this tree whose new bark and fingerlike branches
are the color of sacred red ochre, and whose gnarled roots and trunk
have pearly gray bark with a delicate snakeskin pattern. She is
crowned with shining evergreen leaves, clouds of white urnlike flowers,
and clusters of medicinal red berries that are favorites of birds and
black bears. Her unique feminine presence is wise, sweet, and
undeniably wild, since she resists cultivation.
PURPOSE: Madrones provide compassionate wisdom about
relationships and collaboration. They inspire those who have mastered
a skill or craft and are now developing a specialty, directing others, or
teaching.

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 Madrone of Spikes
Water of Fire

With her hair scattering static electric sparks, she holds an

elaborately forged rod that grounds lightning and generates a
fulgurite, a tubelike vessel of lightning-sintered sand grains. Her
body is a madrone tree with smooth branches and pearly bark.
She shelters a Sapo or Spadefoot Toad (Scaphiopus couchii) and
scatters toad eggs and tadpoles into rain pools at her roots.
Sapos are Sonoran Desert toads that spend most of the year
sleeping underground, and only emerge for a few weeks during
the summer monsoons to lay eggs in temporary pools. For a few
nights a year, their haunting, echoing calls are the voice of a
miracle returning to the desert in the rainy dark. This Madrone
calls her children with thunder, awakens them with lightning
flashes, and nourishes them with summer rain. She is the
shower of sparks that begins a new project or relationship, and
the soothing reassurance that allows it to grow. She is
established, sustaining warmth and the sparkling light of
enthusiasm. She is also the mysterious pool that glimmers
under tangled tree roots, the dark water of desire that awakens
thirst. She has long since learned to create and protect her own
sacred living space. Rooted in the Mother's mountains, her
round hollow trunk and shining branches define "home" for forest
dwellers and visitors alike, from butterflies to wandering jaguars
to those who seek and honor the remote groves.

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 Madrone of Coils
Water of Water

Madrone flowers drift like seafoam in her coiled hair as she

releases a leatherback sea turtle hatchling into the safety of
open water. The leatherback's strong broad shoulders swim all
the oceans, carrying the reflected night sky on her back. Her
flexible shell is made of tiny bone plates covered in supple blue-
black skin for diving. She is the color of the deep sea night,
adorned with constellations and galaxies of starry white spots.
This Madrone's world of bottomless depths and swirling light light
allows her to connect and feel everything. Entranced by tiny
floating creatures as transparent and fragile as dreams, she
becomes a raft of sunlit seaweed and embraces them. Her
hands are Gulfweed (Sargassum) that shelters all the delicate
tropical life of the Gulf Stream, the great River-in-Ocean that
brings warm water to the cold north Atlantic. The sunlike Button
Jellyfish (Porpita) is bright turquoise with a glassy wheel-shaped
float. The Blue Glaucus sea slug and Violet Janthina Snail are
two of its predators. The snail lives and hunts while floating on
its own raft of bubbles. The Ocellated Crab (Portunus sebae) is
named for the false eyes on its shell, which represent this
Madrone's mirror-like qualities. She is difficult to know or see
clearly because she reflects the subconscious of anyone she
meets. Because of this, she may find others hard to reach. But
she knows when to move closer, when to dive and let go, and
when to float with the current.

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 Madrone of Blades
Water of Air

Crowned with the serrated blades of madrone leaves, she holds

a pattern-welded cane knife and an owl feather pen with a steel
nib. The knife is for cutting Giant Reed (Arundo donax) to make
papyrus for writing and musical instruments such as the
huluxiao, a Chinese gourd and reed pipe. The gourd is painted
with her totem, a Great Horned Owl with two chicks. Ancient
writing wanders like bird tracks from her pen. Wise and intense,
she has seen and learned much, but has also sacrificed and
suffered in order to gain knowledge. She records all she learns
on a papyrus scroll tied with one of her own braids. Her
emotions are deep and complex but under tight control and
directed towards creative and intellectually challenging activity.
Her mind is her gift and her weapon. She cuts through obstacles
with careful planning and thoughtful action while organizing a
maze of details. She offers wise, objective insights. But her
wisdom and experience are often won in grief and difficulty,
which has made her the keeper of the source of the River that
flows between worlds. This is the Oldest River, the One with
many names, the water of death and life, memory and
unbreakable oath, and utter forgetfulness. She reveals its
source as a comfort to those who seek her out in pain.

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 Madrone of Bells
Water of Earth

Under a cluster of madrone berries, her face appears below

painted stalactites in a mammoth shrine cave. She is an
ancient, little-known aspect of Mother Earth the Provider,
working in secret living darkness like the echo of flowing water
deep in the earth. A wet cave is alive, and gives birth to
creatures that can live nowhere else. Crystals sprout in the
breathing air, stone changes shape like flowing water and grows
rings like a tree, and round white seedlike pebbles form in the
pale moonmilk of a rimstone pool. They are cave pearls, and this
Madrone transforms them into the madrone berry bells that
adorn her hair. The two largest bells have multiple clappers that
are tiny bells themselves, each with a cave pearl inside.
Madrone berries have multiple seeds inside their red flesh, each
with its own husk. These "bells of a thousand voices" with their
many-seeded clappers are also reminiscent of the pomegranate
in the Forge card. They show that this Madrone guides
collaboration and production work, a sacred task to ensure that
resources are shared wisely and there is enough for everyone. A
mammoth skull guards the cave entrance and the source of a
spring. She nurtures children that are both wild and tame. Two
puppies lie curled up beyond the mammoth tusks, a wolf from
the spruce forest and a dog from the tribal lodge. She walks
often among her people, sharing the comfort of the earth's
abundance and offering practical support as she makes
everyday work sacred. She makes her home everywhere, but
returns to the cave of living stone to renew herself.

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SHAMAN: Fire
Traditional: King
Shamans are Tamers of Fire, shapeshifters with animal masks who live
and work in two worlds. Keeper of mysteries and creator of ritual,
expert on timing and power, the Shaman has an innate connection with
nature and is able to see from the perspective of the Middle World of
everyday life, the bright Upper World of the flying spirits, and the
shadowy Underworld of the dreaming ancestors. She forges an iron
bridge to the Otherworlds and lives surrounded by spirits that are
visible only to her. This separates her from ordinary people, so she
works alone except when she is asked for help. In her relationships
with others, she represents self-control, responsibility, a realistic self-
image, and authority as designated by others, not self-proclaimed.
PURPOSE: Shamans watch over those who are engaged in spiritual
work. They also guide ending and completion, healing, facing fears,
and solitary projects. Although each of the Shamans is assigned a
specialty, their work overlaps and divisions are not absolute.

Shaman of Spikes: Purifier

Purification of people, places, or objects. Awakening the life force.
Driving out fear or harmful spirits. Healing by extraction of intrusions.
Shaman of Coils: Healer
Healing the spirit and the subconscious. Listening with compassion.
Entering, recognizing, and balancing emotions. Restoring lost or
fragmented souls.
Shaman of Blades: Guardian
Exploring, honoring, and guarding the sacred places in nature. Wise,
rational counsel, unclouded by emotion. Scientific knowledge with
spiritual awareness.
Shaman of Bells: Psychopomp
Guiding the dead to the Otherworld. Releasing what is outworn and
accepting transformation. Attracting, recognizing, and dispersing
wealth and possessions. Identifying and initiating new shamans.

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 Shaman of Spikes
Fire of Fire

She is a mountain lion crowned with honey locust thorns and

seedpods, and wears a necklace of fossil lion teeth. Honey
locust (Gleditsia triacanthos) is a midcontinent tree that reaches
its greatest size and prickliness in Kentucky, Ohio, and southern
Illinois, where it grows among black locust in the border between
forest and grassland. Elsewhere it is a rare creekbank wanderer,
one or two trees appearing unexpectedly in a wooded ravine in
Virginia, a Sonoran Desert cienega, or among red cedar and
ponderosa pine in the escarpment forest of the High Plains. Its
huge branched thorns and rattling pods form an inviting thicket
between worlds. The Fire Shaman is the life force itself, the
passion for existence and the will to live. She impales shadows
with her blazing torch, banishing fears and purifying the
darkness. She dissolves nightmares with balls of the the
mysterious cold phosphorescence of the night forest, the green
"foxfire" of fungi and glow-worms. She uses the honey locust in
autumn ceremonies that combine both kinds of fire, the sparking
thorns and the smoky purple pods with their sweet yellow pulp
that is ripe when it is rotten, at its best after the first frost. In a
similar spring ceremony, she makes a circle of Black Urn cup
fungi to conjure a Luna Moth. Actias luna is a familiar large
moth of deciduous forests in the eastern U.S. Its big translucent
green caterpillars feed on oaks and other trees. The mushrooms
(Urnula craterium) grow on burned or rotten wood in early spring.
Their ash-gray spores rise in hissing clouds. When the cups fill
with rainwater, purification is complete, and a reborn spirit rises
in the form of a pale green moth with silver moon-eyes on its
wings.

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 Shaman of Coils
Fire of Water

Her face is a loggerhead sea turtle skull crowned with a

magnetite crystal for tracking the earth's magnetic field. It also
represents the Pole Star or "Sky Nail" that guides celestial
navigation. Living sea turtles have tiny magnetite crystals in their
heads that are thought to help them find the way back to their
nesting beach. This Shaman can wander the wide ocean or
sound the trackless, frightening waters of the spirit world and
return home safely with a healing song, a strange deep sea spirit
helper, or a lost soul riding on her back. She does not drown in
the depths of emotion or burn in the fire of pain, but combines
the two elements wisely into the energy of compassionate action.
She weeps for those who are beyond her help or who will not ask
for it when they come to her. She weeps because she is alive, as
a sea turtle weeps to keep sand out of her eyes when she comes
to shore to lay eggs. Her iron manta ray mask holds floating
shells of Spirula cephalopods, tiny squidlike creatures that glow
like lighting bugs. The manta's eyes stare into the eyes and
tentacles of a giant squid from the abyss, a guide among
seafloor mountains and chasms. Hands of charred driftwood
rise out of the waves, cypress roots that were burned in a swamp
fire and swept out to sea in a storm, holding the smoldering
memory of a hurricane. Mantas are pelagic and do not usually
swim close to shore, but rarely they will leap and fly in the surf. A
manta can lift the spirit of one who runs on the beach, and carry
it as easily as driftwood before setting it gently down at the edge
of the waves.

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 Shaman of Blades
Fire of Air

Masked as a Snowy Owl, she holds claw-shaped ceremonial

knives on poles adorned with masks of her spirit helpers. The
poles indicate her role as finder and guardian of the earth's
sacred places, and she uses them when mapping hidden lines of
power, guiding others, or marking new paths or sites to explore.
She is a naturalist and interpreter who offers scientific
knowledge in the form of chants, tales, and magical songs.
Resisting emotional entanglements, she is a keen observer and
an attentive listener. She relies on intellect and experience to
give her an overview of complicated situations, and speaks only
when it is necessary. Her words are rational, truthful, and
luminous. They uncover the heart of a problem and end conflict.
An expert on the geography of all worlds, she uses an owl bone
spiritcatcher to capture and return lost souls with her breath.
Her journeys take her farther into the Upperworld than she is
able to fly, so she calls the pale smoke-bridges that appear when
she burns a piece of reindeer antler under the horned moon.
Her feathers hold the shimmering clarity of new snow. The
Snowy Owl nests in the Arctic but is an erratic winter visitor to the
U.S. She can turn up anywhere, yellow eyes glowing like the
polar moon, glacier feathers vanishing in frost and a few words
of poetry.

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 Shaman of Bells
Fire of Earth

A dancing Turkey Vulture plays primitive percussion instruments,

travelling to other worlds on their ancient rhythms. Her skull is
an egg hatching a baby vulture shaman, since she finds those
who are called to the shaman's path and guides them through
initiation. In Siberia, the Eurasian Black Vulture is the mother of
shamans. Old World vultures are related to hawks, but New
World vultures are related to ibises (see Seven of Blades). The
Turkey Vulture eats only carrion, and her scientific name,
Cathartes aura, means the "golden purifier" for the iridescent
sheen on her dark brown feathers. An expert glider, she circles
on the thermals that rise over rivers and canyons, and perches
totem-like with wings spread wide, sunning herself. She lives in
the Upperworld but her children are hatched in dark stone
hollows at the entrance to the Underworld. She watches for the
stillness of death, and as Eater of the Dead she is a guide for
wandering ghosts. She initiates rot but clears away decay and
poison, releasing the chemicals of life back to the earth, freeing
spirits and preparing the way for new life.
She plays instruments from ancient Mediterranean tradition.
The clattering bones are cut from sheep, cow, horse, or elk ribs.
The rattles are dried pomegranates with iron handles and a
dipper gourd painted like a pomegranate. These associate her
with Roman Pluto and Mongolian Erlik, rulers of the Underworld
and gods of wealth. Since she does not grasp material wealth
tightly, it flows easily to her and she scatters it freely. A
tambourine with jingling iron discs carries souls across the
Oldest River, either in return to life after illness or on their final
journey to the Hidden Land. The iron bells she wears are forged
from her own feathers, for this is Ironwing herself, continually
transforming herself through her work with the earth, the spirits,
and her craft.

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BONE COLLECTOR
For those who call me Vulture's child,
Roadside necromancer,
Remember I know
The tatty ghouls will come for me too,
My own hair will be made new in feathers
The color of rotting acorns
Yet shining.

VULTURE TOTEM
She-Vulture, my guide into dark rooms behind the sky:
I heard your sunfaded feathers creaking
When you turned and recognized me.
Eyehunter, rocking in the air,
Spiral dancer over the Oldest River,
Your feathers weigh more than your bones.
Without talons, you need be no warrior.
In the egg you inherit all.
Silent one, eater of the dark, your head is the Red Earth.
Your feathers are charred bone, weathered bronze,
Last winter's acorns.
You have been called the Shining One Who Purifies,
Yet all shrink from your faded black cloak,
Though it is jewelled with scarabs and edged with gold.
Beauty too strange for most, no healer for the living,
Treading heavily under a weight of fear, you work
Despised, worshipped, or merely necessary,
To free a soul from a broken house of flesh.
From stagnant shadows in a cracked cliffhouse
You view your eternities with mild brown eyes,
Resigned to the carrion cradle, the skeleton temple,
The divining well that tastes of millipedes and rot,
A black mirror in an old branch scar that gives you
A clear view of both sides of the Oldest River.
You are bonelight of the returning moon.
Dusty vagabond on all roads to death,
Ragged psychopomp,
Worn gatekeeper to the Hidden Land,
Sure flyer on an old, high path:
I have felt your soaring shadow across my back,
So I will treasure your wingfeathers.

- 109 -
The Ironwing Tarot
Art and text copyright 2004
by Lorena Babcock Moore
www.mineralarts.com