The Robin Wood Tarot: The Book

A Livingtree Book / July 1998

Second Printing May 1999

e-Book November 2013

All rights reserved

Copyright © 1998 by Robin Wood

Paperback Library of Congress Catalog Card Number: 98-091568

Paperback ISBN: 0-9652984-1-8

Book Design by Robin Wood

Cover © Robin Wood 1998

Tarot Cards © Robin Wood 1991

Chapter Heading Illustrations © Robin Wood 2013

No part of this book may be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying, recording, or by any information
storage and retrieval system, without permission in writing from the publisher.

For information contact:

Robin Wood
3319 Greenfield Rd. #102
Dearborn, MI 48120

or visit our website at:

http://robinwood.com
Front Cover
Title Page
Foreword
Chapter 1 - This Book
Chapter 2 - The True History of the Tarot
Chapter 3 - History Theories
Chapter 4 - History of the Robin Wood Tarot
Chapter 5 - Common Symbols
Chapter 6 - The Major Arcana
Chapter 7 - Pentacles
Chapter 8 - Swords
Chapter 9 - Wands
Chapter 10 - Cups
Chapter 11 - How Does it Work?
Chapter 12 - Beginning Reading
Chapter 13 - Tarot Ethics
Chapter 14 - Spreads
Appendix A - The Blind Men and the Elephant
Appendix B - The Story of Persephone
Appendix C - The Wheel of the Year
Appendix D - Rules for Tarocchi
Appendix E - History in Pictures
Card List
Bibliography
 This book is dedicated to the unknown people who first developed the
Tarot, to all those who helped me, and put up with me, and fed me, and
posed for me while I was making the Robin Wood Tarot, and to everyone
who bought one of the decks,
and enjoyed the cards.
Thank you all. I owe you more than I can say.
But most of all, Thanks to my wonderful husband,
Michael Short,
without whose hours of patient work, loving care, and rummaging for
ISBN programs on the Internet,
this book would not have been possible.
I love you!
 Foreword
All Right.
You Win.1
 1 This footnote doesn’t count against the “four word” word count,* but may serve
to explain. You see, for many years now (ever since the Robin Wood Tarot came
out,) people have been asking me for a book explaining all of the symbolism for
each card. For just as many years, I have been trying to get someone else to write
this book, or waiting for people to stop asking me, or just plain putting it off. Now,
however, I am writing it. So all those people who have been after me for so long
finally win.
* Footnote to the footnote (is that allowed?) Why not take the term four word
literally? Writing as Haiku, only different!
 This Book
In 1979, I became interested in the study of the Tarot, and began
my journey along that path.
This book is my way of sharing that journey with you, because so
many people have asked me to help them with their own exploration
of the Tarot.
Here, I will share with you what I have discovered about the origins
of these cards, and how they evolved into the tool that we have today.
I will also give you the history of my own deck, the Robin Wood
Tarot; why I decided to make it, and what happened after that
decision was made.
I’ll discuss the “language” of the Tarot, the symbols and colors that
are common to many decks, and the patterns that I saw emerging
from them, and so used in my own. To put it as simply as possible, my
interpretations of the various common symbols.
There will be a section where I explore how the Tarot works; both
the reasons that I have heard from various people, and the reason that
I have found for myself.
The bulk of this book will be given to a detailed discussion of why I
choose the particular symbols that appear on each card; what I was
thinking at the time, and what those symbols mean to me.
I’ll also teach you how to go about reading the cards, the way I
teach it to my students. These are the methods that I recommend,
including preparing yourself and the space that you will be using.
Finally, I’ll speak briefly about “spreads,” the patterns in which the
cards are laid out. I’m not going to go into exhaustive detail there,
though, because the book quickly became far larger than I had
anticipated. I originally intended to make a companion workbook
instead; but it hasn't happened, and I'm not sure it ever will. I'm sorry.
Throughout this book, I will emphasize the secret of reading the
Tarot. It’s simply this. Trust your own instincts!
When you lay out the cards, in whatever pattern you choose to use,
you will get an immediate, visceral response to them. Use it.
The cards work beautifully as a gateway to open your own
awareness of what is happening at a very subtle level, and to allow
you to pick up information from things you are not even aware of
intellectually.
I advise you to allow this to happen. Don’t hinder the process by
looking everything up in a book (not even this one!) The meanings in
the books are sometimes contradictory, sometimes confusing, and
sometimes they will feel odd to you. The meanings in your heart,
when you look at the cards actually spread out before you, are far
more likely to be accurate.
This is because the meanings of every card depend on the other
cards in the spread with them. Since it’s impossible to give all the
combinations of cards in a book, it’s just skipped altogether. This isn’t
accurate, but it’s the best compromise possible under the
circumstances. But don’t be fooled! The meanings given in isolation
are not the actual, only, totally accurate meanings of the card.
I’ve been teaching people in workshops and gatherings all over the
country to read by tossing the book, and letting the cards speak to
them, for many years now. A few people are made nervous by this
approach. They have asked me if just looking at the cards doesn’t
unbalance the meanings. If a card never looks to a Reader as if it
means what it’s “supposed” to mean, then isn’t that concept missing
from the deck?
I don’t think so. In my experience, a reader who cannot see the
traditional meaning in one card will find that very meaning in
another. So my advice is not to worry about it. It all comes out in the
wash.
But, and I cannot emphasize this point enough, that is my opinion.
In fact, nearly everything in this book is my opinion. It’s not gospel,
it’s not the one right way, and just because it’s true for me doesn’t
necessarily mean that it will be true for you!
We are individuals, and we each bring our own unique perspective
to everything we do.
The only things in this book that I will tell you without any room
for disagreement are absolutely true are the things about me. Where I
was, what I was doing, my reasoning behind things, and so on. I know
these things, and that’s that! But those are the only things I do know,
with absolute certainty.
Even the “facts” given in the chapter about the History of the Tarot
may be faulty. I’m depending on other people for research here,
because my publisher (who is me) won’t fly me to Paris to look things
up for myself. And if I did get there it would do me little good,
because my French is virtually non-existent!
So you can see that I’m not about to argue with you about the
meanings behind the more esoteric things in this book. I think that the
color yellow represents joy and vitality, for instance. If you think of a
yellow traffic light when you see this color, and for you it means
“proceed with caution,” then that is what it means when you are
reading the cards!
Do you see?
This whole business of reading the Tarot is a partnership between
the person who designed the deck, and the one who is reading. I put
certain symbols there, but you are the one who has to interpret them.
I did my best to make them as clear as I could; but they are, when you
get down to it, those symbols that had meaning for me, that evoked
the response I needed to each of the cards in the deck.
That is why it’s so important that you pick a deck that feels “right”
to you, that uses the symbols that you are comfortable with. And if
that isn’t mine, that’s OK too! I mean, sure, I’d like everyone to have a
copy of my deck. Who wouldn’t? But I long ago got over the feeling
that everyone has to agree with me, or my opinions are valueless.
A lot of people have written to me, and told me how much they
enjoy my deck and how well it works for them. And that makes me
very happy. But people, it’s not the only deck out there, by a long
shot.
And even if it’s the one you like best, and I have to assume that you
like something about it, or you wouldn’t be reading this book, I’ll bet
that the interpretations that I give to some of the cards are different
than the ones you use.
And that’s fine!
Remember that as you read this book. If something that I say just
doesn’t fit in with your world view, then don’t get upset. We can agree
to disagree. It’s like the story of The Blind Men and the Elephant.
(Which is in Appendix A, in case you aren’t familiar with the story.)
I’ll listen to your view, and you listen to mine, and perhaps we can
triangulate, and compare, and between them we might actually get a
better picture of the shape of the whole animal!
That being said, let’s begin our exploration of the Tarot in general,
and my own deck in particular.
 The True History of the Tarot
The true history of the tarot can be told in a single sentence.
No one knows, and does it really make any difference?
 History Theories
While I was doing the research for this chapter, I found so many
conflicting theories, and refutations of those theories, that I was left
with the feeling that, in an attempt to make the whole thing even
more mystical and magical than it already is, someone had been
fudging.
But as I dug deeper, a picture began to emerge, mainly because
several of the most recent authors knew who had been doing the
obfuscation, and weren’t afraid to expose the guilty parties.
Now, I’m assuming that their research was correct. I don’t have the
budget to go to France (where most of it seems to have happened) to
check it out myself.
But here is what I’ve found, and the names of those who provided
the various bits of information.
Playing cards seem to have appeared sometime in the fourteenth
century.
Barbara G. Walker, in The Secrets of the Tarot,1 states that “Tarot
cards were the ancestors of modern playing cards” as if it were a fact,
and goes on to assure us that the Trumps were suppressed by the
Church; but she gives no evidence to support this.
Sally Gearhart and Susan Rennie, in A Feminist Tarot,2 tell us that
the earliest deck still in existence is composed of 17 cards, now in the
possession of the Bibliotheque National in Paris, that belonged to
Charles VI of France. They note that the court treasurer showed
payment to an artist named Jacquemin Gringoneur for 3 packs of
these cards in 1392. (They don’t, however, tell us how much he was
paid.) I find this amusing for a couple of reasons. The first is that
Charles VI of France was also known as Charles the Mad, and the
Grolier encyclopedia says that his bouts of insanity began in 1392.
The second is that according to Walker the cards were banned in Paris
in 1397, only 5 years later. (Since we still have them, the king must
have been allowed to keep his deck.)
Ronald Decker, Thierry Depaulis & Michael Dummett, in A Wicked
Pack of Cards,3 on the other hand, say that the proof of payment and
the existence of the Charles VI deck as proof of a fourteenth century
date for Tarot cards was “propagated in 1842 by the French
antiquarian M.C. Leber.” They point out that the payment did happen,
and that there is a deck, which was in the collection of Roger de
Gaignières in France by 1698 at the latest; but there is no evidence
that the cards are Gringonneur’s, or that Gringonneur’s cards were
Tarot cards, which they say were not generally known in France
before the Sixteenth century. They point out, as well, that this was
first noted by W.A. Chatto in 1848, and again by R. Merlin in 1869.
Using the normal scholarly method of dating artwork by costume,
artistic style and close similarity of design with other work, whose
dates are known, (in this case a deck made for Ercole I d’Este, Duke of
Ferrara or his predecessor Borso d’Este,) the “Charles VI” tarots are
now commonly identified as having been painted by a Ferrarese artist
in about 1480.
Anthony Lewis, in Tarot Plain and Simple,4 says the first mention of
the Tarot is when King Alfonse XI of Leon and Castile issued a
proclamation banning its use in 1332. By the end of that century, says
Walker, lots of places had banned them, starting with Florence in
1376 followed by Germany in 1378, Marseilles in 1381, and so on. (I
have been unable to verify any of that; but then, I don’t have a law
library or anything of the sort handy, and I couldn’t find the
information on the internet.)
In fact, most of the authors that I examined who placed the date of
the earliest decks sometime in the 1300s, seem to use as evidence the
banning of decks. But Cynthia Giles, in The Tarot: History, Mystery and
Lore5 states that these bannings may have been based more in
economics than in morality. She says that in 1441 the Magistracy of
Venice banned the importation of cards to protect its own card-
making industry, and by 1464 England had done the same. But, as she
also points out, we don’t know what proportion of those cards banned
had trumps. She also states that there was a four suited deck before
there were trumps, and says that in 1377 a Swiss monk mentioned a
four suited deck, but made no mention of trumps.
Decker et al state that all of these were regular playing cards, which
they say “reached Europe from the Islamic world in the second half of
the XIV century in a form with fifty-two cards, consisting of four suits
of ten numeral cards and three court cards each.” They further state
that the suit signs used on the Tarot cards were those used on normal
Italian cards until the end of the fifteenth century. The suits that we
have now in English speaking countries are actually a French design
that employed stencils, and therefore was easier (and cheaper) to
make than the previous ones, which needed woodcuts. It was a
marketing coup that occurred in about 1470, they tell us. They go on
to say these suit signs are by no means the universal ones we tend to
think they are.
They place the date of the earliest deck of Tarot cards as 1450, and
base this on a letter, written by Duke Francesco Sforza to his treasurer,
asking that a Tarot pack be sent to him, or, if one couldn’t be found,
“an ordinary deck of playing cards.”
They further state that all fifteenth century references specifically to
the Tarot (as opposed to cards) are from Italy, and that is where they
were invented. From there they spread to France and Switzerland,
due, they are sure, to the wars. And from there, I presume, to the rest
of Europe.
Both Decker et al and Giles say that the Trumps appeared in the
fifteenth century.
The evidence is overwhelming that, whenever and wherever the
Tarot was invented, it was mostly used in a family of games known
collectively as Trionfi, Tarocchi, Tarrock, Triumphs, or Trumps. (A set
of rules for one variation of this game is given in Appendix D.)
Decker et al say that the game originated among the upper classes,
and was picked up by the lower ones. As evidence they state that the
earliest painted decks that survive are older than the oldest printed
decks, which would have been used by the masses.
Giles quotes Robert V. O’Neill, from his book Tarot Symbolism,
which I was unable to get, who uses very well reasoned arguments to
show that it went the other way ‘round. He points out that the hand-
painted decks of the nobility were much more likely to be saved than
the cheap woodcut ones of the peasants. He also observes that the
printed decks we do have have “more interesting symbolism than the
painted ones.” By which he means that the painted ones seem to be
toned down, as if to suit the delicate sensibilities of ladies. He also
says that there is not a single Devil or Tower card left among the 7
partial decks derived from one Bonifacio Bembo (an early Tarot artist,
who, according to Giles, was working sometime after 1440, and
painted several decks known as the Visconti decks) and that the odds
“of losing these cards by chance among the surviving decks is twelve
in 10,000.” He argues that they weren’t lost, they were never made,
because they weren’t considered suitable for Royal Ladies.
No matter which way it went, we know that these games became
immensely popular, and were played by all social classes all over
Europe for centuries.
The only actual evidence that I could find that they were used for
anything other than games comes from Decker et al, who say that in
Italy, in the seventeenth century, they were being used in “a curious
minor verse form known as tarocchi appropriati. The poet selected
twenty-two people from some group…and assigned one of the trumps
(including the … Fool) to each of them.” Then each would be
described using a verse which included the name of the Trump card.
But this was neither esoteric nor divinatory. They also describe several
other games which use the names of the cards, or verses printed on
them, for amusement. And they mention two Discorsi (orations) from
the sixteenth century which attempt to find meanings in the cards; but
they state that the “proposed interpretations” were neither plausible
nor esoteric.
None of the other authors had any evidence that the cards were
used for anything except playing one form or another of Tarocchi, if
you discount the few who still hold to the idea that they came from
Egypt with the Gypsies, and they used them as we do.
And I think that’s safe to discount, since the Gypsies didn’t come
from Egypt, but from India, (where, according to the Grolier
Multimedia Encyclopedia, they were know as Dom,) arriving in
Europe, according to Giles, in 1411. Giles (among others) also points
out that when the Romany people tell fortunes, they generally engage
in palmistry. When they do use cards (and she says there is no
evidence that they ever did before the 18th century) they used, and
still use, an ordinary deck. (And, in fact, I can add here from my own
experience that the only person I know who was taught to read cards
by her mother, who was taught by her mother, and down through the
generations, was taught to use a regular deck, not a Tarot deck.)
Decker et al write that the whole Gypsy connection was first
explored (as opposed to mentioned; de Geblein mentioned it in the
eighteenth century) by a writer named Boiteau d’Ambly in Les Cartes à
jouer et la cartomancie (Playing Cards and Cartomancy) published in
Paris in 1854. Interestingly, he asserted that the cards came from
India, not from Egypt. He also thought that they were unknown in the
Islamic world. So he arrived at the conclusion that they skipped it by
coming into Europe with the Gypsies, who came from India.
The problems with this theory, they point out, is that cards were
known in the Islamic world, and that the Gypsies first came to Europe
in 1417, (six years later than the date given by Giles. The
Encyclopedia simply says “early fifteenth century.”) reaching Italy in
1422 and not arriving in France until 1427. This was before the Tarot,
but not before playing cards in general, which they say were known in
Catalonia by 1370. So Gypsies cannot have brought them. (Unless, of
course, they shipped them on ahead.)
While we are talking about the Gypsies, the Gypsy theory seems to
have been fixed by a book called Les Rômes: Histoire vraie des vrais
bohémiens (The Romanies: The True History of the Gypsies) published
in Paris in 1857 and written by Jean-Alexandre Vaillant. But,
according to Decker et al, he made most of it up. They also seem to
think that it wasn’t really his fault, and tell us that he was suffering
from a kind of intellectual split personality. In this book, he not only
says the Tarot was used by Gypsies, and had been from antiquity, but
according to Decker et al, he also says that the Gypsies are responsible
for everything else; from civilization itself, to the cults of Diana and
Apollo, to a myth of Isa-Kris’ten, “a sun god introduced in India in the
eleventh century B.C., [who] gave rise to the myth of Jesus Christ.”
He seems, at the least, to have been very confused.
But Eliphas Lévi (of whom we will learn more later,) believed him,
and that clinched it, because, as we shall see, lots of people based
their work on his.
In fact, Giles (among others) points out that although much was
written about esoterica, including alchemy, astrology, natural magic,
and so on all through this period, there is no mention at all about the
Tarot.
(Decker et al think that’s why the Gypsy theory holds so much
attraction for occultists; if it were true, it’s evidence that the Tarot was
always used in an esoteric manner, and fills “the void created by the
absence of any mention [of such use] before 1781.”)
However, there is plenty that we know about the games, and about
the designs on the cards themselves.
At the earliest stage, most of my sources agree, there were no
numbers on the trumps. Players were expected to memorize their
rank, much, I suppose, as they were expected to memorize the rank of
the people all around them. There was also some diversion in exactly
what pictures appeared, and what they were called. The Magician, for
instance, was often called The Mountebank, the Hermit is sometimes
The Hunchback and appears with an hourglass, and so on.
Eventually they were given numbers, but according to all the
authors who had anything to say about the matter, these did not
always agree.
 Decker et al also give an interesting history of cards as a whole,
stating that the suit signs that we see now on Tarot cards (Cups, Coins
or Pentacles, Swords, and Batons or Wands) came from the Islamic
suits of Cups, Coins, Swords, and Polo-Sticks. The Polo-Sticks changed,
because Polo wasn’t played in Europe at the time. They further state
that the Italian suits remained Cups, Coins, Swords and Batons for a
long time, while other countries experimented with other suits.
And, they tell us, the extra court-card in the Tarot deck (as opposed
to the ordinary deck) is not the Knight, but the Queen! They explain
that in ordinary Italian and Spanish packs the three court cards are
the King, the Knight, and the Jack. They hypothesize that the Queen
comes from early decks which had six court figures, like one painted
in Milan in around 1441, where each rank had both male and female.
If the Dame and Maid were dropped, that leaves the four we are used
to.
If the Tarot did, indeed, originate in Italy, as they contend, this
would make sense, and would also mean that the only cards added to
the then normal deck were the Trumps themselves. The rest of the
deck was left unchanged.
So, we have a set of cards that were used to play a family of games
that became extremely popular. Decker et al state that they were
eventually played all over Europe, with the exception of Britain and
the Iberian peninsula. The heyday of the games, they tell us, was the
century between 1750 and 1850.
However, even during that time, other forms of entertainment,
newer and therefore more fashionable, had edged the Tarot into
obscurity in some places. One of these places appears to have been
Paris, where the game was considered obsolete by the middle of the
eighteenth century.
So, let us look at Paris in the 1770s.
It was a time when Secret Societies were all the rage. Freemasonry,
which had begun in England on June 24, 1717, according to the
Encyclopedia, had spread into Paris.
Hermeticism, based on the writings of Greek scholars living in Egypt
between 50 and 300 CE was also widespread. Hermetic literature,
according to Howard Batchelor, writing for The New Grolier Multimedia
Encyclopedia, was written in Greek and Latin, and concerned
philosophical, theological and occult topics. These essays were all
attributed to Hermes Trismegistos, which means “Thrice-Great
Hermes,” and is the name the Greeks gave to the Egyptian god Thoth,
who was “patron of the literary arts and originator of all mystical
wisdom.” They dealt with everything from alchemy and astrology to
divine revelation, and the idea that humanity could be redeemed
through the knowledge of God.
According to Giles, this literature is mainly written as dialogs with
Hermes. When it was discovered in the Renaissance, it was all taken
literally. So by the 18th century, it was firmly established in occult
circles that anything wonderful and magical was obviously Egyptian.
At this time, as well, the Rosetta Stone had yet to be found (that
happened in August 1779, when some of Napoleon’s soldiers stumbled
across it while conducting “engineering works” at Fort Julien, some
35 miles east of Alexandria) let alone deciphered (which was done by
Jean Francois Champollion in 1822.) So it was still widely believed,
according to several sources, that the hieroglyphics held all the
wisdom of the ages, which had been lost with the library at
Alexandria.
Occult scholars at the time assumed that everything written in this
wonderful, magical, indecipherable script had to be lost knowledge
from Hermes Trismegistos himself. And therefore, since the
hieroglyphics were pictures, anything magical that was in a picture
script was known as “hieroglyphics.”
Into this milieu came a Swiss Protestant pastor named Antoine
Court de Gébelin in 1762. His father, Antoine Court, had been a
prominent French Protestant pastor, who had fled the Protestant
Persecutions in France in 1729, and moved to Switzerland. Richard
Roberts, in The Original Tarot and You6 says that Court de Gébelin was
born in 1728. But Decker et al say that there is some doubt about this
date.
In any case, he joined the Freemason’s Lodge of Les Amis Réunis
when he got to Paris, eventually joining and becoming the secretary of
the Lodge of Les Neuf Soeurs (the very same one that Voltaire and
Benjamin Franklin belonged to) in 1778. In 1780 he left it to found
the Société Apollonienne, where he was President, and which
eventually became the Musée de Paris, which, Decker et al tell us, was
not “a museum in our sense, but a center for lectures, readings, and
discussions.” He retained his membership in Les Amis Réunis, and,
they say, was one of seven twelfth degree masons in that lodge by
1783.
All of which shows that he was very active in the occult, mystical
circles in Paris at that time.
He was also a writer and sold books by subscription, which was a
common practice then. One of these was a many volumed work, never
completed, called Monde Primitif (The Primitive World.) In it,
according to Decker et al, he hypothesized a golden age, before there
was such a thing as cultural diversity, when the original civilization
flourished, and all men had a common language, common customs,
common culture, and common religion. He further stated that by an
etymological study of known languages he could reconstruct that
common language, along with the primitive, 16 letter alphabet. Most
of the books, they tell us, are concerned with these deductions. If you
are interested, Decker et al have several in their book.
The important thing about it here, though, is that sometime
between 1773, when de Gébelin published the outline for these books,
and 1778 when he wrote about the Tarot, he was invited to a dinner
party in Paris. There, according to his own essay as quoted by Decker
et al, “We found [our hostess] occupied in playing this game with
some other people. We play a game which you surely do not know. -
That may be; what is it?- The game of Tarots. - I have had occasion to
see it when I was very young, but I have no idea of it. - It is a
rhapsody of the most bizarre, the most extravagant figures … I
scrutinize them, and suddenly I recognize the allegory: everyone
abandons the game and comes to look at this marvellous pack of cards
in which I have perceived what they have never seen. Each one shows
me another of the cards: in a quarter of an hour the pack has been run
through, explained, declared Egyptian; and since this is in no way the
product of our imagination, but the effect of the deliberate and
perceptible connections of this pack with everything that is known of
Egyptian ideas, we promised ourselves one day to make it known to
the public.”
This essay was published, according to Decker et al, in Volume IV of
his Monde Primitif in 1776. Giles says he wrote a history of the Tarot
in a book called Le Jeu des Cartes in 1781. He seems to have written
about the Tarot quite a bit, and what he wrote was widely
disseminated among the mystical, esoteric, occult thinkers of the day.
He went on to “intuit” lots of other things about the deck, such as
the word TARO being composed of the Egyptian words ‘Tar’ meaning
‘road’ and ‘Ros or Rog’ meaning ‘royal.’ And remember, he did this
before the Rosetta Stone. Unfortunately, it turns out that there were
no such words. He also states that the Tarot is actually an Egyptian
book, the last remnant of the magnificent libraries of Egypt, and
explains that it was written on plates, in spite of the fact that the
Egyptians used scrolls.
Interestingly enough, another writer in Paris at the around the same
time also thought the cards were Egyptian in origin. His essay appears
in one of de Gébelin’s volumes, and is signed M. le C. de M., which
Decker et al suppose means Louis-Raphaël-Lucrèce de Fayolle, comte
de Mellet. They state their reasons for this identification, but I don’t
have room for them here. In any case, his essay seems to pre-date de
Geblin’s, since it never refers once to that one, which would be
unthinkable in society at that time. His conclusions differ from de
Geblin’s in a number of particulars; most notably, his is the first
published account to assume that the Tarot is The Book of Thoth. He
arrives at this hypothesis by breaking the word Tarot into ‘T,’ a
definite article, and ‘Rosh,’ which means Thoth. Obviously, he
concludes, the whole thing is descended from Hermes Trismegistus.
And so the idea of the Tarot as Egyptian still lingers. In fact, several
of the authors that I examined still have this down as fact, and list de
Gébelin as their authority. This, I assume, is because, as Decker et al
say, most occult writers simply quote other occult writers, without
examining the facts themselves. Much as I am doing now, I’m afraid!
So, now the idea of the Tarot as Egyptian is firmly established in the
esoteric community in Paris. But it’s still considered collected wisdom.
How did it come to be used for divination?
To answer that question, we have to turn to another player in this
drama, one Jean-Baptiste Alliette, better known as Etteilla. According
to several of my sources, he was a professional cartomancer working
in Paris, who, Decker et al say, had published a book about Fortune
Telling using an “ordinary French pack of 32 cards, supplemented by
one other” in Amsterdam in 1770. It was called Etteilla, ou maniére de
se récréer avec un jeu de cartes (Etteilla, or a way to entertain oneself
with a pack of cards.)
Now, he was not the first to use cards for divination. Decker et al
state that a 62 card Tarocco bolognese, which “differed greatly” from
the Tarot de Marseilles, which had become the standardized deck, was
used to tell fortunes in Bologna as early as the middle of the
eighteenth century. In fact, they quote a “single loose manuscript
sheet giving cartomantic interpretations of 35 cards of the Tarocco
bolognese [which] was discovered by Franco Pratesi in the Library of
the University of Bologna.” They also state that there exists a double-
headed Tarocco bolognese pack from the 1820s, where all the
divinatory meanings are written by hand at each end of every card.
And they cite some evidence that cartomancy was being used in
Russia in the eighteenth century, as well.
In any case, it seems that it was Etteilla who, (besides apparently
coining the term Carotonomancy, later shortened to Cartomancy)
popularized the Tarot as a divinatory system, as all the sources who
mention him at all seem to agree.
He published a number of books dealing with the subject, as well as
whole-heartedly embracing the Egyptian origin of the deck. In fact, he
went so far as to intuit that the “vile cardmakers” had gotten the
numbering all wrong, and made several other mistakes in the deck,
and claimed to “rectify” the cards by going back to what he was sure
was the “original Egyptian” order and motifs.
He also added a few other things to the lore of the Tarot. It was his
contention (supported, as far as we know, only by his own intuition)
that the Book of Thoth, as it was known, was designed by seventeen
magi led by Hermes Trismegistus in the 171st year after the Flood. He
also divined that the first copy was inscribed on “leaves of gold,”
which were arranged in a fire temple at Memphis. He even went so far
as to explain exactly how they were so arranged!
He went on to print his interpretations of the cards, and to form a
society called the Société des Interprètes du Livre de Thot (Society to
Interpret the Book of Thoth,) which seems to have helped defray the
costs of printing. (Reproductions of his deck, by the way, are still
available if you are interested, under the title Grand Etteilla Egyptian
Gypsies Tarot. Amazon.com lists it as out of print, but you may still be
able to find it.)
Etteilla, too, according to Decker et al, was the first to try to marry
the Tarot to the wider occult traditions of the time, including
astrology.
He was followed by a number of students and disciples, who kept
his traditions and theories alive until they were discovered by a man
called Eliphas Lévi Zahed, or simply Eliphas Lévi, who was born
Alphonse Louis Constant in 1810. A failed Catholic Priest, he became
interested in the occult in 1852, and it quickly absorbed all his energy.
He believed that the Jews were the source of all magical teachings,
which is why he changed his name, but he seems to have had no
problem combining that belief with Hermetic writings and philosophy.
In fact, he excelled in combining all the known occult systems,
creating a synthesis from them which forms the basis of Western
Magical Tradition to this day. (We won’t call this “mushing them all
up together.” That would be rude.) Actually this process, according to
Decker et al, had begun far earlier, in the Renaissance. But by the
middle of the nineteenth century, High Magic was failing in Europe.
Cartomancy and other forms of divination prospered, and people still
wanted talismans and spells, but, they say, the occult sciences that
“offered a conception of the working of the cosmos appeared at last to
have withered.”
Lévi revivified it.
In the process, according to several sources, he returned the Tarot to
a form based on the Tarot de Marseille, (he seems to have despised
Etteilla) and he also revived the idea that de Mellet had; that the
twenty-two trumps corresponded with the twenty-two letters of the
Hebrew alphabet. So he drew correspondences, and attached the
Cabala to the Tarot.
Decker et al point out that if Etteilla was wrong in ascribing the
cards to the Hermetic literature, which didn’t show up in Europe until
several decades after the Tarot, then Lévi was even more wrong in
assigning them Cabalistic significance, since the Cabala was not
translated for the Christian public until 1486.
They say that Lévi’s claim that the Tarot “was known to all nations
of the ancient world” is “preposterous,” and point out that it couldn’t
have been invented by both the Jews and the Egyptians. This,
however, doesn’t seem to have bothered Lévi himself in the slightest.
He held, in fact, that the Tarot and the Cabala were indissolubly
linked, and understanding one was impossible without the other.
There is lots more written about Lévi, if you care to look it up. But
for now, it seems that he was the one who linked the Cabala and the
Tarot firmly together, and also the one who established the Tarot as
part of the Occult tradition.
Meanwhile, contemporary with Lévi, there was another writer living
and working in Paris. (In fact, they knew each other.) His name was
Jean-Baptiste Pitois, but he was better known by one of his
pseudonyms, Paul Christian. Decker et al say outright that he was a
charlatan, and (in a phrase I just love) that he “made use of two
daring devices: the spurious quotation, and the circumstantial
historical narrative made up out of whole cloth.”
He also used a host of other pen names, including, they assert, A.
Frédéric de la Grange, under which name he wrote a book called Le
Grand Livre du Destin (The Big Book of Fate) wherein he described a
totally spurious history of cartomancy beginning in the courts of Henri
II, and continuing through a detailed story about Louis XIV consulting
a famous cartomancer, Marie Ambruget. He goes on to tell about a
tailor named Fiasson, a cartomancer who was visited by the duc
d’Orléans, incognito. This is told as a long quotation from the Memoirs
of the comte e Nocé, published at the Hague in 1733.
 The story, about Fiasson being visited by the duc along with two
companions, and how their fates, as told by Fiasson, came true has
been quoted many times.
The only problem is that it all seems to have been a work of fiction.
Decker et al tell us that there appears to have never been any such
book as the Mémoires; and the rest of it is also entirely fake.
Unless they are also making use of the “bold literary device,” I am
inclined to believe Decker et al. They have, after all, five and a half
pages of bibliography, in nine point type, including de la Grange’s
book. If there had been a book called Mémoires by the comte e Nocé, I
think they would have found it.
Hortensius Flamel, who wrote Le Livre rouge (The Red Book) in 1841
and Le Livre d’or (The Golden Book) in 1842 appears to have been
another name used by Pitois. That being the case, everything in them
is suspect. What makes it worse is that he seems to have periodically
put a bit of truth into these works of pseudo-history. Decker et al, for
instance, assure us that the quotations from Charles Fourier, who
made talismans, are accurate, or at least actually exist.
But when dealing with an author who is known to take delight in
fooling his audience, as Pitois seems to have done, it’s best to look
elsewhere for the truth.
This is really sad, because, as Paul Christian, Pitois contributed a lot
of things to the mythos of the Tarot.
For instance, Susan Gerulskis-Estes, in The Book of the Tarot7 in her
chapter Origin of the Tarot states that the “twenty-two pictures of the
Major Arcana were painted on the walls of an Egyptian initiation
chamber located in the lower chambers of the Sphinx. In order to be
initiated into the order of Hermes-Thoth, the neophyte was taken
through the gallery by a member of the order who would explain the
symbolic meaning of the twenty-two pictures.” She appears to be
quoting from de Gébelin here, and states that he wrote in 1392 that
the Tarot was actually a book saved from the destruction of a temple
in Egypt by fire.
Since he was born over 300 years after that date, we’ll assume it
was a simple error on her part.
But the story about the temple is pure fiction, and was devised by
Paul Christian, who, by the way, consistently referred to Hermes
Trismegistus as Hermes-Thoth.
This one, so Decker et al tell us, comes from his Histoire de la magie,
du monde surnatural et de la fatalité à travers les temps et les peuples,
(History of magic, the supernatural world and prophecy covering the
passage of time and the people) published in 1869, and translated into
English in 1952.
Unfortunately, it became required reading among students of the
occult.
There, in Book II, Decker et al say, he put “the … most impudent
[piece] of invention” in the whole Histoire. It is an account of the
Egyptian mysteries, including a very detailed description of the
initiation sequence given above, reputed to have been quoted from a
manuscript left by “Iamblichus, who lived in the first half of the fourth
century A.D.” complete with a footnote reference to a bilingual edition
of On the Mysteries in Greek and Latin published in Oxford in 1678.
As usual, he mixed a tiny dab of truth in with his fiction. There is
indeed such a treatise, Decker et al point out; but it has nothing at all
like this initiation in it. The trickiest bit is that he never mentions the
word “Tarot” at all; so a reader who knew about the Tarot, confronted
with what they could only assume was a translation from an ancient
manuscript about an initiation into Hermetic mysteries, would
instantly recognize it, and not know that Christian knew all about the
Tarot, too! This would have the result of adding a large flavor of
authenticity to the entire account. And that must have tickled Pitois
pink.
He also goes on, in this book, to make up things about many other
branches of the occult; but since we are only dealing with the Tarot
here, we won’t go there.
Decker et al also say that Pitois AKA Paul Christian invented the
name “Arcana,” which became divided into the Major Arcana and
Minor Arcana.
Lévi died in 1875, and Christian in 1877. After their deaths, there
was, as Decker et al say, “a lull, lasting about a decade, in magical
activity and the production of books on magic.”
But, of course, that didn’t last. By the late 1880’s, secret societies
were active again, and the occult and spiritualist movements were
beginning to flower.
In 1888, Stanislas de Guaita (and others) founded the Ordere
Kabbalistique de la Rose-Croix (Cabalistic Order of the Rosy Cross.) This
became, so Decker et al tell us, the “embodiment of Rosicrucianism in
France.” He went on to meet Oswald Wirth, a Swiss freemason who
practiced hypnotic healing, and introduce him to occultism. Together,
these two men designed a set of Trumps, now called Major Arcana,
based on Lévi’s work, and published in 1889. These, according to
Decker et al, were “the first published set of occult Tarot cards” not
deriving from Etteilla. From the descriptions, they were the true
forerunners of the cards we use today.
In that same year Dr. Gérard-Anaclet-Vincent Encausse, also known
as Papus, and also a Rosicrucian, brought out Le Tarot des Bohémiens
(The Tarot of the Gypsies.) This book was a “systematic
interpretation” of the Tarot, and used the Tarot de Marseille
“discreetly embellished with Hebrew letters” (as Decker et al put it)
and Wirth’s new deck as illustrations. He also uses the terms “Minor
Arcana” and “Major Arcana,” but seems to have relied heavily on the
work of those who went before him, who, as we have seen, ranged
from confused to outright lying; however, now his book added
substance to theirs.
The last important phase in the history of our Tarot takes place in
England.
The Order of the Golden Dawn was founded in Britain in 1888.
Gearhart et al tell us that it lasted only 15 years, but its influence was
far reaching, and, indeed, is felt even today.
One of its founders, MacGregor Mathers, and his wife Monia, were
very interested in the Tarot, and conducted what Gearhart et al call
“deep research and study” into it. This, I think, can only mean that
they studied everything that had been written about it at the time.
And, it seems, among the things they studied were Paul Christian’s
writings.
In any case, they seem to have taken the idea of an initiation into
Hermetic Mysteries using the Tarot as a focus very much to heart.
Giles says that they used the cards in their initiations. And, it seems,
all the members who reached a certain level were expected to design
their own decks.
Among the members of the Order were A.E. Waite, Paul Foster Case,
and Alestier Crowley. Does this begin to ring a bell? They were
responsible for the Rider-Waite deck, the BOTA deck, and the Thoth
deck, respectively. All of them were trying to reconstruct the “true”
deck, according to Gearhart et al. (I also find it interesting that all of
them turned to women to actually draw the decks they envisioned.
The Waite deck was drawn by Pamela Coleman-Smith, the BOTA by
Jessie Burns Parke, and the Thoth by Frieda Harris.)
It’s possible that all of these, (the Rider-Waite and BOTA are quite
similar,) are descendants of the deck used by the Order. They always
said that they had access to a secret oral tradition, which lent their
deck “its special puissance” according to Gearhart et al.
In any case, it’s certain that these three have influenced all
subsequent “traditional” decks!
And that brings us up to the present. Today there is a huge body of
written work, with more being published every day. Unfortunately, a
lot of it still uses the stories written by de Gébelin, Etteilla, Lévi,
Christian and so on. In fact, these have entered deeply into the things
“everyone knows” about the Tarot, since many of us are forced to rely
on the writings of others. But more scholarly, well researched material
is also appearing. This chapter would have been impossible only a few
years ago, since the books that I used to find out about the earlier
stories had yet to be written. And I only glossed over the details; if
you are interested, I strongly suggest that you check these books out
for yourself; especially if you can read French, and can get to Paris!
There is also a virtual explosion of divinatory decks, some of which
have very little to do with the Tarot, and don’t include suits, or court
cards, or any such thing.
Mine is a “traditional” deck, in which I kept not only the Major and
Minor Arcana, but also the suits, the numbers, the court cards; the
whole structure of the deck, in fact. I didn’t want to change that. I
wanted to change the symbols. And I did; but that is a whole ‘nother
chapter.
I think it’s safe to say that whether the original Tarot, used for
games in the fifteenth century, had occult significance or not, it surely
has now. We have stuffed it full of significance, every one of us who
has designed a deck with that in mind.
And if it’s true that the occult use of the Tarot is relatively recent,
well, I guess that doesn’t bother me either. Everything had to be
developed sometime!
But, when you get right down to it, even if the whole thing was an
Italian invention in the fifteenth century, there are still a lot of
questions about the beginning. Questions like; What was going on in
the minds of the original inventors? Did they know how esoteric some
of these symbols were? How long were the cards in a particular family
or group before they were published?
And the only real answer still has to be: no one knows, and does it
really make any difference?
 1The Secrets of the Tarot Origins, History, and Symbolism by Barbara Walker ©1984.
Published by Harper & Row. ISBN 0-06-250927-6
2 A Feminist Tarot by Sally Gearhart and Susan Rennie ©1981. Published by
Alyson Publications, Inc., Boston. ISBN 0 932870 56 2
3 A Wicked Pack of Cards Ronald Decker, Thierry DePaulis & Michael Dummett ©
1996. Published by St. Martin’s Press, NY NY. ISBN: 0-312-16294-4
4Tarot Plain and Simple by Anthony Lewis © 1996. Published by Llewellyn
Publications,St. Paul. ISBN 1-56718-400-6
5 The Tarot: History, Mystery and Lore by Cynthia Giles ©1992. Paragon House.
ISBN 1-55778-312-8
6 The Original Tarot and You by Richard Roberts © 1971,1987. Vernal Equinox
Press, San Anselmo, CA. ISBN 0-942380-06-1
7 The Book of the Tarot by Susan Gerulskis-Estes © 1981 by Morgan & Morgan,
Inc., Morgan & Morgan, Inc. Publishers, Dobbs Ferry, NY ISBN 0-87100-172-1
 History of the Robin Wood Tarot
And so we come to the history of my own deck, which I know very
well.
I became interested in the Tarot in 1979.
At that time, I had just begun my spiritual journey after 25 years of
dutifully believing what I was told to believe.
I won’t tell you how that happened, because it would take too long
and would probably bore you to tears. (Or, worse yet, to closing this
book!)
Suffice it to say that I found out about Wicca, and it felt like coming
home. But I didn’t know much, and didn’t really have anyone to teach
me. (Does this sound familiar to any of you? I thought it might.)
So I kind of cast wildly about, and decided that Wicca was occult
type stuff, and occult type people read Tarot cards, don’t they? So I
decided to learn to read them.
Now remember, this is in the late seventies. There was not nearly
the wealth of decks and books and stuff that there is now. It was still
almost twenty years before the year 2000, and the spirituality that
always accompanies large round numbers in the Julian calendar was
only beginning to begin. (Ever notice how many people are afraid of
big round numbers?)
I bought a Rider-Waite deck, and Mastering the Tarot by Eden Gray,
and started to learn.
I wrote down every reading that I did, and all of my interpretations
of the cards (right out of the little book that comes with the deck, with
some elaboration from the bigger book) and what actually happened
that could be correlated to the readings. (By the way, I recommend
this method to anyone who is trying to learn any system of
divination.)
As I did so, I slowly began to see patterns emerging. Some of them
were what I expected from the books, and some were not. It’s been
eighteen years now, and I’ve moved over a dozen times, so I can’t give
you any actual examples; but I began to think that reversing cards just
made everything more jumbled for me. I couldn’t remember which
ones meant the reverse of the thing the card said, and which ones just
meant that the effect was lessened. And the more I decided that I
didn’t like to use reversed meanings, the less they showed up! I was
still shuffling the deck normally, but all the cards were beginning to
show up top side up.
About this time I realized that I could get books to feed my growing
hunger for knowledge about spiritual things. I was too poor to buy
any, but the library had a whole section about the occult.
One of the books I checked out about the Tarot told me a number of
important things. First, it said that you should create a sacred space to
work in before you begin to read. I did that and the clarity of my
readings improved. Secondly, it said the important thing was figuring
out how to ask questions. Boy, is that ever true! And the third thing it
said was that everyone reads in his or her own style; some use
reversed cards, and some don’t, and there are literally hundreds of
ways to lay the cards out.
I wish I could remember the name of that book, or the author. I owe
her a lot. She gave me permission to leave the path that others had
blazed, and follow my own.
So I continued to read and study. And eventually I found friends I
could talk to about these things.
Now, during this time I had married a man who was in the Army. In
1980 we were exiled, I mean sent, to Okinawa, Japan. We were there
from July of 1980 to December of 1982.
There weren’t many books about the Tarot, or Wicca, or anything
occult in the base library at Tori Station. Since all the reading I had
been able to do was from the library, this effectively cut off my source
of new information.
There was nowhere to learn more, except to turn to the cards
themselves. So that’s what I did. I started at the beginning of the deck,
with card 0 of the Major Arcana,1 (The Fool) and spent time studying
and meditating on each card.
As I did so, the patterns that I had begun to notice in the States
became clearer, and I began to recognize the symbols in the cards
without having to refer to the books at all. Pretty simple stuff, at first,
but we all have to begin somewhere.
I realized that the Ace of each suite was about the beginning, which
I knew; but I noticed that it also contained the seed of the whole suite,
like a pea contains a plant in miniature. All the twos were about
balance in some way, and so on.
 I also found common symbols throughout. Mountains always stood
for enlightenment, rivers for the mystery of the female side of things,
etc.
And I noticed that a whole lot of the symbology was Judeo-
Christian, and the cards were not very well drawn. Besides which, the
colors were funky and depressing.
In short, I began to realize that although there were things about
the Rider-Waite deck that I liked, there were also things I did not.
To the best of my knowledge, there were no Tarot decks for sale on
Okinawa at that time. At least, if there were I never saw any. And I
was pretty sure that if I searched until I found one, it would just be
the Rider-Waite again, anyway. I didn’t know if there were any decks
that had the Pagan/Wiccan/Nature bias that I wanted. But I knew that
I could draw, and I knew what I wanted on the cards; so the obvious
thing to do was to begin to draw my own deck, and that’s what I did.2
Being an orderly sort, I started at the beginning, with the Fool (as I
had when I first began to look at the deck,) and thought and
meditated about what the card should have, as opposed to what it had
in the Rider-Waite deck. I’ll tell you what I decided in the chapter on
the Major Arcana. For now, it’s enough to tell you that I drew the
symbols that would remind me of what the card meant. I made for
myself a picture that evoked the exact visceral response that I thought
the Fool should elicit, and tucked pictorial reminders of every
meaning or correspondence I thought it needed inside the design.
As soon as I had the sketch the way I wanted it, I realized that I
would have to put it on something. But art supplies in Japan are
different than they are in the States, and I didn’t know what sort of
media to use.
I was puzzling over this, when I went to check my mail, and there
in the box was a catalog that an occult mail order company just
happened to send me for no adequately explored reason. This was
really strange, because I had had absolutely no contact with any such
company at all ever! The only things I had purchased that could be
construed as occult had come from a book store in the States, where
(if I recall correctly) I had paid cash, and avoided their mailing list.
But here was this catalog, fortuitously appearing in my mail; so I used
it.
I ordered a set of blank Tarot Cards, just the same size and with the
same pattern on the back as the Rider Waite deck I was so used to.
And when they came, I painted a tiny miniature oil painting of the
Fool I had designed on the first one.
 Of course, I wanted to share this with my friends back home; but
there was no way to show them the finished card, so I sent them bad
xerox copies of the sketches. By that time, I had four or five finished.
(It took a while for the blank cards to arrive in the mail.)
And while I waited for a response from them, I painted the
Magician, and the High Priestess, and the Lovers on the cards. (I’m no
longer sure why I skipped ahead to the Lovers, but I did for some
reason. I know, because I still have the painted cards, and those are
the ones I have.)
About the time that I finished the Lovers, a letter came back from
the States. My friends were very enthusiastic. In fact, they told me
that they liked them so much that they each needed to have a set of
these for themselves. And one of my friends threatened me with
bodily harm if I didn’t make this possible!
I knew that I would not be able to afford color separations for the
things. And I decided that giving everyone 78 photos of my cards
would be too expensive too. So I re-drew them, using pen and ink. I
figured that the line drawings would be easy enough to reproduce,
and they could all color their own decks.
During the next year or so, while we were still in Okinawa, I
designed the entire Major Arcana, and drew them in pen and ink,
sending the xerox copies back to my friends in the states, and getting
really involved and interested in the whole process.
Then we came back to the US, and suddenly my life, which had
been composed mostly of free time, became very, very busy. I started
working for gaming companies, and found that I no longer had much
time to do anything just because I wanted to do it.
I did finish the Court Cards of the Minor Arcana, mostly because
several of my friends and I had begun an artist’s consortium, and were
making T-Shirts for a company that we called Dreams from Home. The
person who ran the company, who is also a dear friend, thought that
pictures of the Tarot would sell well and wanted the Court Cards to fill
out the roster; so I did them. But although I continued to study, and
plan what I wanted to put on “my” cards, I didn’t do any more
drawing.
Years went by. I started working for Llewellyn in 1985, and
established a very good relationship with Terry Buske, who was the
Art Director there.
During that time, a rumor began to circulate among all of the artists
at Science Fiction Conventions that Stuart Kaplan, from US Games,
was collecting the decks that folks had made themselves for a new
volume of his Encyclopedia of the Tarot. Like all the rest of us who had
drawn part or all of a deck, I sent mine in. (At the time it existed only
as a coloring book.) If you are interested, and you look it up, you’ll
find that ancient and early rendition in the Encyclopedia of the Tarot,
Vol. 2.3
At some point during this time, my friends and I decided to print
the cards as cards. So I took the designs I had done, and began to
color them. I hadn’t gotten very far when we decided that the format I
was using was going to be too small. (The cards I had finished were
the size of the Rider-Waite deck.) So I started again, from the Fool, at
twice the proposed card size.
Some of the cards were redesigned as this process went on.
But after I had done a dozen or so, we realized that we would not
be able to afford the color separations after all. So I sold the large ones
I had finished at science fiction convention art shows, and went back
to doing other stuff.
Then, in 1987, I began to work with Anne McCaffrey on a book of
portraits of the characters she had written about in her Dragonriders
series. This became The People of Pern.4 It was a huge project, and it
took virtually every moment for the better part of a year to complete.
I’m glossing over my life here, of course. I’m not mentioning my
good friends next door, or my amazin’ room mate, or any of the others
who were there for me when I needed them, because I don’t want to
“out” them.5 But it was a difficult year, and without their help I’m not
sure how I would have made it. (You guys know who you are. Thanks.
Love you.)
The important part is that by the end of 1988 I had grown a lot, and
after the book came out, I started to take some time to do the things I
wanted to do again.
I also needed a job, because the Pern book had kept me from doing
any of the freelancing that I had been doing for so long. And I was on
my own by then; the Army guy and I were divorced on Pearl Harbor
Day in 1987.
So I called Terry at Llewellyn, and she immediately assigned the
drawings for Donald Tyson’s Rune Magic Cards.6 That was a quick, fun
job. Donald Tyson had explained in great detail what he wanted in the
drawings, and instead of using my normal realistic style, Terry asked
me to draw like a Viking. (Which is kind of like walking like an
Egyptian, only different.) The Viking drawings were very stylized, and
I had a great time doing them.
In fact, after I was finished, I asked Terry if she had any more cards
she needed done. That was when she told me that Llewellyn was
doing some Tarot decks, but she thought all the art was already
assigned.
I told her that I had been working on a Tarot deck once, and had all
the Majors and Court Cards done.
She told me to send a few in, and they would have a look at them,
and tell me what they thought.
By now it was 1989, The Year I Moved. (Four times. I lived in 3
different states that year. No Fun at Tax Time.)
I moved the first time, to Pittsburgh, and set up my studio. Then I
settled down to work.
The first thing I wanted to do was convince Llewellyn to accept the
cards as pen and ink drawings colored with colored pencils, so I
wouldn’t have to paint 78 little oil paintings.
So I did two renderings of the Fool, one using ink and colored
pencil, and one as an oil painting, and sent them off to Llewellyn with
a letter explaining that if they bought the the ink and pencil variation,
not only would I certainly be able to meet the deadline (which I
couldn’t guarantee with paint, because of the drying time and other
variables inherent in the medium) but they would have the black and
white cards that they could use as line drawings to illustrate other
books about the Tarot. Besides, I explained to Terry, I really wanted to
do them in the more graphic style.
They replied that the ink and colored pencil would be fine.
Now, if you’ve been counting, you know that at this point, I had
rendered the Fool 7 different times, and some of the other cards
several times as well.
But after I got the assignment from Llewellyn, I took a good look at
the cards and realized that they would all have to be redrawn. After
all, it had been almost 10 years since I had started working on them,
and I had learned many things about the Tarot and gotten much better
at drawing in that decade.
So I sat down, and drew them all, all over again.
While I was doing this, I moved three more times; the last two with
the man who became my new husband. (He and his two children
wound up posing for many of the cards.) I ended up in Michigan. But I
must admit that I don’t recommend tearing down and setting up your
studio four times while in the middle of a project as large as a Tarot
Deck!
It didn’t take me long to redo the Major Arcana and Court Cards,
even though I changed many small details in all of them; and in some
cases, such as the Court cards for Wands and Swords, I completely
changed the design. (Originally, they had been seated. I decided that
since they were active principals I would make them standing. I also
put in all the “props” and redesigned the costumes. Animal X, a friend
of mine in Pittsburgh who designs costumes professionally, posed for
all the queens at this point, and I took some of the costume
construction from her work.)
After that, I thought (for some reason that escapes me now) that
most of the work was done, so when Llewellyn contacted me and
asked to use some of the cards to illustrate Janina Renee’s Tarot Spell
book I said, “Sure. I haven’t finished the deck yet, but any cards I
don’t have and you need I can get done by the deadline.”
Then I got the assignment, and found out how many cards there
were. And I pulled out my notes for the Minor Arcana cards which I
hadn’t drawn yet, and I found out that although most of the Majors
have one person, doing one thing, many of the Minors have several
people doing all kinds of things all over the card. So far from being
almost finished with the drawings, I still had most of the work to do!
So I buckled down and started drawing like a mad thing. It was a
good thing I had been designing the cards in my head for ten years,
because I didn’t have time to do much research at that point. It was
also fortunate that Llewellyn only wanted the ink drawings, because
that was all I had time for.
I made the deadline for the book; but I couldn’t stop to rest, because
Llewellyn had also given me a deadline for getting the entire deck
colored and in.
I drew the remaining cards, and inked them all. And then I started
at the beginning again, and colored them all in. In order to make the
deadline, I had to work 14 hours a day, seven days a week, for ten
weeks straight. But I got them finished!
Each card was designed in pencil on tracing paper, using a 3.7” x
6.9” format (which was the smallest Llewellyn would let me use!)
After the drawing was finished, I placed another piece of tracing paper
over it, and inked it using technical pens. Doing it this way not only
preserved the original pencil (which is often important, since there
was usually some shading and other information that I didn’t want
inked in on the drawing) but eliminated any problem with completely
erasing the pencil lines after the inking was done. And if I really
messed up the inking at some point, I could also throw it away and
start fresh!
Once the inking was finished, I xeroxed it onto another piece of
tracing paper and then colored it with Berol® Prismacolor® pencils
on both the front and back. This preserved the fine line work, which
the pencil would otherwise obscure. It also made it possible to achieve
some effects, such as the silk gown on the Queen of Cups, which
would have been extremely difficult to get otherwise.
While I’m on the topic, the secret to getting the bright, saturated
colors with Prismacolor® pencils (the brand I use) is to bear down.
Don’t be alarmed when the point breaks off and shoots across the
room. They’re supposed to do that.
Ordinarily, the darker colors are blended by using one of the lighter
colored pencils. But when I needed to keep the deep tones, and didn’t
want to lighten them, I used a paper stump (commonly used for
charcoal drawing) dipped in Grumtine® (commonly used to thin oil
paints) to blend. It works like a charm, in case you want to borrow the
technique!
Once the coloring was finished, I very lightly and carefully coated it
with a fixative spray. Lightly and carefully, because toner, such as that
used in the xerographic process, melts and runs when sprayed with
most fixatives! (In fact, it works best if you hold the picture vertically,
and spray parallel to it. Then all that lands on the picture is the fine
mist of the overspray. Do this several times, and it’s coated without
ever actually being in the line of spray. No big blobs, no running.)
When they were done, I shipped all the originals at once off to
Llewellyn, where they made color separations, and did the other
things necessary to make them into cards.
At some point in this process, we had to decide what to put on the
back. At first, Llewellyn wanted a full color picture. I was more than
willing. But when they found out how much extra cost that would be,
they decided that a two color graphic would work out just fine.
The problem was, what kind of graphic?
I wanted something that would tie in with the Pagan/Wiccan/
Nature theme, or else something that was Celtic. So I sent in three
designs. The first was a pattern of leaves, taken from a piece of
Zipatone™ shading film. The second was a spiral design, which I was
very fond of since it represented the looking-inward idea that was
behind the whole Tarot. Literally having it behind each card really
appealed to me. The third was the knotwork that was eventually
chosen.
I originally wanted the two ink colors on the back to be black and
bright leaf green. But I was overruled, since the folks at Llewellyn
thought the color too vivid for the rest of the cards, and a shade of
jade green was picked instead.
I didn’t argue about the back, truth to tell, because they had given
me my own head completely on the fronts of the cards, where it really
counted. They are all entirely my own design; no one told me to re-do
any of it, or tried to influence me in any way.
Since I was used to doing covers and things, where almost all the art
has to be approved by a committee (many of whom have strong ideas
of their own,) this was a rare and wonderful experience for me, and
one I am most grateful for.
After I turned all the cards in, it took Llewellyn about a year to
publish, since they were trying to time the publication to coincide
with the American Booksellers Association Convention. The ABA is
where many of the buying decisions for the next year are made, and
it’s probably the most important show in the American publishing
industry.
It was out on time, at least in prototype form, and my husband and I
attended the convention, where I did readings.
And the rest, as they say, is history.7
If you want to see what some of this early work looked like, I have a
pictoral history of my deck in Appendix E.
 1The Tarot is divided into two parts, the Major and Minor Arcana. The Major
Arcana is composed of the named cards, or Trump cards, ranging from 0, the Fool,
to 21, the World. The Minor Arcana is composed of four suites of cards, with each
suite containing four Court Cards (King, Queen, Knight and Page) and 10 cards
numbered from 1 to 10. There will more about this when we get a bit farther along.
2 I had actually sent a couple of cards of a proposed deck to Llewellyn a few years
before, when I had just begun to study all of this. I no longer remember why I did it
– I didn’t really know anything about Tarot at the time, and I didn’t work for
Llewellyn (or any other publisher) yet. But I drew designs for The Lovers, the Ace of
Wands, and the 6 of Pentacles just the same. They weren’t very good, or very well
thought out. In fact, they bear not the slightest resemblance to the cards that would
eventually form the Robin Wood Tarot. But I thought I’d mention them anyway, in
the interest of being as complete as possible here. If you want to see them, check
Appendix E.
3 The Encyclopedia of Tarot, Vol. II © 1988 by Stuart R. Kaplan. US Games
Systems, New York, NY.
ISBN 0-91386-636-9
4 The People of Pern by Robin Wood ©1988 by Robin Wood and Anne McCaffrey.
The Donning Company/Publishers Norfolk VA. ISBN 0-89865-635-4.Copies still
show up on e-bay, but that's about the only place I know where you can get one, at
this point.
5 People who are members of minority religions are often persecuted and hurt by
those who are afraid or don’t understand, as are people of any other minority. Just
like members of the Gay community, many people in the Pagan community are “in
the broom closet” for fear of the reactions of their family, co-workers, community
and so on, or to spare their families etc. the pain such news might bring. As in all
such groups, publicly exposing someone, called “outing” them, is considered not
merely incredibly rude, but dangerous. It’s not something I’m willing to do. Not all
of these people are Pagans; but if I don’t mention anyone’s names, I feel it will help
to protect those who are. So if I mention a name, you can be assured that person is
already a very public Pagan, and you have probably heard of them in that context.
Or they aren’t Pagan at all, like Anne McCaffrey.
6 Rune Magic Cards by Donald Tyson © 1988. Llewellyn Publications, St. Paul,
MN. ISBN 0-87542-827-4
7 Well, of course, so is all of this. But the rest is history that is still being written!
 Common Symbols
As I began to study and work with the Tarot, all those years ago, I
slowly realized that the same symbols seemed to mean the same
things on card after card.
I realized that all of the symbols were really just a kind of
shorthand; a way of cutting through the thinking, rational, analytical
part of the mind, and connecting directly with the other part, where
emotions, feelings, and reactions live.
When you see a symbol, say an American flag, you don’t think.
“Flag, one, American. Designed in the eighteenth century. One star for
each state, one stripe for each of the thirteen original colonies.” You
see it, and register it without thinking. Then your heart swells with
pride, or you view it with scorn, or have whatever reaction you have
(including no reaction) based on how you feel about the United States,
and the government, and so on. Without consciously having to think
about it at all!
Your reaction will be largely dependent on your own experiences
and learning. For instance, if you are someone who immigrated to this
country from another, and you are as pleased and happy as you can be
to be here, and you were just naturalized last week, you will feel
pride, and joy, and accomplishment when you see the flag.
If you have never thought much about the country at all; it’s just
where you happened to be born, then your reaction is likely to be
along the lines of “Yeah, so?”
But then, if your beloved father, who was a veteran, dies, and they
drape just such a flag on his casket, you are likely to burst into tears
when you see the flag. Your feelings of grief and loss are triggered by
the association which has now been made.
Do you see how it works?
Some symbols we are taught, and so they mean roughly the same
thing to all of us. An octagonal red sign, for instance, makes most of
us stop and look, even if it’s not in the context of a road sign.
But even those symbols are colored by the experiences we associate
them with. And we don’t consciously think about them at all. We just
react to them.
That immediate, visceral reaction is what makes symbols so very
powerful.
The fact that they aren’t the same reactions for everyone is why
something that is largely symbolic, like the Tarot, needs to fit your
own personal symbol set. It’s why a particular deck may “speak” to
one person, and not to another.
As I realized that, I realized that I could learn the symbols that the
designers of the decks tended to use; if I understood the language,
then I would have an immediate reaction to the card that included the
things the designer was trying to convey.
I thought of it as the same sort of thing as learning a foreign
language. Eventually, one hopes, if you are learning German, and
someone says a word, like “schlafen,” a picture of a bed and the
feeling of rest appear in the mind, instead of the word “sleep,” and
then the picture. The personal, emotional connotations will still be
personal; but the language is understood. (And remember, words are
symbols, too. They are really just a collection of sounds. What gives
them meaning is the concept they stand for.)
In just such a way, I could learn that white roses stood for freedom
and change. How I felt about freedom and change was still personal,
and figured largely in how I would read the cards because of the
visceral reaction I got when I saw them. But the basic meaning was
there.
As I discovered those meanings, I was able to get deeper into the
cards, and relied on the book less and less, in just the same way the
student of a foreign language would rely on a dictionary less and less.
I’m presenting those discoveries here, in glossary form, because I
think that’s as useful as I can make it!
As with all the other symbols, these are my own interpretations,
based on my own internal “symbol set.” These are what I used while I
was designing the cards.
But they aren’t the only interpretations. Unlike a foreign language,
you probably already have associations for some of these things. Don’t
try to force your symbol set to change; that’s likely to make your
unconscious unhappy, and you don’t want an unhappy unconscious!
If your reactions to the cards aren’t what I intended, that’s OK too.
(I’ll be talking more about that all through this book.)
This list is to give you a jumping off point, to let you know what I
meant in those instances where you don’t really have any reaction to
the symbols.
I suggest that you develop a list like this for yourself, as you study
and learn more about the Tarot. Get a notebook, and write down the
symbols that strike you as being common to several of the cards, and
what sort of feelings or ideas they evoke inside of you when you see
them. Doing this is one of the steps to winning free of the books, even
if you don’t want to design your own cards!
Apple (Fruit or Tree) - Fruitfulness, love, nourishment, nurturing.
Also, the mystery hidden within the mundane (because if you cut
one open crosswise, you see the Pentagram.)
Armor - protection, indication of status, authority. The Breastplate
alone also stands for Truth.
Ash Tree - Wisdom, especially the wisdom that comes from pain or
sacrifice, linking of the inner and outer worlds.
Athame - Sacred. Also symbol of God. See Sword.
Beech Tree - Gracefulness, beauty, stillness, peace, old knowledge,
ancient wisdom, queenly attributes.
Birch Tree - Beginnings, purity, cleansing.
Black - Hidden things, the unknown, the unguessed at. Alternatively,
mourning.
Blue - Spirituality, spiritual gifts, clear skies, sunny disposition.
Bluebells - Fairy bells, awareness of inner voice, silent singing,
starlight wisdom.
Book - Knowledge, especially knowledge about the material world, or
“seen” things.
Breastplate - Truth.
Burgundy - Joy, bounty, intoxicating feelings; perhaps even
intoxication!
Butterfly - Rebirth, rejuvenation, transformation, metamorphosis.
Caduceus - Healing.
Candle - Enlightenment, spirituality, uncovering secrets.
Chains - Servitude, sorrow, subjugation, natural consequences of
greed.
Circles - Unity, endlessness, perfection, intuition, feminine principles,
looking inward. Also, the Circle of Life.
Cliff - Feeling of “being on the edge.”
Clouds, Grey - Oppression, dreariness, foreboding, looming sorrow.
Clouds, White - Dreaming, summer days, imagination, flights of
fancy.
Crystal - Purity, harmony, clarity. The seen world, things that are
“crystal clear.”
Crystal Ball - Unseen forces or knowledge, spiritual matters, hidden
wisdom, esoteric knowledge, magic.
Cultivated Fields - Industry (as in hard work, not factories,)
civilization, caring or planning for the future, delaying gratification,
working with the Earth.
Cup - Femininity; a symbol of the Goddess (The Lady.) Also emotions,
intuition, spiritual things.
Daisy - Freshness, purity, innocence, child-like qualities.
Dog - Faithfulness, loyalty, unconditional love.
Eight - wheel of the year, recurring patterns, cycles.
Feather, Red - Courage.
Feather, White - Accomplishment, purity, esteem.
Fir Tree - Vision, especially spiritual vision, reincarnation, persistence
of beauty. Also Maid, Mother, and Crone.
Five - Senses, sensuality, material world.
Flowers - Joy, frivolity, celebration.
Flute - Harmony, beauty, balance, purity.
Four - Four elements. (Earth, Air, Fire and Water.) Also stability.
Gold - The visible, material world; the consensual universe, that
which is seen, the sun, masculine energy. Also wealth, power,
richness, warmth, success, fullness, luxury, rareness. Sometimes
incorruptibility.
Grapes - Abundance, joy, wealth, plenty; party time!
Grass - Growth, lushness, health.
Gray - Balance, as between light and dark. Can also mean sterility,
coldness, apathy, chill intellect depending on context, especially if
it’s gray stone.
Green - Growth, vitality, earthy wisdom. Association with Goddess.
Hand, Left - Intuition, the twilight, unconscious mind.
Hand, Right - Intellect, strength, the rational, conscious mind.
Harp - Harmony, grace, beauty, purity.
Hawk - Bravery, freedom, exhilaration, far vision, enlightenment,
courage, power.
Hills - Gentle enlightenment, without as high a cost, but also without
as much depth. Things gradually revealed. Also, ancient wisdom.
Horse - Forces of nature, or of self, harnessed and under control.
House - Home, family, security, nurturing.
Indigo - Psychic abilities, the unseen world, mystery.
Iris - Beauty, fragility, freshness, some of the connotations of the
Rainbow, since Iris was the Goddess of the Rainbow.
Ivy - Introspection, turning within.
Laurel Wreath - Victory.
Lavender - Healing
Lemniscate (infinity symbol) - Symbol of the Adept. Mastery, magic,
wisdom.
Light - Brilliance, purity, enlightenment, insight, recognition,
perception, discernment, wisdom.
Lilies - Purity, chasteness, innocence, beauty.
Lion - Strength, pride, virility, majesty, nobility.
Mist - The unknown, uncertain, and unseen.
Moon - Mystery, magic, wildness, the hidden world, unseen forces,
the passing of time or seasons, the fullness of time; also feminine
strength, energy or power.
Mountains - Enlightenment, often purchased at a cost, but worth it.
Oak Tree - Strength, age, wisdom, protection, kingly attributes. Gate
into otherworld.
Ocean - The unconscious mind, emotions, the whole concept of a
universe that is beyond our ken or control.
Orange - Vitality, energy, passion.
Path or Road - Spiritual path, choices Seeker is making, life–
decisions, life–direction.
Pentacle - Stillness, growth, depth of soul, wisdom, rest, plenty,
 rightness with the universe.
Pomegranate - Secret knowledge, rebirth, identification with the
Goddess.
Poppies - Fertility, joy, virility, gaiety; often found growing with
wheat, so represent nourishment of the spirit.
Purple - Royalty, majesty, power, richness, plenty, wealth.
Rain, Gray skies - Sadness, foreboding, sorrow, pain, melancholy.
Rainbow - Promise of end to hardship. Also, whole spectrum of
possibilities, joy, mirth, beauty, effervescence, ephemeral qualities.
Red - Life, virility, passion, courage, boldness, resolution, pluck.
Association with God.
Roses - The balance of sweetness and pain that represents life. Beauty
and sorrow combined.
Roses, Pink - Love, affection, friendship.
Roses, Red - Courage and passion.
Roses, White - Change, freedom.
Roses, Yellow - Joy, laughter.
Scales - Balance, fairness, impartiality.
Ships - Far ventures.
Silver - Mysteries, the unseen, the moon, feminine energy, non-
material wealth.
Spiral - Introspection, self-awareness, growth, contemplation.
Square - Perception, strength, linear thinking, masculine principles,
honesty, sometimes rigidity.
Stars - Enlightenment, guidance, beauty, mystery, magic, hope,
longing, dreams; the feeling of reach exceeding grasp.
Stone Walls, Rough - Security, boundaries, separation.
Stone Walls, Smooth - Being cut off from nature, separation from the
Earth, setting self apart from others; coldness, aloofness, uncaring
attitudes.
Stones in Road - Difficulties or hardship.
Sun - Joy, vitality, boundless energy, youth. The visible world or
hidden things revealed. Victory. Also masculine strength, energy or
 power.
Sunflowers - Joy, vitality, mirth, radiance.
Sword - Intellect, austerity, power especially martial power, authority,
responsibility, sorrow. Also symbol of the God (The Lord.)
Three - Past, Present, and Future. Also, Maid, Mother, and Crone. Or
Body, Mind and Soul. Or Unconscious, Conscious, and
Superconscious.
Triangle - Balance, religious principles, the spirit.
Two - Balance
Vegetables - Things in life that are good for you! Also abundance,
fullness, feelings of good harvest; reaping what you have sown.
Violet - Youth, sweetness, vulnerability, shyness.
Wand - Will, vitality, growth, fiery attributes, cunning, sudden action.
Water - Emotions. The feminine, unseen, mysterious side of anything.
That which carries us away, or exerts pressure upon us, without our
intellectual agreement.
Wheat - Prosperity, food, goodness, wholesomeness, life, nourishment
of the body. Also death and rebirth.
White - Purity, brilliance, lightness, clarity, newness (like an empty
canvas,) freshness, spotlessness, renewal, the moon, feminine
energy.
Wings - Freedom, enlightenment, joy, uplifting spirituality, soaring
intellect or emotions, skillfulness, mastery.
Yellow - Vitality, vigorousness, energy, youth, joy, glory, triumph, the
sun, masculine energy.

To some extent, the numbers on the cards also have common

meanings. I’ll warn you, though, that even though I’ve thought about
these a good deal, and these are the best answers that I can come up
with, they don’t always seem to fit. In many instances, three of the
cards would seem to be telling the same part of a story, and the fourth
would not.
So I had to dig deep to find common ground. For instance, in the
case of the Threes, I decided that the deep meaning of the number was
Spirit or Mastery, because of the lessons about the attributes of the
suit that are revealed here. For Pentacles, we learn that study leads to
mastery. For Swords, we learn that knowledge or the thirst for power
can bring pain. For Wands, we learn that part of willing is waiting.
For cups, we learn that love brings joy.
If these don’t make sense to you, feel free to draw your own
conclusions. (Feel free to draw your own conclusions anyway!) I’m
frankly not sure that they were ever set up to fit into categories like
these!

King - Ruling principal. This is the element and affiliation of the suit,
in its strongest and most dominating role. This one tells you.
Queen - Reflective principal. This is the element and affiliation of the
suit, in its purest and most nurturing role. This one guides you.
Knight - Active principal. This is the element and affiliation of the
suit, in its most active and explorative role. This one engages you in
adventures.
Page - Learning principal. This is the element and affiliation of the
suit, in its most absorbing and discovering role. This one opens new
horizons.
Ace - This card is the beginning. It has all the attributes of the suit,
concentrated and distilled into a single lesson. Although it’s only
one, it holds the entire suit within itself, as a bean holds a tiny plant
inside.
Two - This is the card of balance. In this card, the attributes of the suit
are held in tension against each other, and an equilibrium that
reveals the first lesson of the suit is found.
Three - This is the card of the spirit and mastery. In these cards, the
deepest attribute of the suit is first revealed.
Four - This is the card of change. In these cards, the flip side of each
lesson is first explored. (activity becomes rest, joy becomes
discontent.)
Five - This is the card of Reversal. Here, the negative side of the
attributes of the suit are fully revealed.
Six - This is the card of Lessons Learned. In this card, the lessons
learned from the Fives are translated into actions.
Seven - This is the card of Decision. In this card, the lessons of the suit
are pinpointed, and the Seeker faces a choice.
Eight - This is the card of Challenge. In this card, the lessons of the
suit are stripped to their most difficult.
Nine - This is the card of Revelation. In this card, the lessons of the
suit are made most obvious.
Ten - This is the card of Logical Conclusion. In this card, the lessons of
the suit are brought to their logical conclusion.
 The Major Arcana
I studied the Tarot for nearly a decade before I made this deck. I
thought long and hard about the meaning of each card, and what
symbols best represented that meaning for me. And I sketched, and
drew, and thought some more. And I grew and matured, and the
symbols that I needed changed, and still I drew.
At last I had drawn all the cards, and the symbols that I used
became “frozen” at that moment in time. If I were making the deck
now, it would be slightly different, because I have had another eight
or nine years of experience and growth.
As I write these chapters I am working from the notes I made while
I was studying and deciding what symbols to use for each card,
supplemented by the things that I have learned since.
And yet, these are still just my personal interpretations and feelings.
As you are reading the cards, you are likely to have your own.
These are not “wrong,” even if they are not at all what I saw while I
was making them! As I have said before, if I have done my job right,
you are bound to see things that I didn’t even know I was putting in
there!
I recommend that you go over each card, much as I will do here,
and write down what you see, and why you think it’s meaningful. This
doesn’t mean that you won’t see completely different things in some
other reading. But it will help you to get into the habit of really
looking at the cards.
I’m providing this material because a lot of people have asked for it,
and because you might find it interesting to see what was going
through my mind while I was designing the cards.
The Major Arcana are the Greater Secrets, the cards of power and
mystery that touch on all the great powers in the Universe. They deal
with what Jung would have called the Archetypes; the root images in
the collective unconscious from which all other images spring. They
represent the forces behind and within the life of the Seeker, over
which the Seeker has no control. They are the Trumps, the portion of
the deck that sets Tarot apart from regular cards.
When more than a few show up in a reading, then it becomes
apparent that the reading is concerned with major forces, and all that
the Seeker can do is hang on for the ride, and learn as much as
possible!
I don’t use reversed cards, so no meanings for reversed cards are
given.
 0 - The Fool
This card shows a young blond man dressed as a harlequin. He
is playing the flute, and dancing near the edge of a precipice.
Near his feet is a little dog.
Key – Pay Attention
The meaning of this card is thoughtless innocence, and
lighthearted folly. A lack of discipline. A lack of experience that
can be dangerous. Great freedom, although with a connotation of
foolishness. Idealistic youth, creativity. Seeing only the goal, and
not possible difficulties along the way.

I dressed the fool as a harlequin to show that he is a lover, with

sharp wits, although he may also be somewhat of a buffoon, and liable
to be hurt in the end. I gave him a white shirt to show his purity. His
vest is yellow and blue to show sun and shadow, light and dark. His
moods may be mercurial, and vary between these extremes at the
drop of a hat.
He wears red and white on his left leg for the Lord and purity. Red
is often a color associated with the Lord, the God of the Hunt, and
squares are also often symbolic of masculinity or rigidity. On his right
leg are the green and white stripes of the Lady. Green and white are
her colors for a good part of the year. But usually the right, active side
is seen as masculine, and the left, intuitive side as feminine. He has
them reversed to show that although he is aware of the forms, he
doesn’t really understand. Or perhaps he flaunts the convention in an
act of youthful rebellion, to assert his freedom and independence!
He dances, carefree, to the sounds of a pipe. In many decks, he is
carrying a staff which symbolizes the wand of will and life (we’ll get
more into that in the chapter about the suit of Wands.) In my deck, I
decided to transform the wand into a pipe, because I see him as
playing with his will and life; having fun, and making pretty tunes
with them, but in a larger sense doing just as he wants with them,
with little regard for the consequences. Far from a staff to steady his
steps, he has made them into a flute to dance to! And dancing on the
edge is very dangerous.
He wears the white roses of freedom in a wreath around his head.
There are five of them, to symbolize the five elements; earth, air, fire,
water and spirit. He knows of all of them, which gives him freedom in
each. But the knowledge is still only at his head level. It has not
penetrated to his heart, and he isn’t paying attention to any of it!
Stuck into the wreath is a long red feather, symbolizing his courage.
He is brave, even if it’s mostly the bravery of ignorance. (He isn’t
afraid, because he has no idea how badly he can be hurt.)
He wears a pack on his back, strapped on with the white ribbons of
guilelessness. In it he carries all the things he needs to get along in the
world. But they are strapped down behind him, and not really
accessible. I gave him five ribbons for the five senses. They are what
he has bound his life up with. When he reaches for something he
needs, he hits them first, and is usually distracted by their beauty.
He dances on bright spring grass, to show this is a youthful thing.
The grass is strewn with pairs of red and white flowers for fearlessness
and innocence. His eyes are on the distant vista of the mountains,
which stand for knowledge and enlightenment. That may be a good
thing, but in this case it means that he is completely unaware that he
is about to dance right off the edge of a cliff!
A little white dog, which symbolizes his friends, or his own
unconscious mind, is trying desperately to warn him of the danger.
But so far he is not paying any attention. Sometimes, when this card
comes up in a reading, the little dog looks like it’s just dancing along
with him, aware of the brink, but unwilling to disturb its master. In
that case, I read it as people who are so enamored of his charisma that
they are sure that he does really know what he is doing, all
appearances to the contrary notwithstanding. If he is going to go over,
then that must be the right thing to do, and they’ll go right over with
him!
Below him is the valley which symbolizes the deeper parts of his
own soul, with the stream of his unconscious running through and
watering it. In a very real way, it’s the depths within himself that he is
about to tumble into.
Three trees grow up from the valley to the level where he walks.
These symbolize his body, mind, and soul. They are the parts of which
he is made, which rise from his inner self until they are seen by all,
although their roots remain hidden.
As he dances, three butterflies flit around him. Butterflies in the
Tarot stand for transformation. If he doesn’t watch out, he is going to
have a transformative event! (Oh please, Gods, not another learning
experience!) I gave him three to show the future, which is rosy; the
present, which is a blank sheet; and the past, which is golden. He is
facing the future, but the past and present are both behind him, and
he isn’t looking at them at all. In other words, he is paying very little
attention to where he is now.
The sun shines brightly on him, and there are no clouds in his sky.
 1 - The Magician
This card shows a smiling man with a dark beard and grey
eyes, standing in front of a table with a pentagram, wand, sword,
and cup on it. He is wearing a hood made from a deer’s head,
complete with antlers. His right hand is raised, and a lemniscate
(infinity symbol) floats above it. His left hand is pointing down.
Behind him burn two candles, one black and one white. The light
from them fills the rest of the card.
Key – Creativity
This card means originality, great creative powers,
imagination, skill, diplomacy, self-reliance. The opportunity to
use any of these talents. The merging of the four elements.
Mastery in the magical aspects of life.

I tried to give the Magician a look of quiet confidence, because that

is one of the strengths of this card. This card shows up when you are
well qualified to operate in an area, and are about to be given the
chance to “show your stuff.”
I gave him dark hair and light eyes, because he is an avatar of the
God here, and I wanted to show that he embodies both the light and
dark aspects1, and the balance between them.
He wears a hood made from the head of a deer, antlers and all,
because that is the symbol of the Horned God, whom he serves, and
whose Priest he is. And so, of course, who he is. I’m afraid that this
makes him a Wiccan Magician; but then, I am Wiccan!
 His robe is red because that is the color of courage and life. He
embodies both of them. The lining is white to show his purity of
purpose, and the absolute clarity of his thoughts and inspirations.
There is a double border down the front to show balance again, and
to show the duality of the God, i.e., death and rebirth, the Green God
and the God of the Hunt, etc. The background of the border is gold
because of the mastery shown here, and the incorruptibility. Gold
never tarnishes, or oxidizes in any way. The white roses of freedom
and the white lilies of purity are intertwined on the border, to show
how he operates freely in both. They have bright green leaves, and
look realistic, to show that they are alive and growing in his life. Also
on the border are little drops of dew, to show the freshness of his
perspective.
His robe is open to show that he is open to new things. He is naked
underneath it to show that he is free, and unashamed.
His right hand is raised and visible, while his left is lowered and
hidden to show that he operates in both the seen and unseen worlds.
It also shows the principle of “as above, so below” as things are
reflected between these two worlds.
His right hand is held in the position used to symbolize the horned
God, but slightly more open. I did this to show that he is the
representative of the God, again, and yet at the same time, he is
himself, too. Above it he holds a shining lemniscate, an infinity
symbol. This proclaims that he wields power in the realms of infinity
and eternity. Nothing can stop this man; he can easily handle anything
you give him, and have fun doing it!
On the table in front of him are the symbols of the four elements;
the sword for air, the wand for fire, the cup for water, and the
pentacle for earth. These show that he has control in all of these areas,
and in the states of being that they represent. (To know, to will, to feel
and to be still, in that order.)
If you look at them singly, the sword has a man holding the Tyr
rune on it. This rune stands for the god Tiw, who dealt with oaths,
legal contracts, and honor, and was known for his courage. So the
handle of this sword symbolizes fairness, courage, and honor. The
blade is steel, and mirror bright, because evil cannot stand mirrors,
and iron is good for cutting through the sticky strands that evil
creatures tend to bind things with. So the sword, as well as showing
air and knowledge, shows knowledge extending into justice and
honor, and the ability to overcome evil ie. things that would harm or
hinder.
 The wand, the symbol of fire, is made of crystal, bound with silver
wire, and topped with a piece of amber. The crystal, once again, is for
clarity. And crystal can be charged to hold energy. So the Magician
has all the energy that he needs at any point. The silver is for magic
and the moon, and all things mysterious and hidden. So the seen is
wrapped in the unseen. The amber is for fire, and also because it is
made from the sap of living trees, petrified through time. So, for me
anyway, it also stands for life and for the permanence that time can
give things. It’s also sacred to the Lady in some traditions, and so
gives more balance to this card.
The cup is very plain, to show that things may be very
straightforward, and fancy trappings aren’t necessary. It’s gold on the
outside and silver on the inside to show the balance between male and
female energies, as well as that between the seen and unseen, day and
night, etc. If you look carefully, it has water in it. I used water here
because that shows clarity again, and because the cups stand for
water. Also, if you are really thirsty, water is better than wine.
The pentacle has a silver star on a gold ground for the same reasons.
The silver star is magical night, and the gold disk is the sun. Also, the
silver pentagram is the symbol of a person (two arms, two legs, and a
head) while the gold disk is a symbol of the earth, so it becomes a
person on the earth, and shows that the Magician is at home here. The
silver pentagram may also symbolize the five elements (earth, air, fire,
water, spirit) with the golden disk allowing them to work as one, so
it’s another symbol of mastery in all the elements and of balance.
Remember, the true meaning of any card is whatever seems true to
you in any particular reading.
The corners of the table (which you can barely see) are piled with
the red roses of passion and the white roses of freedom.
Behind the Magician are two candles; a black one on the left and a
white one on the right. They stand for the conscious and unconscious
minds. They are both burning, because he is illuminated in both
aspects. Together, they fill the whole card with light.
 2 - The High Priestess
This card shows a young woman, with black hair and deep blue
eyes, standing in the open beneath a full moon. In her right hand
she holds a crystal ball. In her left is an open book. Behind her
are two trees, just beginning to bud. One is black, and one is
white.
Key – Wisdom and Compassion
This card stands for aspects of practicality, good judgement,
wisdom, knowledge, and mystery. Also spiritual leadership and
maturity. An avatar of the Lady. All the things that one would
ideally find in the HPS (High Priestess) of any group!

This is one of the cards that I found I wanted to change a lot. The
position of High Priestess, carrying as it does the responsibility and
privilege of being the representative of the Goddess, is very important
to me personally. I tried to convey as much of that as possible in this
card.
So I started with a woman who is young, but not too young, and
who has a look of quiet joy and wisdom. (I hope!) I gave her black
hair like the night sky, to show her affinity with the hidden,
mysterious, sensual, healing and feminine dark. I left it blowing free
all around her to show the freedom of her spirit, and her unbound
femininity and sensuality. Her deep blue eyes show her spirituality,
because that is the color of the intuition, and the third eye.
I gave her a crescent moon crown to show that she is the daughter
of the moon. The horns are up, as they are in a waning moon, to show
that even though she is young, she is full of wisdom. The silver circlet
shows that she is capable of using circular logic and intuition. It also
shows continuity; she has been a Priestess before, and will be one
again.
She wears a silver pentagram to show that she is a Priestess, and
also because a Pentagram (among many other things) is a symbol of
secret knowledge and harmony with the universe.
Her silver bracelets are a symbol of her rank. In many traditions
(including ours) silver bracelets signify third degree. So they show
that she has already mastered the basics of the religion (first degree
initiation) and has learned to see the patterns in the way the world
works (second degree.) At this point, she can ply those patterns to
further the work of the Gods. That is the level where she lives. That’s
the level of activity shown by this card.
In the first incarnation of the High Priestess, I made her robe white
to show her virginity. But then I decided that virginity, and the
naivete and inexperience that implies, wasn’t right for this card. So I
gave her a robe that encompasses all the colors that are normally
associated with the Goddess; from the white of the maiden at her
shoulders, to the green of the Mother of the Earth, to the blue that
shows the spirituality and purity of the Goddess, to the deep indigo of
the Queen of the Heavens and the Crone. There are no sharp dividing
lines between the colors, because she is still the same Goddess,
however we are looking at her.
Beneath her robe she is naked to show that she is unashamed of
herself, and free. It also shows that she doesn’t think of herself as
vulnerable. She is unafraid.
In her right hand she holds a crystal ball, the symbol of mystery and
magic, the unseen, mystic knowledge that can only come from within.
Spheres are also a symbol of the feminine, so this symbolizes the
intuitive, indirect side of a person, as well. It’s in her right hand,
although that is the active, not the intuitive, side, because that is the
way she most often works. That is her strong suit, if you will.
In her left hand she holds an open book. This is also knowledge, but
it’s readily available, easily accessible, open to everyone. This is the
carefully reasoned, practical side. The seen. The book has a black
binding to show that it is filled with wisdom, as black is the color of
the Crone. It has gold leaf on the pages, to show how valuable it is.
Just because she is holding it open for all doesn’t mean it’s cheap or
worthless. It just shows how much love she has, to freely give
knowledge of such value.
I put her outside because this is a nature religion, and should, I
think, be practiced out of doors as much as possible. It also shows
once again how unfettered she is. There are no walls to hem her in, or
hide her from the world.
It’s night, because that is traditionally the time of mystery. The
moon is full because it’s during the full moon that the expansive
energy is highest, and also to show the fullness of her knowledge. It’s
partially hidden by a veil of clouds, to show that her knowledge may
be hidden by mystery. This gives me a visceral reaction of immanent
disclosure and splendor. Because visceral reactions are what the cards
are all about for me, that’s important.
Behind her are two trees, just coming into bud to show that it’s
springtime, and the potential for growth is great. Although she is
already a High Priestess, and has lots of knowledge, in a very real way
she is just beginning to learn.
The tree on the left is black, because it symbolizes the feminine, the
dark, and negative2 life aspects. The one on the right is white for the
masculine, light, and positive aspects. These are all brought together
and balanced in her.
 3 - The Empress
This card shows a pregnant woman, dressed in royal robes,
sitting spinning beneath a beech tree. At her feet are baskets
piled high with food, and a beehive. Hanging from the tree is a
heart-shaped shield with the symbol of Venus, or femininity, on
it. Behind her is a field of poppies and ripe wheat. Beyond that is
a lake, and beyond that are hills that lead back to mountains.
Key – Mother
This card means fertility, safety, security, good advice. Great
abundance, nurturing, and material wealth. Perhaps pregnancy.
A woman who is competent and secure, and building a future for
herself and her family. Plenty, joy, growth and success.

This card went through more permutations before it reached the

present form than any other. At first, I just had her sitting on a throne,
with her hands folded in her lap to show how patient she was. Then I
decided that she should really be preggers, to show her extreme
fruitfulness, and how full she is of generative life. Then I decided to
make her spinning, instead of just sitting there, because …well, we’ll
go into that later.
I should tell you, though, that I had a pregnant friend named Donna
that I decided would be perfect to pose for this card. But when I called
her, and told her I had decided to make the Empress pregnant and
spinning, and would she mind coming over to pose, she informed me
that was totally unnecessary. “Why?” I asked her.
 “Because,” she replied, “when you are pregnant you are quite dizzy
enough without spinning!”
The Empress is smiling to show that she is comfortable, and
friendly. She is pregnant to show the fruitfulness of this archetype,
and also to show that she is full to bursting with procreative life. This
doesn’t necessarily mean a child, by the way. You can be pregnant
with an idea, or a project, or something like that just as well. I also
did this because one of the meanings of this card is pregnancy.
She is dressed in velvet robes the rich color of ripening wheat,
because that shows again the richness and fruition that are such
integral parts of this card, and also the softness and warmth that are
part of her character. Her robe is trimmed in deep green for the color
of the Goddess and growth. When a plant is no longer green, growth
has stopped, and death isn’t far behind.
Around her hem is a band of gold with a wheat motif. The gold is
for richness and wealth. The wheat is a symbol of plenty, and of life
and death. (The wheat grows, dies, is replanted, and grows again.)
There is also a band of green for growth and vitality. It has a design of
hearts for love, and the female symbol to show her motherhood. The
band is continuous to show these things never end.
Around her sleeves are more bands, gold again for the same reason,
and a motif known as “The Tree of Life” with luxuriant leaves, vines,
flowers and fruits growing and twinning around, to show the richness
and abundance of life.
Around her collar is another band, which repeats the same ideas,
this time with green gems on gold. These gems form circles for the
circle of life. From it hang ruby hearts, to show how freely she loves.
A band of gold goes from her collar to the clasp that fastens her
dress across her breasts. On it is shown an Athame, the sacred knife of
the Wiccae. On the clasp is a cup. The juxtaposition of these two is
called “the Great Rite,” and symbolizes the fertilizing of the female by
the male, the act which brings forth life. It’s very holy; and putting it
right above her pregnant belly underlines the concept!
Her hair is a rich gold, like the wheat, and is bound to show that
she has submitted to the responsibility of caring for a family. It’s
bound in gold, though, because these commitments themselves are a
rich source of joy and happiness. On her forehead is a white jewel, to
show her purity.
She is also wearing a crown, because she is an Empress, after all! It
has a silver band with engravings that show all the phases of the
moon, because she contains all of the aspects of the moon; Maiden,
Mother, and Crone.
Above them are six shining stars, to show the six senses through
which she speaks to us.
In the middle is a setting with four silver disks, for the four
elements, with a golden one in the middle, for spirit.
In her ears are earrings shaped like a gold disk with three crystals
hanging from it. (You’ll just have to take my word for this.) The gold
is for her love, and the crystals are to show that it springs three-fold to
water the earth.
Over all she wears a transparent veil of deepest blue, with silver
stars on it. This is to show that she is the Queen of Heaven, and
crowned with the glory of the universe. It also shows that she is
mistress of the night, intuition and hidden things. And that she reveals
the hidden (the veil is transparent.) Her shoes are the same color, and
also have stars on them, for all of these same reasons, and also to
show that whatever is above is also echoed below.
Over her shoulders she wears a purple cape, lined with ermine.
These colors show her majesty, and also her purity. According to
legend, the ermine would rather die than be soiled. Her cape has gold
disks with all the signs of the planets on them, to show her rulership
in all of these areas. There is also one with a heart and one with a star
to show her majesty there as well. It has gold trim with a vine pattern
for abundant life and joy.
She is spinning the thread of life out of stars and air. This is what
she does. Legends are full of women, often Queens, who spin in this
fashion, and that is what I was trying to convey. My favorite is the
Princess’ Grandmother in George MacDonald’s book “The Princess and
Curdie.” If you can, read it. She was wise, and gentle, and strong, and
old, and wonderful in every way. And that is the reaction that I
wanted to have when I saw this card.
Her wheel has eight spokes because it is the wheel of the year.3
Around the outside of the wheel are the signs of the Zodiac, to show
the year, again. As it turns, the thread of life is spun out, until it is
perfect. On the frontmost leg of the wheel is a scepter, to show her
majesty and mastery here.
She is sitting beneath a beech, because beech trees are the Queens
of the forest to me. And in the Celtic tree system, the beech stands for
old knowledge. So her knowledge is older than time. From the tree
hangs a red, heart shaped shield, with the symbol of the feminine on
it. This is to symbolize that her intuitive heart is the only protection
that she has, and she has set even that aside to accept the Seeker with
openness. It has a green ribbon for growth, again, and a gold border
with a spiral pattern for introspection.
At her feet are baskets of fruit and vegetables, to show wealth and
abundance. There is also a bee skep to show richness and sweetness.
The grass glows green to show the bright abundance of growth,
sprinkled with small yellow flowers to show her joy.
Behind her is a field of ripening wheat. As mentioned before, wheat
shows richness, and also the cycle of life. There are poppies mixed
with the wheat for joy, sensuality, and fertility. Also, as the wheat
nurtures the body, the beauty of the poppies nurtures the spirit.
Behind them is a deep and placid lake. This is the water of life, the
unconscious, and emotions. It flows deep and pure in her.
Farther in the background are trees, which show strength and
growth again, and then hills. These hills are old and rounded, and
have fences on them. This shows that her wisdom is ancient, and also
that it is tamed, and civilized. It is part of the home and society, not
the wild, untrammeled knowledge that is shown in other cards.
Farther back are the mountains of enlightenment. These show her
majesty and the depth of her knowledge once again.
 4 - The Emperor
This card shows a man with a golden beard that is turning to
grey, dressed in half armor and sitting on a throne made of stone.
He is holding a scepter, and beneath his feet is a globe. There is a
horn hanging from the corner of his throne. Behind him rust
colored mountains rise to the sky. An eagle flies overhead.
Key – Father
This card means a father-figure, someone who is secure,
successful, and stable, if a bit authoritarian. A powerful leader.
Someone who is sure of himself, and who looks at the world with
quiet reason. A virile leader. The embodiment of the active male
principle.

I made this man mature, to the point of beginning to grey, to show

that although he is still very virile, he is no longer ruled by his
hormones. He tends to look at the world with calm reason, instead.
His hair was once gold, though, to show his richness and also his
association with the sun.
He wears a crown of laurel, because he has been victorious in many
battles, and also to show growth and virility. It’s the mark of a
successful leader. Sometimes it also speaks a bit of the Green Man.
Beneath it is a golden crown, because he is the Emperor. The crown
has a purple stone to show his majesty and royalty, topped by a
golden trefoil to show the three parts of life, (youth, maturity, and old
age) and his understanding of all of them. There is a white stone in
the center for his purity.
He is wearing armor because of his martial nature, and his constant
readiness to defend and protect. It is decorated with gold for wealth
and richness, with a motif of leaves and vines to show life and
fertility. On the breastplate is a two-edged sword. This shows his
authority and fairness, and also his knowledge, which he carries over
his heart, and which tempers his emotions.
The armor only covers half of his body, because he doesn’t let his
war-like nature cut him off from gentler things. It’s decorated with
golden ram’s heads to show his virility, and his association with Mars.
He has a white belt to show his knighthood (I was in the Society for
Creative Anachronism for too long) and so his nobility and chivalry.
His trousers are blood red, to show his courage, and also because
red is the color of the God. It also shows that he rules death,
bloodshed, and resurrection. And sometimes it just shows that he goes
forth boldly.
He wears boots, because of his martial character. The Earth is
beneath his feet as a reminder that the masculine principle rules the
world just now.
He has two rings, one dark and one light, to show balance.
In his right hand he holds the scepter of his authority. The globe
shows his dominion, again, and the ankh shows that he rules primarily
through the life forces. The globe, if you look carefully, is held in an
open flower, to show that he is in the flower of his prime. It’s
supported by another ram’s head for potency and virility. The globe
itself is quartered and cross quartered. This shows the wheel of the
year, but mostly I did it to show that he tends to be a bit
authoritarian. He’s not really interested in freedom for everyone,
control seems safer to him.
The ankh on the top has a circle and a square on it. The circle
shows that this is part of the cycle, and complete. The square is for his
stability, which can border on rigidity, as is shown by all the other
squares, as well.
He wears a purple cape, with an ermine lining, for his royalty and
majesty. The basic shape of this cloak is a square, to show his
steadiness once more.
On top is a border of alternating red rectangles and green circles.
These are masculine and feminine symbols, and show that he has
some balance. As completely male as he is, he does acknowledge his
softer side at some level. The bottom border is gold coins on a red
ground to show his wealth and success.
 It is fastened with a gold brooch that has a blood-red stone to show
his passion and potency again, ringed with gold coins to show wealth
and accomplishment.
He is sitting on a square throne made of stone, to show his stability
and firmness. He is what my mother would call a “four-square” kind
of guy. There are ravens carved on the throne to show his warlike
attitude, and to call to mind the ravens of Odin. So they speak of his
wisdom, intelligence, and self-sacrifice. The arms of the throne have
rams again because of his virility and tenacity.
On the corner of the throne hangs a hunter’s horn, because he is
also the Lord of the Hunt. He has the lusty vigor and endurance
necessary to bring down the wiliest prey, and the power of life and
death once he has caught it.
Behind him are the rust-red mountains of Mars. They are dry,
because the male principle is dry and cold, as opposed to the female,
which is wet and warm. And they reach high, because his
achievements are great, and because he likes a challenge!
The eagle shows the flight of his intellect, and his mastery over the
element of air.
The sky shows yellow at the horizon, because there is joy here, and
an abundant sense of humor, even if it is a dry one.
 5 - The Hierophant
This card shows a bishop, shorn and shaven, standing in his
stone church. He is wearing a gold miter with a crown at the top,
and keys in the design, and carrying a gold scepter. At his feet
kneel two acolytes with tonsured heads. One is smiling, the other
frowning.
Key – Conformity
This card means repressive conformity, captivity, servitude,
empty ritual. A concern for form over function. A desire to hold
on to old things, even if they are outdated. A desire to control
others, or a position in which you have allowed yourself to be
controlled by others.

I realized, when I began writing this description, that not everyone

has the same attitude about conformity I do. My thesaurus, for
instance, uses words like “harmony, agreement, felicity, fitness,
concord” as synonyms for “conformity.” I have always thought of it
more in the vein of “suppression, repression, smothering, squashing,
extinguishing personality, limitation,” Guess that’s telling, isn’t it?
So this card may not mean exactly the same thing in my deck that it
means in others. I have never found conformity to be life-affirming. I
tend to think it’s something that was devised to more easily control
others.
Rules, for me, are something for people who are too young and
inexperienced to stay out of harm’s way, to keep them alive until they
gain the experience to make wise choices themselves. In other words,
to keep children out of trouble long enough for them to grow up!
After that, they don’t need rules, just brains.
I made the fellow to symbolize stifling conformity a bishop in the
Christian Catholic church, because that is where I, personally, have
run into this unquestioning conformity the most often. Not to say that
Christians automatically repress and try to control others. Some
Christians are truly good people. And the Christian church is glad to
squelch them, too. It’s not Christians I object to. It’s their Church! For
someone who wants to control others, the Church is a ready tool. First
tell people that they cannot question God. Then tell them you speak
for God. And Hey Presto! They cannot question you, either!
In my opinion, any institution that has a guy at the top who, by
definition, can never make a mistake has something seriously wrong
with it.
And this card, to me, shows something seriously wrong in the life of
the Seeker. He is throwing over all that he believes in for the sake of
conformity.
Also, most of us former Christians go through a period when we are
quite bitter about Christianity, just as one goes through a bitter period
when anything that you have invested heavily in fails you. I designed
this card while I was there. And I left it like this because I still find it
scary that any religious group can control and manipulate people like
that.
Anyway, that said, we’ll go on with the description of the card.
I began by giving this man a sallow complexion, because I think this
sort of activity is against nature. I don’t think he gets out very much. I
also did my best to make him look like he is disapproving of
everything, and constipated, because that is what people who are
forcing conformity on others usually look like to me.
His robes are very beautiful, because these forms can often be
beautiful. But the designs on them are rigid, stylized, repetitive, and
artificial. This shows that although he starts with a good idea, he has
taken all the life from it by the way he treats it. They were supposed
to be the lilies of purity and the red roses of passion; but now they are
both dead and dried. Conformity may seem attractive, and may seem
to contain the things you are looking for, but it’s only a seeming. The
act of rigid conformity takes all the life out.
They are rich, because this kind of control and manipulation often
generates a healthy income from the people it preys on. But it all stays
at the top.
 They are the color of dried blood, as a reminder of the suffering
caused by this sort of attitude, and how suppressing one’s own
individuality dries up vitality.
He wears gloves, so his hands won’t become soiled with the cares of
others.
On his head is a mitre, showing his position and authority. On top
of it is a crown, to show that although he claims not to be part of the
world, he is more than happy to tell you what to do in it!
Pictured on the miter are two keys, covering the spirals of
introspection. One faces left, for the unconscious, and one right for the
conscious mind. He has locked them both fast, and although you can
see the keys, they, too, are not real. He has no intention of letting you
get to true introspection, to the place where you actually use your
mind. He would far rather you just do as you are told.
His miter has seven red stones along the bottom of it. This shows
that he has used the traditional seven seals of the Church to help lock
away any thought.
He holds a scepter with three rings and a sphere on it. The three
rings stand for the past, the present and the future; or for the
unconscious, the conscious, and the super conscious; or for any other
three that pops into your mind. He will claim authority in all of them
if you let him. The sphere is to show how complete and all
encompassing his plans for you will be, if you allow it.
At his feet kneel two acolytes, dressed in white to show that they
are still blank sheets that he intends to write on. They are children,
because he is happy to keep everyone in that dependent state. They
have tonsured heads, to show that they are already submitting
completely to him. One is frowning and one is smiling for the masks
of tragedy and comedy. This is really just a show, an act. There is no
reality or substance here.
Behind him are stone walls, because he has cut himself off
completely from nature. Real, growing things cannot touch him,
because they are constantly changing, and he is against all forms of
change.
There are two pillars there. The one on the left has a woman’s head
on it, to show that he oppresses women. It also has a frieze showing a
bunch of sheep listening to someone preaching at them from a boat.
This is to show that, like obedient sheep, the Hierophant’s followers
all listen to whatever he is saying, and go where they are told, and do
what they are told, in spite of the fact that his platform is obviously
unstable. Basically, he doesn’t know what he is talking about half the
time. When you think about it, what can a celibate man really know
about living with a wife or raising children? And yet, they talk about
it all the time, and tell people who are living it what to do. Makes you
wonder, doesn’t it?
On the right hand pillar is a man’s head, showing that he oppresses
men, too. At least he’s fair, right? Also on it is a frieze showing people
stumbling along under heavy burdens. This is the direct result of the
scene on the first pillar. Not only does he not raise a hand to help
them, he tells them that their burdens are good for them, and they
should not complain. You may notice he doesn’t get one.
Behind the pillars is a solid wall. This shows that such an institution
is built with tradition and dogma until no breath of fresh air can
possibly reach inside.
 6 - The Lovers
This card shows a man and a woman walking with their arms
about each other. She is holding a moon above her right hand, he
a sun above his left. A rainbow connects the two of them. Behind
them, two trees grow as one, with the sun just breaking between
them; an apple tree on her side, an oak on his. Behind that are
hills, rising to mountains. There is a home on her side, and
plowed fields on his. Two eagles fly behind her, and two
butterflies behind him.
Key – Love and Companionship
This card means love, respect, partnership, trust,
communication, romance, beauty, honor, unity, perfect balance.
It may mean a couple which has worked together to overcome
trouble, or one that simply works very well together. Or it may
mean a perfect mating of two other principles to bring forth
something which is larger than either of them alone.

In the first incarnation of this card, back at the very beginning, the
two figures were standing on opposite sides, reaching toward each
other. As I came to understand the balance and harmony possible in a
truly loving relationship, they came closer and closer together, until
you cannot see daylight between them!
This particular design was first made for a magazine article about
balance. I liked the woman holding the moon and the man with the
sun so well that I decided to use it here. It really seems to me to
illustrate the principle.
The two people on this card are the male and female principles,
embracing and becoming one.
Because of that, I gave the woman long black hair, to show her
sensuality, and affinity with the dark, feminine side of nature. Most of
it flows loose and unconfined to show her freedom of spirit. But she
has braided a single lock, to show that she has entered into a
partnership, and is willing to make the compromises necessary. In it,
she wears a green feather for the Goddess.
His hair is gold, to show his association with day and the light. He
has a beard to show his maturity. Around his arm he wears two red
feathers, for the God of Death and Resurrection.
She is looking straight ahead, while his eyes are closed, and he is
following her lead. This is to show that in a perfect balance there is an
exchange of attributes. Now she is walking in the world of the seen
and he is walking in that of the unseen. And she is taking the active
role, while he becomes passive.
In her right hand she holds the full moon embraced by the old. This
is to show that she is full of old, intuitive knowledge, and also to show
her affinity with the secret, mysterious powers of the night. Using her
right, active, hand shows the balance within herself.
In his left hand he holds the blazing sun. This is to show his grasp of
the bright, new knowledge, and his affinity with the open, lucid
powers of the day. Once again, using his left, intuitive hand shows the
balance within himself.
Between them arches a rainbow, because when you have this sort of
love, involvement, union and balance, everything becomes open and
possible. There is also a very special kind of shining beauty here, and
the rare, fragile, yet indomitable power of the rainbow.
They are walking together, with their arms around each other, to
show that they are now going forward into their lives as one. From
now on, they will follow their path together.
They are naked to show that they are unashamed in front of each
other, and free to be whatever they are, without fear.
Behind them are two trees, growing as one. This shows that they,
too, will grow together through their love. The tree on his side is an
oak, which shows his strength. In the Celtic tree system, oaks stand for
protection and strength. They also form the portal into the mysteries.
The tree on her side is an apple, which shows her fruitfulness and
beauty. In the Celtic tree system, the apple tree meant choice, and also
youthfulness and beauty. And if you cut an apple in half crosswise,
you get a five pointed star. So her tree, too, is a door into greater
mysteries. Together, they are very powerful indeed!
Through a gap in the tree shine seven sunbeams. Seven is a number
of perfection, so this shows the perfection of their love. It also shows
how bright and warm it is, and how it illuminates all around them.
They walk on soft, green grass, among little pink flowers. This
shows that their love is growing and nurturing. The pink flowers, of
course, show the happiness they find in their love and regard for each
other.
Behind her are flying two eagles. There are a pair of them, because
when you are this happy together, you want everyone to find someone
as wonderful as you have, and to share this kind of joy. They are
eagles to show her strength and freedom, which she can express
without fear in this sort of communion.
Behind him are flying two butterflies. There are a pair of them for
the very same reasons there are a pair of eagles. And they are
butterflies to show his frailty and tenderness, which he can express
without fear. They also show how this kind of love can transform a
man (or a woman.)
Farther behind her is a home, with the hearth fire lit (you can see
smoke coming from the chimney.) This shows the home that she is
willing and able to make for them. On his side are plowed fields,
which shows the work he is willing and able to do to provide for
them.4
A stream comes down from the mountains to water the field, which
shows that when a man is willing to open his intuitive side, he
becomes nurturing, too.
Together, they till the soil and make a home in the fertile land of
their love, which reaches ever toward new heights, as shown by the
mountains. The mountains also stand for enlightenment, as always, so
this kind of love can be enlightening for everyone.
There are no clouds, because nothing dims the brightness of their
devotion to each other.
 7 - The Chariot
This card shows a young blond man playing a harp and
singing, while riding in a moving chariot. Above him is a canopy
hung with stars. The chariot is being pulled by two unicorns. One
is black, and harnessed in silver. The other is white, and
harnessed in gold.
Key – Balance and Harmony
This card means harmony, balance, triumph, leaving your
problems behind. It may show that the Seeker can control
conflicting forces, bringing them together into a harmonious
balance, so they can work as one. It’s the ultimate balance card,
so in my worldview, it’s a very good card indeed!

This card, too, deviates from the traditional in several ways.

The first thing I did was give the Charioteer unicorns. I did that
because traditionally, unicorns are wise, but also fierce. I wanted to
show that if he lost control, it would be bad. Also, they will only obey
the pure in heart. If he can get two unicorns to pull his chariot, this
guy must be a paragon of purity. And so he is.
One of the unicorns is black, and has a silver horn and silver
harness, to symbolize the feminine, night forces.5 I put a moon, and a
female biological symbol (which also happens to be the symbol for
Venus) on her collar to emphasize this. The other is white, with a gold
horn and harness, to show the masculine, day forces. Once again, he
has the male biological symbol (Mars) and the sun to reinforce the
idea. They are mirror images of each other, to show that they
complement and also oppose each other in every way. And yet, he has
them working together to draw the chariot.
I made the fellow blond, with blue eyes, because of the general
theme of yellow and blue that his entire dress conveys. (I thought blue
hair and yellow eyes would be too weird.) Once again, that shows the
balancing of the forces of night and day, dark and light, positive and
negative.
He wears the blue of the night and intuition on his left, and the
yellow of joy and perception on his right. In the same way, his armor
is half the silver of the night, and half the gold of the day. There is a
gold sun on the left side, and a silver moon (although you can’t see it)
on the right, for balance. He is wearing a breastplate because it stands
for truth. When you have perfect balance like this, the truth becomes
the only protection that you need.
Around his brow he is wearing a golden circlet set with a green
gem. The circle is perfection, of course. And the green in the gem is
for growth and vitality. Balance like this isn’t static. In fact, it allows
you to change more gracefully than ever! There are rays shining out
from it to show the perception, understanding, and brilliance of his
spirit.
He is playing a harp because that is how he controls the unicorns
that power his chariot. Through song, love, and harmony; not through
brute force. You don’t see any reins here, do you? It has eight strings
because that is a full octave. And that makes music, and completeness.
(ever try going up the scale from C to B, and not hitting that final C?
Annoying, isn’t it? Incomplete, somehow.) He is singing, too, because
with the harp and the voice he can make beautiful harmony.
There are stars in the deep blue canopy over his head to show the
celestial influences that guide him. After all, he’s not just balanced, he
is actually going somewhere, too! And the night forces on his canopy
balance the bright day and golden dust all around him.
There are wings on the chariot itself, to show the freedom of spirit
that such balance brings, with a blue jewel to show the purity and
depth of his soul. And there is a yin/yang symbol, which shows
balance, harmony, and unity (just in case you missed it in the rest of
the card!)
Finally, the chariot is in motion, to show that even when balance is
perfected, all things still change. And when balance is perfect, you can
get where you are going more gracefully, and without as much
trouble!
 8 - Strength
This card shows a young maid, her blonde hair wreathed with
flowers, closing a lions mouth. She is dressed in white, and her
lap is full of flowers, too. Behind her is an alpine meadow. An
oak tree is barely visible to the right.
Key – Strength of Spirit
This card means great moral strength and courage. Spiritual
power, energy, and conviction. It may mean the gift of soothing
other’s grief or showing them a way to solve their problems. It
shows fearlessness and love that can transform the world, or at
least the way we think about it.

There is a controversy surrounding this card, believe it or not. It

centers around whether this card should be Card 8, and Justice Card
11, or the other way around. When I realized this, I thought about it
for quite a while, and listened to the arguments on either side. Then I
decided that this deck was really the one I wanted to have, for me to
use. And all the numerological and astrological arguments in the
world mean very little to me; because I don’t do numerology or
astrology. (They both have quite a lot to do with numbers, and I have
as little to do with numbers as possible, due to a bad experience with
New Math when I was in first grade back in the late fifties.) So I
decided to decide based on what I do use, which is Visuals. And I
really liked the idea of the number 8, which is also the sign for
infinity, as Strength. This kind of strength is infinite, and I liked the
number to reflect that. I also liked the idea of the twin, balanced ones
in 11 for Justice, which is a card of balancing. So that’s how I left
them.
I didn’t change this card much from the traditional picture found in
many decks, because it seemed just about perfect to me the way it
was. It’s a very simple card, and yet profound in its implications.
A beautiful woman, strong in her love and fearlessness, effortlessly
closes the lion’s mouth with her bare hands. I gave her short blonde
hair, reminiscent of the lion’s mane, to show that she has some
kinship with the lion. She can understand it and empathize with it,
although she isn’t a lion herself. This is where some of her strength
and love comes from. She is successful not because she is physically
stronger than the lion; she probably isn’t. It’s because she has courage,
understanding, and confidence.
She wears a wreath of flowers in her hair. I gave her daisies to
symbolize the freshness of her spirit and outlook. Violets to show her
sweetness. Forget-me-nots to show her caring. Spring beauties to show
her joy, and babies breath to show her child-like-ness. Many of these
are spring flowers, to show that she is young in her outlook. She wears
them in a wreath to show that these qualities go on forever.
She wears a white dress to represent her purity. It’s trimmed with
the lemniscate that proclaims her an adept, with the forces of infinity
in balance within her, and at her command. The trim is also yellow, to
show her joy.
In her lap she holds even more flowers, to show that she has a
wealth of spiritual gifts, which she is willing to give freely to others.
They include all the ones in her hair, as well as white lilies for purity,
pink roses for love, and a little yellow sunflower for joy.
The lion, of course, is the symbol of brute strength and pride. He is
also the symbol of all the masculine qualities; vigor, virility, action,
strong passions, etc. Yet he submits willingly, even gladly, to her. He
allows his mouth to be closed, because she loves him. And such love
evokes love and trust in return. That is the secret of this sort of
strength.
She has put flowers in his mane, too, the same sort that she wears.
Her good attributes are rubbing off on him, because of the association.
And his qualities are even better when they are in control. (Out of
control, they are often destructive and harmful.) So he learns self-
control through her. She shows him what to do, and then he can do it
himself.
There is an oak tree that barely comes into the picture, just in case
you missed the other allusions to strength. The oak is the entrance to
the mysteries, as well. So this strength can lead to even greater
mysteries.
They are in an alpine meadow, because the mountains in the Tarot
mean enlightenment. They are already there, although higher peaks
still await them.
 9 - The Hermit
This card shows an old man, with a long white beard, standing
on a snowy mountain top. In his right hand he holds a lantern
containing an eight-beamed star. In his left, he holds a staff with
a red feather and two medicine bags on it. He is dressed in old,
gray rags, and he smiles as he looks down the mountain.
Key – Meditation and Contemplation
This card means meditation, the search for truth, teaching,
good counsel, wisdom, prudence, a withdrawal from life to find
the center. Perhaps the Seeker has these qualities, or perhaps she
is about to meet someone else who does.

I gave the man long, snow white hair and a beard to show that he is
very old and wise. But he is strong with his age, which you can tell
because he isn’t stooped at all, but standing tall and straight.
He is dressed in clothes that look warm, but tattered. Appearance is
no longer as important to him as function, and he isn’t interested in
material things anymore. This is something that happens with age and
wisdom. His clothes are gray, because in him the positive, masculine,
day forces and the negative, feminine, night forces6 have finally
become completely balanced and joined, and are one.
He has red shoes, though, because he steps out in courage. They are
also new (you can tell, because they aren’t faded) to show that the old
knowledge is constantly expressing itself in new ways.
In his right hand, he holds out a lantern. This shows that having
found enlightenment, he is willing to shed light on the path for others,
too, if they are willing to look for it. In the lantern is a star (you might
not recognize the shape, because it’s too bright to look at. But that’s
the way I have always thought of it.) This is the star of knowledge,
which shines with eight beams of light. This is to symbolize the eight
parts of the year, and show that he is always standing there. It also
shows the cycle, which never ends. Eight beams also show symmetry.
He has followed this light, and now he bears it. Someone else is now
following it, and will bear it after him.
He holds a staff, which is a symbol of will and life, to show that he
is here by his own will, and that this is a vital, living thing itself. On
the staff is the very same red feather that the fool had. In a way, the
hermit is the fool, having come far and learned much on his
journeying. Also attached to the staff are two medicine pouches, to
show that his possessions are fewer now (compare this to the
backpack the fool had) and yet, more powerful. As the fool’s backpack
symbolized his life, so the hermit’s pouches symbolize his, distilled
down to the most important bits, with all the fluff and drayage left
behind.
He is standing high among the peaks of the mountains of
enlightenment, because he has arrived there. And he is patiently
waiting to help others arrive, too.
 10 - Wheel of Fortune
This card shows a roulette wheel. It’s divided into eight
sections, and on each section is the face of a young woman. At
the top of the wheel, she is ecstatic. At the bottom, despairing.
Between, the colors change according to the spectrum, and her
moods change, too. The wheel has a golden rim, with a silver ball
in motion around it.
Key – Roller Coaster Ride
This card means change, and the inevitability of change. It’s
the card of destiny, fortune, luck, perhaps the end of troubles in
sight. Moving on, for better or worse. Emotional upheaval.

When this card comes up in a reading I’m doing, it almost always

means the emotional roller coaster. That’s why I drew it the way that I
did. I have a friend who refers to it as the bi-polar card. It’s the card
that comes up when you are just starting a new relationship, and are
so on edge that you can be thrown into utter bliss if he sends roses, or
utter despair if he breaks a date. It’s the card that appears when things
just matter too much! Change is inevitable; you can’t let it throw you
off balance like this.
When I was looking at the traditional cards, the images on them
didn’t convey that sense to me. So I redrew this card completely, to
give it that feeling of emotional giddiness; that sense that life is going
on, and there’s nothing that can be done. You may wind up way on
top, feeling like you have won the lottery, or you may wind up feeling
that it’s run over you like a semi truck. But you are likely to wind up
reeling in any case. Time to find some stability here.
And you can find it, by realizing that the change is a pattern, and
that it repeats endlessly. I put a lot of things into this card so that I
can explain that to the Seeker, and show him what I mean.
I started with a roulette wheel, to show that the whole thing is a
gamble. All that you can really depend on in this sort of situation is
that the situation is going to change. But there is a pattern to the
change. And the pattern is constantly revolving around a fixed center.
This demonstrates the interplay between stillness and motion.
Between the principles that don’t change, and the things that do.
Change is a matter of position, more than of substance. The ball
falls into the top slot, and you are happy. It falls into the bottom, and
you are full of despair. It falls someplace in between, and you are calm
and content. But it’s the same ball, on the same wheel. By accepting
the idea that it will land in a different section another time, you can
gain balance. Whatever is going on now, this too shall pass.
Things swing from positive to negative, from joy to sorrow, from
light to dark, from expanding to contracting, and back again, never
stopping. If all you ever did was inhale, you would burst. If all you did
is exhale, you would run out of air and die. Change is necessary; you
can balance it by accepting what comes for what it is, learning
whatever you can from it, and going on.
The eight spokes symbolize the wheel of the year, from summer to
winter and back to summer again, over and over in endless turning.
The silver ball stands for the unconscious, from which our thoughts
and feelings spring. It travels the golden rim which is the path of
change. The speed of travel may vary, but the path repeats. This
illustrates the underlying order in all things. It travels clockwise,
deosil, in harmony with the motion of the universe.
The young woman in the card is going through the emotional roller
coaster. In the picture at the top of the card, she is blissful, and
everything is coming up in gold stars and yellow light. Here, she is
wearing white, because she is completely full of the bright, expansive,
daytime forces.
In the next section, she is still happy, and looking back towards the
good times. But things are starting to cool a bit, as shown by the green
background.
In the next section, she is pretty well balanced. She is calm, and
serene, and her robes are grey to show the balance between the night
and day forces.
 Next, she begins to look ahead, and realizes that there is trouble
coming up. This makes her unhappy, and she changes her robes to
dark grey, and closes her eyes, to begin introspection. Her background
is blue.
Then she is in the depths of despair. No longer looking outward at
all, she covers her eyes so that she will not see the things that are
troubling her. Her robes are black, as she becomes totally aligned with
the dark, introspective, night time forces. And yet, even now,
remember that night time is when you sleep and heal.
As the wheel continues, she makes the same transitions again, in the
reverse order, until finally she is back where she started, in boundless
delight once more.
The important question is, what has she learned from the journey?
The wheel spins, and round she goes, and where she stops, nobody
knows. But if she can grasp the concept that wherever she stops it’s
just a temporary thing; that the wheel is going to go round again; then
she can keep her balance, not get dizzy, and not invest too heavily in
the ball stopping in any particular place.
And that’s the secret of this card. That’s what I tell the Seekers who
come to me, and get this card in a reading.
 11 - Justice
This card shows a woman sitting in front of two pillars. In her
right hand, she holds an upraised sword. In her left, a pair of
scales. She is crowned with a laurel wreath. Her eyes are open,
not blindfolded. Behind her, trees and hills stretch to a clear blue
sky.
Key – Fairness
This card means fairness, balance, justice, equality, rightness,
equitable negotiations. Total justice untempered with mercy. It
may show up if there is a legal matter pending. It’s the card of
balanced reasoning, and of completely unbiased thinking.

There is some controversy about whether this card should be

number 11, as I have it, or number 8. When I learned this, I spent
quite some time thinking about it. Now, I suppose that I should have
been thinking about it from the viewpoint of numerology, or
astrology, or something. But I don’t do numerology or astrology,
because I have never really made friends with numbers. (New Math in
first grade in ‘59. It’s a long story.) So I made the decision based on
what the numbers look like, not on what they mean. And I liked the
visual image of the two identical numerals, standing straight and
balanced. It seemed to be more in keeping with the other images on
this card. And I wanted the infinity symbol to stay on the Strength
card. So that’s the way I left it.
I gave this woman blonde hair and a light complexion to show that
she is fair. (Alright, I know it’s a pun. My mind often works that way!)
On her head is the laurel wreath of victory, to show that in this
instance clear, impartial, dispassionate thinking will prevail.
She is seated, to show that she is considering things over time, not
rushing, not thinking on her feet. This may be a bit slower, but it’s
truer, too.
Her eyes are wide open, because she isn’t blind a bit. She sees both
sides, and what they need, clearly. And when she has seen all of it,
and gone over it all impartially, then justice will be done.
She is very calm, because passion plays no part in her decisions.
And she is looking directly out of the card, because her approach is
direct.
She is wearing red robes because of the courage with which she
does this. She isn’t faint hearted, or weakened by fear. Fear has no
part in the equation she is building here. It’s also the color of the God,
of animal life, and of death.
Her cape is green, to show growth and vitality. This isn’t some static
thing, judged by rules. She considers everything on a case-by-case
basis, and makes her decisions based on what is best for everyone. It’s
also the color of the Goddess, and of vegetative life, and of growth.
I used both red and green to show balance, between the God and
Goddess, between animal and vegetable, between life and death.
Both of her garments are lined with purple to show the depth of her
wisdom, her authority, and the majesty of her justice.
Her cloak is fastened with a silver square set with a red jewel. The
silver is for intuition and looking inward, and the square for
perception and looking outward. So the silver square means that she
has both the unseen and material worlds at her command. She can see
through any argument, and discern the truth of the matter. The red
jewel is the same, but in reverse. Its circular shape stands for the
feminine, and its red color the masculine. So it, too, is perfectly
balanced between feminine, circular logic and masculine, linear logic.
As a whole, then, this clasp means that she has it covered. She
understands the whole thing.
In her right hand, she holds the shining silver sword of truth and
knowledge. This sword can cut both ways, and nothing can stand
against it. In the hilt is set a blue stone for purity of heart. The blade
catches the light, and reflects it back because truth is like that. It
mirrors what is in each of us, and illuminates the world.
In her left hand, she holds the golden scales of knowledge and
judgement. They are perfectly balanced, because her discernment is
perfectly balanced. The handle is set with the amber stone of will,
because what she wills will happen here.
If you look, the juxtaposition of the scales and her open sleeve
mirror the sword. This shows balance once again. And because the
bright sword is pointing up, and the dark sleeve sword is pointing
down, it also indicates the concept of “as above, so below.”
She is sitting between two pillars to show that she is perfectly aware
of both sides of any argument.
Behind her is open air, trees, hills, and sky. This shows that her
justice is calm, considered, peaceful, and ancient as the hills. But it’s
also fresh, vibrant and alive. The birds show that this kind of open-
minded thinking can give you wings to fly!
 12 - The Hanged Man
This card shows a young man hanging upside down. He is
wearing red trews and a white shirt, and has one leg over the
branch of an ash tree. His other leg is crossed on his ankle, and
he is holding his hands behind his back. The background of the
card is gray, and there is a nimbus of light around his head.
Key – New Point of View
This card means suspense, change, looking at things from
another viewpoint. It may mean willing surrender to higher
wisdom, or sacrifice to gain this wisdom, especially in occult or
spiritual matters. An inner search for the truth.

In many decks, the hanged man is tied up. I thought about that, and
decided that if he was doing this voluntarily, that should be shown by
a lack of ropes. So the first thing I did was make all the ropes go
away.
He is hanging upside down, by one knee, because he has chosen to
look at things in a totally different way, from a whole new viewpoint.
The trees that he is hanging from are living, because this is a
growing experience. I made them ash trees to bring to mind
Yggdrasill, the world ash, from which Odin hung to obtain the
knowledge of the runes. (That’s also why he’s blond, by the way.) In a
similar fashion, the discomfort he may feel in this position is
something that he is going through deliberately, in order to gain
knowledge and wisdom.
 He has his hands behind his back, and one ankle crossed over the
other to show his total surrender to this attitude. Also, this makes his
upper body (arms and head) into the triangle which is used as a
symbol of the first degree of Wicca in our tradition. So it illustrates
that he is on a new path of wisdom, and is changing his priorities. His
shirt is white to show the purity of his resolve in this.
His legs, too, form a triangle; but with one point up, not one point
down. (OK, it’s a little cockeyed, but that’s what I meant.) Together
with his red trews, this makes the symbol of fire, or will. He is doing
this through his own free will. The red trews also stand for his courage
in taking this step. (If you don’t see the second triangle, don’t worry
about it. I tried to draw him with his second leg not crossed at the
ankle, but it looked like he was going to fall any second, so I did it
this way instead.)
Around his head is a nimbus of light, or a halo. This is to show the
spiritual radiance that this position has given him, which glows
against the greyness that surrounds him.
That greyness, of course, is for balance. The night and day forces
mingling equally. But sometimes, when I’m reading this card, it seems
to be the drabness of the viewpoint he had before, which is being
lightened and purified by his new outlook.
As always, it’s how the card hits you in a reading that really counts.
 13 - Death
This card shows a figure completely hidden within a hooded
robe, standing at a fork in a pathway that runs through a birch
wood. He is holding a black flag with a white rose on it, and
blocking one fork of the path. With outstretched arm, he points
down the other one. A butterfly is going that way, too. And it’s
spring.
Key – And Now, for Something Completely Different!
This card means sudden and complete change. A discovery that
brings about such a change in the Seeker’s life direction. The end
of an era, and the beginning of a new one. Change that is
inevitable, and profound.

In most traditional decks, there is a skeleton on this card. Since the

meaning of the card never has anything to do with skeletons, I
decided that I didn’t want one here. This card doesn’t mean physical
death. None of them do. In my experience, the Tarot doesn’t care
about that. It means change, complete and irreversible. It happens to
everyone. And even though it can be frightening, change is often for
the better in the long run.
I made the central figure completely cloaked and mysterious,
because that is the scary part of change. By its nature, you can’t really
tell what its face is until its over. All you can tell is the general shape,
and that’s all you can tell about this guy.
His robes are the color of heart’s blood, because that is where
change generally strikes you. And yet, it’s also a very vital, energizing
thing, as you can tell from the bright red lining of his robes. This takes
courage, but he will lend you all you need. That’s one bright point
about not having a lot of choice in the matter. It’s easy to be brave
when there is nothing else you can do!
He holds a flag showing a white rose on a black field. The white
rose is a symbol of freedom and rebirth, the black field is mystery and
the unknown. So the seeker will find freedom and rebirth by going
through the unknown, and following the path he is now shown.
The flagpole is white, for purity. It’s better if you take this way with
purity in your heart. The flag is gray where it meets the pole, for
balance, and there are 13 nails because this is card 13, and I’m
compulsive.
He is standing in a birch wood, because birch trees are the trees of
beginning, rebirth, and cleansing in the Celtic tree system. It’s spring
to reinforce that idea, with violets growing in the verge, and a little
maple tree springing up for sweetness. This is the beginning of
something that can be sweet, and new, and wonderful, as well as a
passing away of the old stuff.
Behind the figure is the path the Seeker was on, stretching away
into the distance. That route is closed now. From now on, she belongs
on a different path. Both are equally stony. No one said this was going
to be easy. But both are also equally clear. It’s not going to be too
difficult.
Accompanying the seeker on the new path is a yellow butterfly.
Yellow is the color of joy in the Tarot, and butterflies are a sign of
transformation and rebirth. So the new path will have unexpected joy,
and will transform the seeker.
 14 - Temperance
This card shows a blonde man with golden wings juggling
three balls. One of his feet is on land, and the other is in the
water. Near him grows a clump of yellow irises. Behind him is a
path between fields of bright green grass, leading through a fog
bank to mountains in the distance. The sun is just coming up
through a gap in those mountains.
Key – Moderation
This card means economy, moderation, and patience. Perhaps
the Seeker is going to achieve security by clever juggling of his
resources. Perhaps she is going to go through a time when she
has to juggle her resources! It may also mean meditation.
Increasingly, to me, it means the ability to move gracefully and
easily through life, not beset with uncontrolled appetites and
avariciousness that can pull you off course. Everything in
moderation (including moderation!)

Wings, for me, are a potent sign of freedom, skillfulness, and

mastery. So I started by giving this fellow wings. This shows that his
ability to juggle, his temperance if you will, has given him freedom. I
made them golden to show that his temperance and freedom are
incorruptible. (Gold alone, of all the metals, cannot tarnish.) That’s
the same reason that I gave him golden hair.
He is wearing a white robe to show his purity. But he has the
sleeves rolled up, because he is not adverse to hard work. On his chest
is the square of reality and the material world. Within it is the triangle
of the spirit. This is to symbolize the spirit in the flesh, which is life.
He stands with one foot on the land, to show that he is firmly
grounded in reality and in the seen, consensual universe. The other
foot is in the water to show that he is also established in the
unconscious, instinctive, intuitive universe.
Between the freedom of movement he has in the water and on the
land, and his wings which give him movement in the air, and the
symbol of the fiery sun on his forehead, he has freedom of movement
in all the elements. I did this to show that when you are practicing
moderation like this, you are balanced, and that gives you freedom at
least, and perhaps mastery, in all the elements.
As further evidence of this, I made him juggling three balls. One is
silver, one is gold, and one is crystal (you can tell by the inverted
reflections, and the shadow against his robe.) The silver ball stands for
spiritual wealth, the subconscious mind, and the present. The gold ball
stands for material wealth, the conscious mind, and the past. The
crystal ball stands for mental aptitude, mystery, and the future. He
coordinates all of these, so that they will go around. (I know, but my
mind works in puns!) He also handles all of them easily, and can
control these forces within himself.
The idea of having him juggle was actually the brain child of my
then roommate, Elisa Firth. She thought of it after a long night
discussing this card, which I was having some difficulty with. (Well, I
was having difficulty with Temperance at all at that point in my life!)
As soon as she mentioned it, I realized that this would solve the
problem, and was perfect for the card. Thanks Elisa! Love you!
Next to him is a clump of irises. Iris was the Goddess of the
Rainbow in Greco-Roman mythology. So I put them there to
symbolize that this was very beautiful, or that an end would come to
the period of hardships that necessitate this frugality, depending on
how the cards feel. I made them yellow for joy, and also to contribute
to the whole feeling of brilliance and light that I intended this card to
have.
Behind him a path leads to the mountains of enlightenment. It’s got
some rocks on it, so it may not be the easiest path in the world when
you begin to travel it. But when you get up into the mountains, it’ll be
much easier to be on the path of balance and coordination.
It leads among fields of bright green grass to show growth and
vitality. This temperance is not the dry, dusty, dead-end world of the
miser. This is fresh, and vital, and growing. This is balance that feeds
the spirit and revitalizes the soul.
The fog bank is to symbolize the uncertainty that is so often
encountered on this path, where you can’t really see clearly. But if you
stay on the path of temperance and balance, you will be fine.
Past the hardship and enlightenment of the mountains is the sun.
This shows the dawning of a new day, bright with promise. It also
shows the mastery which can be reached if you follow the path of
temperance.
 15 - The Devil
This card shows a man and a woman struggling over a chest.
The lid is open, and all kinds of treasure spills from it, but it’s
chained to the wall; they aren’t going to get anywhere. They are
in a long, dark tunnel. At the end, you can see a glimpse of bright
sunlight, grass, trees, mountains, and birds flying.
Key – Greed
This card means greed. Bondage to desire, lust, avarice,
appetite, gluttony, excess, etc. The opposite of the Temperance
card; the Seeker is unwilling to settle for less than everything,
and it’s really hurting him, and holding him back. This is a “clear
warning” card. It says as plainly as possible that the Seeker needs
to change his attitudes, and let go, or be seriously hurt.

This is one of the cards that I found it necessary to completely

redesign. Traditionally, this card has shown a Devil character; a
malicious being who causes people to be greedy and intemperate. As a
Wiccan, I don’t believe in any such being. Besides which, I don’t think
that people need any help to be greedy. I know I certainly don’t! So I
decided to show this card the way I saw it - naked greed.
I kept the name, The Devil, for two reasons. One was because after
some discussion with a number of Tarot practitioners that I know I
decided that most folk would simply be more comfortable with the
names they were familiar with, and the other was because I am
making a statement here. From my point of view, the Devil is our own
greed and appetites, gone completely out of control. And I wanted to
show that.
The central idea of this card is the Monkey Trap. This is a trap
actually used in South America, where monkeys are eaten as food. A
jar with a narrow neck, or a box with a hole in it, or some such
container is set out with a piece of fruit inside. A monkey comes
along, and puts his hand in the container to get the fruit. The problem
(for the monkey) arises when he tries to pull his hand out. His little
fist full of food won’t go back through the hole that his empty hand
went through. So the monkey begins to scream; but he won’t let go.
And he continues to scream, and not let go, while the people come
calmly up and club him to death. If he could let go, he could escape;
but his monkey brain won’t make that leap, so he’s dinner.
That has always seemed to me the most elegant description of your
own greed killing you that I have ever heard of. And since that is what
this card means, I put it on the lid of the chest.
On the end of the chest I put a drawing after Hieronymus Bosch,
who painted more pictures of people being punished for their greed
than any other artist I’m aware of!
Inside the chest are all kinds of treasures. Among them is a cup with
hearts around the border, showing love; and a golden crown for
leadership. There are also ropes of pearls and jewels for wealth; and
the corner of a book for knowledge. All of these are good things, just
like appetites are good. The problem doesn’t arise until you let your
appetite get control of you. We should be people with appetites, I
think, not appetites with people! So the pearls, which usually mean
purity, are beginning to look like tentacles. Letting your desires rule
you like this eventually spoils the very things that you desire, turning
them to dust and ashes.
The lid is open, in fact it’s chained open, to show that these people
are free to take as much of the treasure as they can carry, and leave.
But they won’t, because they want the whole thing. It’s their greed
that has trapped them here, and as soon as they can overcome it, they
will be free.
I made them naked, because I wanted to show that this is naked
greed. (I know, but I’ve warned you.) I gave them light hair so that
you would be able to see it against the dark background. It’s also the
color of fire, and the will. It’s a perversion of their will that has them
trapped here. They aren’t balancing their emotions (what they want)
with their intellect (what they know is good for them) and so they
cannot see clearly. Thinking with only one is like closing one eye; it
eliminates depth perception and perspective. The woman’s hair is
covering one of her eyes to emphasize this point.
The chains of the chest would make an inverted pentagram if you
followed them out. This is to show that this sort of attitude is anti-life,
and works against the harmony of the universe, just as they are
working against each other.
Overwhelming, avid greed like this is actually very lonely, because
the universe contracts to a single point with just the Seeker and the
object of his desire in it. There isn’t any room there for anyone or
anything else. I tried to show this by having the two people put their
backs to each other, and pull in opposite directions. They probably
aren’t even aware that someone else is there. That’s why I put a
desperate expression on the woman’s face, and the other reason I
covered her eye.
They stand in a long, dark tunnel to show the narrowness of their
outlook. It is open to the sky, and the mountains of attainment. You
can even see the birds that show freedom of spirit if you look
carefully. All open, ready for them to just walk out. But they won’t,
because they can’t take the whole chest with them. Just like the
monkey, they are determined to have their prize even if it kills them.
 16 - The Tower
This card shows a ziggurat standing on an eroded piece of rock.
It is being destroyed by earthquake, storm, flood and fire. Two
figures are falling from it into the raging sea. They are losing
their crowns as they fall.
Key – Now to Lose the False Premises
This card means sudden, catastrophic transformation. Broken
friendships, lost security, disgrace, the overthrow of ambition or
status. But this loss, though sudden and painful, is a good thing
because what is being lost was built on false premises, and
doomed from the start. Now it will be over, and something new
can be built.

If this card shows up among the cards showing the future, I would
recommend that the Seeker determine what false assumptions they are
making. Perhaps the change can be made less traumatic. If it’s in the
past, then point out that clearing away mistakes is good, even if
sometimes painful, and the worst is over now. If it’s one of the cards
that explains the current situation, I have found that it helps people to
know that what they are going through will be of benefit in the long
run.
This is one of the cards that I wrestled with in the beginning.
Because the tower is supposed to be built on false premises, I wanted
to make it a Tower of Babel, just like the ones shown in all those Bible
stories that were read to me so often while I was growing up. But I’m
no longer a Christian, and don’t believe the stories literally any more;
and many of the things that they represent are principles (like the
value of unquestioning obedience) that I now disagree with. And then
I realized that the very fact that I had found those stories to be
untrustworthy, not the firm foundation for building one’s life on that I
had been taught they were, made the use of an illustration from one of
them an even better symbol of a tower built on faulty ground.
So, here you have a ziggurat, representing something that the
Seeker has put a great investment of time and effort into, crumbling
into ruin before his eyes. The spiral goes widdershins (counter
clockwise, the decreasing direction) as it’s built from the ground up,
to show that it was constructed backwards, that is, without thinking
through the really important things first.
I gave it five sections for the five senses. There is a better than even
chance that this faulty construction was based on a sensual appeal,
and not to the higher senses!
It has eight windows, because it was meant to be balanced; but they
are placed almost randomly, because that plan failed in the beginning.
It’s being attacked by the four elements; all of nature, as shown in
the earthquake (cracks in the foundation,) air (hurricane, shown by
the lightning and the circling clouds,) fire (bursting from the top, and
shooting from the windows,) and water (raging waves and flood.)
Nature won’t stand things set up against its rules for long, and this
was. So down it goes, taking its builders with it.
The man and woman falling from it are wearing blue and gold
clothing. These colors stand for spiritual things, and wealth, and show
that they had the highest intentions when they were doing the
construction. But they didn’t choose the site wisely, so their efforts
were doomed. They are also wearing purple and red cloaks, to show
that they were acting as royalty. (Whether they really were trying to
rule their lives wisely, and just made unwise choices; or were acting as
despots and simply wanted every whim granted depends on how it
feels when this card shows up in a reading.) They also had golden
crowns, but they are losing them. This shows the Seeker losing his
lofty position, or maybe just his big ego.
Sometimes, in a reading, it will be obvious to me that the entire
structure is actually a monument to someone’s ego. In that case, no
wonder it’s being destroyed. That sort of thing can really slow your
progress along nearly any path, and needs to be removed.
 17 - The Star
This card shows a woman kneeling by a pool. She pours water
from a crystal bowl onto the grass, and from one of silver into the
pool. Behind her are distant mountains, icy and clear under the
light of a huge eight pointed star that shines overhead,
surrounded by seven smaller stars.
Key – Starlight Vision
This card means hope, inspiration, starlight vision. Bright
prospects, an awareness of two worlds, mastering the occult arts.
Moving freely in both the conscious and unconscious universes.
Meditation and contemplation, or gaining the ability to reach a
state of meditation.

In our tradition of Wicca the Maiden is that which is complete

within herself, needing no other. So I kept the Maiden on this card.
She is nude, because she is free, and practicing her rites.7 Her hair is
blonde, in contrast to that of most of the other figures that directly
represent the Goddess, to show that she also has the sun/light aspects,
since stars are really suns, after all.
She is kneeling with one foot in the water of the unconscious,
hidden, unseen, spiritual world, and one knee on the land of the
conscious, overt, seen, physical world. This is to show that she is
perfectly balanced between them. The actual position of kneeling with
one foot up is used in our tradition when you dedicate yourself to the
Goddess; so she is in the act of dedication.
 She gazes down into the pool, showing that she is currently
contemplating the unconscious, the mysteries. She is engaged in
meditation.
The bowl in her right arm is silver, to show the hidden, spiritual
world, and yet it also is reflective, as contemplation often is. A star is
reflected in its depths, to show that meditation on the unseen can
yield insight into the highest parts of the seen world, as well. The
bowl in her left arm is crystal as clear as glass, to show the tangible,
physical world. And yet, she sees it with crystal clear vision. The arms
are reversed (left normally being the unseen, and right the seen) to
show that she has balance here.
The bowls are hemispherical; if they were put together they would
make a perfect sphere. This shows that the seen and unseen are both
halves of a whole, and together they make the sphere of all that is. It
also shows the concept of “as above, so below,” because they are
identical except in materials.
The maiden is pouring the water of the unconscious equally from
both, because the unconscious operates not only in its own
hemisphere, but also in the worlds of the conscious, in ways we can
only imagine.
The water she is pouring back into the pool shows how meditation,
contemplation, and dreams recirculate, and how they refresh the
unconscious.
The water she pours on the ground separates into five streams, for
the five senses. This shows how the senses are enlivened and
nourished by the very same meditation, contemplation, and dreams.
They are necessary for physical health, as well as spiritual growth.
One of the streams runs right back into the pool, to show that the
senses also contribute to the unconscious. It’s all part of an interactive
system, and cannot really be separated, although we often do look at
just one part or another. Still, isolating part of anything is really
illusion. The reality is that the universe all works together.
She is kneeling on a broad lawn to show the openness of vista that
such knowledge can bring. The grass is bright green because it’s
spring. And it’s spring to show that such knowledge, although very
ancient, is always new and fresh.
In the foreground grow bluebells. When I was a child, I used to call
these Fairy Bells, and I knew that if you listened quietly enough, you
could hear the fairies ringing them. So I put them here to symbolize
those quiet tones that you can only hear with starlight ears. They are
mixed with tiny white flowers to represent purity.
 She is kneeling below a tree, which represents thought. I made it a
beech, because beech trees are my favorite. They are the Queens of
the forest, as oaks are the Kings, and represent old knowledge and
ancient wisdom. I gave it the first tiny leaves of spring to show that
through this kind of contemplation and awareness of the starlight the
old knowledge is constantly renewed, and grows.
The white bird symbolizes pure thought, and freedom of the spirit.
It’s just landing in the tree, to show that a wonderful thought is just
entering the mind. A thought that comes from the mind of the
Goddess into that of one of her children is inspiration. So being in the
starlight state is being open to inspiration.
Far behind the maiden is a line of trees. This shows all the other
minds that also border on this state, and how all can benefit and grow
together. Behind them are the mountains of higher knowledge, shining
pure and white in the starlight.
The stars themselves each have eight points, to show the circle of
the year, and the recurring pattern of that cycle. That is also the
reason that there are eight of them. One is very large and far
outshines the others, because there is one point that the Seeker is
focused on right now. Which part of the cycle that is will be explained
by the other cards that surround this one in the spread.
 18 - The Moon
This card shows a dog and a wolf, on either side of a path,
howling at the moon. In front of them a tiny crawfish crawls
from a pool, making ripples among rocks where mushrooms
grow. Behind them, two ancient monoliths stand in long, wild
grass. The path continues through misty hills into the distance.
Overhead the new moon holds the full moon in her arms.
Key – Wildness
This card means restlessness, wildness and change. “Going
Fey,” when all the trappings of the civilized world look
unfamiliar and confining. The struggle between wildness and
domestication in all of us.

One of the traditional meanings for this card is deception, although

it never seems so to me. Some people also think of it as showing
psychic powers, although I admit that I don’t. For me, it’s way beyond
that. At this point, all mental things, and the value that those things
hold, are gone; the Seeker is running wild and free as an animal, and
no longer cares about powers, psychic or otherwise!
The very foreground of this card holds the pool of the unconscious;
hidden stuff that we all partake of to some extent. Deep within, you
can barely make out obscure shapes moving around. (Well, OK, they
aren’t really moving, because it’s just a card. But if I could animate it,
they would be.) This represents the deep unconscious, and the hidden
things within it, many of which are not “nice” at all.
 It’s bordered by large rocks, which represent our society trying to
keep the unconscious stuff safely walled away. Since this card
represents the struggle to observe those walls, or to drop them and
respond to deeper instincts, the pool is lapping at the edges of the
rocks.
Around them grow mushrooms. I put them there because this card
also means going Fey, and mushrooms have long been associated with
the Faeries, and other Fey folk. If you step, or especially sleep, in a
fairy ring of mushrooms, you leave the concerns of the consensual
universe, the “normal” world, behind, and you can easily lose
yourself. Time, also, doesn’t exist the same way within the rings.
Mushrooms are also things that can spring up in a single night, as
this attitude can seize you when you thought you were resigned to
your life. And they don’t need any sunlight to thrive, showing that this
wildness has usually been relegated to the hidden, shadow sides of our
personalities. It isn’t trotted out in polite society.
A tiny crayfish crawls from the pool, symbolizing primitive thoughts
and tendencies. It is also a creature that can survive both in the water
of the unconscious, and the land of the conscious. So it symbolizes
those thoughts and feelings that cross from the unconscious to the
conscious mind.
Crayfish are a very potent symbol of the wild for me personally.
When I was 5 or 6, we were visiting my grandparents, and my dad
took me to the stream where he had played as a boy. It was beautiful;
crystal clear and cold, shaded by ancient trees. We played there for a
wonderful afternoon, catching crayfish (which my dad called
crawdads) by putting one hand behind them, and the other in front.
They would see the hand in front, and shoot backwards to get out of
danger, right into the other hand. I must have picked up dozens of
them, holding them in the air to watch them waving and snapping
their little pincers before putting them back into their watery home.
When my dad said it was time to go, I was heartbroken, and
resolved to extract a promise that we would come back the next time
we made a visit to his folks. But my dad said that was impossible. It
wouldn’t be here next time; that was why he had taken us this time.
They were putting up a shopping center, and this whole area would be
destroyed, the trees cut down, the land paved over, and the stream
would be turned into a drainage ditch that ran through a culvert.
“That,” he told me, “is Progress.”
I was stunned. The stream was far better than any number of
shopping centers. And I realized then that I hate Progress.
 So, for me, crayfish mean all the sun splashed afternoons in the
wild, paved over and tamed.
But the crayfish on this card is winning! So it’s the triumph of the
wild over the unseeing forces of civilization that would destroy
everything without even noticing, in the name of Progress. And the
ripples that he creates, waving his pincers in freedom, stir the whole
of the unconscious, and grow and spread, washing at the confining
rocks.
They create the beginning of a rocky and difficult path, that leads
between the wild on one side, represented by the wolf, and the tame
represented by the collared dog. The dog’s collar is red, for courage,
but he is still the product of generations of domestication. He was a
wolf once, but he has been bred to please and serve man, just as we
have been to please and serve society. And yet, he is out baying at the
moon, exactly like his cousin. This shows how thin the veneer of
civilization actually is. Given the moon, we’ll all be out there howling.
I’ve done it. Haven’t you?
The trick to this card is staying on the path, as difficult as it is.
Acknowledging the wild, and reveling in it, but not losing oneself to it
entirely. If you do that, then you can no longer reach those who have
lost it, and help them.
The grass is long, uncut, and wild, to show that these are not tamed
lands. But it’s grass, so they once were. They are feral, and have
reverted to a wild state.
Two ancient monoliths stand on either side of the path. At one point
in the design process, I had made these trees. But I decided that I
wanted to show “the hand of man,” and yet still get across the ancient
nature of this struggle. So I made them monoliths, one on either side
of the path. They have moss growing on them, and are weathered
now, but still they were once put there as a sign of civilization in
ancient times. This shows that we have been treading this path
between our wild and conventional sides for millennia.
Beyond them, the path continues into the misty mountains. That
way is full of uncertainty and probably hardship; but still the path
beckons. Eventually, it does reach the mountains of enlightenment.
Above all hangs the moon, in a purely symbolic phase that is called
“the full moon in the arms of the new.” This shows its changeable,
restless nature. It doesn’t rise at the same time of day, or set at the
same time in the evening, and it changes its phase constantly. So this
card has a feeling of change, and restlessness about it. But there is also
a sense of continuity. The phase of the moon changes, but it always
shows us the same face.
Sometimes, in a reading, when I see this card I will feel not the
freedom that wildness brings, or the restlessness that comes from
being too long confined in a strict regime, but instead a kind of canny
hunter feeling, with no care for the prey, such as feral dogs engage in.
This may be someone who has forgotten all about ethics (or who
never understood) and is about to make the Seeker prey. Or it may be
the Seeker herself, on the pendulum swing from being too “nice” who
is about to become completely unbalanced in the opposite direction.
In either case, the seeker needs to be warned. If you have questions
about this, please see the chapter on Ethics.
This card, like the moon itself, can be either bright or dark, and
needs to be examined carefully when it comes up in a reading.
 19 - The Sun
This card shows a little child on a white pony. He is naked,
except for a wreath of white roses and a red feather, exactly like
the fool has. His right hand is outstretched, and his left holds the
a huge red flag, with golden songbird wings on the pole. Behind
him is a stone wall, with sunflowers growing over it. Over all
shines a glorious bright sun.
Key – Joy
This card means success, happiness, freedom, contentment, the
end of troubles. Joy, pleasure, etc. It can also mean a good
marriage, or the birth of a child with a bright, sunny personality.

The child on this card is naked, to show unconfined joy and

freedom. If you have ever taken care of one this age, you know that
they love to run about untrammeled like this. A healthy child this age
isn’t troubled by modesty, or other conventions of society, and that’s
what I wanted to show in this card. A spirit that is totally innocent
and pure, childlike in his joy and delight and wonder, and unashamed
of that joy.
He is wearing the white roses of freedom, and the red feather of
courage, like the fool. But he is an entire lunar-solar cycle further
along in his development. (My notes from when I designed the deck
say that after 19 years, the full moons fall on the same day of the year.
I don’t know if that information is accurate, because I didn’t write
down where I got it from. But I do know that the Jewish calendar has
a solar-lunar cycle of 19 years, according to Grolier.)
During this time, he has passed through the Hermit, and has been
reborn as a young child. No longer worried about enlightenment or
knowledge, he is full of boundless joy, and content simply to play in
the sun.
In his left hand he holds the red banner of life and courage. This is
the hand of the unconscious, and he is holding the banner with it to
show that life is no longer something that he needs to concentrate on.
He simply lives it, effortlessly. For the same reason, the standard has
the wings of freedom of spirit on it. And the wings aren’t the huge
wings of a raptor, they are little happy songbird wings, to show that
there is a song in his heart, and that is what lifts his spirit.
With his right hand, he reaches out, showing his loving, happy
nature.
He is riding bareback on a white pony, to show his complete
comfort and mastery of the bright daytime forces. There is no hint of
the unseen here, this is pure seen energy, that glories in its very
physical tangibility. The pony has blue eyes to show its purity, as well.
And it wears a golden bridle, with the symbol of the sun on it, in case
you missed the allusion.
Underfoot grows bright green grass, with happy little yellow flowers
of joy in it.
Behind him is the wall of security. It’s that security that enables him
to run around like this, totally unafraid.
On the other side of the wall bloom sunflowers. Besides the obvious
reference, notice that they are not pointing up towards the sun, they
are pointing at the child. This implies that he is shining brighter than
the sun. There are also four of them blooming, for the four elements,
and one in bud, to show that the best is yet to come.
Above him shines a brilliant sun. It’s gonna be a great day!
 20 - Judgement
This card shows a woman standing in a fiery cauldron. Behind
her rises the Phoenix, reborn in glory. She is holding out her
arms, in the position of the Goddess, with her hands showing the
phrase “I love you” in American Sign Language shorthand. She is
wearing the silver bracelets of a High Priestess, and all around
her are clouds of glory.
Key – Rebirth
This card symbolizes rebirth, rejuvenation, reward,
transformation. A spiritual awakening. A changed state of
consciousness. A revitalization, or reclamation. A renaissance.

This is one of the cards where I kept the name, in spite of the fact
that the concept named has no place in my worldview. I don’t believe
in Judgement, any more than I believe in the Devil. In my philosophy,
people aren’t judged and either damned or sent to heaven forever. My
gods are interested in growth, not obedience. So we aren’t judged, we
are reborn. I decided to keep the traditional name for the card,
though, because the people that I spoke with thought it would be
more comfortable and cause less confusion, and because I wanted,
once again, to make a statement. In our “Judgement,” everyone wins,
because ours is rebirth, not punishment; and there is no failing, just
lessons learned.
A naked woman stands in the Goddess position in the Cauldron of
Ceridwen, to show that she is one with the Goddess, and is part of the
circle of rebirth. She is naked, to show that she is free and unashamed,
and has cast off the trappings of the world. She has silver bracelets to
show that she is a High Priestess, and has attained a high level of
spiritual awareness. Her hair is white, to show that she is old. And yet
her body is lithe, and her face unlined, to show that she is strong and
young even in her age. This symbolizes the sort of agelessness and
wisdom that are attained with great spiritual growth. Besides, she is
between the worlds just now, and infirmity has no place there.
Her hands are held in the position that is shorthand for “I love you”
in American Sign Language, to show her great love for everyone.
She stands in the midst of the fires of purification, which she has
gone through. This experience has transformed her, and tempered her
spirit; now she is wiser and stronger than ever.
The Cauldron of Ceridwen is another symbol of rebirth and renewal.
It is the womb of the great Goddess, from which all things are reborn.
Behind her, overshadowing her, is the light shadow of a Phoenix,
which symbolizes her new self, reborn from the ashes of her old self.
In ancient stories, the phoenix was known for its wisdom as well as its
beauty. So here, too, she is both beautiful and wise. It has six feathers
on its crest, for the six senses. She is crowned with all of them. It also
has a red eye, which stands for its courage.
From the heart of the woman shoot 13 beams of light. (Follow them
back, and they really do all center in her heart.) This shows her
enlightenment, and also completion. It will soon be time to venture
into the world again, and continue her journey along her path.
 21 - The World
This card shows a young woman effortlessly leaping through a
wreath of fruit and flowers. In each hand she holds a wand. She
is dressed in a flowing white cloth. Behind her are the stars.
Around the borders of the card are the four elements.
Key – Wholeness and Mastery
This card means completion, success, the attainment of desire.
Since every ending is also a beginning it also means a fresh start,
a change for the better, hope for the future. It is the card from
which all things are possible. If this one comes up in a reading,
the only limits the Seeker has are those she sets herself.

Once again, most of the traditional designs on this card felt right to
me. The only things I removed were the animals that were usually
found in the corners of most decks. Those didn’t seem to mean the
various elements nearly as much as plain drawings of the elements
concerned, so I used them instead.
The figure on this card is female, to show the potential of giving
birth that is inherent to this state. Even if the seeker is male, he can
give birth to many things. Not all births are babies! She is dressed
only in a pure white wrap, to show that she is free, and unashamed of
the possibilities that are here. The wrap is white to show her purity,
and also the endless opportunities available. White is the combination
of all colors of light, and it’s also the color of a blank sheet of paper or
canvas. To reinforce this, I made the wrap flow around her in a figure
eight, the shape of the lemniscate, or infinity.
She is leaping easily and gracefully through the wreath, full of joy
and freedom. This also shows balance and coordination. Her posture
as she leaps is reminiscent of the hanged man, with one leg bent back
behind her, and one in front. Her posture is more open, though. This
shows that she has incorporated the new, more spiritual outlook of the
hanged man into her life, and is now at ease with it.
In her left hand she holds a silver wand, in her right one of crystal.
These show the unseen and seen worlds, respectively. Also, one has a
pink stone, and one a green, to show both animal and vegetable life.
In all these ways, she is well balanced, and has mastery.8
The wreath that she is jumping through represents the world, and
her victory over it. The elliptical shape shows the action of the higher
self, which is often shown as an ellipse, or egg shape. (It also shows an
acceptance that the world isn’t perfect, and it fits on the card better!)
It’s composed of all kinds of fruits, vegetables, and leaves to show
that there is plenty of everything. The world is a very rich place. You
can look through it all carefully, and draw parallels and illustrations
from each bit, if you want to. Briefly, I included roses; pink, white and
yellow for affection, freedom and purity and welcome and joy
respectively . White lilies for purity, pink lilies for tenderness and
yellow lilies for joy and sunshine. Pomegranate for secret knowledge
and identification with the Goddess. Apples for youthfulness and
beauty, and also for mysteries. Oranges for the sun. Poppies for
fertility. Oak leaves because oak is the king of trees, and represents
strength, protection, and the door into mysteries. Beech leaves
because beech is the queen of trees, and represents beauty and ancient
wisdom. Wheat for plenty, fertility, and rebirth. Grapes for richness,
bounty, and joy. And the list can go on and on.
The ribbons on the wreath are red, to show the vitality, passion, and
courage of the world. They are shaped like infinity symbols, to show
that she has mastery in all of this. And there are two of them, one at
the top of the wreath mirrored in the one at the bottom to show the
concept of “as above, so below.” All things in the seen world are
mirrored in the unseen, and when you move in balance with one, you
move in balance with the other as well.
Behind her is the starry sky. This shows the limitlessness of her
position, and also that she is very much at home in the starlight world
of mystery and the spirit. The five stars stand for the five senses.
(Sometimes, though, they look more like the five elements, or the five
points of a pentacle. Whatever you see is what you are supposed to
see. Go with it.) Each has four points, for the four elements of the
material world. This is where the material world meets the starlight,
and true vision, ability, and competence are born. That’s why there
are no limits here.
Around the outside of the card are representations of those four
elements. Air is in the upper right hand corner, fire in the lower right,
water in the lower left, and earth in the upper left. Together they
make the corporeal world, and support the physical aspects of it. In
the center is the fifth element, spirit, represented by the stars, and the
woman. When these are combined, you have all the world, both
physical and non-physical aspects, and anything is possible!
 1 Light and dark as day and night, or life and death, or visible and invisible. Not
light and dark as good and evil. I never see them that way. Think about how much
evil has been done in the name of the light, or how good and healing it is to rest in a
dark room. Good and evil, in my worldview, aren’t things that need to be balanced.
In fact, good is being in balance, and evil is being out of balance! But that is really a
topic for the Philosophy Book.
2 Negative doesn’t mean evil, or positive good, by the way. Negative is the side of
things that are decreasing, drawing together, receiving, and winding down. Positive
is that which is increasing, expanding, sending, and revving up. Too much of either
one is unbalanced, and that is where evil comes in, I think. If you could never rest,
you would die fairly quickly. If you could never do anything but rest, it would be
just as bad (although it might be slower!) It’s time to take back the words, so people
can understand the balance.
3 The Wiccan wheel of the year is divided into eight parts by the holidays that we
celebrate. If you would like more information on this, it’s in Appendix C.
4 Of course, in real life and when you are doing a reading, either of these roles
may belong to either party, or they both may share both. I’m not trying to be sexist
here; but the house and fields had to go on one side or the other!
5 By this, I don’t mean good and evil. I have encountered people who seem to
think that good and evil should also be balanced. In my opinion, that is a tragic
misconception. Don’t think of it like two pans of a scale, think of it like a tightrope.
Being balanced is itself good, because when you are balanced, you can continue. If
you lose your balance, you fall and get hurt. And that is bad. So balance is good, and
imbalance is evil. It’s when people are imbalanced that they want to harm and
hinder others. It’s when you start to fall that you grab for other folks to try to save
yourself. If you are balanced, you want to help and heal. If you are perfectly
balanced, you can reach out to others who ask for help, and aide them in finding
their balance, too!
6 I don’t mean good and evil here. I mean expansive and retractive, etc. See the
footnotes for other cards.
7 From a line from The Charge of the Goddess, written by Doreen Valiente. “And as
a sign that you are free, you shall be naked in your rites.”
8 Whenever I use the term mastery, I mean that she has mastered the lessons to be
learned here, and can work in this area without stumbling or making too many
mistakes. I never mean that she has power over the things that inhabit the area. I
feel that “power over” is unethical, and shows neither balance nor spiritual
development.
 Pentacles
This chapter is all about the reasoning behind my choice of symbols
for the suit of Pentacles. I chose all of them, ultimately, because they
meant something special to me. And I’m going to share those
meanings with you. But as you read this, remember that the very same
symbols might mean something very different to you. And that’s fine.
It’s my opinion that many of the problems all over the world can be
traced to the fallacious reasoning that if one person is right, then
everyone who doesn’t agree must be wrong. In actual fact, lots of
people can be right, even when their opinions on any given matter are
wildly different. It’s not so much a question of right and wrong as of
different points of view.
When I’m trying to explain this to people, I usually tell them the
story of The Blind Men and the Elephant. (If you don’t know the story,
it’s in Appendix A.) In this story, all the men were right, though none
of them agreed. If they had compared their viewpoints, instead of
arguing, they might have come up with a much clearer picture of
what an elephant actually looked like!
So, if your interpretation of the symbols on these cards isn’t the
same as mine, that’s great! Go with yours! After all, something that
has real meaning to you is bound to be more in touch with your inner,
unconscious mind than something that is foreign to you, but means a
great deal to me. Keep a notebook, write down what the symbols and
colors on the cards say to you. This will get you into the habit of
really looking at them, and that is the first step, from my point of
view, to becoming a top-notch reader.
The suit of Pentacles is aligned with the element of Earth. This
means, of course, that it’s also aligned with all the correspondences of
that element. In Wicca, which is my background and tradition and the
point of view from which I drew all these cards (and everything else,
for that matter,) this means that this suit stands for quietness, rest,
and peace. It also stands for richness, wisdom (as opposed to
knowledge, which is the purview of the Swords,) and sensuality. The
season is winter, and the time is midnight. This entire suit deals again
and again with rewards after the job is finished, with waiting, with
material things, and with gaining wisdom.
Compared to the frantic activity in some of the other suits, the
people in this one are all engaged in quiet, restful, creative pursuits.
This is a reflection of the feeling of the suit as a whole. There is also
not as much interaction among people on these cards. To a large
extent, solitude is necessary to build wisdom. After you have
knowledge, you need time alone to digest it; to incorporate it into
your world view, and to draw correlations among the various things
you have learned. And that is where wisdom comes from.
 King of Pentacles
This card shows a king with black hair, seated on a throne. In
one hand is his scepter, in the other a golden pentacle. He is
dressed richly; but wearing bedroom slippers. Ancient grapevines
surround him, and the grass grows thickly underfoot. In the
background, cultivated fields lead toward his castle. Behind that
are misty hills, and a sky the deep blue of twilight.
Key – Riches and Comfort
This card means a rich man, spiritually, materially, or both. A
father figure, who is dependable and generous. Someone who is
steady, reliable, earthy, helpful, sensual; A place or situation in
which these qualities become apparent around the seeker.

When I started to design this card, I wanted to convey both a feeling

of great wealth, and a feeling of ease and sensuality. I wanted the king
to somehow look like he was completely comfortable; both in the
sense of surrounding himself with comfort and being comfortable with
himself. So I decided to dress him richly, and then put slippers on his
feet. No tight, pinching shoes for this one!
His cloak is a rich grass green to show his alignment with green,
richly growing things. The border is brown for the earth, with a design
of golden grape vines for richness, abundance, and joy. It’s lined with
brown fur for richness, sensuality, and the earth.
I gave him a coat of the richest purple I could make to show his
majesty and wealth. It’s lined with brown fur, and quilted, to show
earth again, and opulence, and comfort. The quilting pattern is
squares, to show that even though he may be acutely aware of how
things feel to him, he isn’t totally hedonistic. There is something about
him that remains “four-square.” His head is still on straight.
There is a pattern of a bull’s head wreathed in flowers worked on
his breast in golden thread, to show his connections to the earth
again, and his strength and virility. The flowers show his love of
pleasurable things, as well. And there is also an overtone of
stubbornness, which often comes out in someone who is represented
by this card.
His belt is gold, and has a square buckle, to show his strength and
reliability. There is an oval inside the square, to show unity and
completeness.
I made his under tunic cloth of gold, to show that deep inside, this
man is pure gold. It shows again his steadiness and reliability, and
also his generosity and mental, emotional, and physical wealth. The
design on it is known as the “Celtic Tree of Life,” and is there to
underline the whole theme of flourishing growth, prosperity, and
living. It also has grape vines again, to show the joy, abundance, and
pleasure that these vines symbolize all through the Tarot.
His stockings are burgundy, as an echo to the wine that can be
made from those grapes. And he is wearing slippers, to show that
comfort is very important to him. He may be a king, and he may be in
a position of importance; but that’s no reason to suffer! They are gray
to show the balance this gives him. He enjoys luxury, but he isn’t
ostentatious. He’s not doing this to impress others, but because it feels
good.
On his head he wears a crown of gold that is shaped like a bull’s
horns, with a spike in the center. The horns, of course, are there to
underscore the whole connection with the bull, and earth, strength,
and virility. The spike is what crowns used to be about; it’s there to
show the divine light that shines upon a king, and his connection to
deity.
He is wearing a wreath of grape vines and wheat that almost
obscures the crown. This is because living things are more important
to him than symbols. The vines, once more, show the love of life,
prosperity, and pleasure. The wheat symbolizes prosperity as well, and
goodness, wholesomeness, and the whole life/death mystery1 (which
is one of the aspects of the earth, and north in my tradition of Wicca.)
His hair and beard are black and curly, because that is the
traditional coloring for the suit, and some people use that when they
read the cards.
In his right hand he holds a scepter, to show his authority. Never
mistake this man for anything other than a king, in spite of his
geniality and good nature. He may be warm, generous, and kindly;
but he’s also used to having everyone obey him!
In his left hand, he holds a Pentacle. Besides being the symbol of
this suit, it shows his connection with the Earth once more. His is
made of silver and gold, to show his richness extends into both the
spiritual and material planes. It is decorated with a pattern of leaves
to show growth and vitality. This connection isn’t a concept; it’s a live
thing!
He is sitting on a throne that is really a comfortable chair. Its broad
back is decorated with purple, gold, and burgundy to show his wealth
and sensuality.
He sits in a bower of ancient grapevines, which are covered with
leaves and fruit. Grapevines, according to legend, never die unless
they are killed. There are vines in parts of Italy that are hundreds of
years old, and are considered immortal. They have been producing
year after year for centuries. So these vines are a potent symbol of
reliability and stability. This is someone you can really depend on. He
will always be there for you. And the vines themselves, of course, also
show all the things that grapevines always show, symbolizing love of
life, joy, abundance, and so on.
Grass is growing richly beneath his feet, to show great abundance
again. Near his right foot bloom two yellow primroses. They are there
to show the joy that underlies all the rest of the things on this card,
and also because sometimes this man is shy. If those flowers are very
obvious when you see this card in a reading, you can probably bet on
it.
Behind him are cultivated fields, to show that this kind of wealth
has to be cultivated. This guy isn’t a Wild Child (who needs his Teeth
Filed!) Adventures and wildness are often uncomfortable, and he
simply doesn’t enjoy that sort of thing. He likes a steady, predictable
sort of life. And in order to have that you have to plan, and set things
aside for the future. Which, really, is what farming is all about. Saving
the grain, instead of consuming all of it, so that there is something to
plant the following year. Weeding and hoeing now, so that there will
be a good harvest in several months. Rotating your crops, so that the
soil won’t be exhausted. Basically, delaying your gratification.
Since delayed gratification is one of the marks of wisdom, and is so
often necessary for stability and comfort, it is one of the primary
lessons of this whole suit. And so it’s shown here.
At the end of the fields stands his castle. For this man, home really
is his castle, with all that implies.
Beyond it, gentle hills rise through the mist. The hills show
enlightenment, as they do all through the deck. But these are gentle,
so the enlightenment is also gentle, and not the result of traumatic
experiences. They are wreathed in mist, because this man is wise
enough to know what he does not know!
The sky is the deep blue-violet of twilight, because that is the time
of rest, and midnight is the time of the north, which is aligned with
the earth and pentacles in the first place.
 Queen of Pentacles
This card shows a queen in a golden crown, sitting on a vine
chair in a garden. Flowers bloom around her, trees and vines
bear fruit, and a basket of harvest is at her feet. She contemplates
a pentacle she is holding. Behind her misty hills rise into a deep
blue twilight sky.
Key – Abundance and Practicality
This card means a warm, generous woman, who has the
seeker’s best interest at heart. Monetary gifts, intelligence,
thoughtfulness, caring. A careful, insightful, practical person.
Someone who is not afraid of hard work. A situation or place that
embodies these characteristics, or brings them out in the seeker.

This queen is sitting, because the suit of Pentacles is aligned with

the element of Earth, and therefore is restful. I gave her a satin dress
that ranges in color from the palest spring green at the shoulders to
the deepest forest green at the hem. This is to show that she is
concerned with all stages of growing things, since, at some level, she
is the Earth Mother. The lining of her gown is deep purple, to show
majesty and richness. But her sleeves are turned up, because she is
practical, and not afraid of hard work.
She also wears a brown velvet apron or tabard. If it looks like an
apron to you, it shows her practicality and ability to get things done.
If it looks more like a tabard, it shows her nobility. I chose brown,
because it’s the same color as rich soil, or the earth itself. It’s velvet
because of the softness of her character, and also for richness. All
along the hem is a border of fruits, flowers, and vegetables. They show
abundance, richness, and the gathering of nourishing qualities. This is
to symbolize her wealth, generosity, and her ability to nourish and
care for those around her. It also has two green stripes, to show
tenderness and care for all things, no matter their stage of growth.
Her belt is a sash of purple, with more of the harvest theme, and
golden fringe. Purple stands for richness, royalty, and wealth; and
that’s what it means here too. The fruits, flowers, and leaves are for all
good and wholesome things. The golden fringe is to show her wealth,
and her love of luxury; for she shares that quality with the King of
Pentacles.
If you look closely, you will notice that she is pregnant. I did that to
show her fertility, and also her role as mother.
She has black hair, and dark eyes (although you can’t actually see
them) because those are the traditional colors for this suit, and there
are people who use that. Also, I liked giving her hair the color of
midnight, because that is the time of the north, the earth, and
pentacles in my tradition of Wicca.
Her crown is golden, to show her majesty and richness, and
decorated with a pattern of wheat to show goodness and plenty, and
also to show the whole death/rebirth mystery of the grain.
Her hair is braided into a bun at the back of her head. This shows
her identification with the Great Mother, the Goddess, because of the
three strands of the braid (Mother, Maiden, and Crone) and also her
practicality. She wears two bright red poppies in her hair, to show her
courage, fertility, and joy. Poppies have long been associated with
pleasure and fertility, and red is the color of courage. She also wears a
white fruit tree blossom, to show her purity and sweetness, and the
promise of nurturing.
In her hands she holds a Pentacle, the symbol of her suit. It is made
of silver and gold, to show that her wealth is both material and
spiritual. And it has the pattern of twinning leaves to show that she is
concerned with growth and life.
I drew her contemplating this symbol, because I wanted to show
that although she is quite willing to work very hard, she also has a
quiet, insightful side to her nature. She thinks about things a great
deal, and has grown wise as a result.
The throne she sits on is of simple woven vines, to show that she is
not really concerned with the outward show of wealth at all. The
interlocking framework of all growing things is much more important
to her. If you look closely, you will notice that these vines are still
rooted in the ground, and growing. This is to show that everything she
does, she does with an eye to how it helps growth and development.
That sort of thing is fundamental to her.
The weaving is actually done with several different kinds of vines,
as you can tell from the leaves that are growing out of her chair, to
show the interdependence between varied things. One of the vines
used in her throne is honeysuckle, to show her sweetness. (It’s the
white flower, blooming next to her sash.) Another is ivy, to show
introspection. (The green leaves next to the honeysuckle.) Another is
clematis, to show beauty. (The pink flower right next to where the
seat begins.) All of these things together also show the beauty,
strength, and flexibility that comes from diversity.
The grass grows rich and luxuriantly green beneath her feet, to
show the richness and vitality apparent all through this card. There is
also a clump of flowers, to show beauty and sweetness again.
On the ground are a pair of snakes, and a pair of rabbits. The snakes
are to show feminine qualities and wisdom, both of which were
associated with the snake from deepest antiquity. The rabbits show
softness and fertility. I show a pair of each for balance, and also
because, in my experience, this card often comes up for someone who
is a matchmaker, and who likes to pair people up with each other.
When the thing that strikes me first is a reading is that she has paired
the animals up, I know that this is true in that reading.
She sits where grape vines meet the branches of an apple tree. The
grapes, of course, stand for wealth, plenty, joy, and the love of life.
Apples stand for choice in the old Celtic tree alphabet. They also stand
for beauty, youthfulness, and the revelation of secrets. (If you cut one
in half cross-wise, the pentagram is revealed.) All of these things are
present in abundance on this card, as the vine is covered with grapes,
and the tree with ripe apples.
Behind her throne is a garden filled with various flowers, and with a
basket of fruits and vegetables laid on the ground. These once more
show beauty, grace, diversity and so on. And the fact that there are
vegetables mixed with the fruit in the basket shows that besides
providing what you would like, this queen is also going to give you
those things that are good for you, even if you don’t care for them
much at all!
Beyond the garden lie cultivated fields, as in the King of Pentacles,
to show that she is a person who plans, and cultivates the things she
would like to have manifest in her life.
 Beyond them again are the misty hills and deep sky found in all the
court cards of this suit, symbolizing enlightenment and yet the
wisdom to recognize that enlightenment is not total. The sky is that of
twilight; the time of day that is given to rest and contemplation, and a
space to grow wisdom.
Once again, though, remember that although these were my
intentions while I was making the cards, if any of these symbols mean
something different to you when you are reading then you are right!
 The Knight of Pentacles
This card shows a fully armored knight on a heavy horse. He’s
holding a Pentacle in his right hand. The horse is standing on the
bare ground of a newly plowed field. Behind him are more fields,
leading back to woods which give way to misty hills in the
distance. Over all is a clear sky the deep blue of twilight, with
two birds flying in it.
Key – Dependable Help
This card means a person who is responsible, reliable,
practical, utilitarian, dependable, trustworthy. A person who will
help the Seeker. Someone who is solid and honorable. It may also
mean travel.

After a lot of thought, I decided to put this knight in full plate

armor. He is the only knight who is dressed like this; but I wanted to
give an impression of absolute dependability and strength. Putting
him in full plate showed, to me, that he has no weakness or
susceptibility. No matter where an attack might come from, he has it
covered! It also added to the general feeling of “Knight in Shining
Armor.” This guy might not be flashy or exotic; but he’s as dependable
as they come, and he’ll always be there when you need him to be.
At times, too, all of that armor makes him seem very closed in.
Since he might be amazingly stubborn, and not at all open to new
ideas, that also fits. Which of these is actually going on, of course, is
something that you will have to decide based on how you feel about
this card when it shows up in a reading.
His armor is patterned with a motif of leaves and vines to show his
alignment with the earth, and with growing things.
His mount is a heavy horse (in fact, it’s a breed known as Italian
Heavy Draft) to show the great dependability and solidity which are
attributes of this card. This particular breed is not only very docile
and amenable, but is also extremely quick and active for its size. I
chose it for these characteristics, to show that his steed (representing
his instincts and nature) may be quiet now, but it can be very active
indeed if that is necessary! I made him a dark brown (actually dark
liver-chestnut) to echo the color of the earth. His mane and fetlocks
are the color of ripe wheat, for richness, plenty, goodness, and all the
self-sacrificing life/death stuff that wheat represents. His eyes are
green (not a color found on the real horse, I’m afraid,) to show once
again his correspondence with the earth and green growing things.
There are oak leaves in his mane, to show the strength, stability,
and protection that have long been associated with oak trees.
His chamfron (the armor a horse wears on its face) is decorated
with vines and leaves, once more for the whole growing earth motif.
On the boss is the symbol of the earth, done in green enamel, so there
can be no doubt.
His reins are also decorated, with gold on green, in the pattern that
shows a vine bursting from a pomegranate. The gold is for wealth, of
course, and the green for the earth. The design itself symbolizes the
seasons, and femininity. The pomegranate is the fruit of the Goddess,
and of course it was the pomegranate seeds which Persephone ate that
mean that we have winter. (If you don’t know that story, it’s in
Appendix B.) The vines growing out of the pomegranate also mean
life, and plenty.
The back of the reins are hung with purple cloth, to show richness
and plenty.
The horse is also caparisoned all over with various bits of cloth
decorated in these same patterns and colors. His saddlecloth and the
decorative cloth on his chest are both made of green fabric, decorated
with gold vines and flowers. They are cut in a pattern like crenelations
on a castle wall, to show that this knight is so strong and reliable that
he is just about a mobile fortress. They are trimmed with gold to show
his richness, and purple tassels to show his love of luxury. Once again,
they are lined with purple, to show royalty and wealth.
Over his saddle he has a plain green cloth with a purple border.
This is to show that he’s not particularly interested in opulence just for
the show of it. A great deal of it may simply be hidden, because it’s
more practical that way. Since saddles were ordinarily quite ornate,
and the stirrup that can be seen is decorated, it’s a pretty safe bet that
the plain cloth conceals ornate decorations. And that is in keeping
with his character, too.
In his right hand, he holds a Pentacle. This is the symbol of his suit,
and, like all the other court cards, it’s made of gold and silver, to show
that his wealth is both material and spiritual, and has a design of
leaves on it to show his concern with growing things.
He is standing in a newly plowed field, to show that he is very
concerned with the cultivation of things. He doesn’t expect them to
just appear; he’s willing to put in the effort necessary to get them. This
covers everything, from friendships to business relationships, to new
cars! You will know what is meant in any particular reading by
looking at the other cards that show up in relationship to this one, and
by following your own instincts.
But the field has just been plowed. The cultivation process for this
particular thing is just at the beginning. Nothing has grown yet, and it
will take a good deal of care for any growth to occur, let alone
flourish.
Just beyond the field is a meadow that is growing thickly with lush
green grass and yellow flowers. These show that the conditions for
growth are there, as well as showing that vitality and joy are already
present.
Beyond that are more fields, already beginning to produce,
interspersed with woods. If the woods are the most apparent thing
when you look at this card, then it’s possible that this character has a
darker, wilder, mysterious side to him. Otherwise, they are just there
to show contrast with the fields, and to underline the whole aspect of
vigorous, healthy growth.
The fields and woods give way to misty hills in the background, as
they do for all the court cards of this suit, to show gentle
enlightenment, wrapped with the wisdom to know that all is not
known!
High above, the sky is turning the deep blue-violet of twilight, to
show that the time for rest and contemplation is approaching. Two
birds fly in the sky, to show that although this knight is heavy, and
solid, and rooted to the earth, his spirit may still soar, (especially if it’s
joined by another.)
 Page of Pentacles
This card shows a young girl, with her black hair in three
braids, standing in a field holding up a shining Pentacle. She is
dressed in green and brown, and barefoot. A book dangles from
her belt. A fir tree is behind her, and beyond her stretch
cultivated fields that eventually give way to misty hills under a
sky that is the endless deep blue of twilight.
Key – Studious Scholarship
This card means deep concentration, scholarship, news, a
bringer of messages. A young person who makes the Seeker very
proud. A careful, studious child. Someone who is methodical, or
deliberate; who considers every move carefully.

Like all the other pages, I made this one a young woman, so that
there would be more balance in the deck. Two males and two females
just felt better to me than three males and one female!
I gave this one a brown tunic, with the same sort of pattern on it as
the Queen of Pentacles has on her apron, for the same reasons. The
brown stands for the earth, and the richness and promise of the soil.
The yellow border is for joy, and the pattern of fruits, flowers, and
leaves on it are to show the beauty, growth, richness, goodness, and
nourishment that the earth provides. Even though this person is still
very young, she has a mothering, nurturing nature.
She wears a green shirt under her tunic, to show the vigorous
growth that underlies all of this.
 Her belt is very wide, to show that she is a sturdy thing; not easily
swayed or confused. From it hangs a book, bound in green and purple,
with a design of gold and gold leaf on the page edges. When I first
began to read the cards, I had problems with all of the pages; I
couldn’t remember what they were supposed to mean. So when I
made my deck, I gave them symbols to help me remember. This one
has a book, because this one is involved with study, and learning. It’s
bound in green and purple for the growth and richness that are
present in all these court cards. On the front of it is a pattern that
shows an old fashioned rose in gold, with scrolls above and below it.
(Honest. Look carefully.) I did that to show her sweetness, and also
because this child is often seen as being a little “old fashioned.” The
scrolls are to show that she has an announcement, one of the alternate
meanings of this card. The pages of the book have gold leaf to show
that the contents are precious.
This page is barefoot, to show that she is in touch with the earth;
she studies it, too, and is very aware of where she is going and what’s
underfoot all the time. She can sense the moods of the land, and
knows when it’s happy and when it isn’t.
Her hair is black, as is that of everyone else on the court cards for
this suit, to help the people who expect that tradition and also to echo
the midnight which is the time of the North and Earth in my tradition
of Wicca. She has it braided into three braids to show that she is
growing into the tradition of the Mother, Maiden and Crone. She is
very Earth-oriented, and honors the earth in all that she does.
Although braided, her hair is unbound. That’s to show the freedom
that she enjoys, in spite of her studious temperament. She is like this
because it’s her nature, and she wants to be this way.
She holds her Pentacle proudly in both hands, to show that she is
using both her intellect and intuition as she studies it. She gazes at it
intensely, with a slight smile on her face, to show that she is enjoying
her study. It responds by glowing, and sending out eight beams of
radiance. The study of the Pentacle, and, for me, of magic and the
universe in general (since, for me, that is part of what the Pentagram
symbolizes, and the Pentacle is the material form of the Pentagram)
illuminates her life in all its seasons, since the eight rays symbolize the
eight spokes on the wheel of the year. (If you need to know more
about that, it’s in Appendix C.) The eight beams of light may mean
something different for you, of course. And if they do, as always, go
with your own meaning! Not only will it be easier for you to
remember, but it will be more meaningful.
 She stands in the shadow of a fir tree (as you can tell not only from
the bits of the tree that you see behind her, but also from the shadows
on her.) In Celtic tree symbols, this tree stands for the Maiden,
Mother, and Crone. Because of its height, it’s also considered a tree of
vision, especially spiritual vision. And because it’s green all year
round, it also connects life to life. All of these things are present in
this card, or represented in the life of this person, or the position or
situation this card is talking about.
All around her feet grows an abundance of long grass, sprinkled
with yellow flowers. The grass is to show energetic vitality and
growth. The flowers show beauty and joy. Although she is standing
quietly now, this child is not always sedentary.
Beyond her are cultivated fields, meadows filled with sheep, and
woods. The fields show that, as young as she is, she has learned to
delay her gratification; to work to get the things she wants or knows
she needs. This is the primary lesson of this suit, and she is already
grasping it. The sheep show that she is working with both plants and
animals; with both sides of any question. There are three of them to
reprise the other groups of three found in this card. The woods show
that she is not completely tamed, in spite of her studious, and often
serious, nature. There is wildness in her yet!
Beyond the woods are hills, wrapped in mist, that rise into the deep
blue of the evening sky. These mean once again that this card shows
gentle enlightenment, and the wisdom to know that learning isn’t over
yet! Several birds fly in the sky, to show the freedom of her spirit.
That sky itself is crystal clear, and yet it’s growing dark with the
ending of the day. This whole suit reflects a time for quiet labor, or for
rest; for things winding down, as they do at the end of the day, in
preparation for sleep and a new day to come.
 Ace of Pentacles
This card shows a golden disk with a silver pentacle entwined
with vines that bear green leaves and red fruit. It floats above a
rich garden full of roses, lilies and wisteria. A path leads through
the garden to an empty pedestal. Beyond that lie misty hills,
fading away to the horizon.
Key – Reward and Riches
This card means pure contentment, attainment, prosperity,
bright prospects both material and spiritual. Plenty, luxury,
peace, magic.

This card is an Ace, of course, and so it holds all the meaning of the
suit, distilled down to its essence. At the same time, it symbolizes the
beginning of the things represented by this suit; a certain newness, as
they first start to enter (or reenter) the Seeker’s life.
So the Ace of Pentacles shows all the richness, plenty, luxury, earthy
pleasures, and downright hedonism of this suit. And yet, at the same
time, it shows clearly that there is work involved in getting these
things. Gardens like this don’t just happen!
That’s why I designed the Pentacle on this Ace the way I did. It’s
made of gold, for the richness, wealth, and luxury denoted by this
suit. The pentagram itself is made of silver, though, because it’s more
in the lines of spiritual richness, since it shows so many things. It’s a
symbol of the five elements; air, fire, water, earth, and spirit, with
spirit at the top. So it symbolizes the idea that all things should be in
balance, with spirit above the other elements. I believe that if you
don’t arrange your life in this fashion, if you are ruled by your
appetites instead of that part of you that constantly strives to be
better, you are heading for serious trouble.
It also is the figure of a person, with a head, two arms, and two legs.
Once again, the person is standing upright, proud and vigorous.
And it shows a star, which is where we all came from. Every atom
in our bodies is really star-stuff, and we would do well not to forget
that.
It means other things, besides; but I don’t have the space here to go
into an exhaustive discussion of the Pentagram. Meditate on it
yourself, if you are interested, and see what truths you can learn. It’s
always possible that you might be the first to discover them!
I put a vine threading all through it, to show its vitality and beauty
as a living symbol. The vine also symbolizes looking within, which I
find is an incredibly valuable exercise. This one is bearing fruit to
remind me that when you contemplate this symbol, and look within,
your pondering will often bear fruit that will nourish you spiritually.
Each vine has three leaves, for the Maiden, the Mother, and the Crone,
and two fruits for the Green Man and the Horned God. Together, these
make five, which is once again the number of points on the
Pentagram.
This is what I was thinking when I designed this symbol. I’m sure
that you can find more there, if you want to.
The path, of course, is the path that the Seeker is on right now. It’s
well maintained, which shows that he has been caring for and about
it, and leads through a beautiful garden. There are lilies for purity,
bluebells for awareness of the hidden side of nature, and purple
flowers for health. Over it all hangs yellow wisteria, for joy and
beauty. Altogether a beautiful place.
It leads to a pedestal, which is empty and waiting for whatever the
Seeker wishes to put on it. Monetary, spiritual, or emotional rewards;
anything is possible from here. You will know what is going up there
by looking at the other cards that surround this one in the spread, and
by listening to your own intuition.
You may also want to ask the Seeker what they would like to see on
this pedestal! Remember, this is supposed to be a co-operative effort;
the Reader and Seeker should be working together to unravel the
Seeker’s Question. So don’t be afraid to ask the Seeker for input and
feedback. We aren’t trying to prove anything here!
Beyond the pedestal are hills, shrouded in mist. These stand for
gentle enlightenment, still shrouded in mystery, and wisdom to know
that all is not known. It’s a wise man indeed who has the measure of
his own ignorance.
These go on as far as the eye can see, because there is no end to
enlightenment.
 Two of Pentacles
This card shows a young woman dressed as a juggler, walking
a tightrope and whistling while she balances two Pentacles in her
hands. A flute hangs around her neck. Below her are white, puffy
clouds. Behind her two bird ships sail through the sky in front of
a full moon.
Key – The Juggler; Balance
This card means the ability to easily handle two (or more)
things at once. Harmony in the midst of conflict and change. Fun
and games. Knowing the ropes. Balance in self and life; being in
control, and making it look easy.

Like all the twos, this card deals with balance. That’s why I decided
to put a tight-rope walker on it.
This young woman is dressed like a performer, like a more
advanced representation of the Fool. Like the fool, she wears the red
feather of courage in her cap. But unlike him, she is aware of exactly
what she is doing. In her case, this is a role she has chosen to perform;
she has put on a costume and makeup, and gone for it.
Her cap is green, to show growth. Her dress is blue for spiritual
enlightenment. Her underdress is white for purity. Her trews are red
for courage, and her stockings are yellow for joy. All of these qualities
are hers.
She whistles as she balances the two Pentacles, because she
understands harmony. Harmony and balance often go together, and
she has them both down pat. She wears a wooden flute around her
neck to emphasize that point, and also to echo the wooden flute of the
fool. It has seven finger holes, to show perfection.
Her feet are bare, because she is in touch with her balance point.
Her arms and shoulders are also bare, which gives her freedom of
movement. She is ready for anything.
Her Pentacles are gold, to show that they are precious things that
she is holding in balance here. The act of balancing is creating a
glowing lemniscate, showing that she is a magical being, and has
mastery here.
The element of the pentacles is earth. She is out of her element, out
of contact with the earth. And yet, she is still in complete control. Her
profound understanding of balance has allowed her to do this. And to
show how wonderful and valuable this sort of understanding is, her
rope is also made of gold.
This is the balance that I think is the secret to the universe. Not
balance like a scale, with an equal number of things on each side, but
balance like a tightrope. Good doesn’t need an equal amount of Evil in
order to maintain the balance. It’s far simpler than that. Balance is
good, and loosing your balance, falling off the rope, is what is evil. It’s
when you feel yourself falling, and start to grab at anything around to
save yourself that you harm yourself and others. And doing harm is
what evil is!
This person understands all of that, and that is where she gets her
strength and power.
Behind her fly the ships of her imagination, free to soar to the
moon, which seems almost close enough to touch. It’s her balance that
gives them this ability.
They are shaped like birds with their wings outstretched, to show
their kinship with spirit and air. Their bird bodies, wings, and sails are
all spotless white, to show their purity. The beaks and crests of the
birds, and the boat part are all golden to show how rare and
marvelous they are. Each also flies a red banner to show bravery and
fearlessness. It takes courage to let your creativity take off like this, to
leave all expected and normal limits behind.
But if you have that courage, and that balance, then there are no
limits anymore.
Below the ships are the puffy white clouds. These also symbolize
imagination to me, since I spent so many, many summer afternoons as
a kid seeing shapes and pictures in the clouds.
The moon behind it all is full. This means that this is a time of
magic, that anything is possible. It also means that one cycle is hitting
its peak. What this means in a specific reading, of course, will be
determined by the other cards that surround this one, and by what
your instincts are telling you. As always, trust your own inner voice.
And don’t force any meaning onto the card. It’s possible that time,
for instance, may have nothing to do with this card when it shows up
in a reading. In that case, the moon won’t look like any kind of time at
all. It’ll just be the moon. It may seem more important that the juggler
has black hair. If so, go with it! I made her hair that color so it would
contrast nicely with the white moon. (Sometimes aesthetics are just
aesthetics!) But if it looks to you like it echoes the High Priestess card,
for instance, and it seems to you that this card is the High Priestess
playing the Fool, then that is what it means in that reading.
 Three of Pentacles
This card shows a gray bearded master craftsman, with a
hammer and chisel, putting the finishing touches on a sculpture.
All that is visible of the statue is part of one wing. Behind it are
golden rays, and a red arc with three pentacles on it. He leans for
balance on an intricately carved stone arch.
Key – Master Craftsman
This card means the Seeker’s skills and abilities will be
appreciated and rewarded. Care and effort will lead to success.
Artistic ability, achievement, recognition. Also increase in rank
or power as a result of doing outstanding work.

When I started to design this card, I knew that I wanted to have

wings in it because, I feel, learning your craft really well, and
becoming a master of it, gives you wings to fly with. And I wanted the
wings to be Big, because that is what the joy of rendering the pictures
without loosing anything in translation feels like. But I also wanted to
be able to clearly see the face of the Master, so that it was obvious he
was enjoying himself.
In order to do this, I had to crop the image, so that only a tiny part
of the sculpture was visible; little more than a few wing feathers. But I
like this better anyway. Now it’s left to the Reader’s instinct to decide
what it’s a sculpture of!
So, sometimes, it’ll look like the wing of a bird, and sometimes like
the wing of an angel, and sometimes like a pair of wings that the
sculptor can put on and fly away with! If it does that for you, go with
it. Remember, follow your instincts.
I made the sculptor a mature man, with grey in his hair and white
in his beard, to show that you don’t reach this level until you have
had years of practice. These years have given him such prodigious
skills that he doesn’t have to worry about the mechanics of how to do
things anymore. He just does them.
He’s smiling as he works, because he really enjoys what he is doing.
He would do this anyway, just for the love of it. And when you have
that kind of attitude about your work, the rewards just seem to follow.
He clearly is paid well, because he can afford to wear nice clothing to
work in! (Unless he was dressed like this to show the client, and
decided to just touch up that wing a bit. This might imply
Perfectionism. (Which I prefer to think of as Care, and Good
Craftsmanship, and Pride in Your Work.))
His jerkin is of indigo velvet, the color of the brow chakra or the
third eye, to show that he sees beyond the surface of things, and his
work is inspired. The cuffs are the red of courage, decorated with the
gold of wealth and power. The decorations are in the form of trefoils,
for the Triple Goddess, and flames for inspiration.
His shirt is white, to symbolize the purity of his vision.
He wears a green kerchief on his head, decorated with bright pink
and yellow flowers. This shows that he is careful, because it protects
his head and hair. The green shows growth, and the pink and yellow
show love and joy. For me, in particular, this kerchief means
something more. It’s actually one that a former employer brought
back for me from Russia. So it’s also a symbol of caring that reaches
beyond cultural boundaries; of art and craftsmanship as the universal
language.
The white feather that is tucked into the band made by a fold of the
kerchief stands for purity and vision, and also shows that this project
is another “feather in his cap.” According to my notes, a feather in the
cap means achievement and truth. In this case, being true to his craft.
He leans on an arch. When I was designing this card, I assumed that
was part of a doorway, and put it there to show that he was fixed on
this path right now. Other doors were below him.
The interior of the arch is filled with gorgeous stonework to show
his consummate skill. But the arch itself shows the steps used to make
Celtic knotwork, in a pattern as if he had been showing someone. I put
that there for two reasons. The first is because when you become a
master of your craft, a logical next step is to begin to teach it to
others. The second is to show that even when you have achieved
mastery, things still need to be accomplished one step at a time.
The wings he is carving, as I mentioned above, symbolize the
freedom and uplifting of the spirit that come with mastery. They may
also show the heights he aspires to, or the lofty position that he is
building for himself.
The painted ground just behind the wings is deep blue, for insight
and illumination. It has five tiny white stars on it to show the five
elements, and the five points of a pentagram.
The red arch that holds the three Pentacles stands for courage and
bravery, as well as for virility and vibrant life. You need courage to
become a master of whatever craft you aspire to, because part of
mastery is breaking new ground, and that means taking risks; risking
failure, risking ridicule, risking your reputation. In this case, the risks
have all paid off.
Behind this arch are carved and gilded rays. These represent rays of
golden light, and show the brilliance of his achievements.
Behind them again is more stone, this time gray to show the balance
that he has achieved with his work.
The whole effect I was trying to achieve was a man who was really
happy to be making truly beautiful, glorious things.
 Four of Pentacles
This card shows a richly dressed old man, who looks unhealthy
and ill-tempered, clinging tightly to a Pentacle. He wears a
golden crown that is topped by another, and has two more under
his feet. He sits in a tiny stone niche at the top of a tower. Behind
him is a town decked for a festival, but he doesn’t see it.
Key – Miser
This card means miserliness, greed, selfishness, avarice,
suspicion, distrust. An inability to let go of anything. Someone
who is an emotional black hole, who absorbs affection, attention,
wealth, etc, but never returns any. Shortsightedness, imbalance,
desperation.

This is a desperately unhappy man. He wears a golden crown,

which should imply that he has power and wealth, but the stone in it
is black. He absorbs everything that comes his way, and returns none
of it. He is misusing both his power and his wealth, and it’s likely to
slip through his fingers, hold it as he will.
He grasps his Pentacles in an iron grip. One is balanced on his head,
to show that money (or whatever the Pentacles seem to represent in
this reading) is the only thing on his mind. Two are beneath his feet,
because money compromises his entire under-standing. (Get it?
Sorry.) One he clutches to his heart, because all he loves is money.
He is all alone, and cold. Note the fur that lines his clothing, and the
way he sits huddled in spite of it. His clothing is black, to greedily
absorb any light or sunshine that comes its way, while reflecting as
little as possible.
The tops of his sleeves are dark purple and burgundy, the colors of
richness and royalty. But he has them almost hidden. They are
bordered with gold, to show his riches; but the design on them is
nothing but currency symbols in different languages. That is all that is
really important to him. There is no growth shown here.
His boots are also black, but they have red soles. Actually, they
have crimson soles and crimson linings, for the slippers of Little Black
Sambo (who was East Indian, of course, and not black at all, and who
was also the hero of his story.) In case you aren’t familiar with the
story, it’s about a little boy who lives in India, and his adventures
when he encounters a group of Tigers. He persuades them to take his
clothing instead of eating him. (The tiger who gets the slippers with
crimson soles and crimson linings wears them on his ears.) And then
they become so jealous of the finery that the other tigers got that they
throw it all off, and rush around and around a tree, chasing each
other, until they are all turned into butter. Which, of course, Little
Black Sambo scoops up and takes home to his mother.
This story seemed to me to have all the elements of greed that is so
complete that it destroys even the one who is greedy. And that seemed
entirely appropriate for this fellow, so I gave him the slippers.
He has used his wealth to build a great castle around himself, and
made walls to separate himself from all other people. Now he is
trapped within these walls, as I have shown by putting him in a bare,
grey stone place. It’s not only empty, it’s narrow; as the life of all
misers becomes narrow. It has crenelations, because he wishes to
defend himself from any who might try to breach his walls.
And there he sits, with his back firmly turned to anything which
might open his world, or take his mind off his obsession.
Behind him is a village; bright, clean and shining. Banners and flags
are flying, as if the town is decked for a festival. The air is bright, with
puffy white clouds, and birds flying. A perfect day.
But he sees none of it, because he refuses to.
And no one sees him, either. The windows that face him are all
dark, and no one looks out of them. If you close yourself off like this,
and keep snarling that you want to be left alone, eventually you will
get your wish.
If this card comes up in a reading in a position that shows that it
represents the Seeker, you should probably warn her that she is doing
herself quite a bit of harm by behaving like this. Before you do that,
though, you might want to read the chapter on Ethics. And remember,
whenever you have to give someone a hard truth like this to be as
gentle and understanding as you can possibly be.
 Five of Pentacles
This card shows two beggars - ragged, cold, filthy and hungry -
in the snow outside of a stone building; perhaps a church or
college. Inside, light is shining, causing the five stained glass
Pentacles in the window to glow brightly.
Key – Misery
This card means destitution, loss, loneliness, being “left out in
the cold.” Lovers who cannot find a meeting place. Poor health,
spiritual impoverishment, etc.

These two people are miserable, indeed. I often see this card as the
logical extension of the previous one. If you are unwilling to help
others, then you frequently find yourself in need of help, with no one
to give you a hand.
They still retain that same selfish attitude, in spite of their penury
on this card. They are asking for help, but unwilling to help each
other. Notice that they aren’t even looking at each other. In fact, the
figure in back has a hand out, but other than that has withdrawn
completely. Their very indifference to each other shows that they are
emotionally, as well as monetarily, destitute.
The standing figure has lost a leg, and perhaps an eye as well, but at
least he is still struggling. He still has a bit of fight left in him, which
is why I gave him a plaid blanket over his shoulders. It’s a shabby,
faded reflection of the Six of Wands; but if you notice it, it is a
reflection nonetheless. (If you don’t notice it, of course, it probably
doesn’t mean anything in that reading. The cards are like that.)
He has made himself a crutch, to try to help himself along, and he
has used rags to make up for the fact that his clothing is inadequate.
And yet, if he would turn and help the other beggar, he might find
more comfort and solace than he has with these.
The building behind him is also alight. This might mean several
different things, depending on the other cards in the reading, and how
the whole thing feels to you while you are reading the cards.
Perhaps it shows that the large institutions really don’t care.
Perhaps they could enter the building, and find warmth and shelter,
but they are too proud.
Perhaps the people in the building would ask them to give up the
only thing they have left - their freedom - in order to get warmth and
comfort.
Perhaps the building is locked, or open only to those who already
have wealth, and they cannot gain entry.
Perhaps it’s a college, and they are not ready to learn, so they
cannot go inside.
Perhaps it’s the home of the Seeker, who has no idea that there are
beggars outside.
Perhaps it’s an unknown, and they should be knocking at the door
to find out.
Perhaps they aren’t even really aware that it’s there!
I purposely left few clues as to the identity of those in the building,
or their motives, so that all of these things can be read into it. As a
play I went to in college once said, I left it “purposely vague so as to
exclude little.”
The pentacles themselves are made from beautiful stained glass. The
actual pentagram shape is made from yellow glass, to show warmth
and joy. The center of each one is blue, to show spiritual harmony.
The points are green, to show growth, and the background is red for
warmth and courage. The green and red together like this also show
balance and both animal and vegetable life, as well as representing
both the God and the Goddess.
In the corners of the windows are golden petals. These are there to
balance the design, and also to show how precious transient things,
like flowers, can be.
The five pentacles are contained in three stone panes. This is to
show the Maiden, Mother, and Crone, or any other “three” that seems
appropriate at the time you are doing the actual reading.
Glass is also fragile, as life and beauty can be fragile. Sometimes,
that is the most obvious thing about this card; how fragile life,
prosperity, and warmth really are.
Taken as a whole, the window is meant to convey an impression of
glowing warmth, beauty, and hope. It’s right there, it’s easily within
reach, but for some reason these people are ignoring it.
So they shiver, out in the snow. I made some of the snowflakes
beautiful, to remind myself that even in hardship, there are still
beautiful things that can give our spirits a lift, if we take the time
away from concentrating on our misfortunes to enjoy them.
The lesson of this card, I think, is to learn to see the good that is
there, and to help our fellow sufferers, so that this exercise can be
learned and put behind us.
You may find a completely different statement in this card, of
course, and that’s alright. Remember, the purpose of the cards is to
unlock the knowledge that is inside of you.
(By the way, for those who are curious, I got the basic design for
this window from one of the buildings at Princeton University; not
from a church!)
 Six of Pentacles
This card shows a richly dressed man, with a chain of office on
his chest, holding a scale. Beggars cluster around his feet,
kneeling as they wait with upraised hands out for alms. He drops
a coin into one of the outstretched hands.
Key – Gratification
This card means help, especially with financial matters. A favor
returned. Gifts, either given or received. Gratifying your own
desire to help or repay someone else. Riches enough to give
away.

This card went through several metamorphoses. Originally, it was

just a hand with a fancy cuff dropping a coin into another hand,
which had a large safety pin holding the sleeve together.
Then I decided that it was important to show that there were a
number of people vying for the one coin, so I added more hands.
Finally I came to the conclusion that I also wanted to show the face
of the man who was handing out the cash, and so I arrived at the
current design.
I gave him dark hair, because that is the coloring normally
associated with this suit. He is dressed richly, because he has plenty of
wealth; more than enough to give away to those who deserve it. The
designs on his coat are the white roses of change on a gold and blue
ground to signify spirituality and wealth, and the purple grapes of joy,
abundance and the love of life on a gold ground to show wealth again.
The grapes are arranged in a pattern that is composed of four leaves
(for growth) and four bunches of grapes (for plenty,) with a red
border. The four is for the four elements, or for “foursquare,” or for
any other four that seems right to you. The red border, of course,
stands for courage. Where red borders overlap, they are purple. This
color, besides connoting wealth and riches, is also the color of healing.
Either giving or receiving rewards like this can be very healing. There
are gold dots all through the border, which stand for gold coins.
The coat also has a border of red-brown fur to show warmth and
wealth.
He wears a gold belt which is an unbroken circle, to show his
wealth doesn’t end, and a red shirt for courage.
On his head is a red hat with a cream plume and a purple brim. The
red is for courage, and the purple for wealth or healing (or both.) The
“feather in his cap” is for the good work that he is doing, or the
reward that he is handing out. It’s cream colored for richness again,
and because the cream rises to the top.
On his hat brim is a white jewel shaped like a heart with a red cross
in the center. The white is for purity, and the heart for the love he has
for the people. The red cross is to show that he’s here to help and
heal. There are two little white pearls at the bottom, to show the same
kind of balance that is shown by the scale.
Around his neck, five pentacles are arranged in a necklace like a
chain of office. This implies that he isn’t just handing out the alms on
his own; this is his job. If it doesn’t look like that, that’s fine! It may
not be the case in the actual reading that you are doing. They are all
gold because chains of office usually were.
In his left hand, the hand of intuition, he holds a bronze scale. This
is to show that the gifts are not random or handed out on a whim;
they are carefully chosen, and are just. When these people get a coin,
it’s because they deserve it according to some plan. The pans of the
scale are perfectly balanced. There is fairness here, and equity.
With his right hand, he passes a coin to one of the petitioners. While
he does this, he looks into the person’s face. This act may be official,
but it’s also personal. This isn’t an institution giving the Seeker a
reward, it’s individual recognition. And this fellow isn’t giving it
grudgingly, either. He enjoys giving these rewards.
The coin itself is glowing, sending out beams of radiance, to show
that it is bringing light into the person’s life. It’s not just money, it
represents more than that. In any reading, it may become obvious
exactly what this coin is, just as it will be apparent whether the Seeker
is the one who is giving or the one who is receiving the gift.
Remember not to get tied to what you think a card should mean. Just
look at it carefully, and report what it seems to mean to you at the
time.
From the angle of the hands in this picture, combined with the
tousled head of a child in the front, it is evident that the petitioners
are kneeling. (In fact everyone who was helping me that day,
including my two stepsons, knelt with their hands out for this one.)
There are many more hands than there are coins. When you are
reading, and this card comes up, you may feel that there are enough,
he is just handing them out one at a time. Or you may feel that this is
all there is, and most of these people are going to have to do without.
If you get either feeling, you will probably also get a feeling of why
this is so. If you do, go with it!
They are all dressed in rags, which has always given me the feeling
that this is a continuation of the card before, the Five of Pentacles. But
now the sense of desolation and isolation is gone. Now people are
helping each other. And that means that a valuable lesson has been
learned.
The background of this card is formed by trees, for growth and the
earth. Behind them is a clear blue sky. The Seeker’s problems are over,
at least for now. Now they will receive (or give) the well-deserved
help that is so sorely needed.
 Seven of Pentacles
This card shows a farmer in smock, hat, and gloves, leaning on
a tool and watching his garden grow. His vines are bearing seven
Pentacles.
Key – Material Progress
This card means cleverness, skillfulness, a handy person.
Growth achieved through hard work. Surprisingly good news.
Help which proves useful. Waiting for a plan to come to fruition.
Patience.

This card shows a gardener at work. He is wearing a smock, the

traditional clothing of English farmers. It’s brown, as is his hat, to
show that he is not wealthy, but he is closely connected to the Earth.
His green scarf shows that he understands growing things.
He wears gloves to protect his hands from the hoe, which shows
that he is used to this work, careful, and not afraid to take advantage
of help. I used to know someone who was too proud to wear gloves;
he thought they weren’t “macho.” He often declared that he would
rather have blisters than look weak. (Well, he was very young.) This
man isn’t like that. In fact, I gave him these gloves to remind myself
that he wasn’t. He will use any tool that helps to get the job done.
The only part of the tool that I actually show in this picture is the
handle. I did that because sometimes it feels as though he’s using a
hoe, and weeding. Sometimes it feels as though he’s using a shovel,
and transplanting stuff. Sometimes it seems as though he’s using a
rake, and clearing out the dead growth. Since only the handle shows, I
can fill in the business end of the tool with my instinct and
imagination. Please feel free to do the same! As always, let your
instincts guide you, so that you can see as accurately as possible.
I gave him dark hair, because that is the color associated with this
suit. He has a thoughtful, waiting expression on his face, to show that
he is contemplating the harvest, and waiting patiently for it.
I put the pentacles on vines because the vine, with its spirals and
twisting, represents turning within and soul-searching; discovering
hidden depths within yourself. That is part of what he may be waiting
for here, as the harvest ripens.
If you know a lot about gardening, you may recognize these vines as
cantaloupes. I chose to use them, because they have leaves that have
five major lobes, and so they echo the pentagram theme. If you know
about cantaloupes, then you know that the vines usually run along the
ground. This gardener had to train them to grow vertically. Which
means that he was willing to put in quite a bit of work in the
beginning, to make his work easier as the job went on. This is an
important facet of this card to remember, I think.
This whole suit deals with the rewards of delayed gratification, and
working hard to harvest a rich bounty later, as well as the times when
it is necessary to wait.
This card shows all of that; without the planting and the work put
into caring for the fruit, there would be no crop. The part that is
actually shown on this card was the hardest for me, personally, to
master. For now the farmer must just wait patiently, and do nothing.
If he picks the fruit at this stage, before it’s ripe, then once again he
has no crop. I can’t tell you how many things I’ve ruined because I
couldn’t leave them alone to ripen, or set, or dry.
So this card is also about patience.
Finally, the sky behind him is a summer sky, promising fair
weather. There are clouds, so no drought is likely to burn the crops.
But there is also sun, so they can grow.
When I first drew this card, I had a sunset behind him, to show that
the time of waiting was almost over. But it didn’t feel right, and I had
to change it. That was just my own impatience coming out! From the
look of the sky now, there is still a long wait to go. But this fellow has
the fortitude, wisdom, and equanimity to take it. He can enjoy the
moment, and rest while he watches the ripening fruit. And there is a
lesson to be learned there, too.
 Eight of Pentacles
This card shows a young lad, learning to carve a pentacle. In
front of him on the table sit the tools of his trade, and another
pentacle all laid out ready for him. Behind him on the wall hang
six finished pentacles. In the wall is an open window, through
which may be glimpsed a castle, and hills, and clouds. There is
another castle in the clouds.
Key – Learning
This card means learning, apprenticeship, gaining new
knowledge or skills, creation, productivity. Or working very hard
at low-paying levels, or keeping the nose to the grindstone.

The child on this card is eagerly learning, and taking joy in the
experience. He is learning more than how to carve; he is learning how
to work. He is carefully and studiously carving along the lines that his
master or teacher has laid down for him. Or perhaps he has developed
this design on his own. Once again, trust your own feelings when this
card comes up in a reading. I purposely didn’t put a master in this
card, so it could go either way.
In front of him on the worktable is another pentacle, exactly like
this one. It’s there to show that it’s through practice that you gain
mastery in any skill. And practice usually implies a good deal of
repetition. But, as in most of the cards of this suit, the hard work
necessary is a price this lad is willing to pay.
Also on the table are several of the tools of his trade, as well as the
shavings that are evidence of the work he has been doing. The vise,
just visible in the extreme lower left corner is to show that he works at
holding things together. The plane, in the middle of the table, but
almost off the card to the right, shows that he works hard to smooth
things out. The two additional carving tools next to the pentacle show
that he isn’t afraid to change tools if the job requires a different one.
The whetstone, which is the white thing near his right elbow, is to
keep his tools sharp. In a reading, you may feel that his tools are his
mind, or his skills, or his technology, or anything else that can be used
as a tool. If you do, then go with it. That’s why I put in all the subtle
stuff that can be easily overlooked in one reading, and then be the
most important thing on the card in the next. It’s all there to help your
unconscious mind get your attention!
He wears a red shirt, for his courage and passion. He really cares
about his work. He also wears brown coveralls, and a brown
undershirt, to show his kinship with the earth.
His entire concentration is bent on his work, to show that being
totally absorbed like this really facilitates learning.
Behind him on the wall hang six finished examples of the same sort
of pentacle that he is carving now, in six different kinds of wood. They
may look like examples that his master has laid out for him, or they
may look as if he has been experimenting to see how different kinds of
wood behave when they are carved. Or it may look like he has been
doing this forever, with no break in sight. Whatever they look like,
pay attention to that feeling, as always.
Also in the wall is a window. It has glass at the top, so the light can
never be cut completely off. I did this because no matter how tedious
the drudgery in repetitive work may be, as long as the act of creation
is happening, the light can never be completely stifled. There is
always something there to take delight in, if you look for it. (And yes,
I have worked in a factory, and I do know what I’m saying. Honest.)
The panes at the top of this window are diamond shaped, to show that
this kind of pressure can produce the rarest and most beautiful of
jewels.
The bottom of the window has a wooden shutter, with iron hinges,
and many nails. I put that there to show that it is possible to cut
yourself off from the air too much, if you are engaged in this kind of
intensive or repetitive work. It’s necessary to know this, and to make
sure that the window is opened, at least a little bit.
The window opens onto the wider world, to show what is out there
away from the work table. If you look through the window, you can
see the water, which stands for hidden knowledge. If you fathom the
hidden knowledge, you may reach the castle, which stands for
achievement, wealth, power, etc. All those things that the lad is
working so hard to reach. Beyond the castle are the hills of knowledge
and enlightenment, as shown in so many of the other cards of this
suit, with the mist of wisdom that acknowledges its own ignorance.
Above them is the sky, with the bright puffy clouds of the
imagination. If you look carefully in those clouds, you will see another
castle. This cloud castle stands for dreams, which are a vital part of
the creative process, and of the learning process as well.
Birds soar through the sky, because learning can set your spirit free
to fly to places beyond imagination.
By the way, if you are interested, the lad who posed for this card
was my stepson Tony, when he was eight years old.
 Nine of Pentacles
This card shows a richly dressed young woman, with a hooded
hawk on her arm, picking a grape in a garden full of roses.
Behind her, an ornate and beautiful gate stands between her and
the rest of the world.
Key – Solitary Wealth and Luxury
This card means accomplishment, discretion, safety, material
comfort, love of nature, solitary achievements, working alone,
security, femininity. Or perhaps security and luxury purchased at
too high a price.

This is the card of affluence mated with self control, and security
with solitude. There are also overtones of femininity. So I chose to
follow tradition, and draw a picture of a young woman in a garden,
enclosed by a gate.
I dressed her in white for purity, purple and gold for prosperity and
power, and red for courage and passion. I gave her black hair, as is
customary with this suit, and put it in a golden net, to show that she is
in control. Order is very important to her.
Around her neck is a choker that has a golden strand that goes to
her bosom. This shows that she can sometimes strangle her emotions,
in order to coolly do what she considers the proper thing at the time.
On her left hand, the hand of the instinct and the unconscious mind,
she holds a hawk. It symbolizes her passions, and her freedom of
spirit. She has these things, and she accepts them, but she is keeping
her hawk hooded; her passions and freedom under strict control. She
may loose them if she so desires, but right now they are restrained.
Whether she is about to free them or not is something you will have to
discover by being sensitive to your own instincts and feelings when
this card comes up in a reading.
The red feathers on the hawk’s hood are there to underline the
feeling of passion. The light color of the hood is to contrast with the
bird itself; but as I was just writing this, it also seemed to me that it
could mean that you can use an appearance of light to keep your
passions in the dark, as well.
Her glove matches the hawk’s hood. If you look at it carefully, you
will notice on the cuff a female biological symbol, which is also the
glyph that means Venus, with leaves instead of a cross bar. It’s there
to show both femininity and growth. Control doesn’t always mean
stagnation: it’s very possible this young woman is flourishing under
the self control she has discovered here.
She is plucking a single grape from the vine that grows among her
roses, to show once more that she is not greedy. She has plenty, and
she enjoys it, but she doesn’t give in to any form of gluttony. Perhaps
that’s why she is so prosperous.
She stands in front of a great bank of red roses. They, too, are tamed
and ordered. You won’t find any stray sprays, or suckers poking far
above the hedge. But they are red roses, and so they show her passion,
and courage, and sweetness, as well as her bravery and willingness to
fight. Remember, roses have thorns. But all of that is banked now, as a
fire is banked. And, just as banking a fire preserves it, controlling her
passions doesn’t mean that they are lessening at all. If anything, a
strongly passionate nature, firmly controlled, simply builds the
passion higher.
Behind the roses stands a beautiful gate, all gold and iron filigree. I
designed it with arches because I wanted to give this card the feeling
of a cloister; a place of beauty, peace, and harmony, shut away from
the cares and bustle of the outside world. I put gold in the gate,
because I wanted to convey a feeling of richness, plenty, and luxury as
well. And the iron is there because her will is also implacable. It may
look delicate and ethereal, but there’s no use tying to break it.
Astrologically, the suit of Pentacles corresponds to the earth signs;
Virgo, Taurus, and Capricorn. And if you have ever tangled with one
of them (particularly with a Taurus, and I can say this because my
husband is one) you will know that once their minds are made up
that’s that. There is no budging them.
 But this is a gate, not a fence. Sometimes, when this card comes up
in a reading, it seems to me that there is a path beyond the roses that
leads up to the gate, and the young woman could easily go there and
open the gate if she wanted to. She is inside, here where it’s safe, by
her own free will. She is at home; as safe as houses.
Sometimes, it seems that the roses have grown right up to the gate,
and she can’t open it any more. Then I get the feeling that she may
have chosen this garden to start with; but now she is trapped in it. She
has bound herself, and hooded her hawk, and although her life may
look pleasant and prosperous, she is actually screaming inside.
If that happens for you, then listen to your instincts, as always. I
designed this card so that either of those things could be read into it.
And anything else that you find in it is great, too. That’s what the
cards are for.
Behind the gate, the sky is a serene blue, just beginning to turn to
dusk at the zenith. I did that to add to the feeling of serenity and
calm. For this card is very calm, even if it does look like the calm of
rigid control and repression.
Normally, however, it looks like a haven. An island of peace and
security. A place most sought after.
 Ten of Pentacles
This card shows a wealthy patriarch, with his grandchildren on
his knees and his dogs around him. Behind him is a rich garden,
and an archway that gives a glimpse of a lovely home and a
loving couple. It’s a picture of familial harmony.
Key – Prosperity
This card means home, family, riches; positive domestic
changes. Comfort, abundance, ease, plenty, contentment.

I designed this card so that the Seeker could be represented by

different people on the card; and that is how it works, at least in my
experience.
Sometimes, it seems that the Seeker is the grandfather, with success
and abundance all around him.
Sometimes, the Seeker will be one of the children, loved and cared
for, and learning to be generous in their turn.
Sometimes, the figures that resonate are the ones in the
background; those in the prime of their lives, with the wealth of
experience, or wisdom, or material things that they have gotten from
their parents, and are passing on to their children in a beautiful,
unbroken chain.
Be aware that this can happen, and listen to your instincts (as
always) when you are reading; for this card is one of those that can
open different vistas at different times.
The grandfather has a white beard, but an unlined face, to show
that although he has many years behind him, they have been pleasant
ones. He is portly to show that he has lived a very good life, and not
known want. (At least, not for some time!) In fact, he looks a bit like
Santa. I did that to give the reader the impression that he is very
loving and generous, (and also because my husband, who posed for
this figure, looks like that.)
He is dressed in purple, gold and burgundy to show richness,
abundance, and power. If you look closely at the design on his coat,
you will see that the gold is a pattern of vines and songbirds. That
shows growth, and also shows that his spirit is singing within him.
He has a white shirt, and white trim on his clothing, to show his
purity.
His grandchildren and their dog are leaning on him, to show that he
is well loved.
The grandson is dressed in blue and white to show the pureness of
his spirit, and in red to show his passion and courage. His clothing is
trimmed with gold, to show wealth, decorated with a pattern of
trefoils inside of circles. These show the past, present, and future all
tied together into one moment. And, to some extent, that is what
children are.
He is giving his grandfather a little basket filled with blue and pink
flowers. This shows his generosity, and underlines the fact that he is
learning how to be giving from the gifts that he receives every day as
a matter of course. The blue flowers are for spiritual gifts, and the
pink ones are for love.
His grandfather is accepting it with as much joy and pleasure as if it
were a far more expensive gift, because he recognizes how precious
any gift is, when given with love.
The granddaughter is kneeling, and leaning on her grandfather’s
knee, to show that she also loves him, and recognizes that he has
wisdom to share with her. She is dressed in white for purity, and
green for growth and femininity. Her clothing is also trimmed with
gold, to show the wealth and luxury these children enjoy. But in her
case the gold has a spiral pattern, to show introspection. There is a
pattern of three loops at the top of the sleeve, though, because she
represents the past, present and future as well as her brother does.
There is also a square there, to show balance and stability.
At their feet, a puppy looks up to see what they are doing, and
farther away another dog stands partially hidden behind them. These
dogs stand for faithfulness, loyalty, domesticity, etc. The one in front
is for friendliness, and devotion. The one in back is a greyhound, and
stands for speed. But he is mostly hidden, and is not moving right now
anyway. I did that to show that things have slowed down here; this is
one of the still moments, when peace and tranquility reign.
Beyond the dogs is an archway, which leads from this sheltered
place into another walled garden, and which affords a glimpse of the
house beyond. At the bottom of the arch is a pedestal, from which ten
pentacles run up the arch. This is to show that the principles of the
pentacle are firmly established in this home. You will know which
principles (spirituality, religion, money, etc.) when you have this card
actually show up in a reading.
At the top of the arch on the left is the sun. I put it there to show
that the sun always shines on this household, and also because all the
attributes of the sun (warmth, joy, light, and so on) are present. If you
look at the extreme right corner of the card, you will see a couple of
stars above the arch there. From them, you might extrapolate that
there is a moon on this corner of the arch. And you would be right. So
all of the moon attributes (mystery, wonder, magic, and so forth) are
also present, although they are hidden. Which, when you think about
it, makes sense.
The shape of the arch itself echoes the rainbow that is found on the
Ten of Cups. In fact, these two cards have a lot in common. The main
differences are that this family is more established (it has another
generation forming part of it,) and it is also more likely to have
material wealth (compare the two houses.) Nonetheless, that same
feeling of endless possibilities and promise exists here.
There is a vine growing up the side of the wall next to the arch.
That is for introspection, again; a sort of quiet soul searching that will
enable the whole scenario to become even richer.
Beyond the doorway stand the parents of the children, or the son or
daughter of the grandfather. She is dressed in bright colors, in yellow
and pink and orange. These stand for joy, love, and warmth. She has a
basket over her arm, to show that she has been gathering good things
for the family. It also echoes the basket that the boy holds, and so can
easily stand for another gift.
The man who is facing her is dressed in deep blue for intuition and
inspiration. He has a red hat, which shows his passion and courage,
and a burgundy cloak, which shows his wealth, abundance and
liberality.
They are facing each other, and he has his hand on hers. I did that
to show that there is deep affection here, and caring. It adds to the
feeling of conviviality and love that is shown in this whole card.
 Beyond them is a wall, with trees espaliered onto it. I drew trees
that have been trained to lie flat against the wall to show that these
people are capable of gently shaping their environment to serve their
own purposes. It isn’t often important in a reading; but in case it is,
there it is!
Beyond that wall stands the house; a rich mansion, with large
windows, to show that they let air into their lives and relationships,
and they thrive in the light and sunshine. Tall chimneys show the
warmth here. Steep roofs show that they shed problems that would
cause them trouble. and crenelations show that they are quite capable
of defending themselves if the need arises.
All around the house are trees, to show growth and longevity.
Above it all, the sky is a lovely blue, without a cloud visible, to
show that there are no clouds in their sky, and the sun shines brightly
for them. Three birds fly there, to show the lightness and freedom of
their spirits.
In general, I meant for this card to give the reader a sense of love,
plenty, beauty, and support. It’s a fully functional family, and a safe
and happy place to live, with no lack of anything spiritual, emotional,
intellectual, or material. This is what Home should be.
 1 Wheat is symbolic of both life and death, because as the staple food for most of
Europe it was necessary to live. And yet, in order for there to be more wheat, it had
to “die,” and be buried in the ground. Legends concerning this property of grain are
prevalent all over the world, from John Barleycorn in England to the Penobscot
stories of the Corn Mother in North America, and virtually everywhere else on the
planet where the people planted grain.
 Swords
Once again, the symbols chosen here were chosen because they are
the ones that best expressed my own feelings about the meanings of
each card.
They may mean something different to you. If they do, don’t
hesitate to ignore why I chose them, and use the meanings that are
important in your own personal symbol set.
Towards that end, you may want to keep a notebook while you read
this. Write down your own interpretations as we go over each card;
what you think the symbol means, and why it is important in
expressing the meaning of the card for you. If you wind up with the
entire card meaning something different, my advice is to go with it.
This may upset the purists among us, but in my experience when one
card shifts meaning, another generally expands or shifts to take its
place. So the entire range remains unchanged. That’s what growth and
change is all about, after all!
The Swords are one of the suits in the tarot that is (believe it or not)
fraught with controversy. Some people say the swords are ruled by the
element of air while fire rules the wands. Some reverse that. In my
deck, air rules the swords, and fire the wands. When all the other
arguments were over, I decided to do it this way partly because that is
what I was originally taught, and so it was most comfortable for me.
But also because as air cards, they have all the magical attributes of
air. In other words, they also correspond to knowledge, which often
cuts two ways. When you think of them as knowledge, remember that
knowledge doesn’t necessarily contain wisdom (that is for the north,
and earth; in my Tarot deck, the Pentacles.) Knowledge that isn’t
tempered with wisdom can be pretty dangerous stuff.
So, in my deck, Swords are the suit of air, which also means
knowledge and beginnings. Their direction is the East, and their time
of day is morning, and their time of life childhood. (The real stuff; not
the idealized one. If you really think back on childhood, it was
relatively violent, wasn’t it?)
 Swords usually stand for pretty serious stuff; trouble, strife, courage,
authority, health, etc.
The lessons of this suit are about handling knowledge or authority.
They also deal with sacrifice, redemption, and transformation.
 King of Swords
This card shows a solidly built man with dark brown hair and
beard standing with his legs apart, and his arms crossed over his
chest. In his right hand he holds a sword. He’s on a windy hilltop
that is covered with half-dead grass. The sky is stormy, and filled
with thunderheads.
Key - The Boss
This card means a mature person of military bearing. A
commander, with the power of life and death (or work and
unemployment!) Perceptive, strong-willed, intelligent and firm in
either friendship or enmity. He may also be suspicious,
overcautious, cruel, and overbearing. Either way, he wants to
control the situation.

Court cards are often read to represent people; which person it is

representing may be shown by the physical attributes of the card (in
this case, a mature man with dark hair and light eyes,) or sometimes
by the personality shown.
I think they may also symbolize attributes that are appearing in the
Seeker’s life; things the Seeker is becoming, or the way in which many
of those around her are behaving towards her.
Please remember this as you read the descriptions of the court
cards.
This king has a firmness and intellect that overrides his emotions.
So I made him standing, to show that he is the embodiment of an
active principle. I gave him dark hair because that is traditional for
this suit, and a beard to show his maturity. He is scowling, because
that is the way he tends to look at the world - as a series of problems
to be overcome. This may mean that he helps the Seeker to overcome
them, or that he sees the Seeker as one of them! It will become
apparent which of these is in effect when you do an actual reading.
His feet are wide apart, because he is firmly planted, and ready for
combat at any time. This one is not nonconfrontational! I crossed his
arms on his chest to show that he is not really likely to be open to new
ideas. In my experience, not many people who really want control
want to hear what others have to say.
Starting from the top, he is wearing a helmet because this is a
martial sort of guy. The golden crown shows that he is a king. I gave it
raven’s wings because ravens are the bird of war, and also the bird
that was sacred to Odin, who brought learning (knowledge) to the
Norse. They also show the element of air, which is important in all the
Sword cards, but most of all in the court cards.
His cape is square, to show that he can be very rigid, and also to
show that he can be very dependable and steady. It has two sides; the
outside is the bright sky of day, and a living atmosphere to show light
and life. The inside is the night sky, or the vacuum of space, to show
darkness and death. One is the flip side of the other, and this
character deals in both. Or, if you are of a more Science Fiction bent,
the outside can show the warmth and hominess of a planet, and the
inside can show the adventure and excitement of space. Once again, it
all depends on how you look at things!
The double penannular brooches are made of gold to show his
royalty and nobility. I used penannular brooches here because they fit
with the cloak (sometimes a cucumber is just a cucumber!) and also
because they have the sharp pointed bits that are exposed, just as the
thorn of a rose is. In fact, I use roses with the swords a lot, and the
design on the brooch is also a wreath of roses, although you can’t
really see that. But now you know it anyway! The chain shows that he
may be a prisoner of his own intellect, or he may be trying to make
the Seeker one.
His arms and hands are covered with mail because, once again, he
is warlike, and imparts that feeling to everything he touches.
He is holding a naked sword upright because that is the symbol of
this suit, and also because it shows his authority, his virility, and his
readiness to fight. He is not one who is going to try to compromise.
The grip of his sword is red because that is the color of courage, and
also the color of blood. He has plenty of courage, and he doesn’t mind
blood at all. The pommel is a rose, again, because roses are symbols of
air (the scent) and of sharpness (the thorns.)
His under tunic is red as well, to show his underlying courage, with
gold brocade to show the richness that he is capable of.
His tunic is the air, going from the rich, cloud-filled air near the
ground to the thinner, deeper blue of decreasing atmosphere. This
shows his affiliation with the element of air again, and also that he is
comfortable in the rarefied intellectual realms. This guy is sharp!
The gold trim and belt are to show his royalty.
He wears his sword on a baldric slung over his shoulder to show
that it’s high up in his estimation. The baldric and scabbard are gray
to show the storminess that he is capable of. In fact, the scabbard has
lightning bolts on it, to show that he can become very angry, and that
he is likely to be violent or intellectually cutting when he is. The
hardware on the scabbard is gold to show his royalty again.
He wears thigh high boots because the sword cards also show
movement. He is capable of moving very quickly, and I wanted the
boots to show that. He is also capable of walking all over someone,
and the boots show that, too. (I guess I listened to too many popular
songs in the sixties!)
They are tight, and show his muscles, because this is a fellow who is
never afraid to show his muscles, if you know what I mean.
He is standing in a field of long half-dead grass because that kind of
field has always felt closer to the wind to me. When I was designing
these cards, I thought about making all of the court cards in this suit
have spring backgrounds, because spring is the time of the east and
air. But I decided not to, because pretty spring scenes didn’t seem to
fit in with the swords very well. And then I realized that in the very
early spring, when the winds are the strongest, the long grass is still
mostly dead. The bright green spring stuff isn’t showing yet! So I made
the hills the color of mostly dead winter/early spring grass, and it felt
right to me.
The hills show the depths of this card, and the intellect. But they are
eroded hills, because the wind has been scouring them for many years.
The stormy sky is to show that this guy can be pretty stormy. It also
shows the element of air very clearly.
The birds show the flights of the intellect that he is capable of. Or
perhaps they are the ravens of war, again. Did you know that a group
of ravens is called an “unkindness?” So this fellow might be unkind.
 Queen of Swords
This card shows a tall, strong woman standing in profile on a
windy hilltop. Her right hand holds a sword, with the blade
pointing up. Her left hand is held out and open. Behind her is a
red rose bush.
Key – Cool and Confident
This card represents a quick-witted, intensely perceptive,
confident, strong woman. She may have suffered loss, and
become stronger because of it. She may also be controlling, cruel,
or sharp-tongued.

I put mail on her head, to show that she may have a martial frame
of mind, and also that she may use her intellect as a weapon. But I
also put a veil there, to show that she may still retain some softness.
Her hair is tightly bound, to show her control. But the net is gold, to
show her royalty. The crown shows her royalty as well.
She is in profile because although she is very sharp of wit, she may
choose not to approach all of her problems head on. This person may
use a more unconventional, sideways approach to things; based
partially on intuition. That’s why she is a female on the card, although
she may represent anyone with these attributes in a reading,
regardless of gender.
Her left hand is stretched out and open to show her openness to
intuitive knowledge, as well, since the left side often means intuition,
as the right side means action.
 In her right hand, she holds a sword. She isn’t adverse to action at
all! In fact, she is armed and ready for it. The sword has a red grip for
her courage. The hilt is gold for her nobility, and is decorated with
two seated sphinxes (even though they are hard to see) to show that
she excels in all kinds of knowledge, and can solve all sorts of riddles,
puzzles, etc.
The pommel of her sword is a rose, because roses are symbolic of
swords to me, since their scent is like incense, and so is part of air,
and their thorns are sharp, like a blade.
Her cloak, like that of her consort, shows the bright daytime sky on
one side, and the dark night sky on the other. Skies, of course, are
symbolic of air. And this also suggests that she can show both sides,
light and air, which is life; and the darkness and quiet in the vacuum
of space.
The white satin puff of her sleeve is like a summer cloud, and the
open sleeve below it is white, because that is one of the colors of
dawn. It’s covered with butterflies of transformation, because
knowledge can transform things. They are many colors to show that
her knowledge is in many areas. (This can also be quite a colorful
woman, since our society tends to disdain women like this. A woman
with this much courage is likely to be unconventional in lots of
different ways.) Below it opens into the deep blue of an endless sky,
because even the sky is no limit.
There are two buttons to show the duality that may be present in
this card (brilliant/cruel or scholarly/intuitive or controlling/tender;
whatever it looks like while you are reading it.) and to warn you that
this woman has buttons; be careful how you push them! They have
yellow tassels because yellow is the color of the air, and to show that
there is some part of her that remains free and wild, in spite of the
constraints that she may have imposed on herself.
The golden butterfly at the top of the sleeve shows her royalty, and
also shows that transformation is something she does openly.
Her undersleeve is blue, for the sky and purity. It is encased in a
silver web to show the restraint that she uses.
She wears a ring because she understands the power of the circle,
and to show her intuition once again.
Below her cloak you can see the tip of one blue-booted foot. This is
to show that although she may look stationary now, this lady is going
places!
The grass she stands on is dried because this is very early spring;
and besides dry seemed more appropriate for wind and swords!
 Behind her are the red roses of courage. Roses I’ve already
explained, and red, too. As I wrote in my old notes, “This is a strong
woman, but she has her prickly side, as well.”
The hills go on into the distance to show the depth of this card.
The sky is bright, although filled with clouds, because she is bright,
although she may have a hidden side. The sun is low, because it’s
morning. That is the time of the east and air. It’s about to burst forth
in full glory to show that this person may be on the edge of an
intellectual breakthrough. Birds fly through this sky, and the one on
her cloak, to show her freedom of spirit.
One interesting note on this card. When you are drawing things,
they don’t always come out exactly as planned. So with this picture. In
the pencil sketch, her nose wasn’t nearly that close to the sword. But
when I did the inking, the ink lines were both so thick (which is done
to show depth, and to isolate the main subject of the drawing from the
background, or other details) that they appeared to touch!
I narrowed the line of the sword just there so they no longer met,
but it still looks to me like she has her nose almost against her sword.
This has always looked like “nose to the grindstone” to me ever since!
And since this person is one who may be working too hard, I guess
that’s appropriate!
 Knight of Swords
This card shows a young, beardless man on a flying horse,
charging across a stormy sky. He carries his sword aloft, and
lightning crackles around it.
Key - To Boldly Go
This card means a soldier, or someone who is heroic and brave.
It can also mean righteous anger, triumph over opposition, or a
practical solution to a problem. Or it might mean someone who
tends to be a bit over-enthusiastic!

When I was doing all of the knight cards, I tried to put them on
mounts that were somehow connected with the element that the card
represents. So I put this one on a flying horse. (Besides, I love to draw
flying horses. Or anything else with wings. My secret soul name is
“Wing-Nut.” Shhhh. Don’t tell anyone!)
I made the horse dappled gray to look like clouds and storm,
because that is the basic theme of all these court cards, and also
because this fellow isn’t afraid to face any storm there is! He has pale
green-blue eyes because he is a creature of the sky and storm. If you
notice, although he is flying as fast as the wind, he is hardly extending
himself. There is no foam on him, and his nostrils, although wide,
aren’t showing any red. He is at ease at this speed.
His tack is blue, the color of the sky and of purity. His chamfron
(the armor on a horse’s face) is silver with blue trim. I did this to show
his oneness with the sky. But the eyeguards have a red lining, to show
the courage that underlies his attitude. On the top corner of the
chamfron is the alchemical symbol for air, picked out in blue.
The knight has brown hair and eyes because that is the coloring that
goes with this suit, and some people use that.
His helmet is made of silver (over steel, we presume) to show his
affinity with air, and his shining spirit. His noseguard is shaped like a
bird in flight to show the flights of intellect that he is capable of, and
his freedom of spirit. For the same reason, there is a motif of flying
birds on the sides.
The front of his helmet is decorated with lightning bolts, because
his wit is quick, and to show that he may have a temper, as well.
There are white bird wings on his helmet to show affinity with the
air, and also to show his purity.
I drew him with his mouth open because he often seems to me like
he is calling a joyful sort of war-cry as he flies. (Although sometimes
he just looks like he is so excited that he has opened his mouth to get
more air.)
His eyes are straight ahead, because he is looking forward to
whatever challenge is coming up.
In his right hand, he is waving a sword. This is the symbol of the
suit, of course. It’s also a symbol of his bravery and his willingness to
go full tilt into whatever battle offers itself. Knights are active cards,
and air is an active principle; so between the two of them...well, you
can imagine!
The grip of the sword is red to show his courage, and his willingness
to deal with bloodshed if need be. The guard is decorated with wings,
again, in case you missed them someplace else! The pommel is a kind
that is known as a wheel pommel. I gave him one to show that this
kind of activity has its place on the Wheel of Life, and is neither
something to be feared nor something to be suppressed. Sometimes,
things are simply worth fighting for! I set it with a blue stone to show
purity and spirituality.
Lightning crackles around the blade, to show the sheer energy and
power that this kind of righteous anger has. There is enough voltage
there to do anything necessary. The only trick is directing it in an
appropriate fashion.
He is wearing chain mail on his arms because this is a martial card.
I used mail instead of plate to show his flexibility.
 Page of Swords
This card shows a young girl running down a hill. In her hands
she holds a naked sword upright. On her belt she wears a
spyglass. Behind her, hills covered with grass go back to the
horizon. The sky is filled with clouds, except the area around the
sword.
Key – Running with Scissors
This card means grace, dexterity, diplomacy, intelligence (or
intelligence work i.e., spying.) Service done in secret, or secrets
uncovered. An unexpected happening; something that is too
quick to react to. Vision and agility, but with an edge of danger.

Like all the pages, this one is a young girl. She is running, with her
sword held in front of her, to show her swiftness and dexterity, and
also to show that she is living on the edge. She is smiling as she runs,
because she really enjoys this! Her grace and good balance may
enable her to run easily, and safely, in spite of the inherent dangers.
(In some readings, though, all I can see is the sword. In those cases, I
remind the Seeker that he is doing dangerous things, and may get
hurt.)
She has brown hair because that is the coloring that traditionally
goes with the suit of Swords, and there are people who use that. I
made her hair long and loose so it could be streaming behind her in
the wind of her running. Yellow is one of the colors of the east, which
is associated with the air and Swords, so I gave her yellow ribbons.
She has four of them for the four winds, because this is the suit of air.
She also has three white feathers in her hair, to show her purity and
freedom of spirit, and that she will retain these throughout her life;
now as a maid, later as a mother, and lastly as a crone.
Her tunic has long sleeves, because she likes to feel them billow in
the wind, but is short, so it won’t interfere with her running. This
shows that she really likes the sensations, but is still practical enough
to protect herself in some ways. It’s blue, for the sky, because this is
an air card, and has clouds on the hem and cuffs to show affinity with
the sky as well. Pretty, puffy ones, though, to show her imagination
and because in many ways she is still just playing. There are birds
there, too, to show the freedom of her spirit. It’s lined with yellow, to
show the correspondence with the east, and the dawn, and also to
show her essential joy.
Her boots are short, so they won’t hamper her, and blue for the sky.
The cuffs are made like wings, to show that her feet really fly! They
are white again for her purity, of course.
She wears a long white belt with a motif of feathers on it, once
again for the freedom, beauty, and swiftness of a bird in flight. It
streams behind her to show how quickly she is moving, with a spiral
motion to show that the vision which is also a part of this card may be
turned inward.
Attached to it is a spyglass, to show that vision, and also to remind
me that this card also stands for secrets revealed, or spying. I gave all
the Pages little mnemonic devices like this, because I had a hard time
remembering what they meant.
She holds her sword upright in both of her hands, to show that it is
her primary focus; she isn’t putting a hand to anything else. At the
moment, knowledge (which is the primary lesson of the Swords) is
more important to her than anything, and she is pursuing it
wholeheartedly. Maybe even past the point of prudence. Her right
hand is on top, to show that the knowledge she seeks is primarily that
of the overt, tangible, physical world.
The sword itself has a mirror bright blade, to show that the
knowledge is bright, untarnished, and new (at least to her.)
The cross-guard is of gold, because it’s precious, and is shaped like
wings to show the freedom that this knowledge will bring her, and her
freedom of spirit in searching for it. It has a blue stone, to show her
purity and also the correspondence to the sky, again. If you look at the
guards of the other swords with winged guards in this suit, you will
find that they are all upright when the sword is drawn. Hers is
inverted. I did that to show that she is likely to look in all kinds of
unexpected places, using unexpected ways, for the knowledge that she
seeks. She is likely to be unpredictable in the search, and it will be in
a fashion that is totally unprepared for. This is especially important if
the card is in a position that represents someone who is not the
Seeker, but who is trying to ferret out the Seeker’s secrets.
The grip is red, for her courage. She isn’t worried or fearful about
the consequences of this search at all. Maybe not even as much as she
should be.
The pommel is a wheel pommel, to show that while she is finding
things out, she should remember that what goes round comes round;
that is, if she wants to find out the secrets of others, she shouldn’t be
surprised when hers come under scrutiny as well. It has a yellow
stone, for the east and joy.
As the sun hits the edge of the blade, it sends out seven rays. These
symbolize perfection, and show that she seeks perfect knowledge. Or
they may symbolize the days of the week, and show that she never
stops seeking. Or they may simply look unbalanced, and show that she
isn’t seeking in a balanced fashion. Once again, what you see when
you really look at the card during a reading is the meaning. (If you
want to know why I originally decided to use seven, it was for
perfection.)
The sky all around is full of clouds, except for the area around the
sword. This shows that the knowledge gained is clearing up the clouds
of confusion, misdirection, and uncertainty, and revealing the sky. In
other words, all the secrets are being revealed.
Above her head, there is a flock of birds flying. If you look carefully,
you will notice that the flock takes on the shape of the lemniscate, the
infinity symbol. I did this to show that there is no end to the freedom
that the search for knowledge can bring. In her headlong pursuit of
the truth, she finds mastery. Because the symbol is made of birds, it
also shows that fearlessness and freedom of the spirit yield infinite
possibilities. But it’s very subtle, and seldom stands out in a reading.
She is running over the same kind of grass that is found in the other
court cards of this suit, for the same reasons. Behind her, the hills of
knowledge go on to the horizon. There is no end to the knowledge
that is waiting to be gained.
 Ace of Swords
This card shows an upright sword against a background of
clouds. Around the top is a laurel wreath from which hang a
garland of olive and one of roses, making a double helix. Sun
strikes the edge of the blade, and shoots beams of light
throughout the card.
Key – Knowledge Victorious
This card means success, attainment, victory, or the beginning
of all of these things. It may mean that the Seeker is or is about
to become a champion, hero, or leader. It may show the birth of
a valiant child. It may also show the beginning of an intellectual
venture.

Like all the aces, this is the beginning of the suit of Swords. All the
other lessons in this suit follow from this one. But it is also the
culmination, or perfection of the principles of that suit. In effect, it is
the most perfect statement of the fundamentals the entire suit is based
on. Think of it as a sort of unified field theory. The simplest possible
expression of a complex topic.
So this single sword has within it the idea of the pursuit of
knowledge, and all that can be gained, both pain and healing. It
encompasses the whole of war and of peace. It speaks of storm, fear,
and depression and the bright, clean skies after the storm, the hope
and joy that relieve the gloom.
Quite a lot for one card, and more opposites than I found with any
other suit.
So; first I made a sword, double edged to show that knowledge can
cut both ways. It is often painful to learn things, and innocence is
often destroyed to gain wisdom.
The blade is very bright, because the quest for knowledge is so very
attractive. It’s something that all of us share. All you need to do is to
watch a small child, who constantly asks “why?” to see that the need
to understand is one of the major forces that drive us. We often lose a
great deal of this in the Public Schools, at least in this country, where
they make the acquisition of knowledge boring and senseless by
presenting it in a vacuum, but still it’s there. How many children are
endlessly curious about everything that they aren’t studying in school?
So, the sword, or new knowledge, is shiny and pretty; and we forget
that it cuts.
The hilt has golden wings, to show the freedom and joy that
knowledge can bring. The more you know, the more you are free, and
realize that the only limits are those that you impose on yourself. And,
of course, the higher you fly, the more you can see. So the more you
know, the more you realize there is yet to learn!
They are gold, to show that knowledge is precious. Sometimes,
when I am reading, the gold makes the knowledge look like it has
been dearly bought, or will cost a lot. If that happens, of course, go
with it. Remember, you see what you need to see when you look at
the cards.
The stone is the blue of a calm and untroubled spirit. This shows
that there is peace between the two edges of the sword. Knowledge,
coupled with wisdom, can bring great peace.
The grip is the red of courage, blood, and life. All of these things are
illustrated here. This knowledge is vital, not boring.
There are two crowns on the grip, one at each end. These are for the
mastery and riches that knowledge can bring. They reflect each other
to show again the principle of “as above, so below” that runs through
so much of the Tarot.
There is a rose on the pommel to symbolize the air, and swords. The
scent of the rose is very sweet, as is the quest for knowledge; but the
thorns can tear you and cause pain, once again just like the quest for
knowledge. I think it’s worth it, though, as a visit to my garden in
summer would tell you!
The tip of the sword is crowned with a laurel wreath, to show that
the fight was victorious! This is the champion’s sword, or the sword of
someone who will be a champion. If you take up this sword, then
victory will follow because your cause is just. Remember that
although the swords are sometimes knowledge, sometimes they really
mean a fight! And since there are things worth fighting for, it’s good
to know that you will win.
From the wreath hangs an olive branch, meaning peace and
fruitfulness, and a garland of white roses. White roses are a sign of
freedom of the spirit and of thought. They are pure, and lovely, but
not without the prospect of pain, shown by the thorns. So victory will
bring peace, beauty, and freedom; although there may also be pain.
These hang in a double helix for two reasons. One is because this is
the way in which the snakes twine around a caduceus. Knowledge,
although it may bring pain, also brings healing. And the victory and
ensuing peace bring healing as well. The second was to show the
double helix of DNA, the beginning of new life. This is a card of
beginnings, as well, and new life can rise from the old.
Behind the sword are the clouds. They show that this card is
associated with the east, and with air. And they also show the clouds
of confusion and ignorance that the sword is about to dispel.
The sun, which is caught reflected in the blade, also shows the hope
that the victory or learning will bring, and the joy that is about to be
discovered. I meant this card to have a clean, bright, sharp, bracing
feeling. The idea of taking up the sword, and completing the quest
victoriously!
 Two of Swords
This card shows a woman with black hair in a long white
gown, sitting on the ruins of a wall, holding two swords in her
hands. Behind her, a restless ocean foams among black rocks and
cliffs. Above, the new moon floats in a cloud wracked sky. She is
blindfolded.
Key – Balance
This card means precarious balance, a dangerous spot, a choice
of the lesser of two evils. It may also mean that the Seeker is in a
position that seems impossible, but actually has the knowledge
needed to balance the situation and make the best of it.

This is a card of balance, like all the two cards. In this case, the
balance is a balance of knowledge, and implies danger and/or fear. So
the balance is between two swords. If you look carefully at the hilts,
one has a triangle pointing up, and the other has a triangle pointing
down. This is to show that even though the two things may seem very
similar, there are indeed differences between them, and that needs to
be considered.
Both have silver hilts, because I wanted this card to be almost
monochromatic; it’s all done in shades of indigo, with the scale
running from white on the one end to black on the other. This is to
show the very starkness of the choice. At this point, there’s probably
not a lot of distraction in the Seeker’s life. She is probably very aware
of the problems that caused this card to come up in the reading, and
its lack of color underlines the lack of possible choices. But the color
used is indigo; the color of the brow chakra and the psychic sense. She
knows intuitively how to get out of here without too much damage;
she has the swords, which stand for knowledge, and she is balancing
them.
She may have more than intuitive knowledge, too. She may know
exactly what to do. In that case, it’s more likely to be a question of
courage. This is a scary place to sit, after all.
She has black hair, to fit in with the monochromatic color scheme,
and also to show that she has hidden, secret, intuitive knowledge that
she can find here. She is dressed in white, once again for the
barrenness of this position, but also to show that if her heart is pure,
she will find her way out. Her dress is long, because it’s possible that
she can be tripped up easily if she isn’t very careful.
She has a blindfold on, because part of her problem is that she can’t
see her way out of this mess. She isn’t sure where she is, or what she
can safely do. So it’s important to point out to her that she is holding
both of the swords herself; she has more control of the situation than
she thinks. If the card represents someone in the Seeker’s life, and not
the Seeker herself, the blindfold may also show that that person isn’t
thinking clearly, or doesn’t have all the facts about the Seeker’s
situation, and is about to act, possibly against the Seeker, out of fear
or desperation. In such a case, it may be wise to counsel the Seeker to
open up to this person, and explain her side of the case. As always,
follow your own instincts when you are reading the cards.
Her feet are bare, because she is still in touch with the knowledge of
the earth.
She is holding her hands crossed on her chest for several reasons;
the first is that in this position, the swords take on the shape of a pair
of calipers; a tool used to measure things. If she concentrates, she has
the measure of the problem. She just needs to face the facts that she
knows. This is also the “God” position, used in our tradition of Wicca
when drawing down the God. This shows that she has plenty of active
power and advice ready, if she listens carefully to her inner voice.
She is sitting on the ruins of a castle, because she probably feels like
her life is in ruins around her, or about to be. This also shows that her
position is becoming untenable. (OK, I know, but I have warned you
that my brain often works in visual puns.) It has two arches to show
the balance, and also to show that there are open doorways, if she
looks for them. Her feet are firmly planted on a pillar. She may feel
like there is firm ground underfoot, as long as she doesn’t move. But
she needs to start feeling around with her feet. She may find that her
position is more precarious than she thought, and some action is
quickly becoming necessary.
Behind her, the sea of her emotions is dashing itself to bits against
the hard rocks of fate or past decisions. No matter how much she may
wish this situation to just “go away,” it’s too late for that now. Ragged
clouds race against the night sky, to show that her feelings are
becoming ragged, and she may not be thinking as clearly as she needs
to.
The moon is new; the situation is developing, and will continue, just
as the moon will wax. You may feel it best to warn the Seeker to sit
tight, or you may feel that she needs to find her way out now. Let
your own intuition guide you, or work with the Seeker to find out
what her intuition is saying. Remember, this is supposed to be a co-
operative venture. If the Seeker just wants you to prove that cards
work, I suggest that you not read for her. That’s not what our gifts are
for, and you don’t need to prove anything!
 Three of Swords
This card shows a bright red heart, being pierced by three
daggers. Behind the heart, rain pours out of a grey, dismal sky.
But at the top of the card, the clouds are lighter.
Key – Tears and Woe
This card means sorrow, loss, emotional pain, separation,
heartbreak, grief, the end of a romance - basically exactly what it
looks like; the feeling of being stabbed through the heart, and
weeping.

This is perhaps the most obvious of all the cards in the deck.
Notice that the three daggers are coming from three different
directions. It’s possible that the pain the Seeker is feeling is coming
from more than one source.
Also notice that although the hilts are all different, with three
different colors, they are all dark. As always, dark colors in the Tarot
show heavy, sorrowful emotions. Whatever the source, this hurts!
I made the swords on the right and left a matched set; but with
opposites. Although they are the same basic shape and design, the one
on the left is red and the one on the right is green. Red and green are
opposite each other on the color wheel, so the combination is
balanced. The guard on the red sword goes up, the one on the green
sword goes down. Once again, there is balance. This is to show that
even this pain is part of the balance, and the Seeker should not
despair.
 The dagger in the middle has a blue hilt, and the guard goes both
up and down, to show this is balanced within itself. Blue shows
spiritual stuff, the stuff of enlightenment. The entire suit of swords is
also knowledge. So I intended this dagger to show the realization of a
spiritual truth. Notice that the edge of this dagger is serrated. I did
that because (at least for me) the discovery of a spiritual truth that
shows that you have been wrong and have not learned your lessons
the way that you might have liked to, and have either caused others
harm or wasted years of your life, cuts far deeper than any other kind
of pain. But on the top of the blade is a diamond shape, made of two
intersecting jagged edges. I did that to remind me that this is the sort
of thing that tempers us into diamond.
Liquid drips down the heart, and off the points of the daggers.
While on the heart, it looks like blood. But as it drips off the daggers,
it’s apparent that it’s really water. So this pain can feel like it’s going
to kill you. But farther along, you will notice that what was falling
wasn’t blood, but only the tears that wash pain away, and nourishing
rain.
The sky is also grey, and full of rain. It feels like the very elements
are weeping, and there will never be sunshine again. But if you look,
the clouds are beginning to break up. The sky is lighter at the top of
the card. So this, too, shall pass.
When this card comes up in a reading, it has always meant
heartbreak of one kind or another. And the meaning is so plain that
even someone who has never seen the Tarot before cannot miss it.
So I tell them a phrase that I heard somewhere. I wish I could
remember where I heard it, because I’d like to credit the author. But it
goes like this.
“Then she overheard the Gods talking, and the Lady said, “She
broke her heart, and it never healed properly. So I had to re-break it,
so that it could heal right.”
This is very true, and often gives comfort to people who can’t
understand why this is happening to them.
As in all these “learning experience” cards, go gently, and listen for
the little voice inside that tells you what to say.
 Four of Swords
This card shows a tomb effigy; a sleeping figure carved from
white stone, with a sword carved into the side of the bier. But the
statue is entwined with ivy and roses; yellow, white, pink and
red. Behind the figure, three scabbarded swords hang from an
apple tree in bloom. Another tree stands in the distance. Farther
away yet is a wood. Overhead, a single white star burns in the
violet sky of dusk.
Key - Restful Private Place
The meaning of this card is rest, calm, peace, convalescence,
recuperation, seclusion, suspension of activity, meditation. A
return to the basics. A well-earned intermission. A period of
repose. Solitude, retreat. The end of one phase of life, and the
beginning of another. A still space to regroup before the battle
continues. It does not mean physical death. It may also mean
that the time of rest is over, and activity is about to begin again,
depending on where it falls in a reading.

This card shows life surrounding the effigy of death.

The stone the figure is carved from is white, showing purity and
beginnings. All endings are also beginnings. I made the figure out of
stone to show a return to the earth, and the solidity and stillness
which are there. This also shows a return to the Seeker’s origins; back
to the bedrock, as it were. (I’ve always assumed the bier is carved
from the living rock.)
 The carved semblance is richly dressed, with brocade and
embroidery, to show that the last phase of the Seeker’s life was
completed successfully, with honor. A shield lies on top of the figure,
showing that this person was a warrior in the phase of life just past.
But a new phase is beginning; almost anything may happen now. A
wing and a star are visible on the shield, as part of the device. Wings
show spiritual growth and enlightenment, and stars do, too. So this
person has reached a spiritual height that allows a period of respite.
On the side of the bier is a carved sword. This shows that
knowledge is the base that the Seeker (or the person represented by
this card) rests on.
All around the resting place grow a riot of roses, vigorous and
blooming. This is to show the sweetness of this rest. But roses, as we
all know, also have thorns. So even this may have a bit of a sting. The
colors are white for purity; yellow for joy; pink for love; red for
passion. All the strong emotions are still present, even in this time of
relative calm.
If you look closely, you will find that ivy is growing among the
roses. Ivy is the plant of introspection. So this time should be used for
introspection. Consolidating the lessons from the phase just past, and
deciding what should come next. Don’t forget to just rest, too, though.
All things need rest at times!
Beyond the bier are fruit trees, heavy with blossom. These are for
the fruitfulness of a life well spent, and also to show that this is a time
of beginning, not of ending. Just as an apple tree doesn’t bear fruit all
the time, we can’t always be producing things. We need a time of rest,
of sleep, as the trees sleep through the winter. And then, when we do
start to be active again, we need the time of sweetness and joy, of
opening slowly in the sunlight and enjoying the bees, before we can
produce more fruit. In this society, we tend not to give ourselves that
necessary time. I heard a saying once: illness is the only acceptable
form of Western meditation. So this card reminds us to take the time
while we are well, so that we don’t have to be sick in order to get it!
There are three swords hanging from the tree. They are in their
scabbards. They, too, are at rest at the moment. Their knowledge is
hidden, their edge is sheathed; they are present, but not dangerous.
These may represent problems, situations, difficulties, etc. the Seeker
has conquered. Things that have been taken care of, their menace
stilled. Or they may represent the knowledge or help of friends that
are ready and waiting for the Seeker to need them. As always, it
depends on how you feel about it when the card comes up in a
reading.
The shape of the two trees together forms an arch. This shows an
opening into the next phase of the Seeker’s life, a doorway into the
future.
Beyond that is a wood, a place of verdant growth and life, but also a
place of mystery, of unexpected paths and turnings. This is to show
that although the present may be full of calm and peace, there is
activity ahead, just waiting for the Seeker to be ready.
The sky is the violet of healing, because the time of rest is when we
heal. There is a single star burning there. Stars, to me, mean hope and
guidance, as well as beauty; so the Seeker is not abandoned. The
guiding star is still shining.
 Five of Swords
This card shows a young man, with flaming red hair and brown
eyes. He holds two swords over his shoulder and another in his
right hand, while he taunts two men who walk away, despondent
and defeated. Two swords are pushed into the ground beside
him. In the distance is the ocean. Ragged clouds race through the
sky overhead.
Key – Nyaa-nya-nya-nyaa-nya
This card means failure caused by trickery, deceit, degradation.
Winning by unfair means. Cowardice, manipulation, slyness,
chicanery.

The figure on this card has red hair, brown eyes, and is dressed in
the colors of smoke and fire. This is to show that if you play these
games, you may win for a time, but you are likely to get burned in the
end. In mythology, the fire Gods were often trickster gods, as well; fire
may seem to be your friend, but if you don’t watch it, it can quickly
get out of hand, and burn you.
The sky is wild, and the wind is blowing hard. These are both signs
of change, and of untamed power, untrammeled by the rules that the
rest of society plays by.
This fellow has won; swords stand for knowledge and power, and he
has them all. He has won all the knowledge, all the power, for himself.
But he cheated. And, from the way he holds the sword, you get the
distinct impression that he doesn’t have the faintest idea what to do
with it! It often seems to me, when I see this card, that the trickster
has won simply to win. His whole goal is to defeat the others; not to
gain the prize.
In his right hand, he holds a sword with gryphons on the hilt. This
sword symbolizes knowledge, which he has taken. Gryphons
symbolize the strength of a lion and the swiftness of an eagle, with the
majesty of both. These things don’t really belong to him; but he has
them in his hand. They could easily be mistaken for his. If this card
represents someone in the Seeker’s life, not the Seeker, you might
want to warn them about this.
The two swords next to him represent wealth and ability. He hasn’t
taken them up, because he hasn’t earned them fairly, either, and really
doesn’t know how to handle them.
The one on the left is gold and purple, and set with gems. It clearly
belonged to the richly dressed man who is walking away. (That’s why
he appears to be an extension of the hilt.) He has lost his wealth,
because of the cunning trickery of the rascal in the foreground.
The other sword is plain; the tool of a soldier. its owner has also
been defeated, and walks away bowed with loss. His armor didn’t help
against this.
Meanwhile, their opponent crows with pride in his conquest. I did
this to underline his un-sportsman-like behavior. Taunting a defeated
opponent is bad form; but that doesn’t matter to this fellow.
In contrast to the wild sky and the jeering victor is the smooth gray
pier and the calm sea. This shows that all of this trickery and
chicanery is really only a play with this guy. It’s all done in fun, in a
feeling of mischievous diversion.
But that doesn’t keep it from really hurting the defeated men. They
have lost their wealth, and the tools to earn their bread.
This is the real problem with the person who has this card show up
in the reading. If this card represents the Seeker, there is a good
chance that she doesn’t have any idea how badly she is hurting her
victims. While she is being wild and greedy and arrogant and cheating
all over the place, people are suffering because of her actions. And if
she keeps it up, she will get burned.
If this card represents another, and not the Seeker himself, then he
is having to deal with someone like this. In that case, he needs to
guard his back, because this person doesn’t play by the rules at all.
They may not be being malicious; they just like to win. But that won’t
really make a difference, because they aren’t at all likely to care about
the consequences of their actions.
 You will probably be able to tell from where this card lands in the
spread whether it represents the Seeker or someone the Seeker has to
deal with. But, as always, listen to your own instincts!
 Six of Swords
This card shows a young man with a golden circlet, sitting in a
swan boat. Six swords are thrust through the bows around him.
An invisible boatman poles the boat across water that is glassy
smooth on the left side, but troubled on the right. They approach
a hill with a standing stone gate on the top of it, and a cavern
underneath it. Inside the cavern a light is shining, as clear and
bright as a star.
Key –Rite of Passage
This card means passing from one state of consciousness to
another, higher one. It can also mean leaving troubles behind,
going to a safer place, or finding understanding. Also a journey
by water.

When I designed this card, I wanted it to have a fairy-tale quality,

because so many of the old fairy tales, at their core, are allegories
describing rites of passage. They deal with children, or people barely
out of childhood, who come face to face with the hard lessons of life;
death, cruelty, viciousness, betrayal; and yet learn, through their own
actions, that if you remain true to the goodness and generosity within
yourself you will win in the end, and “live happily ever after.”
Many of them follow the archetypical journey of the hero; over
water and under earth to win through to the light and victory.
That is the meaning at the core of this card. That soul-journey
through hardships untold that leads to the discovery that you have,
within yourself, all that you need to win through. All you have to do
is remain true to the goodness inside.
So I made the young man in the boat a prince, to remind me of the
fairy tales. He is blond, like the fool, because in the fairy tales it’s
always the fool, the youngest son, the one who doesn’t know that he is
supposed to take on the foul ways of those he encounters, who
emerges as the victor.
His cloak is purple, to show his royalty. His trews are red, to show
his courage. His shirt and the lining of his cloak are white to show his
purity. His armband is black, to show that he has already passed
through sorrow. A black arm band is a sign of mourning.
His boat is shaped like a swan, to show grace, tranquility, and
beauty, and also to show transformation. In how many stories are
royal children turned to swans, and have to go through dreadful trials
to turn back? I also chose a swan to remind me of the story of the
Ugly Duckling, which illustrates the concept that the most wonderful
swan can be an outcast if he’s trying to live in a barnyard. This, too,
may be a part of life the Seeker is now leaving. Perhaps she is about to
find out where she belongs, and to really hit her stride. The whole
idea of a swan boat also conjures up the feeling of mystical journeys,
of archetypical quests.
It is being ferried by an unseen boatman to show that even when we
don’t seem to be in control, we are not really drifting without
guidance. Not, at any rate, while we are on a soul’s journey. We are
being watched out for, and guided. In fact, you might say that unseen
forces are driving us! If you look carefully at the pole the boatman is
using, you will notice that although most of it seems as insubstantial
as air, the end that enters the water is as solid as the wood of the boat.
I did that to remind myself that if we look carefully, we can see the
business end of the forces that are guiding us.
In the boat are six swords, representing challenges that the prince
has already answered successfully. All of the hilts are different colors,
and different shapes, because all the challenges were different. He has
learned from them all, and they are now his; knowledge and honor,
without scabbards, ready for instant use.
The water on the left hand side of the boat is still and calm, to show
that deep within himself, he knows he is doing exactly what his
destiny demands. That on the right, the thinking, conscious side, is
more troubled. It’s possible that the Seeker is still worried about this
whole thing. It’s also clear, from the color of the water where it
ripples, that this is very deep water, indeed. The intuitive, unseen
forces are very much at work in this card.
Their destination is a set of smooth hills, or tors, in the distance.
There are a few trees there, but mostly there is just smooth grass. This
is reminiscent of the court cards, as are the piled clouds in the deep
blue sky overhead. This shows, once again, that archetypal forces are
at work here.
On top of the hill is an ancient stone gate or table, like the ones
found at Stonehenge. These were seen as the doors to the Faery
realms; to the worlds that lay under the hill. Once again, this shows
the gate, the passage, to a more wonder-full place, and underlines the
fairy tale theme.
Directly in their path is a mysterious cave. It’s all dark in there, and
unknown. But there is a light shining. This is to show the
enlightenment that waits within. It also shows the “light at the end of
the tunnel,” the part of the story where the difficulties are finally past,
and the hero wins through to his reward. He’s not there yet, but he’s
getting there!
Once again, which part of the story this card is telling will be
apparent in the reading; just relax and listen to your instincts.
 Seven of Swords
This card shows a thief, dressed in black and brown, stealing
over a low, overgrown wall. In his hands he has five swords. Two
more are still standing in the earth behind him. Beyond the wall
are regimental tents, showing an armed camp. Above him is a
ragged, stormy sky, with only a bit of blue showing.
Key – Thief
This card means theft, robbery, unreliability, betrayal, spying,
pilferage. The failure of a plan, or of a defense. A less than
honorable action. Depending on the surrounding cards, it can
also mean stealth, bravery, and care.

This card, unlike the five of swords, has nothing playful about it.
This thief isn’t involved in any kind of game, and he isn’t doing this
for amusement. He’s out for those swords, and he’s bound to get them.
He’s not cheating because it’s fun to run circles around those bound
by rules. He’s doing it this way because he doesn’t think he can win
any other way. He comes under cover of heavy clouds, and he is
dressed in black and brown, so that no one will notice him.
Black also means sorrow in the deck; and his actions are going to
cause quite a bit of sorrow.
The walls are low, and overgrown. They have obviously not been
cared for as they should. There are also stones protruding that
practically invite someone to step over them. And there isn’t a guard
in sight. I did this to show that there is a certain amount of
carelessness involved in letting this person get away with this activity.
If this card comes up in a position that shows something happening in
the Seeker’s life, you may want to advise him to be more careful.
When I drew this card, I also meant the wall to symbolize the thief’s
own ideals. They are badly neglected, and he is straddling them,
trying to get away with something.
Once again, I made all of the swords different, to show that these
are different things the bandit is making off with. Since it’s a military
camp behind him (implied by the similarity of the tents, and the
regimented rows they stand in) what he is really taking is the tools of
their trade; the things that are most important to them. In essence,
because he is taking their weapons, he is trying to swipe their victory;
to take the possibility of success away from them.
But there are still two swords standing upright behind them. He
hasn’t left them off-balance after all. If this card shows a situation that
the Seeker is trying to deal with, you may want to point out those two
swords, and remind her that she has not been left without defense or
knowledge after all.
Also, if you look closely, the flap of the nearest tent is open,
although it’s too dark to see inside it. Perhaps there is a guard there
after all, just waiting until the moment when he can catch the thief
red handed!
Overhead, the sky is clouding up, with only a tiny bit of blue
visible. Depending on the reading, and how you feel about that patch
of blue, this could be the last hope of the thief to return to more
ethical ways before the storm comes, or it could be the beginning of
the light breaking through. As always trust your instincts as you are
reading!
 Eight of Swords
This card shows a young woman, blindfolded and dressed in
white rags, her arms bound with red cloth, standing on a path
through the surf. All around her stand great swords. In the
background are rocks and cliffs, leading up to a fortress. Above
her is a stormy sky, with the sun just about to break through the
clouds.
Key – I Just Can’t!
This card means fear, bondage, restriction through inaction,
censure, illness, difficulties, paralysis due to indecision, the
feeling that the task ahead is simply impossible. Traditionally, it
can also mean prison.

This maid is the same as the one on card two; but now she is bound,
as well as blindfolded, and she is no longer in control of the swords.
Her position may seem worse, but at least this time she is on level
ground!
I dressed her in white rags, to show that she still has a measure of
purity; but she has been wrestling with this particular problem for so
long that she feels all tattered and worn by it. Her eyes are covered,
because she can’t see any way out of her present difficulties.
She is bound with five turns of red cloth. The five symbolizes the
five senses; all of those are bound up with this problem, and they are
also what are binding her. She is afraid of being hurt, of having her
senses abused in one way or another, and that’s what’s got her. I used
red to show that her problems are those of this life, of the flesh. This
is usually not a spiritual conundrum (although it can be.) In my
experience when this card comes up, it’s because of some very solid
and material difficulty. For instance; a job that is hateful, in which the
Seeker is expected to do things she dislikes herself for doing, and yet
which she feels cannot leave because she needs the money too
desperately.
She is surrounded by eight great swords, because the problems that
beset her are very large, and very real. But if you look, the colors of
the hilts range from white on the left, through red, orange, yellow,
green, blue, and violet to black on the right. These make a rainbow!
Hidden in the problems themselves are endless possibilities.
The swords stand in water. As in most other places where water
appears in the Tarot, this stands for emotions. It makes the sand here
treacherous, and yet the water is still, and deep with reflections. I did
this to remind myself that the person in this situation has been
reflecting on the problems quite a lot; but that hasn’t made any
difference.
And yet, she is on dry land, and her feet are free and bare. If she
stops relying on the senses that she usually uses, and goes carefully,
feeling her way with her toes, she can stay on the dry ground and
avoid all of the swords. If she has great courage, she can even use the
swords themselves to cut her bonds, and free herself. The solution to
this problem lies within the problem itself. But in order to find it, she
will have to take risks, and use resources that she isn’t really aware
that she has.
It’s her own fear that really has her trapped here. If she can
overcome that, she can get out.
Behind her, the sea of her emotions rages; she is very unhappy here!
The rocks, once again, symbolize her past decisions, that have brought
her to this place.
On the highest rock of all is a fortress. This can symbolize a number
of things. Sometimes, it looks like the place that the problems are
coming from; the people who have done this, and left her here. She
needs to be aware of them, because they will be fighting against her
freeing herself. Sometimes it looks like the walls she has built to keep
those who would help her away from her, lest they interfere in this
problem. Sometimes it looks like a safe place that she has left behind,
and thinks of longingly. Sometimes it looks like it’s merely a dream of
safety, and not real at all. Sometimes it’s a prison that she is trying to
escape from.
 As ever, go with what it looks like to you when you are actually
doing the reading.
Above her, the sun is about to break out of the clouds. If she takes
any action at all, this impasse will change. And, once again, if she is
careful and uses her soul to find her way (I know, but you were
warned about the visual puns) she will win free. There are no swords
in front of her, even though she can’t see that.
But she does need to act.
 Nine of Swords
This card shows a young woman sitting up in bed, clutching
the covers, and covering her face with her hand. Behind her, nine
swords hand in the air. Or is it the same sword over and over
again?
Key – Night Terrors
This card means suffering, desolation, doubt, suspicion,
misery, dishonesty, slander; a vicious circle. Brooding on past
injuries. Illness, anxiety, distress.

This card shows someone having what I refer to as “3 A.M.-sies,”

when you wake in the dead of the night, sure that everything is going
wrong, and there is nothing you can do to stop it; that nothing will
ever turn out alright again, that you are caught in a nightmare.
This young woman is dressed in white, to show her youth. Her
blanket is covered with stars and planetary and zodiacal signs; but
they are not in any kind of order, they are all just a jumble. I did this
to show that she has some sense of the universe outside of herself; but
not a clear one. She doesn’t really understand it, and so she
misinterprets much of what she sees. A little knowledge can be a
dangerous thing, as they say.
The sigils that I chose to put on it are; Gemini, because she is beside
herself (twins); Jupiter, because the problem keeps expanding;
Mercury, because it’s probably a problem with communication in the
first place (this sort of thing often is;) Pisces, because she’s probably in
this fix because she cares too much what others think of her, anyway;
Aquarius, because her idealism is involved; Mars, because she keeps
hitting her head on a wall with this one; Cancer, because she can’t let
it go; and Neptune, because it’s an emotional problem. Which of these
stand out in a reading is important. Sometimes none of them do, and
sometimes all I can see is the sigil for Mercury, and I know that
miscommunication is at the root of this! Pay attention to what stands
out when you are doing the reading, like always.
There is a blue lining to her comforter, though, because the universe
is really working to help her learn and grow, as it is for all of us. And
the central pattern is a crescent moon on a blue ground, as a reminder
that the Lady is taking care of this, too, and has not deserted us, no
matter how we may feel at the moment.
In fact, the reason that I gave her a comforter at all, and not a quilt
or some other kind of blanket, was to show that comfort is there, if we
can only open ourselves up to it.
The swords that hang over her are not really different swords at all.
Unlike all of the other cards in this suit, these are all exactly the same,
because this is the same sword, over and over again. In fact, if you
look at them carefully, they don’t have any shadows or any reflections
on them. They aren’t even real!
This poor soul has been brooding, and going over the same problem
over and over, like a broken record, repeating the same phrases to
herself until she has worked herself into this state. The actual problem
isn’t nearly this bad!
She needs to stop this, get some rest, and go out in the morning and
actually face the situation so that she can gain real understanding of
it, and overcome it.
 Ten of Swords
This card shows the twisted body of a man face down in a pool
of his own blood, with ten swords sticking out of his back. He is
all alone in a cold and barren wasteland. In the background, a
pitch black sky breaks, and a bit of golden glory shines out.
Key – No, It Really IS That Bad
This card means misfortune, ruin, defeat, loss, failure, pain,
desolation beyond tears, total betrayal. Or it may mean the end
of these, and the beginning of hope.

This card was the hardest of all for me to draw, because for my
money it’s the worst card in the deck. In fact, it was so hard for me
that I finished the card, and sprayed it with fixative, and then realized
that he was lying in a pool of snow, not blood. I had forgotten to add
the color to the area beneath him! So I had to go back and do it with
acrylic paint, because the colored pencils I was using wouldn’t stick on
the fixative.
This card is the culmination of all the swords, the end of the strife
that they suggest and also the conclusion of their deeper meaning of
knowledge, sacrifice, and transformation. When this card comes up in
a reading, remember that the end of one thing is always and
inevitably the beginning of something else; and the best thing about
being at rock bottom is that the only direction to go from here is up!
I dressed the body in gold and purple, to show that this was once a
well-to-do man. He had all the things that people consider important,
but none of them are important any more.
The ten swords are all different. If you look carefully at the one in
the center, you will find that it’s a representation of a man whose
arms are serpents. This is an adaptation of a piece of jewelry made by
Lalique at the turn of the last century, and it’s haunted me for years.
On the original piece, the arms are dragonfly wings. I made them
serpents because of the tie between serpents and the old Goddess
religions, where the serpent was sacred to the Lady, and a symbol of
healing. It’s here to remind me that it’s possible that this card shows a
death that is healing, as well as painful. Often things must be terribly
hurt before they can begin to heal; like lancing a boil, or removing a
cancer. So this pain, which seems to make one helpless, can be the
first step in ultimate healing.
It may look very different to you, of course; and that’s fine. What is
important is how you react when you see it. What do your instincts
say?
This is a card of questions; and how they are answered depends on
the place that it has in a reading, and how you react to the card on an
emotional, visceral level when it comes up.
Is he in this position because ten people hated him so much that
they all got together and stabbed him in the back? Or was he a willing
sacrifice?
Does the sky show the last fading glimmer of light before total
darkness, or is that a new dawn breaking?
Is the dead man the Seeker, stabbed to the quick and suffering? Or
is he an enemy, and this card signifies the end of the conflict?
In fact, is the fellow on the card actually dead? Or is he dying?
All in all, this is a difficult card; and although it may ultimately
mean healing, and hope, it’s still going to hurt. This is where you need
to pay careful attention to the ethics of the situation (which I will
discuss in a later chapter.)
 Wands
Once again, I’m going to begin by reminding you that, although I
am about to tell you why I chose the symbols I did for each card, these
are still just my interpretations and feelings. As we discussed in
Chapter 5, Common Symbols, everyone’s symbol set is slightly
different. An image that makes me feel relaxed and happy might have
the opposite effect on you.
So, when you are reading the cards, go with your own symbol set!
These cards, like any other deck, really mean what they seem to you
to mean at the time you are doing the reading.
If you relax, and let it flow, your readings will be far more accurate
than they will be if you try to force a traditional meaning onto each
card, by looking it up or memorizing meanings.
Don’t feel that you are somehow “wrong” if what you see in a card
is not what I was thinking about when I put it there! That’s perfectly
alright, and is why a Reader is needed in the first place. Remember,
all you are doing here is getting the information that your unconscious
mind is already aware of, on a very subtle level. Relax, and see what
your inner mind sees, and you’ll be fine!
The Wands are one of the controversial suits in the Tarot deck. (The
other one is Swords.) Some people are of the opinion that the Wands
are ruled by fire, and the Swords by air, and some think the Swords
are ruled by fire, and the Wands by air. I became aware of this when I
began to work seriously on my deck. And after much debate, and
reading, and discussion, I decided that in my deck air would rule
Swords, and fire would rule Wands. There were many factors in
reaching this decision. Partly I feel this way because, quite frankly,
that was the way I was taught in the beginning, and so I am most
comfortable with it. But partly I decided to do it this way because
aligning Wands with fire meant that they also take on the other
magical attributes of fire; that is, they become a symbol of the will.
And since magic wands have been used forever to focus the will, and
bring change to the universe, that seemed entirely appropriate and
right to me. I also liked the fact that wands also mean growth, and the
shape is reminiscent of a stem or wand growing tall from the earth.
When I was having the debates, though, a dear friend of mine was
very insistent that I do it the other way round. His argument was that
energy was fire, and a wooden wand would be burnt up in an instant.
I thought that might be the point; that the wands provided energy for
the fire, and that you had to be careful lest that very energy consume
you. But the whole idea made him quite unhappy. And as I thought
about it, I decided that if it was the fact that they were wood that
made him so nervous, well, why not make them out of something
other than wood? I decided that I really liked the idea of wands made
of crystal and metal; materials that would conduct energy readily. And
so that is what I did.
If I were drawing the deck now, almost ten years after I reached
that decision, I might make more of them wood. I have found out why
wood is so often used for wands. It maintains a link to the tree that it
came from, and the spirit of the forest in general, and so using a
wooden wand can link you to that endless and majestic spiral of life
and growth. But I hadn’t realized that then, so all of these wands are
made of crystal and metal, which have their own cycle of growth, and
their own links to something greater than themselves.
In my deck, then, the Wands are aligned with the element of Fire.
Their direction is South, their time of day is Noon, and their time of
life is young adulthood.
They stand for various stages in growth, and also will, negotiations,
nimble speech, cleverness, and all aspects of life. Basically, everything
that corresponds to fire also corresponds to this suit.
The lessons of this suit deal with focusing the will, and with self
control, creativity, and using energy wisely.
 King of Wands
This card shows a young king with a golden crown. His
clothing is reminiscent of fire, and there is a lion embroidered on
his chest. He stands with a crystal wand in his right hand, and
his left stretched out, palm up. He is in a desert, with a bright
yellow sky behind him. The only other living thing is a
salamander, which crawls beneath his wand.
Key – I Am
The meaning of this card is a passionate man (or woman, or
attitude) handsome, conscientious, noble, strong, individualistic,
proud, but inclined to be hasty or willful.

This card was one of the hardest for me to figure out. I don’t like to
think of the court cards as simply people, because I find that too
limiting. It seems to me that if you also think of them as character
roles or archetypes, then you might find any of us playing any of these
parts at one time or another. Looked at that way, they might also
show us what our attitudes towards a situation are.
So, although all the books tended to say, “A man, with light hair
and eyes..” or some such, that didn’t cut it for me. I wasn’t happy until
I had figured out the attitude behind it. And then I had to remind
myself of the attitude by how I drew the card!
So, I started by making him standing up. This is a card showing an
attitude or person of action. I don’t think he is capable of sitting still
for long. This sort of person would much rather be up and doing.
 His hair and beard are the color of marigolds to show his affiliation
with fire, and also because this card can signify a gay man, and I had
a very good friend who was gay, and dyed his hair and beard just this
color!
I gave him fiery clothing with dagged edges that look like flames all
in the colors of flame, because he is very much like fire itself. He is a
good companion, and you want to have him around. He’s fun to
watch, and is generally the center of any group. And yet, at the same
time, if you don’t pay enough attention to him, he’s likely to burn
you!
I put a lion on the center of his shirt, to show that he shares many
attributes with the lion, too. He’s beautiful, and noble, and strong.
He’s also proud, and tends to be just. But he is certain that his rightful
place is at the center, and it’s hard to deny him. For one thing, he
burns through a room, and every eye tends to follow him. And he has
all of the communication gifts of the fire, so it’s easy to just let him
have all of any conversation. But if you deny him that, he can be very
aggressive or hurt.
The lining and hem of his over tunic are brilliant blue, because that
is the color at the heart of the hottest flame, and also the color of a
cloudless sky.
This attitude can bring a whole new dimension to the term “sunny
personality,” if so inclined, and I wanted to remember that.
He has white fur on the bottom of his sleeves to show the pure, soft,
fuzzy feelings that he can project. This guy can make you feel warm
faster than nearly anyone else, if he wants to.
His crown is gold spikes, to show the radiance that he projects.
He is standing with one hand out for two reasons. Depending on
how it looks in a reading, he is either offering his hand, and willing to
give anything that is needed, or he is looking for a handout.
One of the problems with a personality like this is that often people
give these folk things just so they will stick around, or to placate them
if their feelings get hurt. And then they tend to grow to expect such
gifts as a matter of course. I’ve known several people who were
playing this role who couldn’t understand why anyone would expect
them to earn their own livings. They simply wanted to be “kept” men,
and they usually managed it, at least while they were young.
He is smiling, because that is the way he greets the world.
In his right hand he holds a wand made of crystal wrapped with
gold. It has two more crystals, at the top and bottom. The one on top
is glowing. This is his staff of office, and also shows his magical
ability, which is considerable. It’s clear crystal, because this fellow has
no deception in him at all. What you see is exactly what you get. He
may be immature at times, and too hasty at others, but you will figure
that out very quickly, and he will never pretend to be anything else.
And, mostly, he is as generous and good hearted as they come. The
crystal on the top is radiant to show his brilliance, and that he really
shines when he is on top.
He is standing in a desert to show his affiliation with fire, and heat.
The sky is yellow for the same reason, and also because he is a very
joyous person.
The only other living creature on this card is a salamander. I put it
there to show his affiliation with fire again, as salamanders are a very
old symbol of that element. And I wanted him to have some company
on the card, because although this guy is very individualistic, he really
thrives in company. But after the card was done, a friend looked at it,
and said, “It looks like he’s getting ready to squish that lizard!” I
looked again, and he was right! But I decided not to change it,
because that is another thing about this attitude, or this person. He
won’t usually be aggressive, because he’d rather have admirers than
enemies. But if he decides that you are an enemy, he’ll simply squish
you.
 Queen of Wands
This card shows a young queen with flowing blond hair, and a
fiery dress with suns on the hem. She holds a crystal wand in her
right hand, and her left is stretched out, palm down. A black cat
stretches at her feet, and sunflowers bloom behind her. She
stands in a desert, with a yellow sky overhead.
Key – Welcome
This card means a person, or attitude that shows considerable
energy, warmth, and passion. Fond of nature, generous,
energetic, and yet practical.

In many ways, this card is the feminine phase of the King of Wands.
And so, as the feminine nature is more circular and nurturing, as
opposed to the male nature which is linear and “fixing,” she is just as
bright, passionate, erudite, voluble, and charming as her male
counterpart, but uses this energy in different ways.
Like the king, she is standing, because she can’t sit around very
well. She needs to be doing things, and tends to champion causes, as
you may be able to tell from her general stance and attitude.
I gave her light blond hair, to show her youth and energy, and the
brightness of her spirit. It’s untrammeled and free, flowing in wild
abandon down her back, to show that she is wild, in the sense of being
untamed. She allows nothing to bind her! To her very roots, she is
free!
She is smiling, because that is how she greets the world. Like the
king, this personality type tends to move brightly, like a comet,
attracting attention everywhere she goes. The main difference is that
she is slightly mellower, and much more likely to be pragmatic.
Her golden crown has waves like fire licking upward, to show the
crackling energy that leaps from her mind.
Her clothes, like those of all the court cards in this suit, are
reminiscent of fire, because of the alliance of this suit with that
element. Her sleeves are long and her skirt flowing because she is
graceful. There are suns appliqued on the hem, because her
disposition is usually sunny. But when she bends the full energy of her
brilliant, unswerving attention into the dark places in a person or
institution, someone is going to get burned. Then it’s like the fire of
several suns, for she makes a formidable enemy.
The suns themselves have silver centers, and golden rays, to show
that at her heart she is completely pure, and everything around her
has a certain richness.
The lining of her dress and the hem of her overdress are blue to
show the color at the heart of a flame, and also the color of the
cloudless sky.
She, too, has a lion on her chest; and if you look carefully, you will
notice that it’s a male lion, not a lioness. I did that because when she
takes on the attributes of a lion, she also tends to go for the male
attributes of being linear and problem solving.
Her left hand is stretched out, but the palm is down. She almost
never asks for a handout, being far more likely to offer a “pat on the
head.”
In her right hand she holds a crystal wand, wrapped with gold and
with a crystal at either end. The wand shows the suit of this card, the
clear crystal shows the utter clarity of her character. The gold
wrappings show the attributes of fire and the sun. The crystals are for
clarity, again. The one on the top is glowing, to show the radiance of
her nature.
A black cat is playing and stretching right behind her feet. She has a
cat to show that she shares in the hedonistic, passionate, sensual
nature of a cat, as well as the grace and agility. Also, the cat shares
many characteristics with the lion, but is more domestic (although not
necessarily tamer!) So the Queen of Wands has many of the same
characteristics as her counterpart, but in a more practical, useful, and
domestic fashion.
I made the cat black because that is the color of soot, and this cat
has been playing around the fire, and also because I had a black cat
named Phoenix while I was drawing this card; and so, for me, this
brings in some of the Phoenix energy. I made him stretching to
underline the sensuous nature of this personality.
Behind her are sunflowers. Although she may seem exotic, she has a
really sensible, down-to-earth, homey side to her. I put the sunflowers
in to show that part of her personality. You can’t get much more
homey and sensible than sunflowers. And, at the same time, they
show once again her alignment with the sun, and the whole fire thing.
She is standing in a desert, because of the attunement with the
south, and fire. That is also the reason that the sky is yellow. And it
shows her boundless joy and enthusiasm, as well.
 Knight of Wands
This card shows a young man dressed in golden armor, astride
a chestnut steed with mane and tail made of fire. His helmet is
shaped like a lion’s head, and his clothing and saddle blanket are
the colors of flame. He holds a wand in his right hand, as though
it was a spear. They are in a desert, with a bright yellow sky
overhead.
Key – Where Angels Fear to Tread!
This card means overwhelming passion and bravery. Action
taken in spite of distractions. Courage, daring, spirit. Someone
just looking for a cause to champion, preferably a lost one.
Traditionally, it also means a journey, or change of residence.

This card is the same essence as the other court cards in this suit,
but made more active yet!
I gave him golden armor to show his affiliation with the sun, and
with fire. His helmet is shaped like a lion’s head, to show that he has
all the qualities of the lion; bravery, strength, loyalty, fearlessness,
beauty, nobility, etc. Of course, he also shares in the pride and
occasional violence of the lion, as well.
His breastplate is made to show off his muscles, because he is
athletic, and also proud. In the center and on his shoulders are more
lion’s heads, to underline the connection.
He is wearing very little armor. leaving his arms and legs bare,
because he doesn’t tend to be well armored. He relies on his swiftness
and agility to keep from getting hurt; but with pride like his he’s likely
to get hurt quite a bit, all the same.
His clothing (what you can see of it) and his cloak are the same fire
colors as those of the other court cards in the suit, and for the same
reasons. They burn like flame because he has the attributes of fire; he
is joyful, and willful, brilliant, and strong. He is usually the center of
attention, and if you don’t watch him, he can get out of hand! In his
case, though, it’s usually through being over enthusiastic!
Once again, they are lined and hemmed with bright blue, because
that is the color of the hottest part of the fire, and because that is also
the color of the bright and cloudless sky. The disposition of this
character is also naturally sunny and cloudless. But when it isn’t,
watch out!
His saddle blanket is these same colors, for these same reasons, with
the addition of bright yellow tassels and fringe to make it look even
more like flame.
His saddle is yellow, as well, and decorated with a motif of fire and
salamanders. The salamanders are traditionally the creatures of fire
and the south.
His mount is a bright chestnut, with flaming mane and tail, to show
that this Knight is in control of his fiery nature, and his will. (If he
were not, this would be a dangerous card indeed.) His horse is rearing,
to show the readiness of this attitude to leap up, and charge into
action! Yet he is looking back at his rider, to show once again that all
of this fiery energy is under control.
His chamfron (the armor on his face) is gold, for fire and the sun,
and decorated with a pattern of red and blue, once again for the fire
and the cloudless blue sky of noon. At the top is a red fire sigil, in case
you missed all the other references to fire!
His harness is of golden leather, to show that affiliation again.
The decorations hanging from his reins are gold, once again to show
the fire aspect, and have five points. I originally meant these to stand
for the five senses, but have found that sometimes they look more like
the five elements (earth, air, fire, water, and spirit) or five as a round
number, or even five days!
The center point is larger, to show that there is still balance, even
with all of the activity going on in this card.
The Knight holds his wand like a lance, as though he were about to
joust. And, indeed, that is the sort of thing he likes best! He enjoys
battle, and championing causes. His wand is crystal again, wrapped in
gold, to show the clarity of his personality, and the affiliation with fire
and the sun (just in case you have somehow overlooked it in the rest
of this card!) Once again, the crystal on the tip is glowing, to show his
inner radiance, and his considerable energy.
He rides through a desert, to show the affiliation with the south and
fire, and the sky is bright yellow again to accentuate that affiliation
and also to show his boundless joy.
 Page of Wands
This card shows a young girl, dressed in a tunic the colors of
flame, standing in a desert under a yellow sky. Her red-gold hair
is bound at her neck, and she has a bunch of firecrackers hanging
from her belt. She holds a crystal wand aloft with outstretched
arms. There are three rings at the top of the wand, and they
chime like bells as she shakes it, shooting eight beams of light
into the air. At the bottom of the wand a crystal burns like a fire,
and at the top another crystal glows white.
Key – Hearken!
This card means a child with too much energy. An
announcement, loyalty, devotion, faithfulness. A good employee.
A great idea that leads to success. A stranger who is about to
explode into the seeker’s life.

Like all the pages, I made this one a young girl, so the deck would
be balanced. In this case, she is standing still; but she still manages to
look energetic. Like all the other court cards in this suit she has bright
hair to show the association with fire, and her clothing echoes that
connection. In her case, though, I gave her long sleeves to remind me
that this character frequently has something up them! She is as loyal
and trustworthy as they come; but she is also a little too full of energy
for her own good, and likes to play tricks.
She has dark blue cuffs on her tunic, unlike the bright blue that the
other court cards sport, because she is likely to get farther out into
space. For the same reason she has moons and stars on her cuffs. For
her, the sky is not the limit. She is quite willing to go farther! These
also show the magical side of her personality.
Her hem, however, does have the bright blue to show her
connection to the brightest, hottest part of a flame, and also to a
cloudless sky.
Her belt is of red and yellow triangles, to show the fire once more,
and also to show that even so, she is balanced, as a tripod is about the
most stable platform that you can find.
From it hangs a bundle of firecrackers as a reminder that her
personality is a little explosive, and that she likes the sharp, bright
sound of fireworks, and the excitement and joyous fervor of a bang-up
celebration. I gave all the pages mnemonic devices like this, because
when I was learning to read it was hard for me to remember what
they meant.
Her hair is bound behind her, to show that she is trying to curb her
natural enthusiasm. But it is also escaping in curls, because that’s a
very difficult thing for her to manage.
Her red and yellow boots repeat the whole fire imagery thing.
She faces into the sun, grinning, because that is her nature; to face
the light squarely, and to take joy in everything that happens.
She is holding her wand in both hands, and shaking it vigorously so
that the rings chime. (At least, that was my intention. I hope you can
see this.)
This is because that is her job; she is a herald, and makes
announcements. So she is standing on the edge of a sand dune, ringing
her chimes to get everyone’s attention.
The wand itself is crystal wrapped in gold, like those of all the other
court cards in this suit, to show the clarity of her nature, and the
alignment with the element of fire.
When I was designing this particular wand, I first drew a bunch of
little bells on the end to ring for attention. And then I decided that I
liked the image of actual rings, instead, because the circular shape
brings to mind all the infinite, circular patterns in the world. That is
also why I gave her three of them. In my experience, this card often
signifies a “wake up call,” a reminder from the universe that there are
consequences for our actions, and we may want to pay attention to
them! So there are three to stand for the “Rule of Three,” which states
that everything we do comes back to us three times, and they are rings
to show that “what goes around comes around.” I made them gold to
show the value of remembering this.
 As they chime, eight beams of light flare out from them. There are
eight for the eight spokes on the Wheel of the Year, or the eight
corners of the compass. This is to show that the announcement is
going to affect all parts of the Seeker’s life, or perhaps all of the next
year. It may also look like it’s covering all quadrants of an area of
influence, or any other eight. If it does, go with it! That is the purpose
of having a Reader read the cards, after all.
At the bottom of her wand, the stone glows with the color of fire,
and at the top with pure white light. I did that to show the
transformation that this person or attitude can bring into the Seeker’s
life; changing the ordinary into the extraordinary, amplifying the
energy present to an amazing degree!
She stands in a desert, with a yellow sky overhead, to show the
affiliation of the suit of wands with fire, and noon, and heat; and also
to show her own boundless joy, as deep as the sky!
 Ace of Wands
This card shows a clear wand, with a double helix inside,
upright and burning. The flames start out yellow-green near the
wand, and go through white and yellow to orange at the tip.
There is a clear crystal bound with gold at the top, and a deep
blue one wrapped in silver at the bottom. Beams of rainbow light
radiate from the whole length of the wand. At the base of the
card are two sunflowers. Behind them all, the sky is blue and
cloudless.
Key – Creation and Power, New Life
This card means creation, creative energy, beginning of growth
or life, increase, inheritance, birth, adventure, virility, fertility,
evolution, unfolding possibilities.

Like the other aces, this one is both the beginning and the end of
the suit; in this case the suit of wands. It is at the same time the
symbol from which all the others spring, and which they are all based
on, and the culmination or most perfect expression of that symbol.
In this case, wands mean life, and growth, and energy; change and
evolution. So for this symbol I chose to use a single wand, crackling
and burning and glowing with energy, floating without regard to
gravity in front of two sunflowers. Together they form a phallic object,
which is intentional, because part of the meaning is virility and joy in
creation.
I made the wand itself absolutely clear, to show the extreme clarity
inherent in this suit. Inside I put a double helix, the shape of DNA, the
stuff that all the animal and plant life on this planet is based on, to
show the endless variety and possibilities of life that we are talking
about here. It also shows the beginning of life, since life starts with a
handful of these strands, and very little more. And it shows the
potential for evolution, for life changing into something greater and
better, which also happens at this level. In a reading, this usually
signifies spiritual evolution; but it could also mean the Seeker’s job or
dreams are evolving into something else.
At the top of the wand I put a quartz crystal filled with rainbows, to
show the brilliance of the daytime, active, productive part of life,
wrapped with gold to show the sun, and the masculine energies.
At the bottom is a deep blue sapphire to show the depth of the night
time, resting, regenerative part of life, wrapped with silver to show
the moon, and the feminine energies.
Both of these are necessary to make a wand that works; to be able
to use this much energy in a creative, joyous way, without burning
oneself up or sinking into despair. Intellect and emotions, rational
thought and dreams, activity and rest. All of these balance each other.
If you try to limit yourself to one half or the other you lose
perspective; you cripple yourself. It’s no accident that many of the
greatest scientific discoveries came from dreams.
When you have these two parts of your life in balance, then you
have energy and to spare, as shown here.
The flame that leaps and crackles along the whole length of the
wand starts out green, for the vegetative, plant energy, and runs
through white, and yellow to the red of animal energy. This is to show
that all life uses the same kind of creative life energy, just as all of our
patterns use the same basic building blocks in our DNA. Only the
different combinations make me a reasonable facsimile of a human,
and the blue spruce in front of my house a tree. At a very deep level,
we are all related; and we can share energy with each other, and help
each other whenever we wish.
The white flames show the essential purity of this creative energy,
and the yellow/gold shows that it’s fundamentally incorruptible.
Beyond the fire, a brilliant light shines the length of the wand, to
show the illumination that the acknowledgment of such a relationship,
and such energy can bring. The myriad rainbows that spring from the
wand show the endless possibilities and beauty of this kind of pure,
joyful, quintessentially creative, life affirming force.
The two sunflowers show the affiliation of this suit with the south,
and with fire, and also show once again the double spiral of life, in the
arrangement of seeds. They also remind me of the radiance shown
here, because they face the wand, and not the sun.
In the background, the sky is a very deep blue. This contrasts with
the light from the wand, so it’s visible. But it’s also to give a deep,
cloudless, sky-is-the-limit kind of feeling.
 Two of Wands
This card shows a blond man in rich clothing, standing by a
wall and looking out to sea. In his right hand he holds a globe. In
his left is a silver wand with a crystal on the top. Another wand
is fastened to the wall at his right. Beyond him, is a rocky shore,
and a hill with a lighthouse. The sky is full of clouds, and there is
nothing to be seen on all the surface of the ocean.
Key – Watch and Wait
This card means the wait before plans bear fruit. Also kindness,
generosity, intellect. A well-balanced, creative person. Ingenuity,
fulfillment, good things coming.

This man is a merchant or scholar. His hair is blond to show the

affiliation of this suit with fire. His tunic and hat are deep blue to
show his deep spirituality, with red trim to show his courage.
Sometimes, waiting takes more courage than anything else that you
can do! (Especially when you can’t see anything happening.)
In his hat, he has a gem. It’s gold for fire and the sun, with a blue-
green stone for the sea. If you can combine these two, and find the
balance between them, that’s wisdom. (Or maybe it’s just steam! But
steam is power, too, and if you harness it, you can run anything.)
Anyway, I intended this to remind me that perhaps he is waiting for a
gem of wisdom.
His tabard is patterned with red roses and golden squares. The red
roses are for passion, desire, and activity; while the golden squares are
for stability. The roses have five petals, which is the old pattern of a
rose, and shows his deference to tradition. They also form the basic
shape of the pentagram, so they show his balance with the creative
forces in nature, as well. Each rose is on a light blue ground, for the
boundless sky, and circled with gold, which shows the cycle and
harmony that are the themes of this card. A good part of any cycle is
often spent waiting. The deep blue ground signifies his spiritual
development, again.
All of this is balanced by the border, which shows pure white lilies
on a bright blue ground. The lilies stand for purity, and also for
intellect and chastity. The light blue stands for bright skies.
So the whole garment shows passion and activity balanced by
intellect and chastity. He is more than willing to act, provided that the
time is correct. He won’t do anything rashly. And that means that he
waits.
There is also white fur along the edge, to show that his purity is
warm, not cold. It’s not that he doesn’t care; it’s just not the right
time.
I made him just a little heavy, to show that he is well fed. This isn’t
a hungry, desperate man, who can’t afford the time it may take. This
fellow has learned to plan, and to budget his resources. He’s willing
and able to take whatever time is needed to do the job right.
In his right hand, he holds a globe. This shows how far ranging his
interests and ideals are; they cover the world, and include everything
on the planet. It also shows how far his fortunes and ideals have
brought him. The world is his.
In his left hand, the hand of the unconscious, he holds a silver
wand. The wand is a symbol of growth and energy, as accentuated by
the silver leaves that grow around the tip of it. But those are ivy
leaves, the sign of introspection, and the wand is silver, the color of
the unseen and unconscious self, and held in his left hand, also
showing the deep, hidden side. So what you have here is activity and
growth, but its inner growth and activity. In other words, he is taking
this time of waiting to learn and grow.
This is what I call “active waiting.” Not sitting and doing nothing,
and looking only to the future and what you expect to happen, but
using the time of enforced inactivity to recuperate and develop within.
This is what I think is meant by “living in the moment.” It doesn’t
mean ignoring the past or the future. We have the past to learn from,
and the future to plan for, and that’s as it should be. It means that,
whatever you are doing, you should be doing that thing actively, even
if that thing is waiting. Otherwise, you miss most of what is going on,
and you hardly ever get to enjoy yourself. When you are remembering
and learning, then focus on that. When you are planning for the
future, then focus on that. But don’t plan for the future when you are
looking for your ship, or you are likely to miss it! Instead, really look
at the ocean, enjoy the feeling of the wind in your hair, discover that
you like the way the sun sparkles on the water. All of these things
contribute to your inner growth; so take the time to do them.
The crystal at the top of the wand shows the clarity of his vision.
Combining the inner growth and the clarity of vision, you get the
creativity and ingenuity that are some of the meanings of this card.
And, as all the “twos” stand for some kind of balance, this one
stands for the balance between stillness and activity.
Next to him, there is another wand, bolted to the wall. This is to
show that sometimes the activity is forced to be still, and emphasizes
the principle of active waiting. When it’s necessary to wait, as it
sometimes is, then rein in your desire for activity, and enjoy the
waiting, instead of being impatient. See this as a part of your life,
instead of a boring bit between two parts! It makes all kinds of
difference if you do.
He is standing behind a wall made of light grey stone. Walls are the
things we use to get distance between us and everything else. So the
fact that he is behind a wall here shows that he is still separating
himself from the thing he is waiting for. He thinks of it as being “out
there.” Sometimes, in a reading, the wall just jumps out at me, and
sometimes it’s not important at all. As always, when you read, pay
attention to the parts that look important, and read from those.
Beyond him is the shoreline, with beaches and grass in the
foreground, giving way to hard rocks in the middle ground. This
shows the various kinds of reception that conditions or ideas might
have. Sometimes, you are really ready for the thing you have been
waiting for, and accept it easily. Sometimes, you don’t actually want it
at all, and it’s harder.
On top of the hill is a lighthouse, to show once again that although
he is waiting, he isn’t “merely” waiting. He has made the preparations
necessary for success.
The ocean reaches to the distant horizon, to show that his prospects
are unlimited. The sky above him is cloudy, though, because look as
he might, there is nothing there yet, and he still must wait.
 Three of Wands
This card shows a man with red hair and a white beard,
grasping a silver wand in his right hand, and shading his eyes
with his left as he looks out at three ships sailing on a sunset sea.
He is richly dressed, in gold and crimson velvet. To his left is
another wand, and behind him is a third, with a vine growing up
it. In the far background are hills, and brilliant sunset clouds.
Key – Ships Coming In
This card means good business, successful completion of
business, strength, good grasp of the future, good grasp of what
is needed for future growth, etc.

This man is not young, but he isn’t old, either. I wanted him to look
like someone in the prime of life; and so I gave him red hair, but a
beard that has already turned white. (The colors reflect my husband’s
coloring at the time.)
He is dressed richly, because he is a successful merchant. The gold
represents the gold that he has reinvested or put away for the future,
and also his general richness and prosperity. His tunic is of red and
gold brocade, because I wanted to show his courage, as well. It takes
quite a bit of bravery to take the risks necessary for this kind of
venture.
His cloak is red, for the same reason, and he has a red feather of
bravery in his cap.
On his cloak, you can see the partially hidden figure of a gryphon
flying through a ring. I used this for two reasons. First, it was the
design that I painted on a dear friend’s wedding tunic. As such, for me
(and the other people who know Jim and Tay) it symbolizes hope for
the future, and a willingness to invest and commit to that future. But
the reason that was the design that went on the tunic was to show the
strength, majesty, and fearlessness of a lion paired with the grace,
speed, intelligence, and vision of an eagle. Combined like this, they
can reach new spiritual heights, and new dimensions of nobility. The
gryphon is flying through a ring, which symbolizes eternity and the
endless circle of life. This encompasses him, and he is free within it.
The gryphon is partially hidden to show that all of this greatness is
not revealed yet. But it will be soon.
The design of laurel leaves on the hem of his cloak are for victory.
He has triumphed this time; his ships are returning safely.
The three rods which stand around him stand for the past, the
present, and the future. The rod of the past is clear, because you can
see clearly what is in your past. Hindsight is 20/20 and all that. This
man can learn from his past. It has a golden crystal set in the top,
because he remembers the past as golden. It’s wound with silver, to
show that he was using his intuition then. If you look carefully at the
top, you may notice that there is a crescent moon in the design at the
top of this staff. I put it there, and made it the waning moon, to show
that this is the past. This is over, and waning.
The wand directly behind him is the present. This is where he is
now. It’s solid silver, because it’s frequently difficult to figure out
what is really going on while it’s happening. But it has a pink crystal
at the top, because the present looks rosy. It also has a vine growing
up it, because the present is the only place where actual growth, or
activity, can happen. I used a vine, to show introspection, and also
because it wrapped around the staff nicely! This staff has a full moon,
because these are the things that are currently in their fullness.
The third staff represents the future. It’s also silver, with an indigo
blue stone, because the future is unknown, except through the psychic
senses. But the stone is glowing, because the future looks bright. It has
a new moon on it, because these are the influences that are waxing, or
just beginning to come to pass.
He has a good grip on this staff, to show that he has a good grasp of
the future; he knows what he’s doing!
Below him, three ships sail in on a smooth, golden sea. The color, of
course, implies the richness of the ships and their cargo. There are
three of them, because this is a three card, and also to show past,
present, and future; or the three stages of life, or any other three that
looks right at the time you are reading the card. You may also notice
that each ship has three sails, as well, for the same reasons.
Farther in the distance are three ranks of hills. Hills and mountains
in the Tarot stand for enlightenment; and that’s what these are. The
Seeker is learning from this experience, as well; although these hills
are softer than one sometimes finds, so it can be extrapolated that
these learning experiences are easier, too!
The sun is setting on this card, in fiery shades of gold and orange, to
show that he has been waiting for some time for this, and also to show
the alignment with fire, which all of the wands have.
If you are reading, and it looks like a sunrise, not a sunset, by the
way, go with it. Remember that the most important thing is what the
cards look like to you when you see them in an actual reading.
 Four of Wands
This card shows a couple dancing on a platform under a
canopy held up with four silver wands that sparkle with light. At
the top of the wands glow red and green crystals. Their platform
is draped with flower garlands, and they wear flowers in their
hair as well. Behind them, harvested fields become hills, which
fade out to a soft sky.
Key – Romance and Tranquility
The meaning of this card is harmony, romance, a wedding.
Newly acquired prosperity. Harvest home, rest, enjoying the
fruits of labor. Safe haven. Festivities and celebrations.

I first began to formulate the design for this card when I was asked
to make a card for the wedding of two friends of mine. Because it was
an orthodox Jewish wedding, it took place under a canopy. Since one
of the meanings of this card is the consolidation of a relationship,
which may mean a wedding, it seemed natural to go ahead and put
the canopy on the card!
The canopy itself, of course, also stands for shelter. This is a
sheltered moment in the Seeker’s life, a time to rest, and also to
celebrate a job well done, or a relationship well begun. The lace on
the canopy is to symbolize the careful work that has gone before this
moment. Without all the care taken with courtship and wooing, there
would be no wedding. Without careful planting and reaping, there
would be no harvest home. Without work, there is no cause for
celebration! This is a reminder of that.
The wands that hold up the canopy are made of silver, as are most
of the wands in this suit, because of the intuition and magic that goes
into the growth shown here. But these also sparkle with many tiny
lights, to show that there is a lot of energy present in this card. They
also remind me of Yule lights, and so of celebration.
On the top of the wands that we can see are two crystals, also
radiant. One is green, and one is red. These are for the two halves of
nature, vegetable and animal, or for male and female, or for any two
opposites. They are here to show that these opposing forces are
working together, and creating harmony and shelter.
The whole arrangement stands on a wooden platform that is raised
above the surrounding land. That shows that this time and place are
lifted above the ordinary, and exalted. You can’t stay on this plane
forever, but it’s fun to be here now.
All around the platform are garlands of flowers. These emphasize
the celebratory feeling, and show the great joy that is present here. If
you look carefully at them, you will find the white lilies of purity, and
the red roses of passion, as well as violets for love and sweetness, and
blue forget-me-nots. There are a lot of green leaves, because this is a
living, growing thing. And there are a lot of buds, because there is a
lot of flowering yet to come.
A couple is dancing on the platform, to show celebration and joy
once more, and to show that this is active celebration. This is not
simply a rest, but a festival!
Their steps match, because they are moving together, in harmony.
They have light hair to bring to mind the colors of fire, and the
harvest in a golden autumn.
They have garlands of flowers in their hair, once again, in keeping
with the general holiday mood.
Their clothing reflects the colors of the crystals that top the wands,
and for the same reasons. But if you look carefully, you will notice
that he is dressed in red, dancing under the green stone, and she is
dressed in green, dancing under the red stone. This is to underline the
balance, harmony, and accord of this card.
The trim on their clothing is gold, to show the richness that this
position brings.
At the base of their platform burn seven candles. I put them there to
show the perfection of the balance, and also to show how holy it is,
since we use seven candles in our circles. (One for each of the four
directions, and one each for the God, the Goddess, and the Maiden.)
 All around them, the harvest has been gathered, and the grain has
been stacked. I actually found a picture of grain that had been
bundled like this in a field, and decided to use it on this card for two
reasons. First, the shape is the same as that for the sigil of fire, and
wands are associated with fire in my deck. They also reminded me of
Tepees, and so it called to mind the whole concept of starting a home
again. In fact, if you look at the far right of the card, you will notice
that a couple of the stacks have had a cloth pulled over them, which
echoes the canopy, and also looks like a dome tent.
If you count, there are seven hills, counting the one they are on.
Seven is for perfection, again. The first one is completely harvested,
and the second is mostly in.
But there is still a third hill that seems to be covered in ripe, uncut
grain. Most of the time, this isn’t noticeable. When it pops out at me, I
know to tell the Seeker that there is still some work left to do. The
harvest is mostly home, but after the party it will be time to go back
to work again.
Beyond that hill, four more fade back into the blue distance. As
always, hills in the Tarot mean enlightenment, or learning. This whole
experience contains lessons to be learned, but they are gentle ones.
The sky is hazy, to show that everything is gentle and soft right
now. Autumn rains will fall, but the dancers are under the canopy,
and the harvested grain is stacked, so the rains won’t be a problem to
anyone.
 Five of Wands
This card shows five young men, fighting (or perhaps dancing)
with five long wands in an excess of energy. They are raising so
much dust that any surroundings are completely obscured.
Key – Unfulfilled Struggle
This card means conflict, obstacles, unsatisfied desires, strife,
indecision, internal dissonance. Or perhaps striving for order.

This card shows what may either be a fight or a dance. You will
know which when you see it as part of a reading. In either case, these
young men have almost made a pentagram out of their wands. All of
them are at the right angles, but they haven’t quite come together yet.
There is a lot of energy in this card; the question is what use it’s
being put to.
An interesting note is that these positions were all posed for by a
single man, who is a friend of mine, and also a martial artist. So
sometimes it seems apparent to me that this is really an inner conflict.
This is the Seeker fighting with himself.
They all have fairly light hair, because I was trying to keep that
theme for the wands, since they are aligned with fire. But they range
from light blonde, to red, to brown to show the range of the conflict
(unless it’s a dance) here.
This range is also shown in their clothing which is all different
colors and ranges from fairly simple, everyday wear to rich brocades,
and encompasses several styles, as well. But if you look, the colors do
go round the color wheel, with blue at the top, and then green, yellow
(on the trim; I didn’t like the aesthetics when I tried to make the
whole shirt yellow,) red, and purple. I did that to show the buried
harmony, that is just waiting to reveal itself in this situation. These
colors are shown, as well, in the crystals that adorn the ends of their
wands.
According to my notes, I was going to make the wands copper, to
show the vast amount of energy that was available here. I no longer
remember why I didn’t. Michael (my husband) says that as he
remembers it, I misplaced some of my notes during the move we had
at the same time; and since my deadline was fast approaching, I just
finished the coloring without them. At any rate, I seem to have
decided that I would make all of the wands in the whole suit silver.
So, if I may admit to a mistake right here in print, I’m sorry. These
should be copper, and if I ever get a chance to fix them, I will.
These guys are raising such a lot of dust that you can’t tell where
they are. This is to show that if you are struggling like this, you are
likely to lose sight of what is actually happening around you.
In fact, there is some evidence that until these folks get their act
together, this is just struggle for the sake of struggle.
They are engaging in furious activity, but accomplishing little or
nothing. There is more than a bit of chaos in this exercise, but the
balance that would bring the pattern to the forefront is nearly there.
When this card comes up in a reading, you will also be able to tell if
the pattern is just coming into focus, or if it is in the process of
disintegrating. Is something about to be built here, or is it all just
falling apart? As always, let your instincts guide you and listen to your
inner voice; then you’ll be alright.
 Six of Wands
This card shows a blond man on a white charger, wearing a
wreath of victory, and riding past cheering throngs. He holds a
wand wrapped with laurel leaves, and flying a standard showing
a brilliant sun on a pure white ground. Behind him, children
throw flower petals into the air in front of a brilliant blue sky.
Key – Triumph
This card means public acclamation, gain, or achievement.
Good or important news. Reward after hard work. Great
expectations. Public vindication. Triumph in some area of life.

I gave this young man blonde hair, because I wanted to express the
concept of the “fair-haired” man, the one for whom everything works
out well.
He has a laurel wreath on his head to show that he has been
victorious in whatever endeavor is being celebrated here. His clothes
are white and yellow, to show his purity and joy. His trews are red to
show his courage. He has a sun on his chest, his gloves, and his flag to
show his brilliance, and his activity, and how others look up to him.
The sun also shows his glory, and the joy he brings to others. And,
finally, it’s there because in some readings it gives the overtones of a
sun-king; a man who enjoys power and homage for a moment, and
then becomes a willing sacrifice. As always, you will know which
meaning applies when you are actually doing a reading. Simply listen
to your instincts.
 His clothing is banded in gold, to show his richness, and his
majesty. It also echoes the whole fire/sun alignment shown
throughout this card. He is wearing gloves, to show that he was gentle
in the conflict. He never “took the gloves off.”
His wand is twined with laurel leaves, to show his victory once
again, and the flag has the same sun symbol that I put on his clothing
for the same reasons. That makes three repetitions of the sun, by the
way, and so shows that the three-fold law is working here, as well.
This victory is well deserved.
The crystal on the top of his wand is clear to show his purity and
clarity, and blazes with a brilliant light to show his brilliance.
His horse has no saddle, and there are no weapons present, because
this is not a military victory; this is a victory of the spirit or intellect.
He doesn’t need a saddle, either, because he has absolute control of
his horse.
The horse itself symbolizes all kinds of powerful, animal instincts
and forces, all of which he has firmly under control. It’s white,
because of his purity. It wears a golden bridle to show once more the
relationship the rider bears to the sun, and to glory, majesty, and
honor. The decorations on its reins are red and yellow flame shapes,
to show the fire aspects and the strength of will with which he
controls his mount. They also have little golden jingle bells on them,
to show his laughter and joy. I firmly believe that you should rejoice
in your victories!
Behind him, children dance and laugh, flinging flowers into the air.
They are there to show the exuberant, joyful side of this card once
more. They are dressed in red, for courage, and blue for spirituality.
The blue tunic also has pockets, to show that there is also a practical
side to all of this. The flowers are white, red, and yellow to show his
purity, courage, and joy.
Behind them are rows of adults, mostly blocked from view, who are
standing and holding their own wands upright. These wands are also
topped with jewels, and they are of many colors, to show that many
different people are joining in this very public acclamation. They are
mostly hidden to show that the Seeker might not even know that he is
being so hailed, or by whom; or perhaps because he is being cheered
by total strangers. But you can see a bit of a face peeping out here and
there, because they are willing to let themselves be known.
The crowd is dressed in their finest, as can be seen from the bits and
pieces visible; brocades, purple, gold trim, etc., are all apparent. This
is to show that right now, everyone is presenting their finest
appearance to him. There is even one guy who is waving a branch of
laurel! If you notice that hand at all, it’s probably a pretty good
indication that he had help to get to this position.
Overhead, the sky is a glorious cloudless blue. I chose this color to
show that there are no dark clouds on his horizon right now. At this
moment, he is basking in the sun!
 Seven of Wands
This card shows a man dressed in a kilt, wielding a wand as a
quarterstaff. He stands on green grass on a stony cliff, facing six
wands plied by unseen opponents. Behind him are hills,
wreathed in mist. Above him clouds fill the sky.
Key – Take a Stand
This card means success against obstacles, problems solved or
turned aside. Bravery, resolution, valor, righteousness, tenacity;
being unwilling to let go of a problem. Continuing to fight when
all seems lost. Dogged determination and will. Winning against
impossible odds.

This card stands for someone who is willing to fight to the finish,
who won’t give up just because the odds are against him or he’s badly
outnumbered.
I made him a Celt, because this is my own heritage, and in my
family we never give up, even if it’s obvious that there is no way to
win. In fact, my father says that we sometimes ask the question, “Is
this a private fight, or can anyone join?” I was raised to believe that
this entire attitude is a racial/cultural bias.
I gave him a kilt to show that heritage, and also to show that he is a
non-conformist. What others are doing is actually of little concern to
him. The colors in his kilt are white for purity, blue for spirituality,
red for courage, and yellow for joy, and to show his affinity for the
fire signs, reflected in all the wands, and therefor the strength of his
will.
The plaid also shows that he combines all of these characteristics,
and from them makes more; such as the green of growth made from
the yellow and blue.
His wand is perfectly balanced, to show that although he is
engaging in a struggle, he is not, himself, out of balance at all. The
crystal finial on the right is white, and the wand is wrapped in a
deosil (clockwise) increasing direction. The crystal on the left is black,
and the silver wire wraps around in a widdershins (counterclockwise)
decreasing direction. They meet in a knot in the middle, showing that
they are intertwined with each other. Both crystals are glowing,
because he is giving energy equally to each.
He is barefoot, to show that he is in touch with the earth, and
grounded; and he is on a cliff above the others to show that he has the
advantageous position, or the high moral ground.
The grass grows richly beneath his feet, to show that this is a
position that he can grow through and with. The rock is almost black,
to show contrast with the light sky above him. Sometimes, it also
looks like the people holding the other wands are in the dark!
Facing him are six wands, with crystals of various colors. I made the
people invisible, because they aren’t always people! Sometimes they
can be ideas or institutions. They all aim their wands at the fighter, to
show that he is beset with many problems. The wands are all topped
with crystals, but none of them are glowing, because they lack the sort
of spiritual energy and life that he has. They are also not arranged in
any order, because I didn’t want the opposition to look that organized!
Behind him are hills wreathed in mist. This is to show the
enlightenment that is possible; and yet it’s still veiled in uncertainty
and mystery.
The sky is overcast, to show that there is struggle here, and all is
not clear. This isn’t a bright and sunny place; it’s ready for incipient
storms.
There is a story that goes with this card.
No one told me ahead of time, but when you decide to make a Tarot
deck, you get to live through each of the situations shown on the card.
(Talk about learning experiences!)
I was working on this card when my mother called me, to tell me
that a dear family friend, the father of the family that had been like a
second family to mine when I was growing up, had just been
diagnosed with pancreatic cancer. They were giving him only a few
weeks to live. I was so upset that I couldn’t work on this card
anymore, and I put it aside. But because of deadline pressure, I had to
keep working. And eventually I had to go back to this card, even
though I felt like crying all over again as I picked up my pencils to
finish it. But while I was working on it once more, the phone rang.
And it was my mom, again, calling to tell me that they had done
experimental surgery. The tumor was benign, although it was large
enough that it would have killed him if they hadn’t operated, and he
was going to be alright.
So this card, which can mean victory over impossible odds, was
made extremely real and potent to me.
All of the cards have stories like this, although this is the most
striking.
Just shows to go you what you can get into if you decide to actually
make a deck yourself!
 Eight of Wands
This card shows eight jet propelled wands, breaking out of
earth orbit and shooting past Jupiter. On the way they pass our
Moon, and also one of the moons of Jupiter. Beyond them is the
sky, rich with stars.
Key – Sudden Advancement
This card means swift activity, the path of activity, hope.
Freedom of action after a period of inactivity. Things moving just
a little too swiftly. Decisions made too hastily. Travel.

This card shows expansion, especially expansion that has gotten a

little out of hand. When I thought about that, I decided that merely
earth-bound expansion didn’t really fit in with the feeling that I
wanted to show in this card. So I decided to take it to a whole new
level.
I made the wands spacefaring. And that also means that I made the
expansion extraordinary. (The rest of the cards don’t seem to show a
spacefaring culture!) This isn’t just moving quickly. It goes far beyond
that. This is things happening at exponential speed!
All of the wands are different, to show that there may very well be a
range of things going on here. For the same reason, the crystal finials
are all different shapes and colors, arranged in no particular order.
The designs on some of the wands are symmetrical, and those on
others are mirrored from top to bottom, or are pretty much random. If
any of these designs seem significant in a reading, I explain to the
Seeker what seems important and why. This is part of what I designed
into the cards, because I’ve always felt that being open to your
intuition was what reading was all about. So it made sense to give
myself something to play with!
The one wand that is entirely visible has clear white crystals at both
the top and the bottom. I did that to show the clarity of this
movement. The one at the top is blazing like a star, as well, because
sometimes when a person is willing to move with this kind of alacrity,
it gives other people a star to follow. Of course, with this card, it may
also mean that the Seeker is going too fast, and is out of control. In
that case, it usually strikes me that this crystal is a headlight, but this
wand is actually behind the others. Running faster than your headlight
is not usually a good idea!
The flames shooting from the ends of the wands not only shows
how fast they are actually moving, but also tie in with the idea of fire,
as shown in all the other wands.
They also show beyond a shadow of a doubt that the wands are
moving upward and outward. This is because this card is supposed to
be showing expansion.
And to emphasize that point, I’ve also put Jupiter, the planet of
expansion, on this card.
The stars and moon are there to show that not only is the sky not
the limit, but things have already progressed ‘way beyond that point!
We are talking space, here. The “phase” is not quite full, to show that
although things are going like crazy, it hasn’t peaked yet; there is still
a bit to go before there will be any hope of slowing down.
It may also strike you, when you are reading the cards, that the two
moons (one of which is supposed to be Luna, while the other was
meant as Io) show some balance left even in this situation. Or they
could show how far the Seeker is going to travel before it’s all over. As
always, feel free to read anything into the cards that seems right at the
time!
 Nine of Wands
This card shows a young man, battered but unbowed, leaning
on a wand with a glowing tip. He is barefoot and shirtless, and
there is a bandage around his forehead. Behind him, eight other
wands are standing upright. Although the sun is shining brightly
on him, the sky behind him is grey with clouds.
Key – Wait For It
This card means waiting for difficulties, changes or new
challenges. Hidden foes, subterfuge, duplicity. A temporary
cease-fire in hostilities. The calm in the eye of the storm.

This young man has obviously been through a fight. I made him
bare-chested, because it often looks to me like he’s lost his shirt in the
battle. He’s wearing a bloody bandage to prove it. I made the bandage
white, to show purity; and there is blood on it so that there is no
mistake that it’s a bandage. In a lot of the decks that I encountered
during my research, he has the bandage around his head, like this. I
toyed with the idea of moving it to another part of his anatomy; but I
finally decided to keep it on his head because so many of the battles
that are fought right now are intellectual. I decided that if I left the
bandage there, it would pop out at me if this was mostly a battle of
mind and will. And, at least for me, this is how it’s been working.
I made his pants brown, to show that he isn’t in this position
because of his wealth. He’s just an ordinary guy. There is blood on his
pants, too; but he doesn’t seem to be wounded. I did this to show that
he gave as good as he got in the struggle.
His feet are bare, because he is in touch with the ground below him.
I gave him a belt, but no belt loops, to show that this position can
be dangerous and tenuous. My husband is fond of calling himself a
“belt and suspenders man.” This is the exact opposite of that. He
obviously needs help to keep his pants up (that’s why I made them
gathered at the top,) but that help may not be all that he expects of it.
This also underlines the deception that this card may show. It’s
possible that the Seeker’s help will fail at a most inopportune time. Of
course, often I don’t even see his belt; but if it’s important to notice,
it’s there!
Around his neck, he wears a medallion with the rune of protection
and defense, Eolh, on it. This is to show that even in this position, he
is not without protection from the powers that be.
He leans on a wand that has the glowing white crystal of clear
vision on the top, and the purple sphere of healing on the bottom. The
staff itself is wrapped with two strands, one going deosil (clockwise)
for increase, and the other going widdershins (counterclockwise) for
decrease. This is to show that he has balance, and that he knows when
to build things up and when to tear them down. There are also little
spheres all over it, to show wholeness and oneness with the universe.
The sun shines full on him, to show that he is in the eye of the
storm at the moment. There was a fight before, and he is waiting with
grim anticipation for another. But right now, there is peace.
He stands on a platform, to show that he is in the position of look-
out. It’s made of a solid piece of brown stone to show that there is
warmth, strength, and solidity here. It’s also fairly high, as shown by
the fact that no other landscape is visible.
Behind him stand eight more wands. Sometimes they look as if they
are ready for use, sometimes they look as though they belong to his
allies. I drew them so that they could be either, depending on what it
felt like during the reading (as always.)
Each of them has a crystal on the top, and these crystals are
arranged in spectral order, to show that there is no confusion here;
just apprehension. All of them have different designs on them, to
allow them to represent different things. I even put a live vine on one,
in case this problem was growing and changing. As always, if one
“pops out” at you, then go with whatever feeling you are getting.
The sky is grim and foreboding, promising more storm to come. In
fact, I did my best to make it look just like the sky in the three of
swords, because it presages the same sort of pain and sorrow.
 When this card comes up in a reading, I usually encourage the
Seeker to use this time of uneasy peace to regroup and make sure of
the merit of his position (it would be tragic to go through all of this if
you were fighting for a mistake!) It wouldn’t hurt to be certain that
his allies were still willing to fight on his side, as well. Because the
rest of the fight is sure to come, unless he decides to surrender
instead.
As always, though, when you are reading, let your own instincts
guide you, and say what you feel you should say in kindness and
gentleness, being aware of the probable effect on the Seeker.
 Ten of Wands
This card shows a man in peasant clothing, bowed under a
heavy load of ten wands, trudging down a road. In the distance is
a town dominated by a castle, toward which the path leads. All
around are hills. His shadow stretches long before him.
Key – Overload
This card means too much success becoming oppressive. Heavy
burdens. Martyr complex. Too much willingness to take on too
much; especially of other people’s burdens. Tackling a job that is
just too big.

Wands represent the fiery attributes of willpower, energy, passion,

and growth. All of these are considered good things, at least in this
society. But, as this card shows, you can have too much of good things
too! All of the tens represent an abundance of the attributes of the
suit. And too much of these things will wear you out, because you will
just be trying to do too much!
Too much power is too much! Extremes of power when power is
seen as privilege will corrupt. Extremes of power when power is seen
as responsibility will break a person. Either one is not a good thing at
all.
That is the deep meaning behind this card.
This man is going to have to struggle to make it home with all those
lovely wands that he is trying to manage. But he’s still trying, even
though he can’t even see past them. He certainly can’t use any of them
in this state; but that doesn’t stop him from trying to “do his duty.”
I made him blond, to show that he is the fair haired boy from the
six of wands again; but now time has passed. He is older, and his
beard has grown.
All his fine clothes are gone, and he is dressed like a peasant. There
are no cheering crowds now; there is just the hard work that he has
set out to accomplish.
His shirt is red, to show his great courage. I gave him grey pants, to
show that he still has some balance. (Although sometimes, when I’m
reading, they just show that it’s all become colorless drudgery to him.
Remember, the cards are supposed to show different things at
different times. That’s part of how they work!)
His legs are wrapped in homespun, not quite as white and pure as
he might hope. Sometimes, a Seeker has gone through many
compromises, and sometimes they have compromised things that they
wish they hadn’t, to get into this position. If so, this will let you see
that.
He’s wearing a twisted length of cloth as a belt, to show that to
some extent he has things all twisted up in his middle. If you look
carefully, you can also see a wallet on his belt. I gave him that to
show that he is carrying other baggage, as well. Once again, it’s one of
those things that I don’t always notice when I’m reading; so when I
do, it’s likely to be important.
The wands have all kinds of decorations on them, and all colors and
shapes of stones as their finials, once again to show the great variety
of things the Seeker is working with, here. But they are all jumbled
up, because by the time the Seeker is in this position, there is a great
possibility that much of the job has really lost meaning for her.
His face is buried in the wands, to show that he has become so
buried in the job he is trying to do that he has no energy to spare to
look around him. Or maybe it’s just showing that he doesn’t care
about anything else anymore; that the job has become everything in
the universe to him. Once more, you will know which when the card
actually comes up in a reading.
His shadow stretches long on the ground in front of him, to show
that the sun is sinking; it’s getting late. And there are still miles more
to go before he can rest.
The grass grows on both sides of the path, but it’s no longer a
vibrant green. This is grass that has done most of its growing. It’s
getting ready to enter a dormant phase. This shows that the time to
end all the work is approaching, as the setting sun does, as well.
 But it’s not time yet. The sky is still blue, although it’s getting pale.
The village, which is the fellow’s destination, is tiny in the distance.
This is to show how much farther he still has to go. The central
building looks like a castle sometimes, and like a cathedral at others. I
purposely gave it some qualities of both buildings so that it would do
this. If the overload is mainly spiritual or otherwise non-material, then
it looks like a cathedral. If it’s primarily a physical, material problem,
or one dealing with some kind of power struggle, then it looks like a
castle.
All around are hills. This is to show that there is potential for
learning in this situation, as well. Sometimes what the Seeker needs to
learn is that it’s alright to put a few of the wands down. Sometimes
she needs to learn that she can handle all of them after all. As ever,
depend on your own instincts while you are reading the cards, always
remembering to pay attention to the other cards in the spread, and to
the Seeker. Don’t be afraid to ask the Seeker if any of this looks
familiar to her, and to draw her out. We aren’t doing this to prove that
we are psychic, after all; we are doing it to help the Seeker to make
sense of the situation that she finds herself in, and to make the best
decisions that she can.
 Cups
I am going to start this chapter, as I have started all the chapters on
why I chose the symbols that I did, with the warning that these are my
personal interpretations and feelings.
As you are reading the cards, you are likely to have your own.
These are not “wrong,” even if they are not at all what I saw while I
was making them! As I have said before, if I have done my job right,
you are bound to see things that I didn’t even know I was putting in
there!
I recommend that you go over each card much like this, and write
down what you see, and why you think it’s meaningful. This doesn’t
mean that you won’t see completely different things in some other
reading. But it will help you to get into the habit of really looking at
the cards.
I’m providing this material because a lot of people have asked for it,
and because you might find it interesting to see what was going
through my mind while I was designing the deck.
The suit of cups is attuned to the element of water. In our tradition
of Wicca, water corresponds to the emotions; from very shallow ones
to those with great depth. This suit deals largely with emotional
matters; love, friendship, contentment, and discontent. There isn’t any
violence here (although you will find some pretty heavy duty sulking!)
They also deal with imagination, dreams, and healing.
Since they are aligned with water, they also share the other
correspondences of water in our tradition. So their direction is west,
their time of day is evening, and their time of life is maturity.
The lessons of this suit deal mainly with emotions; how to handle
them all, from healing friendship and love to disillusionment and
despair. They also teach about aspirations, longings, ideals and
fantasies. Everything that comes from the heart, and flows like the
tides.
 King of Cups
The card shows a blond king with a golden crown in the shape
of a trident, sitting on a lotus throne carved from grey stone,
with waves crashing all around it. Around his neck he wears a
golden fish. In his hand he holds a golden cup with a silver band
showing a yin/yang symbol. Behind him, a dolphin leaps from
the ocean under the violet skies of evening.
Key - Gentle Father
This card means a kind, considerate man. A father figure.
Someone who is interested in the arts, and gentle things. A deep
man, with a quiet demeanor, but none the less powerful and well
balanced.

Some Readers will tell you that a court card symbolizes a person
with the attributes shown on the card; sometimes only the physical
ones (in this case a mature man with light hair and hazel eyes,)
sometimes more of the personality shown. I don’t think this is always
the case.
I think that the court cards can also mean that the attributes of the
person shown on the card are manifesting in the Seeker’s life. Please
keep this in mind as you read the descriptions of these cards.
I began by drawing a man who had a kindly look on his face.
Smiling slightly, with crinkles at the corners of his eyes. I gave him
light hair, because that is traditional with the cups, and I wanted the
folks who do traditional stuff to be able to use these cards. I also
figured that someone with brown hair who spends a lot of time
outdoors near the ocean is going to wind up with light hair. (At least,
that’s how it works in my family.) I gave him a beard to show his
maturity.
He’s seated on a stone in the middle of the water, with waves
crashing against it. The stone shows his great inner strength and
steadiness. The waves are for the restless turmoil of emotions (water)
around him. His throne rises above the waves; he is calm and steady
even though he’s surrounded by constant motion and turmoil. This
balance is part of what gives him his strength.
The bottom of his throne is rough, dark, natural rock. (In fact, it is
one of my favorite rocks, and actually exists on a beach in Okinawa,
Japan.) It is volcanic; it once was a liquid, like the water itself,
thrusting up with molten violence through the earth’s crust. Now it is
solid, and weathered by the water, but it still shows its fundamental
nature, now transformed by time and gentler emotions. This is to
show that the once volatile nature of this man has been tempered and
changed by the action of emotions, so it is at once firmer and gentler.
I see this transformation as showing his kind nature, built on
knowledge of rougher things.
The top of his throne has been carved into the shape of a lotus
blossom. This is a symbol of wisdom, as well as being another
indicator of water. It is a pearly grey, and slightly polished, to show
further transformation from the rough volcanic rock. A sort of
flowering into refined wisdom. But it’s still rock; the strength is still
there. Also, the juxtaposition of dark and light rock show balance
again.
His crown is a trident, with waves cresting toward the middle. This
shows that he is one of the manifestations of Neptune, God of the
Ocean.
All of his ornaments are gold, to show the richness of his emotions.
Around his neck I put a fish on a necklace hung with sea-stars. This
shows several things, depending on how you look at it. At the simplest
level, the fish and the sea-stars are water animals, which reinforce the
watery imagery of the card. Also, in just the way a fish is completely
at home in the ocean the King is completely at home with his
emotions. Sea-stars, of course, open shellfish easily. The kind of soft
tenacity found in a person like this can also open the hardest shells.
This may be something you want to be wary of; I don’t know. And
also “fish” is ancient slang for “penis.” (Honest. I’m not making this
up. You should see some of the Athenian sculpture and stuff.) This
shows his masculinity and fathering side (in the biological, not
nurturing, sense.) The masculinity is always there, in spite of the
strong feminine influences in this card.
I made his belt a simple gold band, clasped with a seashell, both to
carry the ocean motif along, and to show that he isn’t ostentatious.
The shellfish shows that he knows how to control himself (when to
“clam up.”)
I put him in a robe the color of the sea near the shore on a sunny
day to show the quiet, sunny side of his disposition. If you notice, the
robe gets lighter near the bottom. The sea, of course, gets lighter near
the top. I did that to show that sometimes this fellow can behave in a
manner opposite to what you might expect; or that these emotions
and attributes may lead to the opposite of what you expect in the
situation shown by the other cards.
Around his hem is a picture of a tranquil sea, with puffy clouds and
shorebirds flying. This shows his inner calm, especially calm in the
face of turmoil, as shown by the real ocean around him.
His robe is lined with purple, like the depths of the ocean, to show
the depths of emotion and wisdom he is capable of.
His cloak is a full circle; what we call a “moon cloak.” The dark is
the dark moon, the silver the full moon, of course.
I gave it to this king (even if he is a man) to show his balance. Also,
as the moon controls the tides, so he controls his emotions.
I gave him sandals, not boots, because I wanted to show that he is
not afraid to touch his emotions. He under-stands them, if you’ll
pardon the pun. (I know, but that’s how my brain works.)
He is sitting in a relaxed position, because he is at ease here,
completely comfortable in this environment. His balance, wisdom,
kindness, and generosity are so deep that he would be comfortable
nearly anywhere.
In his right hand, the side of his intellect, he holds a golden cup. He
accepts and understands his feminine, intuitive side. This gives him
balance, as shown by the yin/yang symbol on the cup. The cup also
has a silver rim. Silver is the metal of magic, intuition, and the moon.
Putting it on a golden cup reinforces the idea of balance. (Gold, as you
remember, is the sun and the visible world.)
Around him the ocean surges and foams. As I have mentioned, this
shows how turbulent emotions can be. The froth and bubbles also
show how much fun they sometimes are. I tried to emphasize that
aspect by showing a pod of dolphins playing behind him. (OK, I know
it looks like there is just one. But look again, really carefully. The
others are there.) Dolphins are considered to be highly intelligent and
wise. So, by using dolphins, I meant to show free, spontaneous, playful
intellect.
The sky is one that I once photographed after an ocean storm. On
this card, it not only shows evening, which is the time of the west
(water,) it also shows the calm after the storm. Once again, this
symbolizes the transformation of turbulence into calm through the
balance, maturity, and wisdom personified in this card.
When reading this card, the salient, important stuff will seem to
“jump out” at you. For example, the thing on the card that seems the
most important may be the smiling, relaxed figure of the king himself.
In such a case, it might be appropriate to say, “You seem very at ease
and relaxed in this situation, with your emotions well in hand.”
At another time, what strikes you may be the fact that the rock is
really volcanic, and the lotus blossom may seem to be just sort of
stuck on. Then you might want to say, “This situation looks attractive
and welcoming. But be careful, because it’s really volatile at the root,
and may erupt into violence at any moment.”
Give yourself and your unconscious mind room to look and
interpret. Don’t be a slave to any one meaning, and you will find your
readings become more accurate. Remember, the truest way to read is
simply to interpret your visceral reactions to the cards.
 Queen of Cups
The card shows a woman with light hair and a golden crown
seated on the seashore in a throne made of seashells. She is
dressed in a soft, flowing robe of sea greens with an exuberant
border of curling waves in which fish and water babies play. In
her right hand she holds a covered cup. Behind her, otters,
seagulls, and whales frolic in the ocean, under the evening sky.
Key – Loving Mother
This card represents a soft, nurturing mother figure; perhaps a
little overprotective. Kind, but usually passive. Someone who
will help if it’s not too difficult. A person with insight, love, and
gentleness, or a situation where these qualities manifest in or
around the Seeker.

The first thing I did when I began to design this card was to choose
the pose for the character. Since she is kind, but not energetic, I had
her sitting with her legs crossed, and one hand on her chest. This may
be because she is out of breath. It also may be because she is showing
that her heart (feeling) is her strongest part.
She is looking into the cup, with an almost neutral expression on
her face, because she may actually be more aware of her own feelings
than of yours. She loves you a lot; she is very nurturing. In fact, she
may be so very nurturing that she nearly suffocates you. And then
again, she may really know just what you need, because she is very
intuitive.
 Her crown is gold, with waves cresting into a pearl held high above
her face. This is because her intuition (water) can uncover and raise
the pearls of wisdom that are normally hidden. And, just as a pearl
takes a long time to form inside the hidden shell of an oyster, so her
insights may take form over time deep inside her mind, to be revealed
only at the right moment.
Her hair is fixed to resemble a sea-shell, because of the ocean motif
of the whole card, and also to show the sometimes convoluted
working of her mind. She has two small white star shaped flowers in
it, though, to show the purity and brilliance of its workings.
Around her neck, she wears a choker. I did this to show that if she
isn’t careful, this kind of overprotective loving can choke people. She
only wants what is best for her children, and she never wants them to
be hurt. But sometimes they can only learn and grow through being
allowed to take risks. (The trick is learning when to protect them, and
when to let them get hurt, if they have to. Speaking as a mother, if
you have mastered this trick, please let me know how to tell for sure.)
Her robe is very soft satin, to show her general softness, beauty, and
suppleness. It is the greens of the ocean; but if you look closely the
light green is on the bottom. In the real ocean, the lighter colors are
on top. This is to hint that she may behave in the exact opposite of the
way you would expect.
It is lined with purple like the deepest ocean to show the depth of
her intuition, love, and understanding.
The hem is a rollicking picture of tumbling waves, bright fish, and
happy water babies. I did this to show that although she is more
dreamy than active, she has a lighter side, and really enjoys it when
those around her enjoy themselves. The fish are to show that she has
sexual passion, too (if you don’t understand why fish mean that, read
the King of Cups.) The babies are because she really enjoys babies and
young children. They really do need lots of cuddles and protection, so
she is perhaps happiest with them.
If you look carefully, there is also an octopus in the hem (it’s right
by her foot.) That is to show that she can hold a bit too tightly, even
here.
An alternate meaning of the whole hem, with the rolling, turbulent
waves, is that although her exterior may be calm and placid,
underneath she is full of passion and rolling, suppressed emotions. It
all depends on what hits you when you see this card in a reading. (I
often put things in that could mean two different things, because I
always read the card by visceral reaction, and this gives me something
to relate several reactions to.)
In her right hand, the hand of the intellect, she is holding a golden
cup with an almost transparent cloth over it. The cup, as always,
represents her feminine, intuitive side. The cloth simply emphasizes
that we are speaking of her unconscious. It also represents women’s
mysteries, which she is intimately familiar with. I gave it a lace hem
to further spotlight that aspect, but I made it sheer to show that she
understands it, and can convey that understanding to us. Not
uncovering, but still revealing those hidden things.
From the cup come rays of light, showing the brilliance of the
mysteries held within. Maybe it’s a good thing we can’t look directly
at them! They might be a bit blinding. Then too, this light shows the
luminosity and purity of her emotions and intuition. It can also show
enlightenment.
She is sitting on a throne made of sea-shells to show her fragility,
and also her slow and patient growth. Only half of the shell is there;
she is no longer likely to simply clam up - and yet it still protects her
from many things. Inside it’s pink, to show her softness and
femininity.
She is on the shore, where the waves lap at her hem, because she is
between the worlds of the conscious (dry land) and the unconscious
(water.) At her foot is a sea star, to show the reflection of the heavens,
and also to show her soft tenacity. (Sea stars, as you probably know,
open shellfish by simply being more tenacious than bivalves.)
She is in a cove to show how she wishes to shelter everyone and
everything. On the other side of the rocks, waves break and hurl
themselves to destruction. But in here, the water is calm and placidly
ripples up onto the beach. The rocks are black, by the way, because
they are volcanic. There is really a lot of heat deep inside this one.
A mother sea otter plays with her babies in the cove, to show the
protective mothering thing again, and also to show the playfulness
that is a (sometimes hidden) part of her character. Sea gulls fly above
the waves at the break point, to show that sometimes she courts those
tumultuous waves; but she tends not to venture out into them.
Far out, a whale dives into the deeper water. Whales represent
mystery, wisdom and ancient knowledge. All of these things are
represented by this card, as well.
The sky is the same as that in the King of Cups, and is one I once
photographed in Okinawa after a storm. It represents the calm after
turmoil, and the shades of evening. (In my tradition of Wicca, the west
corresponds to water and evening, among other things.) This is a time
of completion, of the beginning of rest, of winding down. I wanted all
of these to be shown in this card, too.
The pink in the sky is the same as the pink in her shell throne. This
is to show that those attributes are echoed back and forth. The calm
with the protection of the shell, the protection of the shell with the
calm beauty of the sky.
As always, you may find other things in the card that I didn’t put
there (at least, not on purpose.) This doesn’t make you “wrong,” and
me “right.” It simply shows that the unconscious is more fertile than
you might think, and we all speak to it in slightly different languages.
I drew these cards for me, really, and they use my language. If they
speak yours, too, that’s great; even if the words don’t mean exactly the
same things.
 Knight of Cups
This card shows a young, beardless man riding a gray sea
horse, (an animal part horse and part fish, with a mane of sea
foam) through a rolling sea. He is dressed in silver mail made of
fishes scales. His silver helmet is shaped like a nautilus shell with
golden fins. In his right hand he holds a silver cup.
Key – The Lover Arrives
This card signifies the arrival of opportunity, or a lover.
Something coming that has appeal, creativity, and inspiration. It
may also show that the Seeker wears his heart on his sleeve!

The knight has light hair, like the rest of the cup court cards, and a
smile. He sits at his ease on the horse, idly swinging his legs, and
riding confidently without spilling a drop from his cup. This is to show
that he is perfectly in control of his emotions, and enjoys and
understands them. They don’t frighten him a bit!
His helm is a silver nautilus shell, with golden fins. Spirals show
introspection and awareness of self. So the nautilus shell shows this,
with slow growth and beauty. It’s silver to show intuition, the
unconscious, and hidden things. I put golden spines on it to show that
he is reaching out intellectually, as well. A combination of active,
inquiring intellect with intuition and contemplation. This balance is
one that yields a great deal of creativity, and also flashes of
inspiration.
He is wearing scale mail, because I wanted to put him in armor (he
is a knight, after all) and this seemed appropriate. It’s also fairly light
and flexible. This fellow is flexible in his approach to things.
If you look very carefully, the scale on the middle of his sleeve looks
pink. If you look even more closely, you will see that it has a heart on
it. He is wearing his heart on his sleeve. His emotions are right out
there, for anyone to see. This can be dangerous for him.
His under tunic is lavender, to show the soft, feminine side of him,
along with the depth. In all of the cup court cards, I use purples to
show depth of understanding and emotions, because deep water looks
purple (just before it looks black; but black has another meaning in
the Tarot, so I stuck with the purple!)
His tabard (the sleeveless shirt over his armor) is sea green, with a
trident on it. The color is the color of sea water with the sun shining
through it, to show the basic sunniness of his disposition. The trident
is to show he is related to the king; some of the same attributes
without as much maturity. Around the hem are silver and gold fishes,
to show his masculinity (See King of Cups) and to show the balance
between the seen and unseen again; how he can manage both the
material and hidden parts of himself.
His cloak is blue, to show the depths of the ocean. It is fastened to
his tabard with a round silver brooch, like the moon.1 I did this to
show the feminine influence here, and to show how he can control his
emotions, like the moon controls the tides.
His boots are really sandals, because he is not afraid of his
emotions; not afraid to get his feet wet. The diamond pattern is
reminiscent of fish scales, again. They are gold to show that he can
walk in the material world, but have silver bands around the top to
show the unseen, too.
In his right hand, the hand of the intellect, he holds a silver cup of
intuition, with a heart right on it. He is a lover, offering his heart to
the Seeker in an intuitive gesture, with nothing of calculation in it.
This is genuine. The cup does have a golden rim though; he doesn’t
mean for it to be all spiritual!
In his left hand, the hand of intuition, he holds the reins. He
controls his emotions intuitively. These are decorated with a motif of
sea shells and fish tails. The shells are gold, to show the richness that
is coming. The fish tails are sea green, to match his tunic, and
reinforce the idea of the sunniness.
The same holds true for the color of his saddle blanket. It also has
the silver band of intuition, and the purple lining of depth. Notice that
he doesn’t have a saddle. Except for the blanket, he is bareback. I did
that to show that he is closely connected to his mount. He doesn’t
need the separation of a saddle and stirrups to stay on, or to control
him. In some ways, their joining simply makes a single animal of the
two of them.
All of the knights are seated on a mount that shows the basic
elemental correspondence of the card. In this case, I put him on an
animal that is part horse and part fish to show his alignment with the
ocean, water, and the emotions. I made the beastie gray with silver
fish scales to show the balance (as in the balance between white and
black) and also to show that he can ride his intuition. (Silver means
intuitive things, the “unseen” world, etc.) This animal is completely at
home in its watery environment, but would be helpless on dry land. In
much the same way, this fellow is much better at the emotional,
poetic, dreamy stuff than he is with practical matters. (Remember, the
card might not be a literal man. It might be anything else with these
same attributes, or even these attributes showing up in the Seeker.)
On the other hand, it might not look like that to you. In another
reading, you may see this as an animal that partakes of the nature of
both the sea and the land, and is perfectly balanced between them.
That is the beauty of the cards. They can have different meanings at
different times; so the combinations are virtually infinite.
I gave him sea green eyes, a blue bridle, and a purple lining on his
chamfron (a horse’s faceplate) to show that he is at home in all levels
of the ocean. And so, of course, is his rider. The chamfron itself is of
silver, with a gold band, to show the balance of seen and unseen. It
has the alchemical symbol for water on it, to show the correspondence
with the element, in case you missed it in the rest of the card!
In the background, I put a simple evening gradient, to show the
alignment with the time of evening. Ordinarily, though, an evening
gradient would have the pink at the bottom and the blue at the top. I
purposely reversed this, to show that the things in this card may
behave in a manner opposite to what you might expect. Water has
always had that unexpected, sudden reversal feeling to it, at least for
me. For you, it may look more like that means that the appearance of
this guy is going to turn your life upside down. That’s fine too, of
course. Remember, the important thing is to read ‘em like you see ‘em.
 Page of Cups
This card shows a young girl with light hair, standing on a grey
stone dock. She is dressed in a white tunic with a pattern of
water lilies at the hem, belted with three strands of pearls. From
her belt hangs an artist’s palette. In her right hand she holds an
ornate cup, with a flying fish just starting out of it amid streams
of light. Behind her, the ocean foams and froths under an
evening sky.
Key - Developing Talent
The card means a helpful youngster, with an artistic
temperament. A trusting and trustworthy employee. The Seeker
finds that a child brings joy to her. It can also mean a birth.

I made the pages in my deck young women, because I thought there

should be more balance. Two males and two females among the court
cards felt better than one female and three males! So here we have a
young woman, just out of girlhood. I gave her a slight smile, and a
dreamy expression because I wanted her to look gentle, sweet, kind,
and thoughtful; all attributes that are associated with this card.
I gave her unbound hair, to show that she is not yet bound by the
conventions that will catch her up later in life; she is still a free spirit.
But the crown of her hair is caught up in strands of pearls. She is not
entirely uncivilized. I used pearls to show her affinity with the ocean,
and also to show the precious luminosity of her thoughts. Her hair is
light, of course, because of the family resemblance among all the cup
court cards.
Her undertunic is a very light lavender. She is just beginning to
touch the depths she is capable of.
Her overtunic is pure white, to show her purity, with a border of
pink water lilies and still water. I gave her this border because I
wanted to show her affinity with the bright beginning of the Ace of
Cups, and also to show the sweetness of her nature. It is lit from
behind, with the light shining through it, to show her natural
radiance. This is a person who brings a sort of innocent, quiet joy
everywhere she goes. Or it could be the entrance of that sort of joy
from some other source.
I gave her a belt made of three twisted strands of pearls. Pearls are
interesting jewels. They are made in hidden, dark shellfish, by an
organic process; so they correspond to things of great, gleaming
beauty coming out of hidden, dark places. You never know, when you
open an oyster, if you are going to find one; so they correspond to
joyful, unexpected surprises. And there is a legend that if a person
who is impure tries to wear one, it will lose its luster; so they also
correspond to purity. I meant all of these things when I gave her this
belt.
It has three strands because of the three phases of the moon, which
is itself closely allied with water, and because of the three faces of the
Lady (Maiden, Mother, and Crone.) It could also stand for any three
which you are happiest with, or for a different three every time you
read the cards. It might even look like there will be three little girls
coming to visit!
I gave her an artist’s palette because when I first started to read the
cards all the court cards were difficult for me, and pages were the
worst. I had no idea what they were supposed to mean. So in my deck,
I gave each page a device to make it very clear, and hung it from her
belt. In this case, the card also means artistic accomplishments or
temperament. So she gets an artist’s tool – a palette. It has seven blobs
of paint on it to cover the entire color wheel plus white. With these,
all other colors are possible. So her artistic possibilities are limitless.
She has sandals, like the other cup court cards, because she is not
afraid of her emotions in the least. They are gold, like everyone else’s,
to show the inherent richness of this position.
In her right hand, the hand of the intellect, she holds an ornate cup.
The cup, of course, is the feminine symbol, and also stands for the
emotions. In her case, it’s gold, with a silver mermaid on it. (Honest.
Look closely.) The mermaid is silver to show that she is completely at
home with her emotions and her intuitive side. This comes across both
in the silver (intuitions and the “unseen.”) and in the form of the
mermaid herself. How much more at home in the water can you get
while still retaining your humanity? I made the cup itself gold, to
balance the silver mermaid. Gold, of course, represents the sun and
the “seen” world.
From it jumps a flying fish. Now, in the decks I used to use, there
was always a fish jumping out of the cup in the Page of Cups. It took
me a while to really figure that out. Eden Gray said it was “a symbol
of an idea in the imagination.”2 which was nice, but didn’t seem to go
far enough. And then I realized that this card also means the birth of a
child. A fish in the cup could certainly mean that! Even if you
overlook the fish meaning penis connection (see the King of Cups) I
understand from friends of mine who have been pregnant that a fetus
feels a lot like a fish when it first begins to move. I mean, after all, it
even has gills and everything! And since we know that the cup, or
chalice, symbolizes the womb this makes perfect sense.
So, the fish means the birth of either an idea or a child. And with
the other influences in this card, I decided to make it bursting forth
with joy! So I put wings on the fish to show its freedom and uplifting
jubilation, and made it shining with light as well, just in case I missed
the point. The light has eight rays, to show the eight spokes in the
Wheel of the Year.3 I did this to show that the joy of this goes on and
on, and that it may appear at any time.
The young woman is looking at the cup, because that is the
important thing in this card. (Besides, if you were holding a cup, and
it suddenly exploded with brilliant light and a flying fish, wouldn’t
you look at it?) From the way she is looking at it, it may seem that she
has caused this effect. She certainly isn’t surprised by it.
Like all the other pages, she is standing. Youth is an active time of
life for most people. In this case, she is standing on a gray dock, apart
from the water itself. I kept that aspect of the traditional cards,
because I liked the balance implied by the color grey, and I wanted to
show that she is still a little apart from her emotions. They are there,
and she understands them, and isn’t afraid of them; but she is also not
yet swimming in them, not surrounded by them. They foam and froth
in all of their rambunctious, turbulent energy; but behind her, not
around her. They are also uninhabited. She has only the barest
experience of their depth and promise at this point. Hers is the
serenity of inexperience, not of wisdom.
Behind her, as behind the knight, is a gradient that suggests the
evening sky; but in reverse. Although the evening sky does sometimes
do this, it’s far more ordinary for the pink to be at the bottom. So this
person may stand your expectations on end.
All in all, though, expect something delightful and unexpected when
you see this card.
 Ace of Cups
This card shows a silver cup, suspended in the air, ornamented
with gold and jewels. The bowl has a mermaid embracing a ruby
heart. Water bubbles and flows from the cup, forming five
rivulets that fall into the water beneath. Also rising from the cup
is pure light, shining out with five rays. Below it grow lotus
flowers at the edge of endless water. Behind it is an evening sky,
with purple clouds piled high just above the horizon.
Key – Bounty
This card means joy, abundance, perfection, fulfillment,
fertility, consolation, ease; every good emotion you can think of,
overflowing. All brought about by an abundant love and
compassion.

The aces in the tarot deck stand for the beginning of that portion of
the whole; the aspects, feelings and ideas corresponding to that suit.
And, in the circular reasoning of the intuition and the Tarot, they also
stand for the most complete and pure aspect of those attributes.
The cups are the suit of water, emotions, the feminine and intuitive
side of nature or individuals, things felt more than seen, and the
hidden mysterious workings of the universe. In my opinion, these all
come down to love. So the principle symbol on the cup, the one that
leaps out at you, is the heart.
When I began to design this card, (and this was the first ace that I
designed,) I decided first that the symbol of the suit should stand on
its own. I thought that hands, or clouds, or other things holding it felt
hokey to me. If the symbol is strong enough to stand alone, and I
think they all are, then that’s how I would draw them. So I did.
The cup, then, is free floating in the air. I made it silver because
that is the color of the moon, and intuition, and the hidden “unseen”
things. All of them are strongly symbolized in this suit, so there they
are. I gave it gold trim, though, to show the richness of these
emotions, and also to balance it. These things are meant to shine out
in the light of day, not remain sequestered in dreams and unspoken
feelings.
On the cup, I put mermaids. One you can clearly see, the others are
hidden on the other sides of the cup, and you can only see the tips of
their tails, and their flowing hair. I used mermaids because they are
completely at home in the water; that is with their emotional,
intuitive natures.
The mermaid is smiling, to show the joy and tenderness inherent in
this card. Her eyes are closed because this is also the dream nature.
Then, too, people often close their eyes in moments of passion; and I
wanted to convey something of that as well.
She is holding a great heart made of a single translucent ruby. The
choice of ruby was fairly obvious. It has been associated with love for
centuries, and has that rich glowing color. I made it translucent to
show that such love is clear and transparent. There are no secret
agendas or hidden goals.
She is swimming among fishes to show that these waters are alive.
This isn’t some distant, sterile idea of love. This is the real, and fertile,
stuff. It may be messy at times, but it’s full of life.
Around the rim, I put an enameled design in blue and lavender to
show the depths of this emotion. Water gets darker as it gets deeper,
and purple has always meant very deep water to me. So this isn’t some
shallow thing, either. This runs deep.
I put wings and blue stones on the border because wings mean
freedom and uplifting joy. This comes with this sort of love. They are
gold because that is the seen part of the unseen emotion. The emotion
translated into action, if you will. If you love someone with this sort of
purity, then it elevates both of you to a higher plane. This kind of love
never “puts down.” It “raises up.”
I used a blue stone because that’s the color of the Lady. (The
Goddess in my religion.) At the heart of this kind of love, and this
kind of freedom and joy, I always find Her.
The shape of the cup, with the broad bowl, the stem, and the cone-
shaped bottom, was chosen for a couple of reasons. To begin with, it’s
a fairly old Celtic shape; and the Celtic influence is strong in all these
cards (and, indeed, in my life.) Additionally, this means that the
bottom is a sort of cup, as well. And that leads to the “As above, so
below,” correlations. That is, the giving nature of this kind of love is
reflected in all things. It also shows the same basic shape as that of a
woman in the “Goddess Position,” which we use in my religion for
Drawing Down the Moon, when the woman becomes a chalice, and
welcomes the Goddess into her. So this kind of love is the kind the
Goddess shows; warm, passionate, and very empathic.
The stem of the cup is golden, again, to show the manifestation in
the physical, without which we wouldn’t be able to get to “Below”
from “Above.” It is decorated with a cross-hatched pattern resembling
fish scales to further emphasize the watery connections of the card.
Crystal clear water, or pure emotions, are bubbling and flowing out
of this cup. This is to show all of the good things of life in such
abundance that they simply overflow. Bubbles always seem to mean
lightness and gaiety to me. The tingly sort of effervescent happiness
that you get when you are small, and it’s Christmas morning, and
everyone is glad and singing, and there is a box under the tree from
your favorite grandfather. You know the feeling. That is what I was
trying to convey here.
That is why enlightenment is also coming out of this cup.
This visual symbol, of a ball of pure light rising from a chalice, has
been with me for a very long time. I have made several attempts to
show it, from a doctored photograph that I made in the darkroom in
Okinawa years ago, to an animation on my computer a few weeks ago.
One of them is this card. To me, this symbolizes enlightenment in its
purest form. Simple brilliance rising from within the intuition. Perfect
knowledge coming directly from the Lady.
In this instance, I meant it to mean complete and utter love and
compassion, arising from within.
There are five rays of light shining out, for the five points of the
pentagram, to show that this kind of love is very magical, and makes
everyone complete. (The pentagram, as well as being a symbol of
magic, shows the five elements that go to make a complete person
(earth, air, fire, water, and spirit.) It also stands for a person, with the
four limbs and the head.) This completeness is a natural outgrowth of
this love.
For the same reason, the water flowing out of and over the cup
divides into five streams at the bottom. There it adds its effervescent
nature to the endless water that covers the rest of the card. The love
and enlightenment shown in this card stretch to the horizon, and enter
into all facets of life. The water flowing endlessly from this cup, and
going as far as the eye can see, also shows that this kind of love is
endless.
The lotus blossoms stand for enlightenment and wisdom. And I put
some buds in, to show that this is just the beginning. The full
flowering is still to come.
The sky is the sky of evening, because in my tradition of Wicca, the
element of water corresponds to the west, and the evening. The sky
there is pink to show tenderness and femininity, glowing toward
yellow to show the beauty and sheer brilliance of this sort of
emotional clarity.
There is a bank of purple clouds just above the horizon, to show
that the presence of this love and blessing doesn’t mean that nothing
will ever go wrong again; just that you can get through it. The purple
color stands for depth, as well as being the color you would get in the
evening, and the color traditionally associated with healing. And
clouds are also where new water comes from. Even the sad, messy bits
can yield even more of this love, if you allow them to.
All of the aces are the cards of beginning. So this card, taken as a
whole, means that a pure, joyous love is entering this person’s life,
and will change everything.
 Two of Cups
This card shows a man and a woman, standing beneath two
trees. Between them, they are holding two cups, with one hand
on each. Around these cups shines a rainbow, and radiant light
that forms a caduceus with a winged lion’s head.
Key – Balance and Friendship
This card means a healing relationship, a contented and
satisfying love, platonic relationships, harmony, cooperation.
Two opposing forces blending and yielding a glorious whole.

When I began to design this card, I knew I wanted to show two

people who were as “opposite” as I could. So I made one a man, and
one a woman. But each is standing beneath a tree, to show the
strength and viability of their own position.
He is dressed all in red and gold; the colors of the sun, the will, and
the conscious mind. His clothing is trimmed in dark fur, and he has
lions embroidered on the front and sleeve of his tunic. His hair is
blond, and wreathed in blood-red roses, symbolizing his passion and
vitality. His cup is gold, with red stones, and the bowl of it is long. But
the rim is silver, to show that he is reaching toward some balance
here. He symbolizes the hot emotions, carnal desires, passion, the
physical plane.
She is dressed all in blue and silver; the colors of the moon,
intuition and the unconscious. Her tunic is covered with a motif of
green leaves and white flowers, to show her gentle purity. Her skirt is
light blue, with fish all over it, to show that she is at home with her
deep emotions. But the fish themselves are palest gold, to show that
she is also aware of the passionate, vibrant side of things. Her tunic is
trimmed in white fur, to show her purity again. She has black hair,
and wears a blue ribbon with white violets twined in it. This shows
her delicate, shy, gentle nature. On her shoulder is a caduceus, to
show that she is a healer. Her silver cup has a round bowl, and is
trimmed with green stones. But it has a golden border, because she,
too, is reaching toward balance. She symbolizes cool reason, mind,
spirituality, the unknown.
They both have purple on their clothing, to show the depths of the
emotions and states of being they each bring to this partnership.
Each holds their own cup in their left hand, the hand of the
unconscious, of inborn things. This is what they are. Each reaches
towards their partner’s cup with their right hand, the hand of choice
and conscious will. This is what they need in order to balance what
they are. This is what they are choosing in order to become complete.
Both cups have hearts on them, to show that they are both willing to
love the other.
As their cups and hands meet, a wonderful transformation takes
place. Light (enlightenment) flows out of them, and shoots off in all
directions. A perfect rainbow, showing completeness (all colors, all
states of being manifest), perfect balance (a circle) and beauty
appears. And from their joining, his symbol, the lion of virility, pride,
and physical action comes together with her symbol, the caduceus of
healing with the snakes of wisdom and flexibility. Through this, they
are both transformed, becoming a single symbol, and gaining the
wings of spirituality and joy.
So this joining, this partnership, heals and balances both; with a
whole that is much greater than the sum of its parts. Two complete
opposites, meeting in friendship, love, and cooperation - agreeing to
disagree, and not to fight - can balance and heal each other, and bring
this transformative power and experience to the world!
In the background is a blue sky, to show the glorious nature of this
joining. There is also a green lawn to show how smooth this path may
be. The trees at the foot of the lawn show the growth and strength
that comes from this joining. The hills beyond show gentle
enlightenment.
The whole card, then, should give the feeling of two opposites
meeting in a spirit of love to bring transformative healing.
 Three of Cups
The card shows three young women dancing. Each holds a
golden cup. At their feet is spread a wealth of fruits and musical
instruments. Above their heads are grapevines. Behind them is a
bright blue sky in which three birds fly free.
Key – Good Luck
It means good fortune, artistic ability, sensitivity, fulfillment,
healing, and harmony. The fates are feeling good, and having a
party!

I used dancers on this card to show the arts, and also to get a feeling
of total joy and abandon; but joy and abandon based on the discipline
of working toward a goal. A dancer may look graceful and carefree on
stage, but we know that expression is based on hours of practice and
dedication. In the same way, the instruments and palette spread on
the ground can only be mastered through commitment and practice,
and the fruits take a while to get to harvest.
So there is a lot of unseen, focused work behind the great
abundance and good fortune in this card. It’s not unearned.
The three maidens represent the past, present, and future. Here they
all come together, and all is fortunate. They are merry with the wine
of life, the “milk of human kindness” and they dance, united in their
joy; concurring in good fortune.
The one on the left is the past. Her cup has the new moon, and she
is all gold and rosy with remembrance. In her blonde hair are the lilies
of innocence and purity. Her head is tilted back, she is more
exuberant and her dress briefer, to show her youth. Her sash is silver,
because she lives in the realm of the unseen. We don’t see the past, we
just remember it; and no one remembers it as being quite the same as
anyone else. At the same time, her eyes are wide open, because
hindsight is 20/20. If we are wise, we look carefully at the past, and
learn from it.
In the front is the maid of the present. Her colors are the red and
green of vibrant life (animal and vegetable.) On her cup is the full
moon of fulfillment. In her bright red hair she wears blood red
poppies. They symbolize both her passion and vibrancy, and her
willingness to dream. Her sash is gold, because she is in the now, and
is seen. She looks at her cup, because she is most aware of what is
going on right now.
In back is the maid of the future. She is holding hands with the
present, to show that at this point the present is leading the future.
She is dressed in the deep blue that represents the spirit. Her hair is
black, because she is the unknown. In her hair are white roses of
change. On her cup is the old moon, and she holds it high above her
head to show that you have to reach for the future. Her sash is the
silver of the unseen, magic, and moon energy. Her eyes are closed,
because although we may sense much about the future, we cannot see
it clearly.
They are dancing on deep green grass, to convey a feeling of luxury
and beauty, and also a feeling of spring. (The grass is seldom like this
except in spring, before it’s been cut.) Behind them is a line of trees to
show the growth and strength here. The sky is brilliant blue to show
the spring time feelings, and to give an impression of perfect,
cloudless days.
The three birds echo the three maids, but translated into a higher
plane. They now have the wings of the spirit, and clear bright voices,
and they have left the bonds of gravity and are flying free.
Above them you can see the corners of what must be a grape arbor;
but it’s outside the edges of the picture. At any rate, the ripe grapes
are growing there in abundance. Grapes in all the cards are symbols of
richness and plenty, and these are no exception.
At their feet are containers of fruit and veggies. One of them is a
silver bowl, one is made of wooden staves, and one is woven withy.
These, too, show three states of being. The silver is precious, but not
flexible; and it has all the connotations of silver (magic, the unseen,
mystery, etc.) It holds a variety of fruits. This shows the magical
nature these maids are ushering into the life of the Seeker.
The second is made of wooden staves, and is a plain, utilitarian
vessel of the kind that farmers have used for centuries. It’s full of
vegetables. It symbolizes the practical nature of the things that are
coming; the part that is good for you.
The third is woven of flexible withy, and holds only grapes,
apricots, and green leaves. It shows the flexible, artistic nature of
whatever things the card seems to represent.
In the same way, a flute, an artist’s palette, and a drum are also
lying on the ground. The flute is for harmony, the palette is to show
artistic nature, and the drum is for balance, as a drumbeat keeps all
the instruments in the group in time. Drums also show a shamanistic
leaning.
All of these things being laid out at their feet shows that they have
mastered all of these, and also that all of these are in plentiful supply.
There are also overtones of offering in this. And, of course, the
implication that there is lots more, it’s just not quite in the picture at
the moment.
Taken together, it’s a card that fills one with the feeling of joy and
plenty, and the fates smiling as the past, present, and future meet to
give the Seeker abundance.
 Four of Cups
This card shows a man with a disgruntled expression sitting
with his back against a tree. In front of him three cups are lined
up on the ground. To his right, another is floating in the air, in
the act of either appearing or disappearing. But he doesn’t seem
to see it.
Key – Introspection and Discontent
This card means discontent with the present order, or with
materialism in general. A time of introspection and
contemplation. The beginning of self-awareness or of self-
involvement. A search for understanding. Solitude. Disregarding
or simply not noticing offered gifts or other things approaching.

The young man in this card is wearing a white shirt and gray pants.
These colors often show purity and balance; but here they usually
show his lack of passion or depth. He is barefooted, because he is in
touch with the forces of the earth. The earth corresponds to stillness
and wisdom. So, although he isn’t happy with things as they are, he is
at least being still, and listening to his inner wisdom. He’s trying to get
to the root of his problem, instead of distracting himself with other
concerns.
The tree he is leaning against is an oak. I chose that because it
symbolizes strength, and in the Celtic tree alphabet it’s also a doorway
into the mysteries. Around it grows ivy, which means a search for the
self; introspection. It’s also always green, which shows hope.
 The tree is just beginning to bud out, which shows early spring. This
is the beginning of this path for the Seeker, or the person this card
represents.
The grass around grows thick and green, to show vibrancy, growth,
and newness. But under him there is no grass growing. I did this to
show that this kind of attitude can keep things from growing, if it’s
carried to the extreme.
In front of him are three golden cups, gold for richness and things
seen, covered with spirals of introspection. He has already done quite
a bit of work to bring that which is hidden inside of him to light. But,
as you can see from his face, this doesn’t begin to satisfy him.
Next to him another cup is appearing, as beautifully decorated as
any of the others, but with the added addition of a blue stone,
showing the tranquility and spiritual gifts that could be his. But it isn’t
quite real yet. It’s just beginning to manifest in a glow of light. Below
it, a single white flower is blooming in its radiance, hinting at the
wealth of beauty that could come from this.
He isn’t paying any attention to any of this. I doubt that he even
knows it’s there.
Behind him clouds are beginning to fill the sky, showing his general
uncertainty and possible stormy weather ahead.
When I drew this card, I meant the cup to be manifesting. But at
one of the Tarot panels that I did, someone pointed out that it could
also be disappearing, because he isn’t paying attention and doesn’t
care. A sort of “use it or lose it” feeling. And that’s very true. It’s what
I mean when I say that reading is what you see when you lay out the
cards. Sometimes it might be coming, and sometimes it might be
going. Listen to your own instincts, and you will know.
But this card, at its simplest, shows someone who is beginning to
get in touch with her inner self, and has done some work in that area;
but she discounts all that she has done, and isn’t aware that more is
happening. She may need to look around, see the value of the work
already finished, and reach out to grasp that which is coming!
 Five of cups
This card shows a person in a black cloak, staring in despair at
three cups spilled on the ground. She doesn’t see, or doesn’t care,
about the two intact cups standing behind her. In the background
is a stream with a stone bridge across it, misty grey hills, a
standing stone gateway, and a castle on an escarpment. The sky
is filled with heavy grey clouds.
Key – Despair
This card symbolizes sorrow, loss, disillusionment, bitterness,
the end of a relationship, loss of work …you get the idea. But it
also shows that in spite of what the Seeker may feel he should
look around. He hasn’t lost everything yet.

It has always seemed to me that there are people who enjoy feeling
miserable, contradictory as that may seem. I think this card shows
someone in that mood.
So I gave the central figure a long black cloak: black, in this case, to
symbolize despair. And I showed her wrapping herself tightly in it;
clinging to it. She is finding some sort of comfort in this feeling,
clasping it tightly to herself. It’s precious to her, for some reason, and
she doesn’t really want to let it go.
You can hardly see anything of this person. Not even enough to tell
if it’s a man or a woman. (For those of you who really want to know -
it’s a woman, Pat Grey, who posed for a great many of these cards on
one bitterly cold afternoon. The photograph for this one was taken
outside in the snow. At least here I let her wear sufficient clothing!
This wasn’t true of all of them. All I can say in my own defense is that
I was barefoot and coatless myself.)
One lock of hair hangs lankly from her hood, to show this person
isn’t taking care of herself. Other than that, all you can really see is
that she is staring at the spilled cups, and cares nothing for the others.
The cups themselves are all golden. This is all manifest stuff. And
they have different colors on the rims. Blue, white, and yellow are
spilled; but green and red remain. These colors can mean different
things at different times. I thought about it for a long time, and then
decided to spill the white for innocence, because most of us lose that
sooner or later, and the deep blue for spiritual stuff, because I am
most apt to despair when I have made some mistake in that arena. The
yellow I spilled because that color is one that corresponds to air in my
tradition, and that also means knowledge and communication. So this
person has forgotten something crucial, or broken her lines of
communication. She is brooding, and not open to the advice of others.
Yellow is also the color of joy in the Tarot, and when your joy is
spilled and gone, it’s true that it often seems that nothing is
worthwhile any more.
The red and green that remain, however, stand for all of life, or for
growth and will. So this person isn’t as badly off as they think!
It took me some time to decide what color to make the spilled
liquid, as well. I thought about making it clear, like water. But no one
gets that upset over spilled water. Then I thought about making it
white, to drive home the “don’t cry over spilled milk” idea. But I
finally decided to make it bright red, like wine or blood, because the
person at least feels that she has lost something vital. Something
important and necessary poured out on the ground and wasted.
The ground where the figure is standing is bare, because I wanted to
show the feeling that all was waste. But beyond the figure things are
green, although faded by the mists of uncertainty and despair to
almost grey.
The running water is the Stream of Consciousness. As water almost
always does in the Tarot, it symbolizes reflection, depth, and things
mysterious and not quite known.
This person can cross it if she wants to; there is a bridge, and the
path she is on leads to it, if she just turns around. And beyond it the
path continues through hills of enlightenment and a ridge of trees
(growth) to the standing stones and eventually to the castle.
I put the standing stones in to show the ancient wisdom that is
there; available but often ignored. The castle represents the current
pinnacle of human achievement. Both of these things are accessible
from this point, although the trip won’t be easy.
The lone bird flying in the sky shows spirituality, although from
here it’s a long way away. Still, it’s there!
All in all, this card shows a person who is clinging to despair;
brooding about what she has lost, instead of looking at what she still
has. The losses are real, but so are the things that remain. If she wants
to grow, she will have to give up her melancholy, turn around, and
begin the journey.
 Six of Cups
This card shows two young children, a boy and a girl, standing
in the road in front of a cottage. Arranged around them are five
cups full of bright flowers, and the boy is handing another to the
girl. The children have wreaths of flowers in their hair, and the
sun is rising behind the thatched roof of their home, giving an
impression of warmth and delight.
Key – Home and Childhood
This card means the past, memories, nostalgia, innocence,
youthful idealism. Giving out of pure generosity or love, with no
thought of getting anything in return.

This card doesn’t show childhood as much as it shows a dream of

childhood. Real children are often selfish and dirty, and every tiny
little thing is fraught with enormous meaning. I can remember being a
child quite clearly, and being more upset by misplacing a toy than I
am by anything today. Now I have perspective; then I had none. I
never felt innocent, either, although I was. I felt like no one was
explaining the rules to me!
So, this card shows all the good parts of being small, with none of
the bad. That’s why it’s really nostalgia. It’s also the sense of wonder
you can have when everything is new, and you are still exploring the
world for the very first time.
The children in this card are on a path; but it’s still not far from
home.
 The little boy is dressed in a blue tunic, showing spirituality; but his
stockings and sash are red, showing his courage and passion. His
sleeves are trimmed with white for his purity, and gold knotwork. The
knotwork is a series of designs made from a single line that loops
around on itself to make a three pointed design. I chose this because
it’s the simplest form of knotwork I know, and so symbolizes the
simplicity shown in this card. It also has the three points, which stand
for the past, present, and future; or the Maid, Mother, and Crone; or
the unconscious, conscious, and super conscious mind; or any other
“three” that strikes you during the reading. They are gold to show that
this is precious.
On his sash are embroidered white lilies for purity.
Around his head he wears a wreath of white lilies, pink rosebuds,
and violets. The lilies are for purity, again. The pink rosebuds
symbolize love. The violets are for friendship, and also to show that
it’s spring; the time of childhood and beginnings.
The little girl is dressed in pink and green; the colors of life, but
muted as they begin for a child. Her vest is laced with blue for
spirituality, and she wears a spotless apron to show that her innocence
is protected. She, too, wears flowers in her hair, but hers are pink
poppies and daisies. The daisies are for freshness. The poppies show
the childish passions. She feels quite strongly about things, but there is
nothing carnal there yet. Her wreath is open in the front, to symbolize
that she is open to the gift she is receiving.
She has not yet reached out for it, though, because she is at a very
passive stage. Receptive, but not grasping.
The cups themselves are very reminiscent of the cup shown on the
ace card, and colored the same way for the same reasons. But these
have no mermaids and no hearts. Instead, they are decorated with a
motif of various shields. I did this to show the inherent nobility of this
sort of idealistic card. The feeling of giving because that is what you
do, and expecting nothing in return. The feeling of protecting those
who are weaker than you, instead of exploiting them. The dream of
nobility, as this card is the dream of childhood.
They are filled to overflowing with white lilies, yellow daffodils,
pink rosebuds, violets, and star flowers. The lilies are for purity, as
always. The pink roses are for love and affection again. The daffodils
and violets are to show that this is spring. The star flowers are to show
that sort of “starry” feeling, and to symbolize the pentagram, a very
magical and hopeful symbol in my religion.
The cup the boy is offering to the girl is smaller than the others,
because it is something just beginning, that will grow.
Behind the children are two walls, which are between them and the
house. This is to show that although there is still a path “home,” there
is some separation beginning, too. The wall behind the boy is tall, to
show his beginning independence, and has a carving of a knight in
shining armor. This is to show his youthful idealism. The wall behind
the girl is shorter, because she is younger and therefore closer to her
home. It has a carving of the Celtic Tree of Life, to show that she is
part of life, and will grow into much more than this, herself.
The home is the sort of thatched roof, white washed cottage found
in fairy tales. I did that to show the idealism of this card once more. It
has vines growing on it, to show the introspection and to show
clinging to home. We can see two sets of windows. The ones on the
ground floor are a set of three arched windows, to show grace, beauty,
and your favorite three again. They are all lit up, to show the warm,
welcoming sort of place this home is.
The upstairs window is dark, with a curtain half drawn over it. This
is to show that the seen and the unseen are there, too. This window is
the unseen, or only partially seen. The friendly mystery of presents
unopened, or clean white curtains half drawn in your very own home.
A white dove perches on the roof, to show the peace in this home.
Between the road and the cottage, the grass is the vibrant green of
spring. There are plenty of trees, too, behind the house. They show
strength and growth, and are also the brilliant green of spring.
The sun is just coming up in a perfect robin’s-egg-blue sky. This is to
show the beginning of a new day, as well as a new season, and the
perfection and clean scrubbed purity and newness symbolized by this
card.
The whole thing, then, shows the innocence, purity, nobility and
generosity of an idealized childhood. All the good things; all the
feelings of rightness and sparkling newness. All the wonder and
comfort, and the giving without expecting anything back. All that is
best and brightest about the dream. It’s an emotion, as all the cup
cards are; the pure joy and delight of giving, from my home to yours.
By the way, the boy on this card is my stepson Tim, when he was
only six.
 Seven of Cups
This card shows a richly dressed person, head in hand,
dreaming. The dreams manifest as seven cups, each holding a
different symbol and with a different design around the rim,
suspended in golden clouds.
Key – Dreams
The meaning is overactive imagination, illusion, dreaming in
place of doing. A choice of paths or goals. A mystical experience.
Positive visualization, goals, or ideals. Introspection.

This is one of those cards that taught me a lot while I was drawing
it!
I began with deciding to show that all of this was dreams,
imagination, or visualization by letting the dreamer appear face
forward. Her curls become clouds, to show that all of this is in her
mind.
I began by thinking of this as mostly wish-fulfillment; but as I drew
this card I realized that it was much more. I came to understand that
it was dreams from which all our goals and aspirations come, and this
card represents the beginning of that journey. The seed from which
they all spring, and the choice about which path to take.
Starting from the top left, then, the first cup has a silver band,
representing magic and mystery, with a bright red heart and engraved
flowers on it, representing love. From it spring fireworks and stars.
This cup represents the tingly, starry-eyed “falling in love” kind of
love. The sort that sweeps all other cares aside. The kind that young
girls dream of. (I don’t know if young boys dream of it too – I haven’t
been one recently!)
The second cup has a deep blue band, for spirituality and the
Goddess, decorated with the triple moon sign of the Lady. From it
rises a snake, which also symbolizes flexibility and wisdom, and has
meant the Goddess and feminine power and energy for ages. (That’s
why the early Jews, and the Christians after them, were so opposed to
snakes!) This cup represents the spiritual path, and the life of a Priest
or Priestess.
The third cup has a black band, with a skull and cross-bones on it.
Resting in the cup is a victory wreath. When I first began to work on
this card, I was surprised to find some death symbol connected to this
cup in all the material I could find. I didn’t understand it. In fact, I
have some early notes where I ask “crush your enemies?” But that
didn’t feel right. One evening, I finally said to my husband, “I don’t
get this ‘Victory over Death’ stuff! …Oh.” And it became clear that
this is what this cup represents. Victory over death! That’s the reason
that the wreath is made of green leaves, and the ribbon on it is red.
Those are the colors of life!
The fourth cup has a red band with chains on it, and a red dragon
rising from it. Chains, of course, are for binding. They are also found
on the Major Arcana “Devil” card, which stands for greed. And that’s
what I meant when I put them here. Greed. The dragon, however,
stands for sovereignty in Celtic mythology. So having a dragon in this
context symbolizes the ability to rule your own greed. Having power
over that part of yourself that wants everything. The dragon is red to
show its vitality and passion. It looks a bit worn about the wings to
show that it isn’t always an easy fight; but it’s one the Seeker dreams
about winning.
The fifth cup is decorated with a green band with a motif of dollar
signs. In it are heaped all kinds of jewels, from pearls to jewelry of
silver and gold set with sapphires and rubies. This cup stands for
wealth, of course. Depending on how it strikes you, it could also stand
for wealth of the spirit, because pearls, in legend, could only be worn
by a woman who was pure in spirit. Any other kind would make them
grow dull, and eventually they would turn to dust. But usually it looks
like pure material wealth to me.
The sixth cup has a rich purple band, with a silver crown on it.
Inside it is a castle. This cup may stand for power, or it may stand for
home. (A man’s home is his castle.) It all depends on how it looks in
any particular reading. I made the crown silver, by the way, to show
the magic inherent in the dream.
In the center, surrounded by all the other cups, is a cup with a silver
band decorated with spirals. The silver is for mystery, magic, and the
unseen, of course. The spirals stand for introspection, the search for
self. Sitting in this cup is a mask, with the blue ribbons of spirituality
on it. When the Seeker reaches this cup, and begins to know herself,
she will realize that this is the mask she has been wearing; that’s the
inside of the mask that we are looking at! From here, it’s white, but
that is the white of a piece of paper that hasn’t been drawn on yet.
Who knows what is on the other side?
So when you understand this whole card, you see the dreams which
start you on a path. Which one appeals the most? Which should you
choose? Which does the Seeker focus on? For it would be very hard to
go down all of these roads at the same time. Each of these things
requires quite a bit of time and energy, if the Seeker is going to do
anything more than just dream.
 Eight of Cups
This card shows a figure robed in crimson, walking into
rugged, misty mountains under the moon at night. In his left
hand, he holds a staff with a feather, a willow branch, and a
horse tail on it. Behind him is a glassy stream. On the near bank
sit eight golden cups, each with a jewel on the rim. Eight wild
geese fly across the face of the moon.
Key – Enough of This!
This card means leaving this phase of life behind; rejection of
the material to turn towards the spiritual. Disappointment in
love. A search for a new path. Leaving the familiar to “find
yourself.”

This card is dominated by the eight golden cups that are left behind,
sitting on the grassy riverbank. I did this, because sometimes the
things left behind are more obvious than what is ahead. They are all
gold, because they are all part of the seen world. They are things that
the Seeker is well familiar with, and ready to part from. They are
plain, except for a colored stone in each. These colors are all the
colors of the rainbow; crimson, red, orange, yellow, green, blue,
indigo, and violet. This is to show that all facets of this part of life
have been thoroughly explored by the Seeker, and she is ready for
something new. They also show that the Seeker is leaving behind a
full spectrum of possibilities in their search for a new, different path.
Or you might see them as the colors of the chakras, or the stages of
life, or anything that springs to mind in a particular reading.
They are sitting on the grass to show the pleasure and ease of the
life that is being left behind, as compared to the rugged landscape that
the Seeker has chosen now.
Between the cups and the Seeker is a stream, showing the mystery
of the unconscious. In this case, it also shows that a definite landmark
has been crossed; that the old way is left completely behind. There are
many legends about running water and what may or may not cross it;
and there are also tales in which once the water is crossed there is no
turning back. I meant to evoke that sort of feeling.
It’s also glassy and reflective, but behind the Seeker. The time for
reflection is past. Now is the time for action.
The figure is dressed in leather boots with fringe, such as the
pioneers wore. I did that to show his pioneering spirit. He is also
wearing the red cloak of courage. It takes quite a bit of courage to
leave what is known and comfortable and strike out into the
unknown.
He carries a staff to help him on his way, and to give him sure feet
and a steady path. He can use it to test the road ahead, or to meet
challenges. On it are bound an eagle feather for bravery, white
horsehair to speed him in his search, and green willow in mourning
for what is past and gone. He knows what he has left behind, but can’t
turn back, because it is no longer what he needs.
He walks into the mountains of enlightenment, the mountains of the
spirit, still shrouded in the mists of uncertainty; but they are now his
goal.
The sky is dark to show the mystery and uncertainty of this path.
This is done by faith, not with clear vision.
Above him eight wild geese fly above the moon, to show that this
path is as inevitable, and as necessary, as the migration of the geese.
The moon itself is both full and waning - the full moon held in the
arms of the old. I did this to show that the completion of this phase is
upon the Seeker. The time for the ending of this part of his life has
come.
All in all, then, this card shows the Seeker, armed with courage and
steadfastness, leaving behind that which is familiar and comfortable
and beginning an inevitable trek into the mountains of enlightenment.
Basically leaving what he has known, and striking out anew.
 Nine of Cups
This card shows a well dressed man, jolly and well fed, holding
out his arms to embrace the universe. Behind him, nine golden
cups are arranged on a golden horseshoe-shaped shelf.
Key – Party Hearty
This card means satisfaction, plenty, well-being, success,
security, sensual pleasures, wishes fulfilled, and so on.

I decided to show this man close up so it would be easy to see the

expression on his face, even though that means it’s harder to tell that
his arms are outspread in welcome.
He is dressed very richly, showing that he has enough and to spare
of everything. His tunic is red, for richness, passion, and ebullience,
with brocade of gold, to show wealth and material stuff. The design is
of exuberant flowers, vines, and fruits to show plenty, bountiful
growth, and thriving. (It also reminds me of the sort of clothing that a
friend of mine, who has very much this sort of personality and
attitude, wears to the Science Fiction Conventions that we both
attend.)
His collar is purple, to show the depth of these feelings, and the
richness. On each part of it are nine gold coins, to show wealth again.
He is wearing the sort of hat a wealthy merchant or burgher might
wear, to show that he has earned the richness he is so willing to share
with all.
He himself is obviously happy and well fed. He clearly has plenty of
everything, and shows great emotional and physical well-being.
Behind him are nine identical golden cups, to show abundance -
more than enough of all that he wants. They have silver rims, to show
balance. On each is a design of gold coins, again showing abundance.
But the fact that they are identical may imply that this fellow doesn’t
have much variety in his life. As always, it depends on how the card
strikes you in the reading.
The shelf they are arranged on is shaped like a horseshoe to show
good luck. It’s also the shape of a rainbow, to show that sort of beauty
and promise; and it may actually be the shape of a circle, to show
completion. It all depends on how it looks when it turns up.
Behind the cups is simply warm golden light.
There is great contentment shown in this card. All the colors are
warm, and the man himself seems very warm and friendly. Perhaps he
is a host, welcoming the Seeker into his bounty. Or he may be the
Seeker, finally having so much of everything that he can give
unreservedly.
In either case, it’s a card of plenty, of contentment, of deep joy and
every wish fulfilled. It shows deep emotional wealth, and a giving
spirit that makes everyone welcome, and invites everyone in to bask
in the warmth.
 Ten of Cups
This card shows a family dancing for joy and embracing.
Behind them is their home, with a heart on the rooftree, and the
sun just breaking from among the clouds. Around them is a
border made from a rainbow which flows from one cup to
another, spanning all ten in its journey, and making an oval
reminiscent of the wreath on the World card. Beyond that are
white clouds, with a pair of bluebirds flying among them.
Key – Welcome Home
This card means home, joy, familial bliss, peace, plenty, love,
contentment of the heart, respect from your neighbors.

This card shows great emotional joy and love, although not a lot of
material wealth. The man and woman here are happy, and rosy
cheeked, and obviously love each other and their two children. The
man is wearing a blue tunic, for spirit, with a large star and four
hearts appliquéd onto it. The hearts are for love, of course. The star is
for fulfillment and joy, faith and idealism. It has five points, too, so it
also stands for magic and spiritual awareness. The blue ring around it
shows spiritual completion and continuity. The silver leaves show his
spiritual growth and vitality.
His wife wears a blue vest as well, to show her spirituality, with red
edging for passion, and white hearts for her pure love. Her skirt is
green to show her growth and vitality, and her association with the
Goddess. In her hair she wears white flowers, for purity and
gentleness.
Their daughter is dressed in blue and green as well, for growth and
spirituality, and has pink hearts on her vest to show her own affection
and love. Their son is dressed in purple and red, to show his passion
and joy in life. On his sleeves are tiny red hearts for he, too, has a
loving nature.
Behind them is their modest home. They aren’t wealthy in material
things, just in joy and love. It has a heart on it, in case you weren’t
clear on the concept. Behind them are trees, for strength and growth.
The light is just breaking free of the clouds. The storm is over, and
the sun is coming out. The promise of happiness has arrived.
The rainbow that surrounds them goes from the cup on the left,
which has a white gem to show spiritual fulfillment, to the one on the
right, which has a deep purple gem, for healing.
The cups themselves form the other half of the circle. They are all
made of gold, to show their richness; but they have silver rims. This is
spiritual and emotional wealth. Each also has a single gem, a different
color for each cup.
The purple gem shows protection and healing. The indigo is for
spiritual growth and second sight. The blue is for tranquility,
understanding, and patience. The deep green is for growth and peace.
The leaf green is for fertility, luck, and hearts ease. The yellow is for
strength, joy, and warmth. The orange is for adaptability, attraction,
and kindness. The bright red is for courage, strength, and vigor. The
deep red is for passion and comfort. The white is for purity, truth, and
spiritual fulfillment.
Together, they show all things good and pleasant, strong and
protective, completing and complimenting the rainbow.
Around this whole happy picture are clouds, to show that it is a
spiritual state, with the bluebirds of happiness flying through them.
The whole card, then, shows a family united in love and joy. This
makes them spiritually strong, and able to withstand the storms that
may come their way. It also gives them much happiness, and the
ability to heal each other.
This may not be a birth family, but it is a group in which the Seeker
can finally feel loved, and “at home.”
As all the cups show emotions, this one shows emotions completely
fulfilled.
One final note on this card, though. At one of the Tarot panels I did,
I had a participant say that it didn’t look at all like a real home to
him. It looked like a dream of home; an idealization. It was all “in the
clouds,” and didn’t actually exist. If it looks like that while you are
reading, then read ‘em the way you see ‘em.
Don’t be limited by what I was thinking when I drew these cards.
That was a long time ago, and even I am not the same person now
that I was then! So let your own mind and experience color your
readings, and give them that unique depth that only you can provide.
 1It was supposed to be silver. Please be kind, and don’t notice that it didn’t get
colored in at all. Small imperfections are the mark of hand-made goods. And too-
tight deadlines. While you are at it, please don’t notice the other bit of this card that
I didn’t color, either. (I never claimed that I don’t ever make mistakes.)
2 Mastering the Tarot, Eden Gray,©1971 Printed by Signet in June 1973
3 In the Wiccan calendar, there are eight major holidays; the Solstices, the
Equinoxes, and the Cross Quarter days midway between each one. These make up
the Wheel of the Year. If you want more information about this, it’s in Appendix C.
 How Does it Work?
No one knows for sure how the Tarot works. But there is plenty of
speculation.
This ranges from “It doesn’t,” to “It’s Magick!” Both of these, of
course, are really non-explanations. All they do is negate the need for
any real explanation at all!
Some people go into Jungian philosophy and archetypes. If you are
interested, there are plenty of books about that. But this book is
already way too long to try to go into that now.
Some think it works because all of the universe is really ordered.
Somehow, the Tarot taps into that order, and reveals it to us. This gets
into Quantum Mechanics and all sorts of other things that I simply
don’t have room for. Once again, there are books that do explore this.
Some think that Angels, or Spirits, or other non-corporeal forms of
life are busily arranging the cards as we shuffle, and that’s why they
reveal what they do.
Some think it’s all a matter of chance and self-fulfilled prophecy. If
you are sure that something is going to happen, then, at some level,
you see that it does. Also, they believe, the pictures on the cards are
vague enough that the Reader, working from clues she gets from the
Seeker or information that she has learned ahead of time, can read
into the cards anything she wants, and she tailors the reading to what
she already knows. (This is called "cold reading" and is used by
mentalists, etc.) I disagree with this one, because I’ve seen readings
that were very accurate too many times when the Reader had no
knowledge of the Seeker at all, and the Seeker wasn't present, so there
were no cues to pick up on.
But to answer the actual question …well, your guess is as good as
mine! But I’ll tell you what mine is (at least until further notice.)
My favorite theory is that it works because it’s really a focus.
According to this theory, all of us really know all kinds of things
about what’s going on all around us, but we keep this knowledge at an
unconscious level. At that level, too, we are able to communicate with
the people around us, so we can absorb the knowledge that they have.
Let me try to explain.
I had a dream once. In it, I was going to see a play with a friend of
mine. We were sitting in the balcony, waiting for the play to begin,
when an announcement came over the PA, telling us that the format
of the play was not what we were expecting. It wasn’t going to be held
on the stage; it was in the bleachers in back. The voice went on to
explain that we were all to leave the theater, find our way to the back,
and sit wherever we wished. Then the play would begin.
So my friend and I, along with the whole crowd of other people, left
our seats and streamed through a doorway into the bleacher section.
In the confusion, we became separated.
The bleacher section had bleachers, all painted black, arranged
around a circular, raised platform. In the middle of the platform was a
circular wall, shaped like a cog wheel lying on its side; about ten feet
tall and made of glass. There were speakers in all the inset portions of
the wall, and behind the glass were a number of actors.
I thought that I saw my friend sitting on the platform, leaning
against the glass wall. It startled me for a moment, but then I decided
that they had said to sit anywhere; so I climbed down the bleachers
and joined her. But when I got there, it wasn’t her at all, it was a
stranger. However, the play was beginning, and I was too embarrassed
to move at that point.
As the play progressed, it became apparent that it was a play about
the mind. The actors behind the glass were the ones playing the part
of the conscious mind. All of us on the outside, all around them, were
the unconscious.
We could hear everything they said, because of the speakers. But
there were no microphones. In order to try to communicate with
them, we had to use semaphore, and charades, and drawing with our
fingers on the glass. And to make matters worse, they tended to ignore
us completely, and we had to bang on the glass to try to get their
attention.
Those of us who were actually part of the cast were the unconscious
of the Person whose mind it was. Those of us who were part of the
audience, and had wandered in, were from the unconscious minds of
other people. We could talk easily to the unconscious mind of the
Person, and even help with the communication effort.
But communicating anything to the Person was difficult, to put it
mildly.
Which was frustrating, because we also had the voice from the PA,
playing the part of the Universe, giving us information that the Person
needed to keep from making a horrible mistake. But getting that
information across to the actors who were the Person’s conscious mind
was well nigh impossible.
When I woke, I realized that it would explain a lot if that is how it
really is. Think about it. Makes sense, doesn’t it?
When we think of our unconscious mind as the subconscious, a part
of us that’s buried beneath our conscious mind and walled away
where it seldom sees the light of day, I think we have it backwards.
It’s not our unconscious that is barricaded and difficult to
communicate with. It’s our conscious. Our unconscious can talk to the
unconscious minds of everyone on the planet! (And perhaps beyond.)
The only trick is to get the knowledge from the unconscious to the
conscious. We do that in dreams, and in flashes of insight, and in
vague feelings. But we have often been taught to ignore our insight
and feelings, and many of us forget our dreams.
The Tarot, though, is physical. There it is. So we are more likely to
be able to pay attention to it. When a Reader looks at a Tarot card,
she can allow the feelings and insight to come out. And because there
is a card to point to, it’s easier to express them, and easier for the
Seeker to listen.
Our unconscious minds, and the universe, are desperate to
communicate. Just as, in the dream, we were trying like mad to get
the actors behind the wall to listen to us. In fact, at this point in my
life I think that communication is so deeply desired that we could
probably do divination with bottle caps and paperclips! If we gave the
unconscious a code, by deciding first what the various bits meant, I’m
sure that it would use them to try to talk to us.
All of us can be Readers, just as all of us have dreams. The trick is
just to relax and let it come.
The correct cards show up, I think, because those are the cards we
really know we need. The universe is very accommodating about
giving us what we need (not to be confused with what we think we
need, or what we want!)
So the more in touch you become with your feelings and intuitions,
the less you fight your unconscious mind, the better your readings will
be. Try it!
 Beginning Reading
When you sit down to begin reading the Tarot, there are a few
things I think you should do first.
Number one is to establish a space free from interruptions and
distractions. If you have an altar, or sacred space of some sort already
established, you may want to use that. If you don’t, make sure that no
one is expected. Then go into whatever room you are most
comfortable and secure in, close the door, disconnect the phone, and
get ready to begin.
This is necessary, because you are about to make contact with a side
of yourself, or of the universe, that is not part of your normal, waking
conscious. As you become more used to this kind of connection, it will
become easier to establish, and more tolerant of disturbance. But at
least at first, why not make it as easy on yourself as possible?
The next step, and one that is absolutely essential, is to Ground and
Center.
Centering means aligning your energy body with your physical
body, so that they are both in exactly the same spot. We all have
physical bodies, which occupy this physical plane, and which we can
touch, and feel, and see. We also all have non-physical bodies, which
enfold our physical bodies like the skin of an onion. They are harder
to see and touch, although they are as real as anything. As we go
about our daily lives, our non-physical bodies, or energy bodies, can
become misaligned from our physical bodies.
Have you ever had a day when you felt disoriented somehow, as if
you weren’t really there? Have you felt as if you were standing
slightly to one side of your body, working it by remote control? Have
you felt as if there were layers of glass or gauze between you and the
world? If you have, then you have experienced being misaligned from
your physical body. That’s what happens (usually due to emotional or
physical stress of some kind) and that’s what it feels like when you are
grossly uncentered.
You can be subtly uncentered, too; but there are techniques to fix it.
And that’s Centering.
Grounding is tapping the energy of the Earth, so you don’t deplete
your own supply when you are working with energy. Something like
Tarot reading uses energy at a ferocious pace. If you aren’t Grounded,
you may find yourself feeling drained and exhausted after a few
readings. You are also likely to get headachy, with a feeling ranging
from tension and weariness behind your eyes to pain so severe that
you expect an imminent head explosion! You don’t want that. (At
least, I assume you don’t. I don’t know. Maybe you like pain!)
These are symptoms of energy depletion. They can be cured by rest,
proper breathing, plenty of water, nutritious food, and time. Or they
can be avoided by Grounding in the first place.
Although Grounding and Centering is a wonderful ability that can
help in every facet of your life, not just Tarot reading, it is seldom
taught in the schools. Which is too bad, because besides being
important for good health, it’s really easy to do!
If you don’t know how already, try this. Close your eyes. OK, open
them, and read the rest of this description. Then close them again, and
remember what I said. Or read it to yourself on a tape recorder, and
play it back. Or have someone else read it out loud to you. It’s
probably best to do this while sitting comfortably in a chair, legs
uncrossed, and feet flat on the floor. Try not to have any part of your
body resting on any other part.
Close your eyes, relax, and take three deep breaths, in through your nose
and out through your mouth. Count 1, 2, 3, 4 as you inhale, and 5, 6, 7, 8
as you exhale. Again, 1, 2, 3, 4, and 5, 6, 7, 8. And one more time 1, 2,
3, 4, and 5, 6, 7, 8. Relax your body. Feel all your muscles relax.
Now feel your energy, your essence, lining up in the center of your body.
At the base of your spine, at the bottom of your body, there is a red spot,
a spot glowing red like the most beautiful of red Christmas lights. Line the
red spot of your energy body up with the red spot of your physical body. If
you can’t feel it, just imagine you can. See them coming together perfectly
in your mind’s eye. When they are perfectly aligned, front to back and side
to side, imagine you hear a tone in your mind’s ear. Imagine a middle C, a
clear chime sounding do (doe.)
In the middle of your belly, about the width of your hand down from
your navel, there is an orange spot, glowing orange like the rising sun. Line
the orange spot of your energy body with the orange spot of your physical
body. Imagine them coming together perfectly, glowing orange. As they
merge, front to back and side to side, and become one glowing orange spot,
you hear a clear D tone. Imagine you hear a chime sounding re (ray.)
 Above your navel, at the level of your diaphragm, is your solar plexus.
There is a spot there, glowing yellow, a clear, bright yellow like the summer
sun. Line the yellow spot of your energy body with the yellow spot of your
physical body. Let them flow together to become one glowing yellow spot.
And as they join, and become one spot, front to back and side to side,
imagine you hear a chime, a clear note sounding E. A silver chime singing
mi (me.)
At your heart there is a green spot, a spot glowing green like the sun
through the leaves in early June. Feel the green spot of your energy body
lining up with the green spot of your physical body. Feel them coming
together, and becoming a single spot. Merging into a single spot, glowing
green. And as they merge into one spot, front to back and side to side, hear
a tone, a chime, sounding F. A clear chime singing fa (fa.)
In the middle of your throat, at your adam’s apple, there is a blue spot.
A clear bright blue spot like the sky by the ocean on a cloudless May
morning. A beautiful spot, glowing blue. Bring the blue spot of your energy
body into alignment with the blue spot of your physical body. Coax them
together until they become one spot, from front to back, and from side to
side. And as they flow into a single spot, a single spot glowing beautiful
blue, hear a G. A clear, beautiful tone, singing so (so.)
In the middle of your forehead, where your “third eye” is, there is an
indigo spot. A spot glowing with a deep blue-violet color, like a summer sky
after the sunset has faded, but before the stars come out. Glowing a serene
blue-violet, a beautiful indigo. Imagine you are bringing the indigo spot of
your energy body into perfect alignment with the indigo spot of your
physical body. In your mind’s eye, see them lining up perfectly front to
back and side to side so that they become one spot; one brilliant glowing
indigo spot. And as they come together perfectly, you hear a chime, a note.
You hear the note A. Singing out brilliant and beautiful, the tone la (la.)
On the very top of your head, on the middle of your crown, there is a
violet spot. A beautiful, glowing violet spot, like the most perfect of violets
growing in April. Glowing and lovely, a violet spot. Now match the violet
spot of your energy body with the violet spot of your physical body. Bring
them together, let them merge into each other, front to back and side to
side, until there is only one spot. One beautiful glowing violet spot. And as
they become one, hear a note, sounding clearly, hear a B. Hear a crystal
chime, singing the note ti (tea.)
Now imagine your spots all lined up; all the beautiful colors glowing, and
perfectly aligned. Your energy body and your physical body occupy exactly
the same space. This is easy, because it’s how you are meant to be. It feels
good, it feels right, it feels strong. As you see your bodies perfectly aligned,
as you see the spots of light forming a single straight line from your
tailbone to the top of your head, imagine the whole thing wrapped in a
white light. As you do so, imagine you hear the final tone. You hear high
C, do again, completing the scale, and completely balancing the energy of
the spots.
Now you are Centered. See what it feels like? You should do this
every day, whether you are reading cards or not, just to keep in
practice and keep all the energies of your bodies flowing easily. As
you do it, you will find that it becomes even easier to do, until you
will be able to just take a deep breath, and zip yourself into line like a
zipper!
By the way, if you have somehow become way far out of alignment
(and if you have, don’t be ashamed. You can’t expect yourself to do
something no one ever taught you to do; and you could hardly be
farther out than I used to be, before I learned how to do this) you may
find it easier to go the other direction; from your head down to your
tailbone. If you do, then do it that way. Eventually, though, I would
recommend learning to go this direction. It makes it easier to do other
things later.
And, in case you haven’t caught it, the spots of color that I’ve been
talking about are the energy vortexes commonly called “chakras.”
There is a wealth of information available about them, so I’m not
going to go into any of that here. Suffice it to say that if you visualize
them as bright and glowing every day, it will go far toward keeping
them “open” and in good health. Which means to say, the energy will
flow properly, which is what we are after, after all.
Now that you are all Centered, it’s time to Ground. Once again, I’m
going to talk you through it. It will be easiest to tape this, or have a
friend read it aloud to you.
Relax, Center yourself, and then take three deep, long breaths, in
through your nose, and out through your mouth. Count 1, 2, 3, 4 as you
inhale, and 5, 6, 7, 8 as you exhale. Again, 1, 2, 3, 4, and 5, 6, 7, 8. And
one more time 1, 2, 3, 4, and 5, 6, 7, 8. Relax your body.
Now imagine that you have a root, that grows from the base of your
spine. Imagine the white light you wrapped around all of your spots
becoming a cord that connects all the beautiful spots of light, so they can
all communicate with one another. All of your glowing spots are connected
by a white cord of energy, and the cord grows out of the base of your
spine.
As it grows, it becomes whatever color you are most comfortable with.
And this glowing root leaves your body, and stretches down into the
earth. Feel it penetrating the chair you are sitting on. It easily penetrates
the chair, because that is the nature of this root. It is strong and subtle, and
can slip through physical matter as if it wasn’t there.
Now feel it continuing to reach down, down, down through the floor,
and the foundation of the building you are in. All the way down, down,
down until it reaches the earth the building stands on.
Feel your root growing into the good, rich earth. Smell the smell of the
soil, and taste the water that lies beneath. Taste the taste of rock, and hear
the heartbeat of the Earth.
And you can feel your root growing deeper and deeper, down, down,
down into the earth, toward the heartbeat of the Earth.
And as you feel your root growing downward, you sense that there is a
wonderful, limitless, glowing pool of pure energy down there. And you
know that the Earth is alive, and full of energy; more energy than you have
ever imagined, more than you could ever need. And the Earth loves you,
and wants to share this energy with you. You are Her child, and this
energy is there for you to use.
Now grow your root down into this energy. Feel the clean, pure,
boundless, limitless energy of the Earth. And as you touch this energy, and
taste its light and pureness, your root will automatically begin to draw the
energy up into your body, because that’s what roots do.
Now feel the energy. Feel the bright, true, beautiful glowing energy of the
Earth flowing up your root. Feel it flow into your body, filling it with
wholeness and love, and softly glowing light. Feel yourself become full of
energy, the clean energy of the Earth.
This wonderful energy moves easily up your root. And now it’s in your
body, and flowing up the cord between your own energy pools, cleaning,
renewing, and revitalizing them as it goes.
And when it reaches the top of your head, let it flow out of the top of
your head, out of the violet spot on the top of your head, flowing up like a
fountain, like a bubbling spring, like the trunk of a tree. Flowing up, and
carrying all the old, tired energy out of your body with it.
And as it reaches the top of the flow, let it fall back down to the Earth
all around you. Let it return to the Earth, like a fountain arching down to
its basin, like the branches of a beautiful weeping willow sweeping the
earth. Let the energy flow all through you, and up, and out of you, and
back down.
Pull the energy up, and let it flow through and back down, up and
through and down, up and through and down to return to the Earth. Let it
flow so that you are the middle of a circle, a circuit, a fountain of energy,
flowing easily up and through and down into the Earth.
 And when you are finished using the energy of the Earth, when you no
longer wish to maintain the circuit, see your root pulling back up into your
body, into the base of your spine. Kiss the energy goodbye, and thank it,
and pull your root back up into your body. You are left with exactly the
right amount of energy. You are balanced, and have exactly the right
amount of energy, not a single drop too little or too much. Keep every bit
that you need, and return any excess energy safely and gratefully to the
ground, leaving you perfectly balanced, with just the amount of energy that
you are used to having, just the perfect amount. The only difference is that
this energy is pure, and clean, and fresh. And you feel good. Not high, and
not tired, just good. Calm and peaceful and serene and balanced.
And that’s Grounding. The two most important things to remember
about it are to Center first, and to always, always, always balance the
energy at the end, so you have the same amount you started with. I
can’t emphasize this too much.
When you first start doing this, you may be tempted to quit when
you are still too full of energy. After all, it feels really good. You feel
charged, and strong, and ready for anything. Who wouldn’t want to
keep that feeling?
Or perhaps you have the opposite problem. You may be so afraid of
keeping extra, that you let too much drain after you have withdrawn
your root, and end up with too little.
You will want to avoid either of these. Any unbalance in energy will
eventually get you. If you try to hold more energy than is normal for
you, or give too much back to the earth, it has an effect, just the way
that eating too much or too little has an effect.
If you eat too much you will feel bloated and uncomfortable. If you
hold too much energy, you will get a severe headache, and feel out of
sorts, groggy, and uncomfortable. Not right away, but within a few
hours.
If you eat too little, you will feel empty and grumpy. If you keep too
little energy, you will get a headache again, and feel drained, tired,
and lethargic. Once again, it may not hit you for a little while, but it
will hit you.
If you find yourself feeling either way, or even a little headachy,
after Grounding and Centering, then Ground and Center again. But
this time, make sure that you retain exactly as much energy as you are
used to. If you tell yourself that you are going to keep exactly as much
as is normal for you, and return to a perfectly balanced state, you will.
You don’t need to worry about how much that is; your various bodies
will take care of that for you. They know. Trust them.
 As with Centering, Grounding becomes easier as you get used to it.
With practice, you can walk around Grounded and Centered most or
all of the time. Until you are used to it, you may find yourself falling
out of it not because it’s tiring, or difficult, but because it does take
some concentration. Remember when driving took all of your brain
cells, and you had to consciously think about how to put your feet on
the pedals, and how to hold your hands on the wheel, and when to
turn the indicators on, and watch the traffic, and watch the road for
potholes, and try to stay in the middle of your lane, oh and don’t
forget, don’t get lost or miss your turn!? But now it’s all just second
nature (at least it is if you’ve been driving for several years) and all
you really have to worry about is the suicidal maniacs and missing
your turn. Grounding and Centering becomes second nature, too.
Eventually you simply do it when you do it!
Like Centering, it’s a good idea to do this for at least a few moments
every day. You might find that the combination, Grounding and
Centering, is a wonderful resource to have when facing the stresses we
all face. It’s marvelously calming, and nothing restores your
equilibrium better.
So, to get back to the topic of reading the Tarot cards, first find a
nice, quiet place free of interruptions, and then Ground and Center.
The third step is to figure out your question. This is perhaps the
hardest part of reading the cards, since the usefulness of your answer
is totally dependent on how you ask the question.
There are basically three kinds of questions. The first can be
summed up as “What do I need to know about this?” That is simple
and straightforward, and can be asked exactly like that. In fact, I find
that this is the best way of using the cards, since they will tell you
what you should know, and not confine themselves to what you want
to know!
The second type is a plain yes or no. “Should I do this?” In my
experience, this is a little light for the cards. They tend to give you
more information than you need if you ask a question like this (after
all, they are designed to do that) and sometimes it’s difficult to sort
out the simple answer. Sometimes, of course, it’s glaringly obvious;
but this is often not the best kind of question to ask unless you are
doing a very simple two or three card spread. It has always seemed to
me that if all you want is yes or no, with no information about why or
why not, you are better off with a simpler system. In such a case, the
real question seems to me to be, “If I do this, what will happen?” This
gives the cards the scope to answer the way they do best; by telling
you all about the past, present, and future of the situation, and
basically giving you insight about it.
The third type of question can be summarized as “Should I do A or
B?” If you ask it like that, once again, the answer you get is likely to
be foggy at best. You may wind up with a reading that clearly shows
that it will be difficult at first, but things will work themselves out,
and you will achieve the final outcome you want. But is it talking
about A or B? How can you tell? Or the reading may come up as so
much conflicting stuff, with no clear answer anywhere. This isn’t
surprising. If you knew the answer to someone’s question, and
couldn’t say a single word, but had to convey the answer by lying out
a handful of cards from a deck of only 78, how would you do with a
foggy question?
If I need to know an A or B question, I find that I get much better
results by first asking, “If I do A, what will be the outcome?” and then
doing another reading, asking about B. It’s usually pretty easy to
choose between the two outcomes. And on those occasions when it
isn’t, I either decide that it doesn’t really matter that much, or I do
another reading to get further insight.
Because that’s what it’s all about, I think. The whole point of using
the cards is to gain insight into a problem when all the normal
“mundane” means of telling which direction to leap don’t seem clear
enough.
While we are on the topic, there are two different viewpoints about
having the Seeker tell you what their question is.
I usually do, because I think it helps the Seeker to focus.
Some don’t, because they find that if no question is verbalized, the
cards will answer what the Seeker needs to know. I have a friend who
says that, for her, nine times out of ten the answer has nothing to do
with the question anyway.
Whether you wish to have the Seeker ask aloud or not, of course, is
up to you.
Alright. You are in a quiet place, free of distractions. You have
Grounded and Centered, and figured out how to ask your question.
The next thing I suggest you do is mentally state your purpose and
intent, dedicate the reading to the God or Gods of your choice, bless
the cards, and ensure the truth will manifest in the reading for the
good of all and by the free will of all.
Something like this. “Lovely Lady, Laughing Lord; I, (Name,) intend
to use these cards, to find out (question) for (Seeker’s name.) I
dedicate this reading and these cards to you. Lend me your power, as I
will that this reading reflect only truth, wisdom, and harmony with
the universe. Teach us what we need to learn. Enlighten me. Give me
the wisdom to understand and the words to explain that truth,
wisdom, and harmony. Bless this reading and these cards, and give me
the courage and compassion to give good counsel, that this situation
may be resolved for the ultimate good, in accordance with that
harmony. This I do will for the good of all, and by the free will of all.1
So mote it be.”
This makes sure the reading will be accurate and in accord with the
harmony of the universe. It also makes sure that nothing baneful can
use the reading for its own purposes. Not that anything baneful is
likely to want to; but it never hurts to be careful and sure. And it helps
you to focus your intent and will on just exactly what you want, and
communicates this to your subconscious mind.
So, now you are in a quiet place, Grounded and Centered, your
question in mind, and the cards dedicated and blessed. You are ready
to roll.
This is where things like shuffling and cutting come in. Some people
prefer to let the person who is going to ask the question, who I call the
Seeker, to shuffle the cards. Other people don’t feel comfortable
letting anyone but themselves touch their cards, ever. In this, as in
any other question about the care and treatment of your cards, do
what you feel is best. Don’t let anyone else tell you that your method
is wrong. There are no wrong methods! All of this is very personal,
and what you personally feel is the right way to handle it is the right
way for you personally!
So, do what you feel most comfortable with.
What I do is begin shuffling as soon as I have Grounded and
Centered, as I begin figuring out the question. I continue to shuffle all
through that process, and during the dedication and blessing. I do all
the shuffling myself. When I feel that I have shuffled long enough, I
put the cards down, and lay my left hand on them, to unveil the
hidden things. While I do this, I will the truth to be revealed once
again, for the good of all and by the free will of all. Sort of giving the
cards an extra oomph.
Then I cut the deck into three piles. If I am reading for someone
else, I ask them to choose a pile. When they pick one, I use the old
slight-of-hand trick, and either put that pile on the top, or on the
bottom, depending on what I feel is the right way at that time. If I’m
reading for myself, I still stack the three piles up in whatever order I
feel is correct; I just don’t say anything while I’m doing it.
 Then I begin to lay out the cards.
The important thing to remember when you are doing a reading is
that it will be as valuable and accurate as you allow it to be. What
makes you a Reader, and makes you more valuable than a computer
generated reading, is you.
In my opinion, which is entirely mine, we all have psychic ability.
There is nothing supernatural about it; it’s as natural as breathing.
And like breathing, we usually don’t think about it at all. We use it for
everything from talking to our loved ones to deciding not to get on
that particular train. (Ever do any research into just how many fewer
people than normal are on a train that is going to crash? Look into it
sometime. It’s fascinating.)
The problem arises when we become conscious of it; when we think
of it as something unnatural, that we can use for some things. Then,
just like we can hold our breath, we suppress our natural psychic
abilities.
Sometimes we do this because we are all rationalists, due to societal
training. If we can’t think of any really good, rational reason not to
get on the train, then we do, against all our better instincts. And when
it crashes, we say, “I knew I shouldn’t have boarded this one!” But we
do, because we don’t want to appear superstitious or irrational.
Only if we are labeled “psychic” do we seem able to relax and go
with it.
So I’m telling you now, you are a Psychic. There. Now relax and go
with it.
You don’t really need the books to tell you what the cards say, as
I’ve said before. Your wonderful mind, and your inborn, normal,
natural psychic abilities will do that. All you have to do is look at the
pictures, relax, and tell the story that you see there.
I denied for years that I’m psychic, even when I realized that
everyone is. I have come to understand that was mostly because I was
afraid of two things. The first was that if I was seen as psychic, then
people would want to put me in some position of responsibility. Since
I hate telling people what to do, or being responsible for anyone (or
anything) but myself, I didn’t want that. The second was that people
would hate me, or fear me, or hurt me. Well, they might. People hate,
fear, and hurt other people all the time. But that’s no reason to cripple
or limit myself.
Your reasons are your own, and you will have to find them yourself.
But I suggest that you do so. There is no reason for you to be crippled
or limited either!
 So when you are settling down to read, find a quiet place, Ground
and Center, find the question, dedicate and bless the cards, shuffle,
and relax and read, listening to your instincts and feelings as you go,
so your inborn psychic talent can manifest.
What spread you use isn’t really that important. I’ll be discussing a
few spreads later; but for right now assume that you are using one
that you like, and that feels appropriate to you in this situation.
(Notice I said “feels” again.)
If you are reading for yourself, then all you have to do at this point
is be honest with yourself, and take advantage of the knowledge that
the cards can bring you.
A brief caveat here; some folk find that they cannot read for
themselves at all. They get too wound up in what they want or fear,
find it too hard to be objective, and get into a sort of feedback loop,
where their desires or fears are magnified in the cards; but it has no
bearing on life in the consensual universe (the world as we all know
it.)
If this is you, don’t fret. You are in plenty of good company. An
awful lot of people can’t heal themselves, or scratch the middle of
their own backs, either. Some can. It doesn’t really reflect on your
value or worthwhileness as a person, or your degree of evolution, or
any other buzzword at all. You can try learning to be more objective.
It probably won’t hurt you. But you may find it better to just get
someone else to do your readings for you.
It’s when you are reading for someone else, though, that all kinds of
other issues pop up.
We call these the ethics of reading, and I’ll cover them in the next
chapter.
 1 It’s a good idea when doing any kind of magical working to include this phrase,
just in case you aren’t all knowing. It keeps you from accidentally stepping where
you shouldn’t and picking up the bad karma associated with that. A sort of
magically covering your heinie.
 Tarot Ethics
You may be wondering what ethics could possibly have to do with
reading the Tarot. I mean, you just lay out the cards, and what you see
is what you say, right?
Ah yes. But how do you say it? And when should you say things,
and when should you keep silent? And what do you do if the reading
distinctly shows that the Seeker is doing something she shouldn’t
oughta be doing?
And is trying to find out the future ethical in the first place? I was
raised to believe that the future is the province of the Lord, and He
would tell us what we needed to know in His own good time.
I’m going to address the last point first. In my opinion, which is
only mine, the Tarot is about a whole lot more than predicting the
future. It’s about where you are on the path you are following, and
what shape that path is taking. Where it comes from and where it’s
going. That’s why at least as many of the cards in most spreads deal
with the past and the present as deal with the future.
As such, it can cast some light for our steps (visions of the Hermit
card.) And I think it is far better to be aware of what you are doing
and where your path is taking you than to wander blindfolded and
simply hope for the best. I don’t think it’s the Gods’ job to watch our
every footstep. I think we need to grow up a little and start watching
our own feet!
So what happens when that light reveals something that the Seeker
might rather keep hidden?
I think that, as Readers, we have a responsibility to those who come
to us, seeking for the truth.
It’s not our place to decide that they don’t need the bit of truth that
is all over the table, staring us in the face, simply because it might be
unpleasant to deal with.
Truth often is.
But if the Seeker doesn’t know the truth, they can’t possibly do
anything about it. If you don’t warn the blind fellow about the truck
barreling down on him, he is unlikely to get out of the way.
I don’t think this is a popularity contest. Sure, people might like you
better if all of your readings were sunny and bright, and only a few
things were accurate.
Truth is often scary, especially when you know things you couldn’t
possibly have any way to know. People like to think that their secrets
are safe, and that the things their own unconscious minds are
screaming about are just nightmares. Too much spicy food, or that
movie they watched on TV last night. Not something really, seriously
wrong in their lives.
But they suspect something, or some part of them really wants to
know, or they wouldn’t be coming to you.
And that is the first thing you should do, I think. Make sure that the
Seeker is there of his own free will. Not because of peer pressure, or
because someone gave him the reading as a gift.
I don’t ever take money for a reading. Part of this is because of
religious considerations (I don’t take money for practicing my Art, and
that’s what reading is.) Part is because never taking money effectively
removes the temptation to read when I am too tired or ill to do it
right. Part is because if no money changed hands, the Seeker also feels
that she can leave, or discount the reading, if she finds she isn’t really
comfortable with it. And part is because no one can coerce someone
else to get a reading from me by paying for it.
Like other forms of counseling, it does little good if the Seeker
doesn’t want it, and isn’t interested in hearing about where they are,
or where they’re going. And if the Seeker doesn’t want to change, no
change is going to happen!
So, first I ask if the Seeker is sure they want this. I ask them how
familiar they are with the Tarot, and if they say they have never had a
reading before, but it looks like fun, I warn them that it isn’t a party
game, and I don’t do it for kicks. If they still think it’s all in fun, I
usually don’t read for them. I don’t do this for entertainment. I’ll talk
to them about the cards, and answer any questions they might have
about them; and sometimes as we talk they realize that it’s not just a
game. But if they are busy playing Hide and Seek in the dusk, they
probably won’t appreciate having the spotlight turned on.
The other thing I think vitally important is to realize that the
Reader cannot abrogate her responsibility. I had someone during one
of my Tarot discussions at a convention say that she never remembers
what she says during a reading, because she is channeling all of it, and
that people tend to bolt screaming from her table.
 Please listen to me. If you are channeling an entity that leaves you
no memories, and that frightens people that badly, I suggest that you
seriously reconsider what you are doing.
Harming other people is a bad idea for a lot of reasons, and
frightening someone that severely can do them harm.
We aren’t in this for thrills or self aggrandizement. Please don’t
intentionally try to frighten your Seekers, just to make yourself look
more powerful.
Remember the Strength card.
Real power doesn’t need to show off.
We are in this to help people, and badly frightened people aren’t
usually paying much attention. A bad scare triggers something called
the “Flight or Fight” reaction. The system is flooded with adrenaline,
the thinking part of the brain goes “off line,” and the animal part is
left behind to run away or fight to the death. This is a recipe for
overreaction. And what people fear, they must eliminate. Scare
enough people badly enough, and you will be shocked at the kind of
reaction you eventually get.
Besides, they won’t listen to a thing you say.
When I was a kid, I couldn’t see very well; so I was constantly
running into things, or knocking things over and breaking them. When
I think back on my childhood, sometimes it seems like a long string of
broken china and crystal. But my mother learned fairly early that if
she saw me standing with my elbows out right next to her prize
pitcher she shouldn’t become alarmed and shout, “Look out! Right
next to your elbow!” That was sure to make me whirl around and send
it crashing to the ground. If, instead, she calmly asked me to come to
her, I would, and the pitcher would be safe.
Do you see what I’m getting at here? Frightened people act
impulsively and abruptly, without thought. Since our goal is to help
people, we should try not to frighten them.
I’m not talking about them finding our accuracy scary. I haven’t
found any way to avoid that, although it, too, can be helped by being
super calm about it; or grinning and saying, “Yeah. It spooked me too,
at first.”
I’m talking about you, as the Reader, reacting to a reading as if it
were frightening. Even if it is, keep calm. And whatever you do, don’t
try to deliberately scare the pants off a Seeker, even if you think a
good scare might be good for them. That’s not your place.
Next, remember that the cards don’t show physical death. The
Death card is change, not physical death. The Tarot ignores physical
death entirely. I think that may be because death is just another step
along the path, and sometimes it’s not a very important one. All I
know for sure is that the Tarot doesn’t seem to care.
So if you think you see death in the cards, examine them more
closely. It’s more likely to be a sudden, involuntary change; or the
ending of a friendship, a business relationship, or an attitude.
Now, what do you do when you lay out the cards, and see that
something unpleasant is going to happen?
The first thing you should do, before you say anything to your
Seeker or react at all, is to determine why this thing looks likely, and
if there is anything that can be done about it at this point.
If the unpleasantness is in the past, the Seeker already knows about
it. Don’t worry. Just use it to establish timelines and accuracy.
If it’s in the present or the future, look at the significator and the
past cards and see if a pattern emerges that explains why this is going
on.
I begin broaching the subject by asking the Seeker if there is
something in particular they are worried about right now. Watch
carefully for non-verbal cues as you do this. Be sensitive to the mood
and attitude of the Seeker.
If she is forthcoming, and says, “Yes. I’m having some problems
with ___,” and that’s what you saw, then you can begin to talk about it.
Explain how the things in the past affected this, and what she needs to
be careful about. If you know something about the subject under
discussion, you may want to share your knowledge. For instance, if
she feels like she has the flu all the time, and you know that sounds
like Fibromyalgia because your sister has it, you may want to tell her
what you know about the syndrome, and suggest that she see a
rheumatologist. If she tells you that she is depressed all the time,
because it’s winter, you may want to recommend that she see a
psychiatrist about that. If she tells you she doesn’t know what to do,
because her boyfriend is beating her, explain where she can go for
help. Don’t make a diagnosis (unless you are a doctor, of course) but
don’t be afraid to recommend a professional if that seems like the
wisest course.
Most people, of course, will have problems they just want to talk
about. This is when it might be helpful for you to have a course in
counseling under your belt. If you are interested in getting one, try
volunteering for your local hot line – they usually provide some
training, and can almost always use the help. Or check your local
area’s religious network (for your religion, or for another.) They often
provide lay counseling training.
If you have to go it alone, remember that most people know the
answers to their problems. They just need the chance to let their
mouths run until the answer comes out! And when it does, mostly
what they are looking for is validation. They don’t want to hear about
your problems, although short anecdotes may make them feel less
alone. And if you have a good strategy for dealing with a particular
problem, by all means share it. But let the Seeker do most of the
talking.
As an example, if they are worried because they don’t have any
money, don’t tell them all about the time you were dead broke. Say, “I
know what you mean. I’ve always found it helps to budget a few
luxuries that don’t really cost much. A good chocolate truffle, for
instance, is less than a dollar, really. But if you treat yourself to one
once a month or so, you feel like you couldn’t possibly really be this
broke. At least, it always helped me.” Then listen, really listen, to
what they are saying.
Don’t be judgmental. If you tell someone, “Well, it’s your own fault,
really. What do you expect trying to live with two men at once?” they
will instantly stop listening to you. How they live, or who they live
with, is their own choice. This is their path, and their life; not yours.
As long as they aren’t harming anyone, their choice is valid for them.
As long as they aren’t trying to make you live your life their way, it’s
none of your business, really!
Don’t be critical. Once again, telling someone off will ensure that
their ears, at least, turn off! That’s not what they are there for.
Don’t tell someone what to do. Even if they ask you, I think this
puts you on really shaky ethical ground. Before you do it, ask yourself
why they are trying to get you to take the responsibility here. By all
means tell them what you might do in their place, or what a friend of
yours did. But what they do is entirely up to them. Make that crystal
clear; or they may be back on your doorstep in a few weeks or
months, blaming you for their troubles.
In my experience, people who ask someone else to just tell them
what to do with their lives are trying to duck the responsibility
themselves.
Remember that everyone already knows the best path for
themselves. They just need room to acknowledge that wisdom, and
perhaps emotional (or material) support in order to take the step.
Be gentle, be understanding, be supportive if you can. You are really
acting as a counselor here; so be the best counselor you can be. And
always remember that anything they tell you, or anything you
discover, is privileged information. It should never be discussed with
anyone else.
 Spreads
When I originally planned this book, I was going to put a whole
chapter about spreads in here. But, as you may have noticed, the book
got very long. So, after thinking about it for quite a while, I decided to
touch on them briefly, and then really explore the topic in a workbook
that was to be a companion for this one. Sadly, the workbook never
happened. Fortunately, the Internet did, with a plethora of methods
that are easy to find.
There are thousands of ways of laying the cards down to do a
reading. We refer to these as spreads.
Some people use the same spread all of the time. Some use different
kinds of spreads for different kinds of readings or questions. One
reader I know uses a different spread every time that she reads. (They
come to her spontaneously, straight from the unconscious. If you want
to do this, just invent them as you go along. It works the same way!)
Most spreads are composed of three parts. One part describes the
past, and is a good way to see how things the Seeker has already
experienced foreshadow what is going on now, or provide strengths to
lean on or weaknesses to overcome in the present situation. If you
think of life as a school, with lessons to be learned, then the cards that
describe the past show an earlier part of the same lessons. They are
also a good way to test for the accuracy of the reading. If the Seeker
can’t remember anything like that happening, then you may wonder
about your accuracy at this particular time. (Even a very good Reader
can have an “off” day, due to illness, exhaustion, distraction, etc.)
The cards that show the past also give some idea of the time
involved in a reading. If you can pinpoint an event shown here, then
the cards that show the future (we’ll get to them in a moment!) are
usually about the same amount of time ahead. In other words, if The
Lovers comes up in the past, and you get the immediate impression
that that marks a time when the Seeker found her life mate, and she
knows that happened a year ago, then you can be pretty sure that the
cards which show the future will be about a year from now.
 The second part usually found in a spread describes the present
situation; what is going on in the Seeker’s life right now. This part
usually has cards that describe what the Seeker fears, what she hopes
for, what the environment is like, and what her attitudes now are.
This section helps the Seeker to become aware of what is actually
going on around her. Often we miss the things we should be paying
attention to, because they get lost in the “background noise” of our
lives. (I have maintained for years that that’s because we don’t have
background music. If we did, we’d know when important things were
happening, and when not to step off the curb, or open the door! If the
people in the movies and on TV paid attention to their background
music, they wouldn’t make half the mistakes they make!) These cards
can pull the important things out of the background, and make the
Seeker aware of them. At the very least, they can help the Seeker
verbalize what is going on, and bring it from the unconscious to the
conscious part of her mind.
The final section in most spreads describes the future. When you get
to this future, remember that this isn’t the “written in stone” kind of
future. It’s the “if you keep on the way you are going” kind of future,
like all futures are.
Think of it as if you, the Reader, were standing on top of a hill,
watching the Seeker walk down the street. From where you stand, you
can see around a corner that is hidden from the Seeker. You can also
see farther down the street in both directions. You may see a storm
blowing up, and know it’s coming his way. You also see that if he
keeps walking the way he is, he’ll pass a hardware store, a school, and
a young woman with a baby even though he can’t see them because of
the hill. You can also see that if he turns the corner that is invisible to
him, he’ll get caught in a crowd of spectators watching a street
performer.
He is probably aware of the storm, although he doesn’t know
exactly where it is. He may also be aware of the crowd, because he
can hear them. But he can’t tell exactly where they are, either. He
doesn’t know if they are directly in his path, or not.
You can text him, and let him know what he will find if he goes on
the way he is. At that point, he’ll know, and the choice will be his. He
may decide to turn the corner, because he has always liked street
performers, and wants to see the act. He may decide to avoid the
crowd, or meet the woman and baby, or drop into the hardware store.
But he isn’t compelled to pass by the performance, just because you
saw that it wasn’t on the path he is on now, any more than he is
compelled to walk past the woman. He always has the choice. All you
are doing is telling him about it slightly sooner than he would have
otherwise found out.
Some of the things around him may change before he gets there,
because of the free will of the other people involved. The performance
may end, and he may be just in time to see the crowd breaking up. Or
the young woman may go into the school, and not be on the sidewalk
at all by the time that he gets there.
This doesn’t mean that they weren’t where you saw them when you
saw them. It just means that things are constantly changing.
Remember this when you read the cards, and you’ll be able to give
much more accurate readings. Some things are decided by the free
will of the Seeker, or the other people involved. Some things are so
large that they are more or less fixed (like the school, or the store.)
Some things are hard to avoid, like the rain. Most of the time the fixed
things, or those that are hard to avoid, are represented by cards from
the Major Arcana. If you can tell the difference, and communicate to
the Seeker that he is in control here, and this is just information about
the way things are leaning, then you’ll be well on your way to doing
your job. (Remember, even if there are a lot of Majors, and it looks
like the Seeker is just going to have to ride it out, he can still control
his attitudes, and how well he learns!)
Some spreads have other parts, that are unique to the spread, such
as the influence of the stars in an astrological spread, or the elements
in an elemental spread.
Because of space, I’m only going to give you three spreads here. The
first is the one I almost always use myself.
 A Modified Celtic Cross
(Don’t ask me why it’s called that. I know it’s not Celtic, and it’s
hardly even a cross! I think it’s because it looked to someone like the
stone crosses that dot the Celtic countryside, and the rod up the side
was added later; but I’m just making that up.)
The first card to be laid out is the Significator. Some people choose
a significator; a card that has special meaning for the Seeker, or just
happens to look like her. (Using the Queen of Pentacles for a mature
woman with dark hair and eyes, for instance.) I don’t do this for three
reasons. The first reason is that when used the first way it limits the
significator to something you already know about the person, and
takes one card out of the deck. That card may be far more appropriate
in some other position. The second is that if you choose a card by
physical type, then anyone who isn’t Caucasian is perforce a member
of the court of Pentacles. I think that’s silly. And the final reason is
that I’m not always able to give a good reading, because of a whole
host of factors. I use the Significator as the first check for accuracy.
I let the deck choose the Significator. It’s the first card I lay down.
As I place it, face up, on the table I say, “This card is you.” And most
of the time, it’s clear that it is showing some aspect of the Seeker. If
it’s way off base, then I start to wonder.
The second card I lay down is the Question. It shows, in a single
card, the main thing the Seeker is concerned about in this reading. As
I place it on top of the Significator, so only a bit shows underneath, I
say, “This card is the Question.” Once again, most of the time it’s
obvious that it is. If it isn’t, and if the Significator appears to be off-
base too, then I ask myself if there is something blocking me at this
time.
I usually find that there is. I’m tired, or hungry, or distracted by
something, or would really like to be doing something else, or have
some unfinished business with the Seeker that is in the way of the
reading, or I just have a hunch that I really shouldn’t be doing this
reading at all.
In any case, unless I get a clear feeling that the question asked is not
the question the Seeker really needs answered, and what we are going
to address here is the real question, I pack up the cards at this point. If
I can’t give an accurate reading, then there is no point in going
through with this, and it’s even likely to be counter-productive.
That is one of the reasons I don’t accept money for reading the
cards. When it becomes clear that I can’t do this reading right now, I
have no problem apologizing for the disappointment, explaining if I
can, and picking all the cards up. If I were being paid, I might feel an
obligation to continue; and that, for me, would not always be a good
idea.
You have to decide this issue for yourself.
But, assuming that the Significator and the Question make sense, I
am ready for the next card.
This is the card I call “The Cross.” I put it down perpendicular to
the two cards already down, and as I do I say, “This crosses it, a
bridge and a block.” This card is the one that could stymie further
progress, and/or could be used to cross from one part of the pattern to
the other; from the past to the future. This may seem contradictory at
first, but it depends on how you look at things. (Actually, everything
in your life depends on how you look at things.) For example, lets say
that when you laid this card down it was the Nine of Swords. This is
not generally seen as an auspicious card. It shows a young person,
sitting up in bed with her face in her hands, clutching the covers in
her fist, obviously in despair. Behind her, nine identical swords hang
unsupported against a black background. This is the card I call “Night
Terrors.” It’s a bad case of the “3 A.M.-sies;” the time in the blackest
part of the night when you wake up, and doubt that anything will ever
turn be alright again.
I don’t use reversed cards (I think there are enough cards in the
deck to describe anything; and reversed cards are simply unnecessarily
confusing.) But even so, there are two ways to look at this. As you will
find if you look in the description of this card, all of these swords are
the same. It’s not an overwhelming number of problems; it’s a single
problem that has assumed overwhelming magnitude. So in the reading
I might say, “Your fear of this situation has led you to blow it all out
of proportion, until it looks insurmountable. That’s blocking any
progress, because you are afraid to try to go forward. But you can use
that very fear as a bridge. If you stare it down, you will notice that it
is only one problem, like there is really only one sword here. And with
that knowledge, and with the magic that is also at your command,
which you can see here in the symbols on the quilt, you can face this
and use it as a stepping stone to the next point. And once you have,
you will never be quite as paralyzed by fear like this again, because
you will know you can overcome it!”
You get the idea. Anything, represented by any card, can block your
progress along your path. And anything, represented by any card, can
serve as a bridge to further progress. It all depends on how you let it
affect you.
The next card I lay below the first three. As I do so, I say “Below
you, to build on.” This card represents the strengths (or weaknesses) a
person has in their background, that will prove useful in this situation.
It may show a similar problem, successfully overcome in the past, or
point to an individual that could help them. Or it may be an attribute
of their own character. If it seems to be showing a weakness, instead
of a strength, then go with that feeling. (Always go with your feelings
when you are reading the cards. That’s what they are for!)
The fifth card goes directly above the first three. As I lay it down, I
say “Above you.” It represents the things that are coming, that have a
bearing on this situation. The card shown here will be about as far in
the future as the previous card was behind in the past. Remember, it’s
not a fixed future; it’s a tendency, if things continue as they are now.
The sixth card goes to the left of the first three, and as I lay it down
I say, “In the recent past.” It shows the influences that have just
finished bearing on the situation. Things that the Seeker can probably
recognize, that had a direct effect on what is going on, although that
effect is likely to be waning at this time.
The seventh card goes to the right of the first three, and as I lay it
down I say, “In the near future.” It shows what is about to happen if
things continue unchanged. At this point, it often becomes clear
exactly what the third card, the “Bridge or Block” was bridging or
blocking. This will also lead into the “Above” card, so the Seeker can
use this point as a corner in the path, to turn away from the Above if
he doesn’t like the look of it.
That completes the cross. The next four cards are laid out in a
vertical line to the right of the cross, starting from the bottom. This is
called the “rod.”
As the eighth card is laid down, I say, “This is you right now.” This
card represents the Seeker at this moment in time. It may show his
emotional state, his perceptions about the situation, or the part he is
playing in this drama, whether he is aware of it or not. Normally, the
Seeker has no trouble seeing himself in that card.
The ninth card goes directly above the eighth. As I lay it down I say,
“This is your environment, your family, and your friends.” This card
represents the people and influences around the Seeker. It can show
support, active opposition, hidden opposition, other plans for him, and
so on.
The tenth card goes above the ninth. As I lay it down I say, “This
shows your hopes and fears.” Once again, the hopes and fears are in
the same card, because these two things are often mixed. You hope for
something at the same time that you fear that thing will change your
life beyond recognition. Familiarity is, at least, comfortable. And any
change great enough to hope for carries its own fear of the change
with it. You can hope to marry the person you are dating, and yet fear
the marriage won’t work out; or hope to win the lottery, and yet fear
that your family will hate you if you don’t share the money equally
with them, and so on.
The eleventh card goes directly above the tenth. As I lay it down, I
say, “And this is the final outcome.” It shows how all the things that
have gone before will combine to produce the end result of this
situation. Remember, once again, that this is what the end result will
be if the Seeker continues exactly as he is going; as if he had never
had a reading done at all. If he doesn’t like the final outcome shown
here, he is free to change it, based on the path that he takes from this
point.
As a matter of fact, when I am trying to decide between two courses
of action, I frequently lay out the cards one time for the first course,
and a second time for the second. For instance, if I were trying to
decide whether or not to take a job, I would do one reading asking,
“What will happen if I take this job,” and a second asking, “What will
happen if I don’t take this job.” Then I choose the outcome I like the
best, and go that direction!
I’m sorry that there isn’t room for a sample reading here, but I hope
the information above makes it clear enough.
Now that you have an idea of how the mechanics of a spread work,
I’m going to give you the last two spreads in abbreviated form. I’m
sure that you can figure out for yourself what to say as you lay them
down!
 The Short Five Spread
This spread was invented by my husband, Michael Short, to get an
answer to a very specific question.
The cards are laid out left to right, in a V shape.
Card 1 - The Question. This card shows the question being asked in
symbolic terms. If it makes no sense, it may be best to postpone the
reading.
Card 2 - The Background. This card describes the general situation
and events leading up to the question.
Card 3 - The Seeker. This card represents the person asking the
question. It may show what the Seeker has done to try to answer the
question, or it may indicate the character strength (or flaw) which has
the most bearing here.
Card 4 - The Environment. This card shows the impact of the world
on this situation, including the influence of friends, family, and
associates.
Card 5 - The Answer. This card shows the answer to the question.
The appropriate action to take is inherent in the interpretation of this
card.
 Yes/No Three
This is a simple spread that I developed to give a quick yes or no
answer to a question. It’s fast and easy, but it lacks depth.
The cards are laid out as shown in the diagram.
Card 1 - Question. This card shows in symbolic form the question
that is being asked. If it makes no sense, then the reading is suspect,
and should probably be skipped.
Card 2 - If Yes, Then. This card shows what will happen if yes is the
answer chosen. It’s more or less like skipping directly to the final
outcome of a reading where the question was phrased, “If I do this,
what will happen?”
Card 3 - If No, Then. This card shows what is likely to happen if
“No” is the answer chosen. Like going directly to the final outcome of
“If I don’t do this, what will happen?”
Then the person asking the question (the Seeker) should choose
which outcome they like best!
I don’t use this very often, because it doesn’t give any background.
It tells you what is likely, but not why, or how to change it if you
don’t like either answer. If you don’t like either outcome, by the way,
I recommend doing one of the longer readings to determine what is
going on, and how to arrive somewhere you want to be.
I hope this gives you enough to get started with. Remember, don’t
be afraid to make up your own spreads, now that you can get a feeling
for the patterns involved. And if you wind up with a particularly great
or useful one, share it with others!
 The Blind Men and the Elephant
Once upon a time, five blind men came upon an elephant.
“What is this?!” asked the first one, who had run headlong into its
side.
“It’s an Elephant.” said the elephant’s keeper, who was sitting on a
stool, cleaning the elephant’s harness.
“An Elephant! You don’t say! An elephant is exactly like a large,
warm wall!”
“Wall! What do you mean, wall!” exclaimed the second, who had
hold of the elephant’s tail, “It’s nothing like a wall! An Elephant
clearly has the same nature as a rope!”
“Well, if it’s a rope, it’s the thickest rope that ever was!” said the
third, with his arms wrapped around one of the elephant’s legs.
“Thicker than my entire body! More like a pillar, I’d say.”
“Strange pillar! No thicker than my arm, whatever you say,”
declared the fourth man, stoking the elephant’s trunk. “And flexible as
all get out to boot. Any fool can tell an Elephant is exactly like a
Snake.”
“You are all completely crazy!!” the fifth man cried, waving the
elephant’s ear back and forth. “It’s large, all right, but thin as a leaf,
and no more flexible than any piece of cloth this size should be. I
don’t know what’s wrong with all of you, but no one except a
complete idiot could mistake an Elephant for anything except a sail!!!”
And they tramped off down the road, arguing more loudly and
violently as they went, each sure that he, and he alone, was right; and
all the others were wrong.
The Elephant keeper sighed, and went back to polishing the harness,
while the elephant winked solemnly at him.
 The Story of Persephone
Persephone was the daughter of Demeter and Zeus, and with her
mother she was the Goddess of Vegetation and Growth.
Bright she was, and beautiful, as lovely as the flowers she tended so
carefully, and the apple of her mother’s eye. Young and supple, she
delighted in play, and in the sunshine, and in all growing things.
Now one day when she was dancing among the flowers, she was
seen by Hades, the God of the Underworld. He no sooner saw her,
than he fell in love with her. And he no sooner loved her than he
wanted her for his own. Now what he wanted, he was accustomed to
take.
And so he took Persephone; grabbing her and holding her fast as his
chariot thundered across her beloved fields. All of her screaming
didn’t help her, and all of her cries were in vain. Off they galloped to
the River Cyane, but the River had no mind to let Persephone be
carried off like that, and wouldn’t let him pass.
This made Hades very angry, because he wasn’t used to being
opposed, and he struck the river bank with his trident, so that a great
crack opened in it. And into this crack he rode with the sobbing
Persephone; chariot, steeds, iron-colored reins and all. And the bank
closed over them.
Now when evening came, and it was time for Persephone to return
to her mother, she was nowhere to be found. Demeter, of course,
became very anxious and worried, and began to search for her
daughter.
All the world over she sought, day and night she sought, rain or fair
weather she sought. But she found nothing.
Finally, in her seeking, she returned to the land where she had
started, and sank down on the banks of the River Cyane to rest. Now
the River Nymph knew what had happened, and she would gladly
have told Demeter; but she was afraid of Hades, for he was terrible
when he was angry.
But there was one thing she could do, and that she did. She picked
up the girdle which Persephone had dropped while Hades was
abducting her, and waved it at Demeter’s feet.
Of course, Demeter recognized it immediately, and noticed where
the Earth had opened and swallowed her daughter. But she still didn’t
know what had really happened. So, in her grief and loss, she blamed
the Earth.
“Oh, ungrateful Earth!” she cried, “I’ve loved you and blessed you
with fertility! I’ve clothed you with flowers, and covered you with
grain, and shaded you with trees! But no more! You have stolen my
daughter, and taken her from me, and now you shall be barren
forevermore!!”
And as she spoke, it was so. All green and growing things withered,
the rich soil turned to dust, and a desolate wind blew upon the land.
And Demeter wept.
But there was a fountain there, named Arethusa, and when she
realized what was happening, she decided that Hades couldn’t be
worse than this! So she called out, and said, “Oh Goddess, Great
Demeter! Don’t blame the innocent land. It opened unwillingly to give
passage to your daughter. It had no choice, for Hades forced it. He it is
who has stolen your daughter from you. He has taken her to his
shadowy realms, to make her his Queen.”
Now when she heard this, Demeter stopped her weeping, and stood
silent and amazed. But as soon as she recovered from the shock, she
sprang into her chariot, and rode as quickly as she could to Zeus.
There she pleaded with him to intervene, and to recover her
daughter from Hades, through force or persuasion, it mattered not to
her. Zeus looked at her; and she was distraught, and all the Earth with
her. And he consented, on one condition; that Persephone had neither
eaten nor drunk of anything during her stay in the Underworld. If she
had, the Fates would not allow her to return.
So Hermes made the journey, and presented himself in Hades’
realm, and demanded the return of Persephone, explaining the
condition to him.
And when he heard, Hades consented. But he left Hermes waiting in
his outer court, and went by himself into the room where Persephone
was.
She was very beautiful, and she was dressed as a Queen; and at the
sight of her, Hades realized that he could not simply give her up. So
he picked up a pomegranate, and opened it, and held one half out to
her, and said, “My dearest love. Long days have you spent here, with
neither food nor drink, although I have offered you feasts and wine,
and such dancing and song as there is in my realm. Please, for my
sake, taste just a bit of this pomegranate. It’s ripe, and sweet, and will
ease my heart if you try it.”
Then Persephone looked at it, and it did look very good. And she
was very hungry. And Hades wasn’t a bad sort, once you got used to
him. And so she reached out, plucked a few seeds from the fruit, and
sucked the pulp off of them.
Then Hades returned to Hermes, and said, “She is mine! She has
eaten some seeds from a pomegranate, and now you cannot take her!”
But when he heard the news, Hermes’ heart sank within him, for he
realized that it spelled doom for all the world above. And he reasoned
most sweetly with Hades, and finally they reached an agreement.
Persephone would spend one month with Hades for each seed she
had eaten. For the rest of the year, she would return to her mother
and the upper lands.
And so it was.
But Demeter still mourns for her daughter when she is away, and
during that time, nothing grows upon the Earth. We call that Winter.
The rest of the year, Persephone dances among the flowers, and
Demeter blesses the Earth with an abundance of fruit and grain, and
that’s Summer.
For all we know, Hades also mourns Persephone when she is gone,
and the Dead have a very hard time of it. But if that is so, none of
them have ever told us.
 The Wheel of the Year
The Wiccan year is divided into 8 parts, the Quarters and the Cross
Quarters.
The Quarter celebrations are held at the two solstices and the two
equinoxes; the longest and shortest days of the year, and the two days
when night and day are equal in length.
The Cross-Quarter days are roughly midway between these days; on
Feb. 2, May 1, August 1, and October 31.
We call all these days Sabbats, Feast Days, the Days of Festival.
Since we see the Wheel as round, and ever continuing, it really
doesn’t matter where one starts to count it; but traditionally the
Wiccan year starts at Samhain, after dark on October 31.
The days themselves are as follows;
October 31 – Samhain (SEW-in or SOW-in (where sow is a female
pig.))
This is the festival of the dead, All-Hallows-eve, when the Goddess
gives the reins of government to the God. Here He presides, and the
gates between the worlds are very thin. Now is the time to
remember those we love who have died in the past year; for now
they can join us in our celebration. The year is dying. We look
forward to its rebirth. Colors for Samhain are black, red and orange.
Plants associated with it are Indian corn, pumpkins, gourds, apples
and corn stalks.
Winter Solstice (December 20 - 23) – Yule (Yule)
This is the festival of the return of the Sun, when the Great Mother
brings him forth new-born. The colors associated with Yule are red
and green; plants are the Yule Log, mistletoe, holly, pine and pine
cones, and all sorts of nuts. Traditionally, a candle (or other flame)
is left burning all night on this longest of nights, to teach the new
Sun how to shine.
February 2 – Imbolc (IM-bolk) or Candlemas (CAN-dl-miss)
This is the feast of the torches, also known as Bridget’s Day. We bid
our Lady return from the darkness, and light the flames so She may
 see the way. The colors of Candlemas are red and white; plants are
roses, cherries, and apples. This is the night that we light all the
candles in the house!
Spring Equinox (March 20-23) – Eostar (Easter or e-O-star) or
Ostara (o-STAR-a)
This is the festival of spring, when we welcome the Goddess back
from her place of rest and ask Her blessings for new growth in the
coming year. The colors of Eostar are green, white, and silver;
plants are all spring flowers and seeds. Colored eggs are exchanged
now, to wish each other the joy and continuance of life that are
inherent in an egg.
May 1 – Beltane (BELL-tane)
This is May Eve, the festival of fertility, when invocations and
dances are performed to ensure bountiful crops and the continued
fertility of all nature (including humans!). This is the time when the
God and the Goddess meet as lovers, and He gives the governing of
the year to Her until Samhain. The entire rainbow is associated with
Beltane, as are all flowers, garlands, trees, and fresh leaves. This is
when we dance together around the Maypole.
Summer Solstice (June 20-23) – Litha (LITH-a)
This is the festival of summer, when we dance and make merry
magic in thanks for the crops growing, and the abundance of
nature. This is when light is at its peak, when the day is longest.
The color of Litha is green, and plants associated with this day are
roses, vines, and leaves. Traditionally, this celebration begins at
sunup, and continues throughout the short night. It is also
traditional to invite the Fay to this celebration.
August 1 – Lughnassad (LOU-na-saad) or Lammas (LA-miss)
This is the festival of the corn, when the first fruits of the harvest
are brought in, and in the fields the grain is ripe but not yet
harvested. We rejoice in the gifts of the Great Mother. Colors for
Lammas are green, yellow, and red. Plants are corn, grains,
tomatoes, berries, and flowers. Since this is the first harvest, this is
day is given to thanking the Corn God, and eating all the corn that
we possibly can!
Fall Equinox (September 20-23) – Mabon (MAY-bon)
This is harvest-home, when the crops have been gathered. We give
thanks for the Lady’s abundance, and feast on the plentiful food.
The colors of Mabon are orange, brown, yellow, and red. All crops
 are associated with this festival, as are the brilliant fall leaves.
Traditionally, this is a day of feasting. In our tradition, we
sometimes have to put Tums in the libation bowl after this one, so
the Gods won’t get indigestion!
With these festivals, we celebrate the turning of the Wheel of the
Year, the continuance of life and the dance of the Earth around the
Sun.
Traditionally, the colors and plants attributed to the holiday are
used in the decorations; legends that mark the turning are told, and
seasonal foods are eaten. This is also the time to do magic that helps
the Wheel to turn, and to take advantage of the turning to plant or
harvest things in our own lives, and thank the Gods for the things that
they have done for us.
 Rules for Tarocchi
Tarrochi, or Trionfi, or Tarrock, or Tarot is a trick-taking game, like
bridge or whist, played with the 78 card Tarot deck. (Tricks, by the
way, are all the cards played in one round; one per player. The player
with the highest card gets to put all of the cards into his Trick Pile.)
Originally the Trumps, known in occult circles as The Major Arcana,
had no numbers. The order had to be memorized by the players.
The numbered cards from the four suits, which formed the original
ordinary card deck, are played numerically, with 10 being highest and
Ace lowest in the suits of Swords and Batons, and Ace being highest
and 10 lowest in the suits of Cups and Coins. (You can ignore this rule
if you want to; but it’s historic.)
The court cards are played with King highest and Page lowest in all
suits.
The Trumps are played with 21 highest and 1 lowest, except that
Judgement (20) outranks the World (21.) The Fool has no number,
and doesn’t take tricks. We’ll get more into that later.
Three of the Trumps are worth card points. These are the Magician
(#1, also called The Petite) the World (#21) and the Fool. They are
called Oulders, perhaps because they are at both ends of the Trump
cards. They are worth 5 points, and having them changes how many
points you need to win.
The game is played with four players. One deals, and then there is
Bidding to determine who is the Declarer. Everyone else teams up as
Defenders to try to beat that one, so it’s always three against one.
Everyone cuts the deck, and the low card deals. The dealer deals
three cards at a time, face down, to the players. At some point he
deals six cards to the table. (He has to, because 4 doesn’t go evenly
into 78.) These cards are known as the Chein. We would call it a
“kitty,” but the French call it a “Dog.”
Players then organize the cards in their hands, and decide if they
have a strong enough hand to win a lot of tricks. Based on this, they
either bid or pass, starting at the Dealer’s right. They may only bid
once, and the one with the highest bid becomes the Declarer.
 If anyone holds The Petite and no other Trump, he says so now, the
cards are thrown in, and the player to the Dealer’s right becomes the
Dealer, and starts again.
The lowest possible bid is Prise, in which the player picks up the
Chein, integrates it into his hand, and discards six cards face down.
They begin his trick pile. He cannot discard any Trump cards if he has
any other cards at all. In any case, he may never discard Oudlers or
Kings. If he wins, he multiplies his card points by 1.
The next is Garde, just like Prise, but worth more. If he wins, he
multiplies his card points by 2.
Then Garde without Chien, in which the player picks up the Chein,
but doesn’t use (or even look at) it. It goes straight into his trick pile.
He multiplies by 4.
Highest is Garde against Chien, in which the Chien goes to the
Defender’s trick pile. (They don’t look at them.) This one is multiplied
by six, and cannot be out-bid.
If everyone passes, the cards are thrown in, and the deal goes to the
next guy.
Before play starts, there are declarations that can be made. Anyone
who has 10, 13, or 15 Trump cards in their hand can say so, and
declare a Bonus. 10 Trump are a Single Fist, and are worth 20 points.
13 are a Double Fist and worth 30. 15 are a Triple Fist and worth 40.
To declare a bonus, the player states which fist, and shows the cards.
He doesn’t have to do this, and he doesn’t have to declare all the
Trump he has; but if he shows the Fool, it implies that he has no other
Trumps. To do this with other Trumps in the hand is dishonorable.
Don’t do it.
If the Declarer thinks she can win all the tricks, she may state this
now. This is known as a Chelem. (Call it Slam.) If she declares it, and
pulls it off, she gets 400 bonus points. If she declares and fails, she
loses 200 points. If she doesn’t declare, but still gets all the tricks, she
gets 200 bonus points.
After declaring a Slam, she gets to lead the first card. Otherwise, the
player to the dealer’s right leads. Play proceeds counterclockwise.
The leading player places a card on the table. The next player must
Follow Suit, that is play a card from the same suit, unless he doesn’t
have any. In that case, he must Trump if he can. The highest card
takes the Trick. Trumps are higher than any of the other cards. (Non-
Trump cards that don’t follow suit are worthless.)
The only exception to this is the Fool. It can be played at any time,
regardless of suit. It can’t take any tricks, but the next player can play
any suit he likes, and everyone else has to follow his suit! After the
Trick is taken, the guy who played The Fool gives the winner a 1 point
card from his Trick Pile, and gets the Fool back. Unless, that is, he
waited too long, and has to play it on the last Trick. In that case, he
loses it, and it’s picked up with the other cards from the Trick.
The exception to that rule is if the Fool is held by the Declarer, and
she called a Slam. Then, if she wins all the others, she keeps the Fool
until the last trick, and it takes that one.
If Trump is led, then all subsequent players must play a higher
Trump if they can, even if it means they are overtrumping someone on
their own side.
Whoever wins the Trick leads the next Trick.
If the Petite (The Magician) is played on the last trick it’s worth a
bonus of 10 points to whoever wins that trick. This bonus is multiplied
if the winner is the Declarer, and she keeps that bonus even if she
doesn’t win the hand. If she declared a Slam in the beginning, she can
play the Petite on the next-to-last trick for the bonus.
Play continues until all the cards have been used. Then comes
scoring. That’s the hard part. If you want to make it even more
challenging, the dealer can add an agreed-upon stake to the pot before
he deals. If the Declarer wins the hand, she wins the pot. If she
doesn’t, she adds an equal stake to the pot, and it’s carried over to the
next hand.
The Declarer is the only one who totals the score in her trick pile. If
she makes her Contract, the points she needed for the bid, then she is
paid the value of the tricks from each Defender. If she doesn’t, she
pays the value to each of them.
So. She takes her Trick pile, including the Chien (if she has it.) Then
she pairs off all the cards, with one scoring and one non-scoring card
in each pair. If she runs out of scoring cards, she pairs non-scoring
ones with each other. The scoring cards are; Kings and Oudlers, 5
points. Queens, 4 points. Knights, 3 points. Pages, 2 points. Non-
scoring cards are worth one point per pair. So a Knight (3 points) and
Death (non-scoring) are worth 3 points. But Death (non-scoring) and a
10 (non-scoring) are worth one point.
The number of points she needs is determined by the number of
Oudlers that she has in her Trick Pile. If she has none, she needs to
make 56 points. If one, 51 points. If 2, 41 points. If all 3, 36 points.
If the value of the cards in her Trick Pile exceeds the amount she
needs, she wins the hand. If not, she loses it, and her final score will
be a negative number.
 Each hand is worth 25 base points. To determine the value of the
hand, the Declarer adds the base points to the number above or below
what was needed to win. The total is then multiplied by the multiplier
for her bid.
For example, say she bid Guard against Chien, which has a
multiplier of 6. She took 9 tricks, and got The Magician, The World, 2
Kings, 2 Queens, 3 Knights, a Page, and 26 non-scoring cards. Pairing
them off, she has The Magician (5) + the World (5) + 2 Kings
(5X2=10) + 2 Queens (4X2=8) + 3 Knights (3X3=9) + 1 Page (2)
+ 8 pairs of non-scoring cards (8) for a grand total of 47 card points.
With two Oudlers (The Magician and the World) she needed to make
41 points. She made it, with 6 to spare, so she wins! The base hand is
worth 25 points, and she had 6 more than she needed, so the value of
this hand is 31 points. (25+6.) Since she bid Guard against Chien,
which has a multiplier of 6, she multiplies 31 by 6 to get 186. The
total value is 186 points.
So each Defender must give her 186 points, subtracting this from
their game total. Their scores all go down by 186 points, and hers
goes up by 558 points. (186X3.)
If she been 6 points short, instead of six points over, the math
would have been the same; but she would be losing 558 points, and
each Defender would gain 186.
Bonuses (except the one for the Petite in the last trick) are added to
the score after the multiplication. So if she declared a single fist bonus
(20 points) at the beginning, the Defenders would each pay her 206
points (186+20) and her total score for that hand would be 618
points (206X3.)
Play continues until the players agree to stop. The one with the
highest score at the end wins the game.
I’m grateful to Han Morrow Scott, who generously gave me much of
the material used to prepare this chapter. Thanks!
 History in Pictures
This is the history of my deck, in pictures, for anyone who is
interested. I’ll warn you before we begin, though, that I draw much
better now than I did when I started! By the same token, these should
give heart to any aspiring artists. If I can get where I am now from
where I was then, there is hope for anyone!
I mention in the text that I began by sending three pictures to
Llewellyn. Here is the Ace of Wands from that set.

And here's the six of pentacles.

Bear in mind that when I drew these, I hadn’t even begun to study
the Tarot itself. I’m no longer sure why I did these, but it must have
seemed like a good idea at the time!
When I actually began to draw the cards in earnest, I started with
the Fool, as I’ve mentioned before. Here is that first sketch.
 And the painting on the blank card that came from it. As you can
see, the design never changed much; what I wanted on the card at this
point remained what I thought should be on it. But the drawing
improved!

The Lovers, on the other hand, changed quite a bit!

Here is the first incarnation, when I had only seen the Rider-Waite
deck, and before I really understood what the card meant. It was the
third picture from the original three I sent to Llewellyn.

By the time I was painting the little cards, it had developed into the
design below.
 And by the time I did the Tarot Coloring Book, it looked like this.

It was after that that I did the following illustration for a magazine
article. And I liked the image of balance so well that I decided to
modify it a bit, and use it in the Lovers card.

And that’s how I came up with the card that is in the deck now.
In the text I also mentioned other cards that changed. There isn’t
room to show you all of them here, but I thought you might be
interested in seeing some of them!
The Empress, for example, went from an almost completely passive
card where the Empress was just sitting there with her hands folded,
to the current one, where she is pregnant and spinning. This is what
she looked like in the first card, which showed up in the Tarot
Coloring Book. (By this time, of course, she had already been drawn
and re-drawn several times. But I think you’ve seen enough of the very
bad early drawings!)

This is The Devil from the same era. If you look closely, you’ll
notice that I hadn’t yet put an actual drawing of the Monkey Trap on
the chest, although the idea was already there. I also hadn’t yet
decided to put the two figures facing in opposite directions. They were
pulling at odds with each other, but that wasn’t as obvious as it would
become. I also hadn’t made the things in the chest as clear as I later
would.

The court cards all changed. I started with all of the Kings and
Queens seated, and then decided to have them stand in the suits of
wands and swords, since those correspond to fire and air, and they are
active elements. Having the Rulers on their feet just seemed to me to
emphasize that more; and since I was still having problems figuring
out where the Court Cards fit in, I needed all the help I could get! So
here are the three Queens who really changed as the deck evolved.
The Queen of Swords, from the Coloring Book.
 The Queen of Wands.

And the Queen of Cups.

The Queen of Pentacles didn’t change much. The others really got a
boost when Animal X posed for them! (Those are the ones you see in
the finished deck.)
Another card that got help from Animal was the World. Although
Animal herself didn’t pose for that one, it was at a party at her home
that I met a young woman who was a dancer. I was struggling with
the leaping figure for the World at that point, and when I found that
she knew dance, I said, “You can dance! Take your clothes off! Put
this leotard on! Now hold these two candles, and do leaps down the
driveway please …” And she did, and the World got a face lift!
 Here is the first sketch for the World, when I was still going to use
symbols instead of just using the wreath with scenes featuring the
elements in the corners.

And, again, the card that eventually made it into the Tarot Coloring
Book.

And, finally, here are two back designs that Llewellyn rejected. The
first one is the spiral that I liked so well.

The next one is the original knotwork that changed when the size of
the card changed by a sixteenth of an inch!
Card List
Major Arcana
0 - The Fool
1 - The Magician
2 - The High Priestess
3 - The Empress
4 - The Emperor
5 - The Hierophant
6 - The Lovers
7 - The Chariot
8 - Strength
9 - The Hermit
10 - Wheel of Fortune
11 - Justice
12 - The Hanged Man
13 - Death
14 - Temperance
15 - The Devil
16 - The Tower
17 - The Star
18 - The Moon
19 - The Sun
20 - Judgement
21 - The World
Minor Arcana
Pentacles
King of Pentacles
Queen of Pentacles
The Knight of Pentacles
Page of Pentacles
Ace of Pentacles
Two of Pentacles
Three of Pentacles
Four of Pentacles
Five of Pentacles
Six of Pentacles
Seven of Pentacles
Eight of Pentacles
Nine of Pentacles
 Ten of Pentacles
Swords
King of Swords
Queen of Swords
Knight of Swords
Page of Swords
Ace of Swords
Two of Swords
Three of Swords
Four of Swords
Five of Swords
Six of Swords
Seven of Swords
Eight of Swords
Nine of Swords
Ten of Swords
Wands
King of Wands
Queen of Wands
Knight of Wands
Page of Wands
Ace of Wands
Two of Wands
Three of Wands
Four of Wands
Five of Wands
Six of Wands
Seven of Wands
Eight of Wands
Nine of Wands
Ten of Wands
Cups
King of Cups
Queen of Cups
Knight of Cups
Page of Cups
Ace of Cups
Two of Cups
Three of Cups
 Four of Cups
Five of cups
Six of Cups
Seven of Cups
Eight of Cups
Nine of Cups
Ten of Cups
Sample Layouts
A Modified Celtic Cross
The Short Five Spread
Yes/No Three
Abraham, Sylvia How to Read the Tarot ©1994 by Sylvia Abraham.
Llewellyn Publications, St. Paul, MN. ISBN 1-56718-001-9

Arnold, Peter The Book of Games ©1985 by Peter Arnold. Exter Books,
NY, NY

Bullfinch, Thomas Bullfinch’s Mythology (with Introduction, Notes and

Bibliography by Richard P. Martin) ©1991 by HarperCollins
Publishers. HarperCollins Publishers, New York. ISBN
0-06-270189-4

Clayton, Peter Great Figures of Mythology ©1990 by Brompton Books

Corp. Brompton Books Corp. Greenwich, CT. ISBN 0-517-00538-7

Connolly, Eileen Tarot; a Workbook for the Apprentice ©1979 by Eileen

Connolly. Newcastle Books, North Hollywood, CA ISBN
0-87877-045-3

Crossley-Holland, Kevin The Norse Myths ©1980 by Kevin Crossley-

Holland. Pantheon Books, Random House, Inc. New York, NY. ISBN
0-394-74846-8

Decker, Ronald, Depaulis, Thierry, & Dummett, Michael A Wicked

Pack of Cards - The Origins of the Occult Tarot ©1996 by Ronald
Decker, Thierry Depaulis, & Michael Dummett. St. Martin’s Press,
Scholarly and Reference Division New York, NY. ISBN:
0-312-16294-4

Doane, Doris Chase and Keyes, King How to Read Tarot Cards ©1967
by Doris Chase Doane. Harper & Row, New York, NY. ISBN
0-06-463481-7

Erdoes, Richard and Ortiz, Alfonso American Indian Myths and Legends
©1984 by Richard Erdoes and Alfonso Ortiz. Pantheon Books,
Random House, Inc. New York, NY. ISBN 0-394-74018-1

Fenton, Sasha Fortune-Telling by Tarot Cards – A Beginner’s Guide to

Understanding the Future Using Tarot Cards. ©1985 by Sasha Fenton.
Aquarian Press, Wellingborough, Northamptonshire, England. ISBN
 0-85030-445-8

Gearhart, Sally and Rennie, Susan A Feminist Tarot ©1981 by Sally

Gearhart and Susan Rennie, Alyson Publications, Inc., Boston, MA
first published by Persephone Press ISBN 0-932870-56-2

Gerulskis-Estes, Susan The Book of Tarot ©1981 by Morgan & Morgan,

Inc. Morgan & Morgan Inc., Dobbs Ferry, NY. ISBN 0-87100-172-1

Giles, Cynthia The Tarot: History, Mystery and Lore ©1992 by Cynthia
Giles. Paragon House, New York, NY. ISBN 1-557788-312-8

Gray, Eden Mastering the Tarot, Basic Lessons in an Ancient, Mystic Art
©1971 by Eden Gray. Signet Books, New York, NY.

Grolier The New Grolier Multimedia Encyclopedia Release 6 ©1993 by

Grolier Inc., Danbury, CT ISBN 07172-3966-7

Kaplan, Stuart The Encyclopedia of Tarot, Vol. I ©1978 by Stuart R.

Kaplan.
US Games Systems, New York, NY. ISBN 0-91386-611-3

Louis, Anthony Tarot Plain and Simple ©1996 by Anthony Lewis.

Llewellyn Publications, St. Paul, MN ISBN 1-56718-400-6

MacDonald, George The Princess and Curdie First published in 1882.

Published by Penguin Books, Ltd. Middlesex, England 1971. Now
available in Puffin edition, ISBN 0140367624

Matthews, Caitlín The Elements of the Celtic Tradition ©1989 by Caitlín

Matthews. Element Books, Ltd. Longmead, Shaftesbury, Dorset,
England
ISBN 1-85230-075-2

Mohr, Merilyn Simonds The New Games Treasury ©1993, 1997 by

Merilyn Simonds Mohr. Houghton Mifflin Co. New York, NY ISBN
1-57630-058-7

Murry, Liz and Colin The Celtic Tree Oracle, A System of Divination
©1988 by Liz and Colin Murray. St. Martin’s Press, New York. ISBN
0-312-02032-5

Roberts, Richard The Original Tarot & You ©1971, 1987 by Richard
Roberts. Vernal Equinox Press, San Anselmo CA. ISBN
0-942380-06-1
Walker, Barbara G. The Secrets of the Tarot Origins, History and
Symbolism ©1994 by Barbara G. Walker. Harper & Row, New York,
NY. ISBN: 0-06-250927-6
I am also indebted to the hundreds of Seekers and Readers who, through
thousands of discussions at Festivals, Conventions, and Gatherings, have
taught me so much.
Thank you all, and Bright Blessings!
 Robin Wood began studying the Craft in 1979, and was initiated in
1980. As she learned more, she began to realize just how much there
was to learn; and she became fascinated with the Tarot, and the
symbolic language that it represents, as well as the patterns that it
reveals.
Since none of the decks that she could find suited her, she started to
design her own in 1981. At first it was just for herself.
She began illustrating books for Llewellyn in 1983, doing dozens
before she wandered off to do other things. It was during that time
that she mentioned to the Art Director at Llewellyn that she had
drawn part of a Tarot Deck, and they decided to publish it. But that
story is told in this book.
In 1993 she contracted fibromyalgia, an interesting little syndrome
that makes you feel as if you have the flu for the rest of your life.
Since the FMS and its attendant muscle aches and cramps made it
difficult to continue drawing, Robin turned her attention to other
things. She felt compelled to write anyway, so that’s what she did.
Her first book, When, Why …If, an Ethics Workbook, was published
in 1997, and was a success. (A number of places have made it
required reading.)
After that, Robin found it difficult to maintain the fiction that she
can’t do anything but draw; honest. So she gave in to a decade of
pressure, and wrote this book too. But all of that is in the Foreword.
She pushed the fibro into remission in 2003, but by that time was so
busy doing all kinds of other things that she hasn't gone back to art
full time.
Since then she worked on several books about computer graphics,
created a bunch of content for Second Life™, got into fiber arts
(knitting and quilting, mostly,) did some pro photography, and has
lately been working on designing websites and translating her books
into e-book format. Which is why you have this one.
You can find her on the web at http://robinwood.com