Review of Queer Magic: Power Beyond Boundaries
Review of Queer Magic: Power Beyond Boundaries, edited by Lee Harrington and Tai Fenix Kulystin (Mystic Productions Press. Scheduled publication date April 2nd).
From Anthony Rella
Note: This is a review of an advance copy provided to this writer by editor Lee Harrington. This writer has a social acquaintanceship with some of the included contributor and co-editor Tai Fenix Kulystin, as both once sat beside each other in a graduate school class and one day Kulystin observed this writer doodling and said, “Nice Unicursal Hexigram.” This writer is also a member of the same spiritual community as contributor Adrian Moran. It is difficult to be a queer writer interested in magick without some overlap, apparently.)
While the term “queer” has veered closer to being a mainstream catch-all for members of the LGBTQIA+ communities, it continues to retain all the layers of trauma, danger, and transgressive excitement layered into its historical uses. What is queer is that which could not fit into the norms prescribed to us, and thus needed to find its own space to grow: on the edges, in the cracks and corners wherein it could grow unfettered. Queerness exists for itself, and it is medicine that heals and brings wholeness to culture.
Thus queerness is elusive, evolving, pluralistic. So too is the collection of pieces gathered together by editors Lee Harrington and Tai Fenix Kulystin in Queer Magic: Power Beyond Boundaries. They have accomplished an impressive feat, publishing the voices and images produced by a wildly diverse and fascinating array of individuals along the axes of class, gender, race, ability, spiritual tradition, and more.
One significant theme threaded throughout the works is the queer magical power of embodiment. In the essay “Living with Attunement with Sensation Rather than Identity,” Z Griss offers a queer praxis in which the sensory body leads in anchoring and producing the self in all its emerging complexity. Rather than encasing our experiences in labels and identity scripts, Griss shows a productive arc in which the body teaches and reveals mysteries of the self. Yin Q’s “Blood, Body, Birth, and Emptiness: Queer Magic in my Life and Work” articulates power and possibility within stigmatized experiences around cutting and BDSM, transforming her experiences of cutting into “rituals that affirmed life, whereas in prior years, [she] had focused on the thrill of annihilation.” In “The Endlessly Unfolding Mirror: An Introduction to the Queer Sex Magic of Traditional Witchcraft,” Troll Huldren offers body acceptance and eroticizing the Abject as a path to magical power.
Another queer theme emerges as the multiplicity of identity and porousness of self. M.C. MoHagani Magnetek’s “thaMind-Sol Lady’s Revenge” tells of an experience of duality between the speaker and an alter-ego, in which both strive to seek effective strategies to maintain dignity in the face of transphobia. The Reverend Teri D. Ciacchi articulates an experience of self as multiplicity, using the pronoun “we” “to express my internal experience of being a collective
of beings, a multiverse of personas, an individual embedded in an ecological web of relatedness.” Ade Kola and Aaron Oberon in their respective essays explore the fluidity and multiplicity of identity through experiences of ritual possession, articulating ways in which deity contact becomes an unexpected site of queer transformations.
In an anthology of so many gifts, one of the highlights are the interviews of wolfie, who brings in the perspectives of First Nations queer elders Clyde Hall and Blackberri. wolfie’s “chapter 23: the plague years” speaks to their own history and experience of living through the height of the AIDS epidemic. Kulystin and Harrington dedicate this anthology “to our queer ancestors and magical forebears,” and reverence for those who came before permeates the work, particularly in pieces such as Pavini Moray’s “The Glitterheart Path of Connecting with Transcestors.”
Tradition and authority are particularly charged topics in any tradition, and for queer folks who have been marginalized by ancestral traditions, we have needed multiple strategies to mine a healing and empowering spiritual practice for ourselves.
These writers show several paths forward—even if one does not adopt their practices and beliefs, one can see practices of queering existing traditions, of redefining and reinterpreting the past in a liberating way, such as Yvonne Aburrow’s “Inclusive Wicca Manifesto,” Ivo Dominguez Jr.’s “Redefining and Repurposing Polarity,” Steve Dee’s “The Queer Gods of Alchemy,” Sam ‘Eyrie’ Ward’s “The Maypole and the Labyrinth: Reimagining the Great Rite,” and Steve Kenson’s “The Queer Journey of the Wheel.”
Other writers reveal paths of blazing bold new trails, or taking pieces from multiple sources and quilting them into a queer-affirming path, such as in Jay Logan’s “Hunting Lions and Slaying Serpents: An Execration Rite,” Adrian Moran’s “The Magic of the Eight Queer Deities,” and Thista Minai’s “Sharing a Sacred Meal.”
It would be remiss not to mention the inclusion of potent art and sigil work provided by Inés Ixierda, Laura Tempest Zakroff, Adare, Papacon, and Cazemba Abena. These artists show images of magic beyond binary identity, the interstitial spaces of power.
Anthony Rella is a witch, writer, and psychotherapist living in Seattle, Washington. Anthony is a student and mentor of Morningstar Mystery School and a member of the Fellowship of the Phoenix. Anthony has studied and practiced witchcraft since starting in the Reclaiming tradition in 2005. More on his work is available at his website.