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On June 22, 1951 the last of the Witchcraft Acts was repealed in the UK. This single action would lead to the rise of what would become the global witchcraft revival movement. Despite another year marking the passing of this historical event, so much of our history still remains lost, misunderstood, or frankly made inaccessible to the magical community at large. There is a craving for better information about the more recent history of witchcraft in the hopes that these gaps in knowledge may be filled, and it’s the author's intention to make Witchcraft Unchained: Exploring the History & Traditions of British Craft the book that will do just that. By addressing the metaphorical chains that have found their way into our community and restoring what has been lost, misunderstood, or made inaccessible, the reader can become empowered with new thoughts which will allow them to connect with their magic on a deeper and more personal level.
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"In this concise work, Craig Spencer approaches the origins and concepts of witchcraft from a unique angle, based upon his own local knowledge and language together with insightful research. This book will prove to be a constructive introduction to the concepts of the craft and equally a helpful study manual for the discerning student."
— Vikki Bramshaw, author of 'Craft of the Wise: A Practical Guide' and 'New Forest Folklore, Traditions & Charms'
"In this era of distractions and decontextualisation it is so important that we are reminded where the movements we belong to come from. Spencer's work asks us to celebrate the progenitors, and puts roots back in the soil of the past."
— Lee Morgan, author of'A Deed Without a Name’
"In his new book Witchcraft Unchained, Craig Spencer brings the mysteries of witchcraft into our modern times. This well researched book sheds light on magical ideas and practices that were once surrounded by shadows and whispers. It is here we learn about the origins of the modern craft and the magical practices of the witch. With this book you will take power from history and transform it into a workable craft for the 21st Century."
— Chris Allaun, author of 'The Black Book of Johnathan Knotbristle the Charmer'
Praise for
Witchcraft Unchained
Living in the Northwest of England in the magical Lancashire County, I have long been surrounded by the occult. A holistic therapist, traditional witch, and avid bookworm, I love to explore both old and new areas of the Craft and work with them in new and creative ways.
Craig Spencer is a Lancashire-born Anglo-Italian witch who practices Traditional Lancashire Witchcraft. His academic back-ground earned him a Bachelor of Science degree with honours from the University of Salford and a Postgraduate Certificate in Education from the University of Central Lancashire. He is an integrated therapist and Reiki teacher. In his downtime he enjoys reading, learning new languages (currently Mandarin “ni hao!”), and has a love for all things comedy and horror.
Other works by Craig Spencer include Aradia: A Modern Guide to Charles Godfrey Leland’s Gospel of the Witchespublished by Llewellyn Worldwide.
Craig can be found on Instagram @WitchcraftUnchained and Twitter @CraigSpencer90.
About The Author
Witchcraft Unchained: Exploring the History & Traditions of British Craft copyright© 2023 by Craig Spencer. All rights reserved. No part of this book may be reproduced in any manner whatsoever without written permission from Crossed Crow Books, except in the case of brief quotations embodied in critical articles and reviews.
First Edition.
First Printing, 2023.
Paperback ISBN: 978-1-959883-12-8
e-Book ISBN: 978-1-959883-87-6
Library of Congress Control Number: 2023932946
Paperback cover design Wycke Malliway.
Special edition cover design by Wycke Malliway.
Typesetting by the talented Gianna Rini.
Edited by Becca Fleming.
Disclaimer: Crossed Crow Books, LLC does not participate in, endorse, or have any authority or responsibility concerning private business transactions between our authors and the public. Any internet references contained in this work were found to be valid during the time of publication, however, the publisher cannot guarantee that a specific reference will continue to be maintained. This book’s material is not intended to diagnose, treat, cure, or prevent any disease, disorder, ailment, or any physical or psychological condition. The author, publisher, and its associates shall not be held liable for the reader’s choices when approaching this book’s material. The views and opinions expressed within this book are those of the author alone and do not necessarily reflect the views and opinions of the publisher.
Published by:
Crossed Crow Books, LLC
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@crossedcrowbooks
This book is dedicated to my great-grandparents, Joseph and Mary:
Joseph, who passed on to me his mischievous nature, love of magic, the spirit world, and waistcoats.
Mary, who always called me Joe, for our shared love of nature, her openness and warmth for everything and everyone, our weird conversations about the afterlife and souls, and her iconic green gate—held together by green paint and Witchcraft.
Foreword............................................................
Introduction.....................................................
Chapter One
Witches in History.........................................
Chapter Two
Terminology......................................................
Chapter Three
The Gods...........................................................
Chapter Four
Exploring the Sabbats....................................
Chatper Five
Esbats: Working by the Moon........................
Chapter Six
Initiation..........................................................
Chapter Seven
Gatekeeping......................................................
Chapter Eight
The Witches' Qabalah.....................................
Chapter Nine
Sacred Sexuality..............................................
Closing Words..................................................
Bibliography.........................................................
Index....................................................................
Contents
xi
1
5
25
51
81
111
125
147
171
191
223
227
241
Foreword
xiii
Witchcraftis a noun that denotes the practice of a witch—it is what a witch does. From depictions of the late medieval witch, to post Gardnerian popular Wicca, the term witchcraft has accrued and exchanged an array of meanings—borrowing and absorbing simulta-neously from folklore and memory, crass and derisory modern tropes, history and wider occult influences. Indeed, it is in regards to the latter that much of the modern interpretation has found itself for the better part of the last century, introducing the concept of pagan witchcraft as a religious movement that has spread from its humble beginnings in the British Isles.
To scale the heights for clarity, seeking elucidation above the gathering clouds of confusion and obfuscation to reach a precise definition, is often fraught with potential risk. Fools rush in where angels fear to tread, and it requires a good head and steady stride to step carefully and thoughtfully in attempting to steer such a diverse, open-source paradigm as modern witchcraft.
Nevertheless, the erudite and considered study affords a safe journey through the difficult and undulating terrain, measured with experience and understanding of the matter at hand. Much ink has been spilt in the representation of witchcraft as one definitive thing or another, rarely meeting with universal agreement. However, a good deal of the available material has been sometimes repetitious in the past, reproducing formulas around the popular forms of pagan Wicca since the latter half of the last century. Authors such as Scott
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Cunningham arguably laid the foundation in the 1980s, with his thorough handbook on the practice and ideas of what has become the mainstream, popular movement of Wicca. Important to note, however, that not all Wiccans are witches and not all witches are Wiccans—an important and necessary distinction that Witchcraft Unchainedobserves and highlights as the reader is guided through the history of Wicca and witchcraft.
As the tide of popular currents continues to ebb and flow, the modern witchcraft movement has gained in maturity—a levelling out that provides the sobering mix of scholarly study and available research, together with the ecstatic, revelatory practice of the ad-venturous and intuitive modern witch. This marrying of honest and reasoned conversation with the experience of the practiced hand has produced some of the most informed literature and serious growth within the burgeoning movement.
To approach such a work, then, is not as easy a task as one might imagine, being bound on both sides with the furrows of differing and strongly held views and opinions. Indeed, as a lived tradition, witchcraft has never existed in a vacuum and shifting and evolving cultural convention and understanding must inevitably bear relevance. In fact, one might argue, the cultural witch is ever the rebellious spirit, the outcast, the shunned, the liminal figure on the perimeter edge of accepted society—thereby at the crush of the boundary and leading the push outward toward change. Transgressing social restrictions, we cast off cultural conditioning that restrains and confines, inhibits and controls, as we advance patterns of variation that are only available with the power thus obtained.
In Witchcraft Unchained, Craig Spencer has fearlessly approached the nuts and bolts of modern witchcraft, refusing to look away from where it comes from, whilst keeping a steadfast eye upon the present and future. “There are few words in the English language that can be as empowering, offensive, and provocative as the word ‘witch’”, writes Spencer, innately comprehending that it is from within this provo-cation that we may draw power. Any and all suggestion of hesitation signals an immediate and disastrous downfall, and Spencer navigates this adroitly.
Providing a refreshing and thoroughly relevant perspective, Craig Spencer observes the lay of the land as we find it—informed
Foreword
xv
and self-aware. Indeed, within these pages we encounter necessary discourse upon such aspects as polarity and gender in magic, once again emphasising the power of the witch as keeper and transgressor of boundaries. Spencer doesn’t turn away from difficult social discourse around issues such as polarity and inclusivity, and I am reminded of my own Alexandrian Wiccan initiators— the first a gay man and the second able to work polarity independent of gender. We are reminded, then, that it is incumbent upon traditions to not simply preserve and persevere, but also to remain consciously supple or else succumb to rigidity and shatter under the weight of time. Reflec-tion and re-evaluation is a necessary part of growth, and Witchcraft Unchained represents a link in that ongoing process.
Ian Chambers,
Surrey Hills,
Martinmas 2022.
1
Introduction
Witch!A word filled with a wide plethora of meanings, connotations, taboos, and social stereotypes. There are few words in the English language that are as empowering, offensive, and provocative as the word “witch.” The reason for this is simple: “witch” means so many things to so many different types of people. It has only been seventy-two years since the repeal of the Witchcraft Act in 1951 and only seventy-four years since the Craft needed to remain hidden in plain sight in books such as Gerald Gardner’s High Magic’s Aid in 1949. Before the repeal of the Witchcraft Act, witches had no choice but to practise in secret. In response to this, witch and author Gerald Gardner was the genius mind who hid the Craft’s teachings in his “fictional” work. High Magic’s Aid remains a historic symbol of rebellion in Witchcraft. Not only did it defy the law of the time, but it also provided access to occult knowledge in a form that allowed devoted practitioners to practise outside of the public eye.
In the grand scheme of things, this isn’t very long at all, yet so much of our history and practices have become skewed, and focus from their origins has been lost. Of course, I have no issue with natural evolution and progression; both are needed in all aspects of life if things are to remain healthy and productive. Although Witchcraft has evolved into broad and diverse branches over the decades, each and every aspect of the Craft is a product of the same
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foundations; rooted in the history, magic, and culture of Britain. My hope is that this book will provide insights into the rich heritage that sparked the global Craft Revival and help restore some of that lost history to our ever-expanding community.
Those who are today called our Craft Eldersare a unique group of people. Following the repeal of the Witchcraft Act in the UK, these brave people came out into the open and allowed the truth of Witchcraft to be known to the world. It is only by the sacrifice of these people, facing public abuse and backlash, that we now have the freedom as witches to be open about our practices. This eventually led to the legal protections against discrimination that many countries have today. Some may think it is unimportant to know who these people were, believing that they are outdated and irrelevant in today’s Craft. We have a duty to remind them, politely, that they owe a lot to these “outdated” and “irrelevant” witches in history.
We need to know where we came from if we are to truly understand where we are going. Above the major temples of the Mysteries in days long since passed, the words “Know Thyself” were engraved. This was a reminder that part of the Mysteries, a large part, in fact, was about self-discovery and personal development. If we fail to learn from history, we are doomed to repeat it. It is in this sentiment that this book is formed; as a convenient place to access those key elements that make our Craft complete and allow personal empowerment and transformation to occur, not only for ourselves but for our community at large.
At the beginning of this introduction, I wrote that “There are few words in the English language that are as empowering, offensive, and provocative as the word ‘witch.’” Witchcraft Unchained is a book of empowerment. Restoring the history of our practices will provide you with information that is quickly being lost to our community. Along the way, I will explore traditions and taboos that are considered provocative in our community in a way that puts the power back into our Craft, removing the chains of restraint that have been put onto a practice that should be as wild and free as the gods themselves.
Chapter One
5
Britainis truly a magical place filled with standing stones, sacred springs, and ancient gods. For this reason, it is little wonder why Britain was the natural home of the global Craft Revival movement. After all, with so much history and magic woven into the very fabric of the landscape and culture, it was inevitable that something would rise to the surface and make its presence known—a presence that would grab hold of a nation and not let go.
Much has been published about the history of the Craft in Britain. Anyone who has been part of the Craft for even the shortest of time will know the general overview. I find that some aspects and angles of our history are often overlooked or other-wise interpreted with the biases of today, rather than from the perspective of the time the events occurred. It is with this in mind that I address the history of the Craft. I also intend to touch on cultural influences on the Craft’s re-emergence, as this forms an important yet often ignored aspect that has directly contributed to the shaping of today’s Craft.
The Gods Awaken
Growing up in a nation that is outwardly very Christian comes with an extraordinary amount of contradiction. Every child grows up with the magic of the land, from our history and folklore to the
Witches in History
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practices that aren’t talked about and which have no name. During the period of the Second World War (WWII), Witchcraft was more relevant to Britain than it had been in a very long time. With so many legends about the protective spirits of the country, it would have been more bizarre if the people hadn’t turned—or returned—to the Old Religion at this most desperate time; an action that would change the land forever. At the end of WWII, Nazi bombs had unearthed many hidden things. One of the most prominent things found is a fully intact temple dedicated to the god Bacchus, revealing itself in the heart of London. Despite having many bombs land directly on top of the temple complex, only very minor damage—consistent with its age—was found.1Was this the start of the old gods beginning to reawaken to the people? Hearing their calls and reaching out to reclaim a nation stolen by an invading god from long ago? I certainly believe so.
People of the Revival
The Craft Revival movement would not have gone very far, nor been much of a movement, without the people involved. Regardless of whether our practices are similar to these people, their actions all contributed to giving us our freedom to embrace the Craft today. Note that there will, of course, be those whose names cannot appear here or in any book, as they had lived their entire lives without public notoriety. These unnamed and unknown individuals also contributed to the preservation of Craft lore and teachings and are no less important than the names to follow. The information presented below is brief. This is largely due to the fact that each has already been extensively written on. What is included below is intended to address the misinformation that is so often repeated concerning each individual. By restoring the historical facts about each person, it is my hope that more clarity about the global development of the Craft can be attained.
1 Bettany Hughes, Bacchus Uncovered: Ancient God of Ecstasy, produced by Sand-stone Global Productions Ltd, First aired on BBC Four, April 11, 2018.
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Cecil Williamson
(19th September 1909–9th December 1999)
One figure in Britain’s Craft history who is almost universally written out is Cecil Williamson. Part of the tragedy of this, as you will see, lies in the fact that some of the events of Cecil’s life are commonly misattributed to Gerald Gardner. In his youth, Williamson would have his first real encounter with the power of Witchcraft after he performed a spell, which he learned from a local witch, on the school bully. This seemingly simple act of magic resulted in serious injuries from a rather unfortunate skiing accident that prevented the bully from returning to school.2
Though this event was a prominent encounter with Witchcraft in Cecil’s youth, this was not his first interaction with a witch. Cecil’s first exposure to Witchcraft occurred when he came across a group of locals attacking an elderly woman who had been accused of bewitchment. Young Williamson jumped to the woman’s defence, for which he was beaten by the angry mob before they dispersed.3I believe it was this act of kindness, much like a classic fairy tale, which set this young man on a lifelong path of magic. In the early 1930s, Williamson was recruited to play a part in an important MI6 Operation intended to take down the German forces during the war. Williamson was to use his occult background to work undercover, acting as a folklorist to obtain the names of every German military and government official with ties to the occult.4Williamson proved to be very good at his new job, and at the request of a family friend, Colonel Maltby, became a full-time employee for the secret services, where he formed the Witchcraft Research Centre.5
It was during his full-time employment that Williamson worked the Lammastide (August 1) rites against the German forces in 1940,
2 Steve Patterson, Cecil Williamson's Book of Witchcraft: A Grimoire of the Museum of Witchcraft. (Woodbury, MN: Llewellyn Publications, 2020), 123, 124.
3 Ibid. 122.
4 Ibid. 128, 154.
5 Ibid. 129, 194.
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a ritual commonly misattributed to Gerald Gardner.6The govern-ment codename for the ritual was “Operation Mistletoe” and was attended by British occultists of all kinds, Canadian soldiers, and Amado Crowley, the son of the “Great Beast,” Aleister Crowley.7Williamson himself was aware of Gardner’s later claims to have been in attendance at this ritual, which Gardner said had taken place in the New Forest. Williamson stated that not only was Gard-ner not there, but also commented, “bless his heart, Gardner got the wrong forest.” The actual events had taken place in Ashdown Forest, Sussex.8
When considered logically, Gardner would not have been able to partake in such a rite in any event. It has been said that he was able to organise this rite due to being part of the home guard; however, during wartime, the nation’s borders were well protected. Someone like Gardner wouldn’t be able to randomly organise a naked frolic in the woods for any old reason. MI6, on the other hand, could organise whatever they wanted. That’s the benefit of being a secret service—who is going to ask questions? It wasn’t just the D-Day ritual, Operation Mistletoe, that was wrongly attributed to Gardner instead of Williamson. The terms “Goddess of Life” and “God of Death and Resurrection” that are used to describe the gods of the witches of Britain were first recorded as the words of Williamson speaking generally of Witchcraft.9Williamson also coined the term “Book of Shadows,” a term for a collection of texts on shadow lore held in the Museum of Witchcraft and Magic. He is also considered responsible for the phrase, “Drawing down the Moon.” Gardner showed great interest in Williamson's Book of Shadowsand used the title in place of the original name of his book, Ye Bok of Ye Art Magical.Gardner’s borrowing of both of these terms is confirmed
6 Ibid. 131.
7 Maier Files, “Cecil Williamson another MI6 Dabbler in the Black Arts: Part 4—The Occult Adepts of British Intelligence, Cecil Williamson.” Accessed Sep-tember 10, 2020.https://www.maier-files.com/cecil-williamson-another-mi6-dabbler-in-the-black-arts/
8 Ibid.
9 Doreen Valiente, “Doreen Valiente: A Witch Speaks,” In Pagan Dawn Beltane Edition 98, (London: Pagan Dawn, 1998), n.p.
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in a letter between Williamson and Patricia Crowther, the longest serving Gardnerian Priestess.10The Museum of Witchcraft and Magic on the Isle of Man also owed its origins to Williamson, who was its owner and founder. Although it is true that the building was later sold to Gardner who opened a new museum on the site, Williamson was its originator and his legacy lives on at the museum’s current location in Boscastle.11
Gerald Gardner
(13th June 1884–12th February 1964)
Often dubbed as the “Father of Modern Witchcraft,” Gerald Gardner is a name that is deeply entwined within the history of Witchcraft. Born in Blundellsands, Lancashire, to a wealthy family, Gardner had a poor early start in life. Suffering from ill health for most of his life, Gardner spent much time reading and learning about other cultures, eventually sparking his keen interest in the occult. This interest led to Gardner spending much time abroad, with his most significant experience in Craft history beginning in 1938. Following their return from an extended stay in Cyprus, Gardner and his wife, Donna, set up residence in an apartment in London, however, the threat of the war would soon see them move for fear of being bombed.12
This move would alter the course of Gardner’s life completely. Having friends in the New Forest area in Hampshire, the couple relocated to Highcliffe where Gerald quickly became known as an eccentric character wherein children would cross the road to avoid the presence of this strange figure.13It was around this same time that Gardner became a member of the local Rosicrucian Order,where he
10 Steve Patterson,Cecil Williamson's Book of Witchcraft: A Grimoire of the Museum of Witchcraft.(Woodbury, MN: Llewellyn Publications, 2020), 238.
11 Doreen Valiente, “Doreen Valiente: A Witch Speaks,” In Pagan Dawn Beltane Edition 98, (London: Pagan Dawn, 1998), 11-12.
12 Michael Howard, Modern Wicca, (Woodbury, MN: Llewellyn Publications, 2009), n.p.
13 Philip Heselton,Wiccan Roots: Gerald Gardner and the Modern Witchcraft Reviv-al, (Berkshire, UK: Capall Bann, 2000), 39.
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was well-received as a member. Over time, Gardner would be invited to join an inner circle of the Order, an offer that he eagerly accepted. It was during his first meeting in this inner circle, at his initiation ceremony, that Gardner would first realise what he was becoming a member of.
At his initiation, in which he was bound and blindfolded while completely naked, he heard the word “Wicca” spoken during a portion of the ritual. As a Northerner, Gardner could only associate this word, which is rather unheard of in the South of England, with one thing—Witchcraft! It was at this point that he knew for the very first time that the inner circle of which he was being made a member was actually a witches’ coven. Gardner took to being a witch with great enthusiasm, something that would stay with him for the rest of his life.
Following his initiation into the Craft in 1939, Gardner wrote his first book on Witchcraft, disguised as a novel titled High Magic’s Aidin 1949. This was primarily done as a convenient way of putting rituals and theories concerning Witchcraft into print while the Witchcraft Act of 1735 was still in place, which restricted the sharing and publication of such information. Under this act, it was prohibited to make any statements claiming that witchcraft was real.Once the Witchcraft Act was repealed in 1951, Gardner went on to publicly promote religious Witchcraft to the masses. Gardner primarily carried out this promotion via press releases, TV interviews, and the release of two Witchcraft books: Witchcraft Today (1954) and The Meaning of Witchcraft(1959). This level of publicity was not well-received by others in the community who found the level of exposure potentially problematic. This would eventually lead to unnecessary divisions in the Craft community which are still present today.
Within the Witchcraft community, it has often been erroneously suggested that Gardner invented Witchcraft or the religion called “Wicca”; the latter of these points will be fully addressed in the next chapter. These suggestions seem to stem from a belief that there were no witches in Britain before Gardner, however, his own initiates have publicly stated that Gardner’s first coven was founded with members who were already witches.14This should not really be a surprise to
14 Doreen Valiente, “Working with Gerald and Robert Cochrane, Magister,” in The Paganism Reader, (London: Routledge, 2004), 223.
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anyone. As already discussed, concerning Cecil Williamson’s place in Craft history, there have always been plenty of witches about.
The concept of a Gardnerian tradition was completely alien to the Craft prior to 1965, only having been established after Gardner’s death the year before in 1964.15It was the impact of his publicity and the opposing witches’ attempts to separate themselves from the image he presented that led to the phrase “Gardnerian Tradition” becoming coined. The seeds of this tradition were inadvertently sown by a throw-away comment made in the March issue of Pentagram in 1965.16
“I have experienced both of these versions; the former through my mother and my aunt, and the latter (rather too easily) through one of the many Gardnerian High Priestesses-who, I must emphasise, knew nothing at the time of my connections with the hereditary Craft. This has shown me just how great the gap is that exists, and the hard work that will be needed if we are to close it."
Prior to this, in November 1964, one reader of Pentagram Mag-azinehad written in to express a complaint shared by many witches: that Gardner’s witches were the only ones being interviewed and it was limiting the public image of British Craft to the same “eight ladies and three to four men.”17
Doreen Valiente
(4th January 1922–1st September 1999)
Doreen Valiente is possibly the most famous witch in Britain’s history, perhaps even surpassing Gerald Gardner in reputation. The “Mother of Modern Witchcraft” seems to be the single figure for whom every witch from every path holds a deep fondness. This is only natural, as Valiente was one of the most vocal practitioners to
15 Janet Farrar and Gavin Bone, The Inner Mysteries, (Portland, OR: Acorn Guild Press, 2012), 14-15.
16Taliesin, “Ancients” and “Moderns,” inPentagram Issue March 1965 (UK: Penta-gram, 1965).
17 “Before Gardner—What?” Pentagram, Nov. 1964.
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cross the fabricated boundary of tradition and return to a “purer” form of Craft. Her most notable works of writing are The Charge of the Goddessand her re-working of the Book of Shadows.
Valiente was already an avid reader and enthusiast of the occult before she officially came to the witches’ path. Reading about every related subject she could get her hands on, she quickly became a well-read and well-informed individual on the subject of magic and occult practices. On 29th July 1951, Valiente read an interesting newspaper article concerning Cecil Williamson. In this article, Williamson was calling for the covens of Britain to get involved with the Museum he had founded. At this time, he had already made arrangements for Gardner and his High Priestess, Dafo (Edith Rose Woodford-Grime), to conduct an opening ceremony.18
Although the article had caught her interest, Valiente would wait to act until 27th September 1952 when her curiosity finally got the better of her. It was then that another interview with Cecil Williamson would make a tabloid appearance. This time, Williamson provided details regarding the Old Religion of Witchcraft in Britain, including details of the God and Goddess, the sabbat dates and meanings, and the ritual he was part of against the Nazi forces in 1940. With her curiosity finally too much to contain, Valiente wrote a letter to Cecil Williamson to find out more about becoming a witch herself.19
Her written communications initially began with Williamson suggesting about six different covens which Valiente could connect with. However, her letters were passed to Gardner, who would later initiate her into the Craft himself. The initiation occurred the day before Midsummer of 1953, and the following day, Valiente, Gardner, and Dafo made a trip to Stonehenge to witness the Druids perform their seasonal rites.20
Though it may be controversial to say, I do not consider Doreen to be a Gardnerian witch. The term “Gardnerian” was applied to those who were “followers of Gardner” the year after he died. Valiente had already separated herself from being such a follower in 1957,years before the term was coined, a separation which was sparked by
18 Doreen Valiente,The Rebirth of Witchcraft, (London: Robert Hale, 2007), 11.
19 Ibid. 14-15.
20 Ibid. 40.
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Gardner’s publicity amongst other disagreements within the Coven.21In that respect, Valiente did not fit the criteria as a practitioner of the Gardnerian tradition, and it can hardly be applied to her work. I know of two covens personally—and a number of others, generally—that are down-line from Valiente following this split. None of them consider themselves to be Gardnerian. In fact, it has been said to me that, “We trace our lineage to Doreen [Valiente]. We’re not Gardner-ians, we’re witches.”
With this thought in mind, it can hardly surprise anyone that Valiente is still so universally celebrated. Without this hardened link to any one type of Witchcraft, Valiente and her legacy act as a cross-tradition touchstone to the very essence of the Craft without the limitations of tradition standing in the way. Her legacy is preserved and maintained by the work of the Doreen Valiente Foundation, which was founded by Doreen’s last High Priest, John Belham-Payne, with whom she left many of her documents, magical artefacts, and writing.
Robert Cochrane
(26th January 1931–3rd July 1966)
A polarising and controversial though no-less relevant figure in Craft history is Roy Bowers, who is more commonly known by his pen name “Robert Cochrane.” Founding the Clan of Tubal Cain in 1951 following the repeal of the Witchcraft Act, Cochrane wasted no time in embracing the new-found freedoms offered to observers and practitioners of the Craft. Unlike Gardner, Cochrane was reasonably “occult” with his practices in the truest sense of the word. When Doreen Valiente first encountered him and the Clan of Tubal Cain in 1964, it had been via a word-of-mouth recommendation by mutual friends that they should meet.22It is due to the strong occult nature of Cochrane’s Craft that the only major details we have are from the two-year period (1964–1966) in which Valiente was an initiated member. Outside of this two-year period, little else has been made public other than details already confirmed by Doreen Valiente.
21 Ibid. 72.
22 Ibid. 117.
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The work of the Clan of Tubal Cain—and of Cochrane himself—was not the same as that which Valiente had found with Gardner. It was for this reason that Valiente was grateful for being introduced to Cochrane’s new ways of working. Some of these new ways included contact with the spirits of past Craft practitioners who were termed the “Hidden Company” by an unnamed American Tubal Cain Clan member.23Valiente remained with the Clan of Tubal Cain until early 1966, a few months before Cochrane’s tragic death. Although often recounted as a suicide, evidence provided by Valiente indicates that his death was most likely an accident. For that reason, I will term his death as “death by misadventure.” Cochrane had started to show signs of mental instability following his divorce and had continued to experiment with “potions” containing powerful hallucinogenic substances. These were used to test the worthiness of a person from the viewpoint of the gods.24
It was Valiente who first put forward the now popular theory that Cochrane had coined the term “Gardnerian” himself, with her belief being based simply upon the fact that he used it.25However, the evidence suggests otherwise, making Cecil Williamson the most likely originator. Furthermore, Valiente’s testimony to its use by Cochrane at this time only indicates that the term had entered common usage, as its meaning was immediately understood. A com-monly used term to describe Gardner’s practices was bound to have been used by practically everyone at this time, making Cochrane's use of it hardly surprising.
Many question Cochrane's place within the history of British Witchcraft, mainly due to the fact that his Craft background has a huge question mark hanging over it, which is in no way unusual. Every founder of any branch of the Craft has at least one question mark hanging over their head in one way or another, a fact that should not diminish any practitioner’s work. It is surprising that people will not accept the Clan of Tubal Cain as the foundation
23Doreen Valiente,The Rebirth of Witchcraft,(London: Robert Hale, 2007), 127-128; Evan John Jones & Doreen Valiente quoted in Christopher Penczak, The Mighty Dead, (U.S.A. Copper Cauldron Publishing, LLC, 2013), 34.
24Doreen Valiente, The Rebirth of Witchcraft, (London: Robert Hale, 2007), 135.
25Ibid. 122
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of the second Craft tradition in Britain (after Gardnerian). There is just as much legitimacy to Gardner as there is for Cochrane, therefore, it is difficult to understand the reasons for why it’s considered unacceptable to place the Clan of Tubal Cain on the same historical timeline.
In the last few decades, there has been a rise in the teachings of Robert Cochrane. This is mainly via his surviving written records, known as The Robert Cochrane Letters. These letters formed a third of the American-formed 1734 Tradition and are freely available online. It was because of Cochrane’s teaching, and of the 1734 Tradition that came after him, that Craft initiation could come directly from the spirits. This was a philosophy that deviated from the other Craft teachings of the day. Many believe that reading—and re-reading—the Cochrane Letters can trigger such a connection to the spirits and begin a personal journey into Witchcraft. For that reason, Cochrane is not only historically relevant but also relevant to the ever-growing and changing face of Witchcraft today.
Raymond Buckland
(31st August 1934–27th September 2017)
Born in London in 1934, no one could have known just how celebrated Raymond Buckland would become in the occult world. Following his move to America in 1962, Buckland came across Witchcraft for the first time. Deeply invested in entering the world of the witch, Buckland made the journey to Perth, Scotland, with his wife, Rosemary, to be initiated by Monique Wilson: Gardner’s then-High Priestess. Raymond and Rosemary would then establish their own coven in America, effectively introducing the religion to the USA in 1964.26
It is worth noting here that Buckland cannot technicallybe credit-ed with introducing Gardnerian Witchcraft to America as is so often claimed. As we have established, such a name or distinction from other forms of Witchcraft did not exist until the following year of 1965. Buckland should rightly be remembered as the public figure
26 George Knowles, "Raymond Buckland—3 June 2007" Accessed 07 September 2020. http://controverscial.com/Raymond%20Buckland.htm.
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who brought Gardner’s teachingsto America. It wasn’t long after such labels and separation started to filter into the Craft that Buckland found himself disassociating from what this part of the Craft was becoming.27In the early 1970s, he made the decision to reconstruct a form of Craft practice that was right for him. In 1973, he founded a tradition known as Seax-Wica,and the following year, the foun-dational materials for the tradition and how to establish your own coven were published.28
Alex and Maxine Sanders
(6th June 1926–30th April 1988), (30th December 1946–)
Alex Sanders is considered to be perhaps one of the most controversial figures in the history of the Craft Revival and based on anything written and recorded about him, it seems he would have been very pleased by this title. Born and raised in Manchester, UK, Alex claimed to have first been introduced to the world of Witchcraft by his maternal grandmother. She had moved to Manchester from her home in Wales when Alex was seven years old. This would lead, so he claimed, to him witnessing his grand-mother performing a ritual and then initiating him into the Craft in order to keep him quiet about her practices. Of course, there have been strong cases made that this story is a total fabrication, as Alex claimed to have received material from his grandmother's Book of Shadows that she could not have possibly possessed; Doreen Valiente hadn’t written them yet, according to Alex’s timeline.
According to a now well-circulated letter written to Gerald Gardner by Pat Kopinski, Alex was first initiated into the Craft on 9th March 1964 by a witch known as Medea.29Anyone involved in the Craft, especially here in the UK, will be more than aware that this is where the very start of the controversy began. Much debate exists around the legitimacy of this initiation as Patricia Crowther
27Raymond Buckland, Buckland’sBook of Saxon Witchcraft, (Boston, MA: Red Wheeler/Weiser, LLC. 2005), n.p.
28Ibid.
29Letter quoted in Janet Farrar and Gavin Bone,The Inner Mysteries, (Portland, OR: Acorn Guild Press, Second Edition 2012), 16.
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had denied Alex initiation, and Medea, one of Crowther’s initiates, had gone against her wishes.
Under the strictest rules of the Craft, only an autonomous coven may make such a decision. However, any second-degree witch can initiate a new witch, so the rules in this instance are not as black and white as they first appear. Some argue that we do not know when, or if, Alex received his higher initiations. This is true, but as the saying goes: “Absence of evidence is not evidence of absence.” Furthermore, the tradition that would later evolve from the work of Alex and Maxine Sanders—the Alexandrian tradition of Witchcraft—required only that Alex and Maxine were satisfied with their own abilities in the Craft.
Maxine Sanders was no stranger to Mystery traditions when she first entered the witches’ Craft as she was previously an initiate of the Egyptian Mysteries.30Maxine was brought into much of the occult world from a very young age due to her mother’s great interest in the subject and who brought Maxine along for many of her spiritual explorations.31Without a doubt, this allowed her to approach the Craft with a unique perspective and experience that wasn’t shared by others entering the Circle for the first time. Soon, Maxine’s experiences from her earlier years would draw her to the world of Witchcraft, something that she had initially found disturbing because her “studies (which included certain aspects of magic) had been imbued with a strong religious quality compatible with [her] Roman Catholic faith.”32
Much like Gardner, neither of the Sanders’ were trying to make a name for themselves by founding a tradition. As far as they were concerned, they were just witches. In Maxine’s autobiography, Fire Child: The Life & Magic of Maxine Sanders,she explains that the term “Alexandrian” came into use when Stewart Farrar was finishing his book, What Witches Do. In her own words, she writes:
“When the book was finally finished, Stewart came up with a problem: ‘What do we call witches who follow your way of practising the Craft?’
30Maxine Sanders, Fire Child: The Life & Magic of Maxine Sanders 'Witch Queen', (United Kingdom: Mandrake, 2007).
31Ibid.
32Ibid.
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We had no idea. To us, the Craft was just that, 'The Craft.' The answer was simple, and the Alexandrians came into being. Thank you, Stewart!”33
Far from trying to found a new tradition, the Sanders’ demonstrated great dedication to their Craft with a very British attitude of “minding their own business and getting on with it.” Considering how quickly they were both thrust into the media spotlight, their humility is very admirable. Not many witches today can find that balance of being in the public eye while also remaining occult. Among Alexandrians, Alex was recognised as the “King of the Witches” and Maxine held the title of “Witch Queen” until the age of thirty. It should be noted that the title Maxine held was not because of Alex, it was an initiatory title that she held in her own right.
In recent years, it has been wrongfully suggested that Alex and Maxine Sanders had issues with, and were unwilling to initiate, people with disabilities. This is not and never has been the case. If the student was serious, dedicated, and willing to put in the time, such things as disability never mattered, and for Maxine, they still don’t.34
Sybil Leek
(22nd February 1917–26th October 1982)
Far more controversial a figure than the Sanders’ was Sybil Leek. This utter icon of the British Craft movement caused much friction with her media presence, mainly due to the fact that her Craft deviated from the popular narrative. She was a traditional witch and very proud of the fact. Born in Stoke-On-Trent in the region of the New Forest, Leek claimed to have a Craft practice that could be traced back to 1134. With the release of her first book Diary of a Witchin 1969, Leek became known as “The World’s Most Famous Witch” by the press. Following the repeal of the Witchcraft Act, Leek outed herself
33 Ibid.
34“Maxine Sanders on Missing Digits & Disabilities—Oct '16” Maxine Sanders speaking, recorded by Sharon Day, video, 2:43, February 7, 2018, https://www.youtube.com/watch?v=_PPqG2SJ0HQ
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as a witch, leading to a media storm upon her village. The residents did not like the sudden influx of cameramen and tourists coming to see the witch and quickly tried to shut it down by branding Leek a joke or a fraud.35
None of this resistance would stop Leek from becoming a notable witch, as she stood firm to her beliefs and position on the Craft throughout her life. One of the largest criticisms that she received from other witches in the media was that she was very much a proponent for the art of cursing. As many other witches claimed that “we don’t do that sort of thing,” Leek stood out as a momentous example of the fact that not all witches are Gardnerian. Of course, this opinion was not well received. One of Gardner’s High Priest-esses, Eleanor “Ray” Bone, voiced her dislike for Leek during a TV interview in America. The host challenged Bone to turn Leek into a toad, at which Bone remarked, “Why should I improve on nature?”36
It is worth noting that some have suggested that such an issue arose from the fact that Leek claimed to have a Craft origin that predated Gardner. This is not the case. Bone herself was first initiated into a tradition from Cumbria, England, in 1941 before becoming initiated into Gardnerian Craft. When Bone was no longer running her coven in London, she returned to Cumbria in the Northwest and resumed her practise of the Craft in which she had first been initiated …if she had ever stopped at all, that is.37There was never an issue of there being witches on other paths, it was the image that they chose to portray to the press that caused friction.
Authoring over twenty books in her lifetime, covering subjects such as Witchcraft, astrology, herbalism, exorcism, and cursing, Leek was a great source of information for people who could not access Witchcraft through a coven. Leek intended to make Witchcraft a lot easier to get involved with, and following the death of Gerald Gardner, she founded the Witchcraft Research Association. The job
35 “BBC Inside Out—Sybil Leek; White Witch.”
