THE FASHION & LIFESTYLE MAGAZINE FOR CITY WOMEN AND MEN

Witches
in America

Written by admin, 2 years ago, 0 Comments

You might think witchcraft and paganism in America had its heyday back in Salem in the 17th Century (not to be mistaken for witch hunts by the modern Republicans in the 21st century) but it is alive and well and practiced all over the country. And why not? Is it any sillier to believe in ghosts and goblins and the devil than it is in angels and miracles and life hereafter. Doesn’t it all belong way back in the 17th century… at the very least?

by Alex Mar

Witches are gathering.

Witches are gathering all across California, witches and their apprentices and little children and polyamorous collection of boyfriends and girlfriends. They are gathering for the season of death, the days leading up to the high holiday of Samhain. October is the time of year, they say, when the veil between the worlds becomes thin and the multitudes of the dead can reach across to touch you, brush your cheek, whisper in your ear, drink your whiskey. So the priestesses pull out their sporty West Coast vehicles, from gnarly pickups to gleaming, eco-friendly mini-mobiles, and they load up, with complicated tents and pillows and crockery and duffel bags full of ritual gear and brown paper bags crammed with discount groceries. They are leaving their cities for the mountains and the woodlands of this schizophrenic state: the rocks and the trees and the clearer skies will bring them closer, perhaps, to friends and family who have passed to the other side.

They spill out onto the highways, then fan out, leaving behind their tech ventures and professorships, their accounting firms and bio labs, their yoga studios and bookshops, heading toward covens in so many counties. Some go even farther, east into the hills, until their earth-worshipping caravan clears the electrical grid and finally comes to stop in a red clay clearing. Here, they start to unpack: all across the landscape, out come the coolers and sleeping bags, the exotic fabrics, the amulets, the baggies of herbs, the idols and carefully bundled wands. People are slipping into velvet, or black leather kilts. A priestess stands brushing out her long hair, uncut for twenty years. Another wraps a belt around her waist, heavy with stones and metalwork, then swings a cloak over her shoulders, so long it drags across the dirt.

This is Stone City, one hundred acres dedicated to witchcraft in Santa Clara County.

Beyond this property, back where everyone came from, the rest of the country celebrates Halloween, with their rubber masks, Blow Pops, and toilet paper. Here, far off the grid, at a recently installed stone henge the neighboring ranchers know nothing about, these citizens are preparing to summon their dead. Within a few hours, at dusk, they’ll begin gathering in a circle, even the children, chanting the words to set things in motion.

* * *

I am not what you would call witchy. Raised in Manhattan, I confirm plenty of the stereotypes of a New Yorker: an overeducated liberal, a feminist, a skeptic long suspicious of organized religion, surrounded by friends—several of them artists, writers, and filmmakers—who consider agnosticism an uncomfortable level of devotion. I’m not prone to joining groups of any stripe, particularly the spiritual variety. I believe in something transcendent, but I’ve yet to meet someone with a convincing label for it.

At the same time, we each have a dimension hidden beneath our carefully cultivated surface, a piece of ourselves that we can’t shake off or explain away. For me, it’s this: I’ve always been drawn to the outer edges, the fringe—communities whose esoteric beliefs cut them off from the mainstream but also bind them closer together. As a writer, I took a stab at a novel about the life of David Koresh, in part because I envied the plain certainty of his followers; I cooked up thin excuses to report on a Billy Graham revival in Queens, visit a New Age commune in California, move into a convent in Houston. On one level, I’ve been driven by an easy curiosity, an attraction to the exotic and far-out—which the whole spectrum of belief has long seemed to me—but I’ve also been looking hard for those intangibles I might have in common with even the most alien congregation. As a natural outgrowth of this impulse, I am setting out to make a documentary about American forms of mysticism. Finally, through the drawn-out, painstaking production of a feature-length film, I’ll come to understand what I’ve been chasing, beat it into a tangible product, a neat conversation piece, and move on.

This is what takes me to Stone City.

In the early evening, I find myself heading down a perilous, zigzagging road into the Middle of Nowhere, Northern California, a cliff drop always on my right, watching as ranching country turns to meth country and then who-knows-where as the light begins to fall.

I’m at the start of my odyssey across occult America, in the last available rental car from the San Francisco International Airport—a twelve-passenger van better suited to taking a kindergarten class on a field trip. Instead, it is carrying a wary New Yorker thirty challenging miles into old mining territory. The boat-on-wheels winds around shocking curves every twenty seconds, each time threatening to toss me headlong into a valley dotted with vultures. I head out past nouveaux villas; then scrappy working ranches; then trailer homes set few and far apart; and, finally, past the first in a string of ghost mines where so much magnesite was pulled from the ground long ago. Back then, for the miners, this would have been a drive full of expectation. A century and a half later, it is for me, too, but with a difference: this trip—not horse-drawn, but more nauseating for it—is leading me to Craft sanctuary land, land that belongs to Morpheus, a priestess who has steadily been making her name known among witches out west for fifteen years.

As the sky darkens, I rumble up the dirt driveway, past a metal-scraps heap, a shed built out of glass bottles, and an improvised chicken coop, to stop in front of a double-wide trailer in the twilight. Just then my headlights flash on a Doberman who, with pitch-perfect timing, comes bounding toward the car, barking until its fist-sized heart seems ready to burst.

Slightly stoned on Dramamine, I sit and watch, stock-still, as Cerberus is followed by a thin rail of a man in fatigues, combat boots, and white-man’s cornrows.

“Heel!” he shouts, rapping his knuckles on the dog’s head. This would be Shannon, Morpheus’s husband.

I dismount from the van, step lightly past the dog-monster, and follow Shannon inside—into a bargain-basement Paul Bowles fantasyland. Everywhere there are lanterns covered in lace metalwork, leather pincushion seats, Moroccan wall hangings, animal skulls, and images of the goddess of this, the goddess of that. A clay statuette of Pan sits atop a library of occult titles like Transcendental Magic and Deciphering the Witches’ Sabbath. I am still getting my bearings when, across the threshold of bright purple carpeting, steps the priestess herself.

Morpheus: like me, in her thirties; in baggy jeans, tank top, and an ass-length braid of red hair. She is pale and lean, with large blue eyes—not at all intimidating. (What did I expect?) She approaches, carrying a pan of pre-made enchiladas.

The three of us sit at the dining-room table, by the cabinet of loaded rifles and underneath the generator-powered chandelier, Cerberus curled up like a cat at Morpheus’s feet. We drink the cheap wine I’ve brought and settle into talking the rest of the night, Morpheus now and again busting out a big, broad laugh—geeky, unguarded. We discuss their plans for the solstice, initiation rites (“Not telling!”), and the Stone Circle—the henge this place is named for. They’d spent a year and a half erecting it, marking out the positions of the sun from season to season—“never mind dragging those half-ton rocks into place,” she says. “Now we have nearly all our rituals up there.”

Exhausted, and with little more to learn tonight—we’ll get to know each other carefully, in stages—I turn in. Armed with a tiny flashlight and a sleeping bag, I make my way up the brush-covered hill toward a makeshift cabin somewhere in the distance. Once I reach a plateau, I stop in my tracks, because there it is: the Stone Circle, visible in the moonlight. A gathering of enormous standing stones, huge slabs buried in the ground to rise six feet tall, a very specific fantasy imposed on the landscape.

Once it’s daylight, I see that Stone City alternates between untamable, prickly undergrowth and gutted stretches of dry red dirt. Here and there, dotting the land, are guest trailers, broken boats, outdoor hot tubs, goats and Polish roosters, evidence of the pantheon—altars built from Home Depot gazebo parts and statues ordered off eBay—a Maypole covered in last year’s ribbons, a “meditation” labyrinth of palm-sized stones, the Stone Circle itself. This assembly of structures has been the single-minded project of the last few years, the excavation (with tractor and borrowed earthmover), then erection (with bare hands and pulleys and the occasional blowtorch) of a peculiar architecture. All this for Morpheus, priestess. Stone City is her place to practice witchcraft safely, and to gather people together for ritual and to build fires and drink and sing and (when the spirit strikes) have sex somewhere in the wilderness, where the bones of wild pigs are scattered.

I may not know it now, but my relationship with Morpheus will go beyond the making of a film, deepen and grow more complicated (she’ll prove a lot more formidable than the blithe, skinny redhead who served me dinner). And through our relationship I will realize that this hidden dimension of myself, this curiosity about the outer edges of belief, is not something from which I can recover. Because I envy them, the believers. They have guidance; they have clarity; their days have structure and meaning. And, quietly, for a long time, I’ve coveted these things—after all, they’re what most of us want badly, regardless of whether we consider ourselves lapsed Catholics or born-agains or strident atheists. Morpheus has perfect conviction in a world that I do not understand, and I feel compelled to step inside her belief. When I put my work aside, I have to admit that I am searching—hopefully, and with great reservation—for proof of something larger, whatever its name.

2015 Alex Mar with permission of Sarah Crichton Books/Farrar, Straus & Giroux.