Posts Tagged ‘american fairies’

FairiesInAmerica.com Poets at The Jubilant Thicket Literary Series, Philadelphia

Friday, February 4th, 2011

(Philadelphia, PA) On February 13th at 7 p.m., The Jubilant Thicket Literary Series will present Elizabeth Kirwin, performing the Fairy Gothic Ballads with the music of LiamSckhot, Jonathan Pogoda reading poetic fiction, and poetry by Quincy Scott Jones. The event will be held at The Walking Fish Theatre, 2509 Frankford Avenue, in Philadelphia, PA. Donations are accepted.

Debrah Morkun founded The Jubilant Thicket Literary Series, where she has created a venue to showcase the work of avant-garde poets, featuring them alongside artists of different media and scholars. The series takes its name from the Selected Poems of Jonathan Williams. Debrah Morkun recently published a selection from her new book, Hera Calf, 2. Her calf whispering room in Bardic Sepulchral, the section of FairiesInAmerica.com that features the poetry of fairies, witches, friends of the fairies, the literary avant-garde and more. Bardic Sepulchral is edited by CAConrad, who recently published an expanded version of The Book of Frank with Wave Books.

Elizabeth Kirwin, the editor and publisher of FairiesInAmerica.com, has been collaborating with the music composer LiamSckhot for three years on the Fairy Gothic Ballads, an audio collection of tales of magic sprung from Ireland in the 18th Century. LiamSckhot is a master percussionist and he illustrates the ballads with electronic and acoustic music. Kirwin is of Irish American lineage and she is a performance artist who dresses as her magical male character — the bard. The performance at Jubilant Thicket is the first public presentation of the ballads.

The Fairy Gothic Ballads are imaginary narratives of the land and the people of Ireland, and tell of their precarious relationship to the faeries, a sublime race of beings who rule the wilderness areas and make incursions into the human realm. Visit the Fairy Music section of FairiesInAmerica.com to listen to free podcasts.

FairiesInAmerica.com was founded in 2007 to document the cultural, spiritual, sexual and gender revolution being sparked by the faery movement, an eclectic branch of neo-paganism. FairiesInAmerica.com is open to submissions in gender, sexuality, music, spirituality, art, writing, poetry and more. The website has published the work of Michael Rumaker, Penny Arcade and other writers and artists. FairiesInAmerica.com is currently seeking section editors. Email info@fairiesinamerica.com to submit work or inquire about editorial positions.

For those interested in text link or banner advertising with fairiesinamerica.com email info@fairiesinamerica.com for rates.


An Ancient Mare in Texas is Touched by Fairy Magic

Monday, January 25th, 2010

l have believed in the fairy folk for over 50 years, and spent most of my childhood in the forest behind my home looking for them. Now l once again live in a very remote area ( old growth woodlands of eastern Texas) and still go out to hunt mushrooms and see what l can see….l have goats and chickens and 2 welsh ponies as well as dogs and cats.

Are the Fairies at Work?

When feeding my oldest mare yesterday, l noticed that she had a double braid in her lovely mane- something like a “lover’s knot” in the middle with 2 braids cleverly woven coming out of the knot on either side! (IMPOSSIBLE to untangle, so l let it be). Now my family settled this area over 100 years ago and l have heard no stories about the fairies living here.. But as we have had some other strange occurrences around here lately, l wonder if they have sought out remote places to reside, or have we in the USA always had our fair share?

l will say that l am of lrish background ( dating back to the lreland of the Norman Conquest, when my family was given land in return for fighting with William the Conquerer). My ancestors fled lreland to the “colonies” in the 1700’s to escape the wrath of the English… but that is another tale. So, am l just imagining things like my wise old granny or is it possible that wee folk live in my hollow trees?

Melinda Chilton


The Queen’s Rune and Other Tales of the Sidhe by Shannon Avery

Wednesday, July 29th, 2009

Published by Vulgar Marsala Press, July 2009
133 pages
ISBN: 978-0982007723
Review by Edmund Margary, L.O.B.

Nearly eight years ago, I wrote of the forsaking of humankind by our gods. Thanks to author and researcher Shannon Avery, it seems we have one last chance at redemption.

Redemption is a recurring theme in Avery’s new book of poems and stories: The Queen’s Rune and Other Tales of the Sidhe. The “Dirty Little Secret” of Sidhedom is hinted at throughout the book and readers who take the time to explore Avery’s masterful rendering of Sidhe language and culture into a form relatable to humans may just decrypt the puzzle. But even for the Uninitiated, Avery performs a remarkable feat of linguistic and cultural detective work, not to mention a literary high-wire act, as she virtually channels the Fair Folk, balancing razor-sharp analysis with rich imagery.

For those of you new to the Sidhe world, They are humanoid creatures sharing our Universe and our planet, removed from humanity only in our limited ability to perceive them. Their culture is several thousand millennia older than our own and Avery deftly handles half-a-million years of history with an insight that could only have come from a deep devotion to honoring the subject. Her translation of the Ann Amrahn Atraighn, for example, captures the cold, otherworldly arrogance of Our Friends, The El’Ohim, as They attempt to instruct their “most puerile kin” in the mysteries of the Universe as well as the very human-like sense of betrayal and regret the teachers feel when their experiment goes so violently awry. Avery’s translation feels like redemption itself after the travesty that was Hammond Cole’s version of 1649, not to mention the abomination inflicted on the world by the Reubenites in their heretical and error-laden Genesis chapter of the Torah.

Redemption flows through the Sidhe “love” poems as well; Avery’s poetic language—delicate one instant; eviscerating the next—evokes for human readers the depth of Sidhe passion and the core conflicts in all Sidhedom. Like Perceval in the Fisher King, Avery’s Sidhe lovers—Amfortas and Eriu; Rhiannon and Pwyll—kneel in the Temple of Sound and ask “Whom does the Grail serve?” In the Lay of Amfortas, the title character sings: When my body and my harp are ashes/your conjured rage has laid us bare/and I regret it not. True appreciation of the torment of Amfortas and Eriu may still elude humans, but Avery’s eloquence conjures a musical spell that insinuates itself into our all-too-limited flesh.

To assist Avery in weaving her web are illustrator Danae Bentley and performer Lea Ann Douglas.

Bentley’s illustrations run the gamut from colloquially charming to harshly disturbing to enticingly encrypted with delicate high-order mathematics. Her literal, yet hauntingly whimsical,  depictions of some scenes in the Kambuzi Massacre left this reader feeling oddly dirty—like catching an accidental glance at a child while he changes clothes. And the imagery of that story—the illustrations and text combined—evoke memories of horrors from my younger days as a soldier and scholar in war-torn Europe: “They are our enemy. They are not us. Their blood is not ours. Their blood is a river. This river will flow across Benue State and out to sea. Benue will be clean.

Lea Ann Douglas is Avery’s patroness and herself a devotee of Sidhe culture. She combines Avery’s research with her own performance and creative writing background to generate live performances about and in the style of the Sidhe.

Perhaps the only negative aspect of The Queen’s Rune is that, in its emphasis on ancient Sidhe culture, it fails to address the gathering storm of Sidhe-Human relations at this time. Avery’s lyrics evoke the culture of the Sidhe—their complexity, their passion, their devotion, their pain, their playfulness—but gloss over some of more disturbing aspects of Sidhedom. Most particularly, Avery leaves out the implications of the Kambuzi Massacre. The book, for all of its success in creating a bridge of understanding between the two species, fails to warn humanity of just how dangerous our “closest cousins” are and what is at stake should we fail to heed their message yet again. Avery’s Ann Amrahn Atraighn ends with the Loyalist Seth Levian heading forth “to seek mankind’s redemption” but neglects to mention that the sands of time have run quickly these last 5769 years and that our hour is nearly up.

In summary, this collection of Sidhe art, literature and lore is very highly recommended. The poetry and stories will entertain, engage and enchant and, for the reader with Ears to Hear, dares us, in the words of Brother W.B. Yeats, to “Come away, O human child!/ To the waters and the wild /With a faery, hand in hand/ For the world’s more full of weeping than you can understand.


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