Fans pick 100 books like Two Tracts on Cartomancy

This is an unreliable but very readable book from occult writer Kenneth Grant. I used to find the title mysterious; it really means images and oracular worlds, and I remember seeing great heaps of this book remaindered in the 1980s, little knowing it would go on to fetch £300 a copy. Fortunately, Fulgur have since produced an affordable edition.

Grant’s depiction of Spare is heavily influenced by his reading of popular fiction writers like Arthur Machen, Sax Rohmer, and H.P. Lovecraft, and he gives us Spare, the black magician seduced in childhood by an elderly witch, who launches “an amphibious owl with the wings of a bat” into a conflict between magical groups. This is really the book that started the “Spare Mythos.”

A warm, down-to-earth amateur biography of Spare, which is also a memoir of the author’s friendship with him. A mildly eccentric man who went on to run a secondhand bookshop in Hastings, Letchford sought Spare out in 1937, when he was a twenty-one-year-old shop assistant, after reading about him in a newspaper, and went on to become his most loyal friend.

At the opposite pole to Grant (they only met at Spare’s deathbed), this is Spare the canny, opinionated Cockney and South Londoner, but there is not much magic in it. Spare valued both Grant and Letchford, although he had a couple of rows with Grant. In the end, he might have felt closer to Letchford, leaving him “first choice” of pictures in his will and Grant second.

Grant met Spare in 1949 through his wife Steffi, who had read a ‘human interest’ feature about him in a magazine. Based on Grant’s diary, this book records the real Spare in the pubs of South London and the West End before Grant semi-fictionalized him.

Grant had a sense of humour, and after introducing Spare to witchcraft revivalist Gerald Gardner, he watched him try to outdo Gardner in boasting about witchcraft, then went home and wrote that it was “screamingly funny.”

This is a substantial tome, beautifully produced and illustrated, with plenty of time-travelling period detail. Steffi remembers when pubs had live pianists, often playing ‘The Harry Lime Theme’ from The Third Man: “It seemed the signature tune of Spare at that period, and hearing it now fills me with nostalgia.”

This complete compendium of Spare’s exhibition catalogues has been put together by the great Robert Ansell, a pioneering figure in Spare research. Running from 1907 to 1955, complete with their catalogue essays and some related bits of ephemera, the facsimile catalogues slowly change in their period feel and give the real trajectory of Spare’s career, all the way through to his late shows in pubs.

The book has a generous additional colour section of pictures, and it is all surprisingly readable and even vivid: “Not long now!” says the flyer for an upcoming exhibition in the Mansion House Tavern pub in south London: “The show you’ve been waiting for!” 

Jessica Dore’s book is a revelation.

Coming from a psychological view of the cards, Dore incorporates ideas from different psychological schools of thought such as Cognitive Behavioral Therapy, Dialectical Behavior Therapy, and Acceptance and Commitment Therapy as well as Greek myth, Arthurian legend, folklore, fairy tales, and more.

Dore offers a unique, modern, and very personal approach to the cards and their meanings. A fascinating example for anyone building their own tarot practice and figuring out what tarot means to them on a personal and individual level.

I found the discussions in this book to deepen the understanding of what I had gained from Italian-American folk tradition and magic that I first came across in Italian Folk Magic.

With discussions of saint veneration, ancestor veneration, ritual, and more, this book gave my magical practice more depth and direction. 

Jessa Crispin’s Creative Tarot suggests ways to connect to one’s muse through tarot. Crispin’s chapters match each tarot card’s essence to artists, thinkers, philosophers, and writers, looking at challenges and gifts each personality encountered over the course of their lifetime (and how they manifested in detriment or bloom). One of my favorite lines makes tarot card exploration forever relevant: Crispin writes, “It is about retelling the present.” And it is about how to ground tarot energy in specifics: what does it mean to be a King of Cups? Who has lived such an incarnation? Her “living examples” make tarot tangible for my students; I love her specific suggestions for how to explore the energy of each tarot card through music, film, paintings, art, and literature. 

I fell immediately in love with the human characters and the setting despite the cat being a minor player in the story. Hana Keller is Hungarian on her mother’s side of the family. She works at the family’s charming tea house. Grandma Juliana reads tea leaves and is steeped in Hungarian mythology—correct that—grandma’s “tales” are often true to life.

I was engaged with the unique ethnic viewpoint and delighted to learn more about Hungarian culture and food. I devoured the series and have moved on to Buckley’s Writer’s Apprentice series.   

I chose this book because it is such a wide-ranging compendium of Russian folk beliefs in general (in English!) as well as of Russian customs involved in trying to ensure the fertility and health of crops, farm animals, and women, all desperately needed for the survival of the community. It is these fascinating and picturesque customs that so often get incorporated into dances. Furthermore, the Dancing Goddesses were often pressed into service for divination of the future, especially by young girls worrying about whom they would marry and how many children they would have, or if they would die first. (I accidentally witnessed one of these ceremonies in Danzig in 1993—they have not died!)

I first did the I Ching when I was in my 20s. The first reading I had was by a guitar player in Vancouver, and it came out like perfection. This was before my success, before Cheech, and it just lit up my path forward in life. It wasn’t until I was headed to jail that I picked it up again. My brother-in-law sent me a copy, and it was the first thing I did when I got inside. The first line I got back was “you are in jail for a reason”. It was astounding. The word penitentiary comes from the word penance, I took that to heart and that is what I did. I view my time in jail as a religious retreat.