Faerie Lore and Legends

Canada’s Loch Ness Monster Caught on Tape? | ABC News Blogs – Yahoo! News.
A possible sighting of Canada’s version of the Loch Ness monster at a lake in British Columbia has stirred up the legend of the sea creature long-rumored to reside there.
A man visiting British Colombia’s Lake Okanagan claims he filmed video of what could only be the elusive monster, known to locals as Ogopogo. The 30-second video shows two long ripples in the water in a seemingly deserted area of the lake.
“It was not going with the waves,” Richard Huls, who captured the scene on camera during a visit to a local winery, told the Vancouver Sun. “It was not a wave, obviously, just a darker color. The size and the fact that they were not parallel with the waves made me think it had to be something else.”
 
Ogopogo is the Canadian version of Scotland’s famous Loch Ness monster. The first recorded sighting of the alleged creature in Loch Ness was nearly 1,500 years ago when a giant beast is said to have leaped out of a lake near Inverness, Scotland, to eat a local farmer. Since then, the legend has taken on a life of its own through first-person accounts of those who claim to have seen it and in public imagination.
 

As with Loch Ness, the Ogopogo phenomenon dates back hundreds of years and is believed to have its origins in native Canadian Indian folklore with a creature called N’ha-a-itk. The locals would not cross the area of the lake where they thought the monster resided without an offering to feed the monster if attacked.
Ogopogo is most commonly described as a 40- to 50-foot-long sea serpent. There have reportedly been thousands of sightings of the monster through the years, including a marathon swimmer in 2000 who claimed he saw two large creatures in Ogopogo’s likeness swimming with him at times. The lake has been searched and no concrete evidence of the monster has turned up. Still, the legend of the lake monster lives on.
 

So, is the latest video just a ripple in the water or something more? Let us know your thoughts in the comments section.

Thor ~ a.k.a. “God of Thunder”, Þórr (Old Norse), Þunor, Þunraz, or Donar (German), or þonar ????? (Runic).
~ The Germanic and Norse God of Thunder, lightning, storms, strength, oak trees, protection of mankind, healing, fertility, and hallowing.

From earlier than the Ragnarok mythology onwards to the 2011 Hollywood blockbuster film of the same name, “Thor” has been a stable part of human history, folklore, and mythology. He is commonly depicted as a “God of storms, thunder, lightning, oak trees, and/or strength” in most of his history throughout proto Indo-European religions and faiths. In Academic literature, he is mentioned alot from the Roman occupation of Germania, during tribal expansions of the Migration Period, from the Viking Age, and to the incorporation of Christianity into Scandinavia as well as Ireland. The English day “Thursday” is named after him as “Thor’s Day”. He is often described as red haired (head and beard), muscular, and fierce-eyed carrying his war hammer “Mjöllnir”, wearing his iron gloves “Járngreipr”, sporting his “Megingjörð” belt, and brandishing his “Gríðarvölr” staff. He is the son of Odin and Fjörgyn (Earth). From his father Odin, he has several brothers. He was married to the Golden haired Goddess “Sif”, Lover to “jötunn Járnsaxa”, father of the God/desses Þrúðr (valkyrie through Sif), Magni (through Jarnsaxa), Móði (through an unknown mother), and stepfather of Ullr. He has two very close servants – Þjálfi and Röskva. He has two favorite goats that pulls his chariot “Tanngrisnir and Tanngnjóstr”.

Throughout Norse myth, “Thor” is mentioned in numerous tales, and is referred to as potentially upwards of 14 different names. He is often corresponded to the Gaulish God of Thunder “Toran” or “Taran” and the Irish God “Tuireann”. He has been attributed with living in three dwellings through his history which are Bilskirnir, Þrúðheimr, and Þrúðvangr. He is often depicted as “reckless” and notable for the mass slaughter of his foes. He invokes fear and terror in battle, and it is with the mythical battle with the dragon-like serprent “Jörmungandr” in Ragnarok that he is very popular. He also was written about much in Viking Age folklore as “Th?rr” and is where in written history, he is first known. This was the period of time when he was the most popular as a defiant response to Christianity trying to take hold in the lands where they fused. Many “Vikings” often wore talismans representing his war hammer to oppose Christianity. As most of German history was unwritten, much of the written lore about Thor in relation to the Germanic peoples was done by their conquerors, the Romans. Within these writings, he was often merged with the Roman God Jupiter or Jove, or Hercules as first found in the works of Tacitus. He appeared on Roman votive objects and coins dating in Germanic regions as early as the 2nd and 3rd century of the Common Era (C.E. / A.D.). The first recorded instance of his name as “Donar” was on the Nordendorf fibula jewelry in the 7th century C.E. in Bavaria. By 723 C.E., Saint Boniface felled a oak tree dedicated to “Jove” which was called the “Donar Oak” in Fritzlar, Hesse, Germany. In the 8th century, there were numerous tales about “Thunor” (Old English version of “Thor”), as well as the poem “Solomon and Saturn” and the expression þunnorad (“thunder ride”). In the 9th century, the Old Saxon Baptismal Vow In Mainz, Germany records his name in directions on how to get Germanic Pagans to renounce their native Gods as Demons. By the 11th century, Adam of Bremen describes a statue of Thor in the “Gesta Hammaburgensis Ecclesiae Pontificum” that sits in the Temple at Uppsala in Gamla Uppsala, Sweden listing “Thor” as the ruler of the sky, governor of thunder and lightning, storms, winds, fine weather, and fertility. He was also described as looking like Jupiter. It is also at this time that two notable archaeological artifacts with runic inscriptions invoking Thor were created in England (aka “The Canterbury Charm” to call Thor for healing a wound by banishing a thurs) and Sweden (aka “the Kvinneby amulet” to bring forth protection by Thor and his hammer). By the 12th century, after Christianity took hold in Norway, Thor was still found heavily worshipped and invoked by the Norse for help. Iconography at this time of King Olaf II of Norway being christianized also held Thor’s elements and depictions. The 13th century “Poetic Edda” which was compiled from traditional sources from Pagan eras, Thor is mentioned in the poems Völuspá, Grímnismál, Skírnismál, Hárbarðsljóð, Hymiskviða, Lokasenna, Þrymskviða, Alvíssmál, and Hyndluljóð. “Völuspá” tells a tale and premonition of the future talking about the Death of Thor as he would be doing battle with the great serpent during Ragnarok and dying from its venom. It is after this that the sky turns black as fire engulfs the world, the stars disappear, flames will dance in the sky, steam will rise, the world will be flooded with water, and earth will appear again green and fertile. Through this rebirth, Thor reappears wading through the rivers Körmt, Örmt, and the two Kerlaugar where he will sit as judge at the base of the Yggdrasil (cosmological world tree). He is then depicted as travelling “from the east” by means of a ferryman Hárbarðr who is Odin is disguise and is rude to him refusing him passage forcing Thor to walk.
He arrives at Ægir’s home telling Ægir he must prepare feasts for the Gods.

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It was in 1644 that Aberfoyle’s most loved reverend was born. He was an infamous writer throughout his day, most notable for providing the first translation of the Bible into Gaelic and for the publication of “The Secret Commonwealth of Elves, Fauns, and Faeries” in 1691. While dedicated to Christ, he was obsessed with studying the existence of faeries and was rumored to be gifted with second sight. This however, did not settle well with the Faerie folk, especially a Christian trying to release their secrets. He truly believed the Christian God overcame Pagan Beliefs. There is a reason they want to remain hidden. He however did not understand this. He wrote that faerie had “light changeable bodies, somewhat of the nature of a condensed cloud and best seen at twilight.” While minister of the Aberfoyle Parish, he endeavoured a life researching the fae, interviewing folks who encountered them, and tracking down their whereabouts. He discovered that the local hilltop above the Parish was a gateway to the Faerie World which he called “The Secret Commonwealth” or “The Land of the Faeries”.”Faeries” to him, were a small stature race of human-like beings that were pushed back into the mountains and hills by stronger conquering peoples who were later converted into spectral beings. He continuously stated that the belief in faeries was not incongruent to the Christian faith. This location was known as “Doon Hill” or “Faerie Knowe”. Daily, he would walk up to this hill in hopes of discovering the wee folk. He stumbled into their domain, uninvited, an act that is unforgivable amongst the fae. He was warned not to go there. Late at night in May of 1692 the good Reverend Kirk wandered up Doon Hill in his nightshirt. Some say he vanished while more realistic accounts shows that he collapsed and perished. So as a penalty, many believe he was abducted and imprisoned in Doon Hill with a guise that he died of a heart attack in his mortal body. His motionless body was buried in his Parishes’ kirkyard (churchyard).

Some say though, his coffin is filled with stones as his body was taken by the fae. Some also say he is imprisoned in the huge pine tree atop Doon hill or within the legendary catecombs of coal mines underneath the hill. Soon after his death, his cousin, Graham of Duchray, claimed to have been visited by his spirit the following night, relaying the message he was abducted by faeries. Stories are mixed as what was told to be done – as he was warned his spirit would appear at midsummer eve (or during the baptism of his child) pleaing for his cousin to throw an iron horseshoe (or an iron knife) over the shoulder (or at) his apparition, burning the fae holding him, and freeing him from his imprisonment in the Faerieworld. The cousin claimed, the spirit did appear, but regretfully becoming so shocked to see his cousin, forgot to throw the iron, and therefore Kirk was trapped forever. Some say he is now a mediator between the worlds of fae and humans.

Ever since, the church crumbled, the parish suffered, and now the church serves as a roofless open-air mausoleum. Also since, many humans have gone to the top of Doon Hill with “clouties” (silk or cloth) inscribed with wishes or petitions tied to the branches of the pine or surrounding grove trees asking the Fae to grant their wishes. It is also said, if one runs around the great pine tree seven times, the faeries will appear. Numerous other petitions and spells have been done to the fae including offerings of gifts, statuary, hammering coins into the bark, and un-educated human folk tying plastic or waste other than the traditional white pieces of silk. The hill is also littered with quartz pebbles formerly believed to be “faery firestones” and often collected as protective charms or talismans while others believe its taboo to collect moss, sticks, stones, or anything removed from the hill as bad luck. The church was rescued from completed dereliction in the 19th century and two large iron mortuary weights were placed outside the churches entrance to stop grave diggers and thieves from stealing corpses. In 1793 (a hundred years later) a memorial grave was constructed in honor of Reverend Kirk. The grave is believed to be empty (or filled with stones).

There are archaeological rumors that the hill once served as an Iron Age fort but has never been excavated nor proven to be as such. It is also rumored that Doon Hill is riddled with caverns that were once coal mines. These purported coal mines were written about in “Black Diamonds” by Jules Verne, who visited Aberfolyle in 1877 claiming a wall was blasted through revealing a vast cavern stretching for miles in many directions holding an underground town by a subterranean loch.

Upon my visit to the ancient sacred faerie site in the summer of 2011, I assure you that the faeries are quite present, offered gifts to daily, and omnipresent. Nevermore have I been to a site so strongly eminating the faerie, faerie gates, portals, and doorways. The faeries are quite alive and well in these hills. We of course, offered them some home-made scones mixed with sacred well waters from Glastonbury, Sancreed, and St. Nectan’s Falls; had a picnic with the fae, and made our own petitions amongst them. ~ Leaf McGowan.

Australian National Museum, Canberra, ACT, Australia

The Dreaming and “Dreamtime”

As I take a career and life journey’s “Walkabout” around Australia and Europe during the Summer of 2011, during my visit to the Australian National Museum I really for the very first time embrace the concept of the Australian Aborigine “Dreaming” and “Dreamtime” that I was first introduced to during my Anthropology of Religion class I took during my college years at Florida State University. Nevermore did the concept “sink” and “settle” in me more than at this time of my life that I could truly say in a “Stranger in a Strange Land’s” true essence of “grokking” the concept fully and spiritually. “The Dreaming” tells of the journey and actions of the Ancestral Beings when they were creating the natural world. An animistic narrative telling of a “timeless time” of formative creation and perpetual creating. This took place during a mythological era called “Dreamtime”. This is a sacred era when the ancestral Totemic Spirit Beings formed “The Creation”. The philosophy is infinite and demonstrates how the past and present is linked together to prophesize the future. The concept of “Dreaming” is often used to refer to a person’s or group’s set of beliefs and spirituality. The Australian Aborigine might refer to “Shark Dreaming”, “Kangaroo Dreaming”, or “Eucalypus Dreaming” and this would refer to particular natural items or life forms in their resident area or country, laying down patterns of life from which to follow. This creates their mythos, their creation stories, and their folklore as to why certain things have come to be. They believe that every person exists eternally in the Dreaming and represents both the spirit that existed before physical life began and is the spirit that exists after death as a “Spirit Being” or “Spirit Child”. The Spirit Being can only exist physically by being born from a mother, entering the fetus during the fifth month of pregnancy. Upon birth, that child is to become a special custodian of the land and country to which s/he was born, required to learn the stories, lore, and songlines of that particular place. Our natural world, especially that which is within one’s cultural heritage, race, and species, is what provides the link between the people and “The Dreaming”. The Act of Dreaming and the stories that are within them carry the truth from the past, blended together with the code for the Law, to operate and facilitate the present. Every story within “The Dreaming” weaved as creation through the “Milky Way” is a complete long complex tale, many of which discuss consequences and our future being. During the Dreamtime, the Australian Aborigines believed that the creators were both men and women who took on spiritual forms. These “cultural heroes and heroines” sometimes defined as spirits, other times as “God/desses”, would travel across a formless land, create sacred sites and significant places of interest during their travels weaving story and songlines that would guide the spirit beings they birthed in Creation. They joined together with various spirits to create the land, the waterways, the geographical features of the land, the skies, the seas, the plants, the animals, the stones, and all the other wo/men that exist. Every event that takes place would leave a record in the land. To the Dharawal, “Biami” the Great Spirit, went up into the skies to watch over their people and to make sure they obeyed his rules. Spirits habitating in waterholes, caves, and other spirit places to watch over or affect those people that lived near them. This was one of the reasons that another tribe would not conquer tribal lands for doing so would place them in a land full of strange and potentially hostile spirits. The Australian Aborigines believed in both good and evil spirits they called “Goonges”. Children would be warned not to go to certain areas for the “goonge will get them”. Same for the oceans, for they too contained spirits underneath the waters and explained deaths at sea, getting caught in a rip current, or attacks by various sea creatures. The Creators, or the Ancestral Spirits, were shape-changers who were half-human, both male and female, who used the powers, great wisdom, and intentions to create all of being. They lived and retired in the sky clouds. The Aborigine believed that every living creature were created by the Creators as “spirit-children” and/or “spirit animals” during the Dreamtime and were assigned to live in particular spirit places. They believed that their own birth was the result of a spirit child entering into the mother’s body and was brought into being during conception by the specific actions or designs of the creators to make spirit children in the Dreamtime. They also believed that after death their spirit would return to the spirit-place to await rebirth. It was in Dreamtime that the Creators and ancestral spirits created the world which we all live. The Australian aborigines embrace all of life and the phenemena that affects if as part of the vast and complex system of relationships that go back to the original acnestral Totemic Spirits of the Dreaming. The Dreaming establishes a culture’s and regional country’s laws, taboos, structures, and history in order to ensure the continuity of life and land in that area. Breaking these cause destruction to the areas that one’s spirit is meant to guard or caretake.

Australian National Museum, Canberra, ACT, Australia

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Australian National Museum, Canberra, ACT, Australia

The Milky Way and Crocodile Story

Upon wandering around the Australian National Museum in Canberra of the Australian Capital Territory, I discovered this fine bark painting. This unique Aboriginal folklore masterpiece consists of a application of ochres and polymer on bark with wooden restrainers attached to its rear. It was done in the 1980’s by Galuma Wirrpanda of the Aboriginal Manggalili clan in the Baniyala lands of the Northern Territory of Australia. It is the painting that tells the story about the Milky Way and the Crocodile according to Aboriginal myth. This painting shows the “milnguya” or “Milky Way” as a river. A constellation in the Milky Way is seen as “The Crocodile” which is surrounded by stars that represent the deceased members of the Aboriginal Manggalili clan. The overturned canoe and paddles refer to the drowned ancestors of the Munuminya and Yikawanga who found their way to the Milky Way by following string made from the fur of the possum Marrngu.

This mythos was also very sacred to the Ancient Maya. Displayed is the crocodile mouth in the Milky Way, representing a dark rift called the “Xibalba” or “The Underworld”. It has similarities to that which the Aboriginal Australians and the Mayans who noticed it and embedded into their lore as well. Each night, this constellation changes its orientation causing the Milky Way to become north/south oriented on some nights and then on others it alternates to east and west. This relates to Aboriginal creation stories. It is told that the date of present creation took place on August 13, 3114 B.C.E. (Before the Common Era) On this date, the hearth was laid out – three stars from Orion were put in place by the Gods. During Mid-August each year, the Milky Way would be right overhead and this change in orientation would be highly notable. It was on February 5, 3112 B.C.E., two years after the hearth was created, that the cosmic tree of creation was lifted up to the heavens. On the 5th of February every year the Milky Way would also align directly overhead showing changes that is opposite to the mid-August alignment). Many believe that the sky is seen as a re-enactment of creation. As the constellations move, so do the cycle of stories from dusk to dawn. When the Milky Way is aligned to the north and south, it represents the world tree. As it turns to east and west, it becomes the crocodile tree that manifests as a canoe carrying the maize Gods across the sky in the Mayan Myth.

Australian National Museum, Canberra, ACT, Australia

Sources cited:

• Museum Display placards at the Australian National Museum
• Ethnographical discussions with Australians

Return of the Faeries: Da Return of De Faeries
by Kelfin Patricks Oberon

“The Apocalypse is upon us now ….”

Haitian Zombification

A treatise in 1989 on “Haitian Zombies”. Exploring Wade Davis’ work in Haiti with the compound made from tetrodotoxin utilized by witch doctors in creating real-life zombies as slaves.

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Experience the full text of Thomas Baurley’s classic 1989 research paper, now in a convenient PDF e-book. This edition presents Baurley’s in-depth study from Florida State University on zombies and zombification within Haitian Vodou, with focused discussion of Wade Davis’s primary research and the lasting impact of these stories and beliefs. Baurley traces the journey of the zombie figure, from early cultural accounts rooted in Haitian tradition through the modern fascination found in comics, books, and movies. Drawing on ethnobiological and cultural studies, this work connects scientific, spiritual, and social explanations for zombification, making it a valuable resource for both scholars and curious readers.

As someone who has spent years examining the intersections of folklore and science in the Caribbean, I recognize the rigor and balance Baurley brings. His paper treats both Haitian belief and Western interpretations with care, challenging stereotypes without losing sight of local meanings. This edition is well-suited for researchers, students, and anyone interested in how a single concept can bridge culture, science, and global storytelling.

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• Thorough analysis of Haitian zombies and Vodou practices
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• References and citations for academic use
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• Focused mostly on research up to 1989, with limited coverage of newer developments
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Baurley’s “Haitian Horror” stands out for its careful research, direct tone, and honest respect for Haitian cultural realities. This document invites further discussion and collaboration, making it a strong addition to any collection on anthropology, folklore, or global pop culture. If you have questions, wish to share your own research, or wish to connect on related projects, please reach out via the provided contact links.

Download your copy and join a deeper exchange on the roots and reach of the Haitian zombie.

Interested in the Original?
Baurley, Thomas: 1989 Haitian Horror: Zombification as Myth or Reality?. Florida State University: 1989.

Saturday, October 16th

The Feri Tradition (Witchcraft/Wicca)

The Feri Tradition, Witchcraft/Wicca

Among the distinguishing features of the Faery tradition is the use of a Faery Power which characterizes the lineage. It is an ecstatic, rather than a fertility, tradition. Strong emphasis is placed on sensual experience and awareness, including sexual mysticism, which is not limited to heterosexual expression. In this, as in the general spirit of spiritual exploration, there is more risk-taking encouraged than in other Wiccan traditions which may have specific laws limiting behavior, and there is a certain amorality historically associated with the Tradition. We see ourselves, when enchanted, as “fey”–not black, not white, outside social definitions, on the road to Faeryland, either mad or poetical. We are aware that much of reality is unseen, or at least has uncertain boundaries. — The Faery Tradition, by Anna Korn – http://www.lilithslantern.com/Faery%20Trad.htm

Most of this data came from a discussion between Pagan folk about what the Feri tradition is. Important facts and details are shared here for definition purposes.

The Feri Tradition, a tradition of Wicca and subset classification of the Neo-Pagan type of Witchcraft, came about through the work of Gwydion Pendderwen, Victor and Cora Anderson. Originally found only on the West Coast of the United States, in recent years it has spread into several parts of North America, and even overseas. The Feri Tradition is adamantly polytheistic, recognizing many manifestations of the Divine from many different places and times. The tradition focalizes its rich lore and practices around specific Feri deities and guardians it honors within the tradition’s rituals and liturgies. These rituals/liturgies are heavily invocatory, to encourage possession, which relies mainly on psychic talent or sensitivity to occur. The term “Feri” has come to replace the term “Faerie” or “Faery” in order to separate it from the various Faerie traditions that exist within the Neo-Pagan religious boom of faiths, beliefs, and organizations seen on the uprise since the late 60’s.

The Feri tradition refers to a belief structure composed of “lore” consisting of teachings, names, stories, tools, specific poetry, liturgies, rituals, and practices. Practices consist of the wide variety of tools the Feri use in the practice of their tradition, such as the “Iron Pentacle”, the “Pentacle of Pearl” (meditation tools). The tradition is influenced by works and passionate beliefs of its founders Victor (such as Huna/Dahomean-Haitian), Cora (southern root and folk magic), Gwyddion (Radical Faeries, Shamanism, Wicca), Starhawk, and other influential members.
They claim, like most Neo-Pagan Wiccan/Witchcraft traditions to not have been influenced by Gardnerian or British Traditional Wicca, owning its own evolution. It claims the traditional secrecy that so many Neo-Pagan witchcraft traditions do, though you can always seem to attend a class on the tradition or be exposed to its works without much difficulty. (I Met Victor and Cora at the Gathering of Tribes in Atlanta, Georgia in 1991 – and they did a workshop on this ‘secret’ tradition offered to all attendings of this public gathering. ) But they do hold strong on the use of oaths and the public view of being a ‘secret tradition’.

The Feri tradition does claim to have a small number of members, and that appears to be true, as is many lesser-known Wiccan tradition do hold true. Every student and member can still trace their lineage of initiation and training back to Victor and Cora. The Reclaiming tradition, spearheaded by Starhawk, is believed to have evolved from the Feri tradition.

http://www.feritradition.org
http://www.witchvox.com/trads/trad_feri.html

The Elf Queen’s Daughters and the Silver Elves

[ This is an update, revision, and expansion of our late 1980’s/early 1990’s pages on the Silver Elves and the Elf Queen’s Daughters we once had published on Geocities, then Faeid.com, then Treeleaves.com, Treeleavesoracle.org, and finally Technogypsie.com. After a bunch of internet research, interviews, correspondence, and discussions, this is the history we have assembled together of all we know about the Silver Elves and the Elf Queen’s Daughters. In addition, those pages are no longer separate and now condensed to a single file since the Silver Elves are now the official representatives of the Elf Queen’s Daughters. The Silver Elves assisted with revisions of this article in February 2011 ]

According to Wikipedia, The “Elf Queen’s Daughters” (EQD) were a group of elves originally operating from the South Bay area of San Francisco, California that later branched off to groups in Seattle, Washington. They had published a newsletter that was themed on “Bringing together male and female elves in celebration of ritual, magic, and the understanding of Fae”. They were Goddess oriented and referred to all of their members as “sisters”. They also possessed similar ecologically-based Pagan beliefs that are common with the modern “otherkin” movement as well as the Church of All Worlds, holding the image of the Earth in like respect to the “Gaia Hypothesis” – as a woman with trees for her hair, rivers for her veins, etc. as their image of the Earth as a physical Goddess, a living breathing Earth. Zardoa, who created “The Silver Elves” was first awakened by the Elf Queen’s Daughters in 1975. The EQD taught Zardoa the casting of Astrological Charts, the I-Ching, and various spells of Enchantment. As an EQD Vortex, Zardoa founded the “Elves of the Southern Woodlands” in 1975 in Carbondale, Illinois soon after his visit to the Aurora Vortex. He was soon joined by Morning Moonstar. Later in 1978, Aeona Silversong also joined the Elves of the Southern Woodlands and Zardoa gifted her that name. A few months later in the summer of 1978, Zardoa awakened Silver Flame who became a part of that vortex before she moved to Gainesville, Fl. She was so much a part of the vortex that when the vortex relocated to Gainesville, Florida in 1979, the group did so to be near Silver Flame. Upon relocation, the Elves of the Southern Woodlands changed their name to the “Sylvan Elves” and in 1980 began publishing the Magical Elven Love Letters in order to share knowledge of the Elven Way to those interested. The “Sylvan Elves” relocated to California in 1981 and took on the title of the “Silver Elves” as they are known today. In 2008 they relocated to Hawaii and are working on volume 3 of the Magical Elven Love Letters, An Elfin Book of Dreams: An Oracle of Faerie, and the Elfin Book of Changes. They are founders and elders of the “Elven Way”.

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