text:
Astrolushes is a podcast at the intersection of astrology and literature, ritual, wellness, pop culture, creativity — and, of course, wine. Expect guests, giveaways, & games — and get ready to go deep with us.
The water-sign hosts are Andi Talarico, poet, book reviewer and Strega (@anditalarico) & Lisa Marie Basile, poet, author of Light Magic for Dark Times, & editor of Luna Luna Magazine (@lisamariebasile + @lunalunamag). You can the astrolushes on Twitter, too, here.
LISA MARIE BASILE: Let's chat about the birth of AstroLushes! I think it sort of started on a drive we took to Salem, MA, where we witched out for a weekend and visited HausWitch for my Light Magic for Dark Times writing workshop. In the car, I threw celebrity and literary names at you and had you guess their big 3 signs. You were amazingly on point! I'm wondering, besides having fun with it, what do you personally think the 'use' or 'reason' for this astro-knowledge is? I think people are generally fascinated, but we both know there's more to it.
ANDI TALARICO: That road trip and our time in Salem definitely feels like the genesis of this show! It started with us guessing celebrity's charts and now it's just a part of all of our conversations. I feel like now we're constantly wondering about writers and actors and philosophers through the lens of their astrological placements. It's a fun game but I think it also allows for a possibly deeper understanding of the art and culture that we engage with.
And engagement was how I came to astrology. My mother always read our horoscopes from the paper when I was growing up; she's a mystical Pisces who has visited psychics, believes in prophetic dreams, and finds herself fascinated by the moon. I inherited a lot of my curiosity from her. But by age 12 our household had changed considerably and it became a harder place to exist and grow in. So it's no surprise to me, looking back, why that was the time I started studying astrology.
It was a way of making sense of the world. It also gave me an opportunity to talk to people about themselves (and to keep the focus off of myself.) It made me feel like I had some sort of agency, a voice, a new authority. Now, the language of astrology, to me, is less about telling people about themselves and actually, much like my tarot practice, using the themes and ideas as lessons that we can use to fully become our best, most authentic selves. That's where it crosses over into self-care as well.
How do you feel about people who think astrology is bogus, Lisa?
Astrology…much like tarot practice, uses the themes and ideas as lessons that we can use to fully become our best, most authentic selves. That's where it crosses over into self-care as well. — Andi Talarico
LISA MARIE BASILE: I love that you say it's an engagement with everything around us. And that, as a child, it helped you navigate a very difficult world. It truly is a language we learn and then we speak, and that can bring people together in an instant. And it can help us focus on the many characteristics of ourselves. In my life, processing the trauma I've experienced through the filter of the Scorpio has been amazingly beneficial; I now look on it all as transformative, rather than destructive.
It's also really interesting to give a name to the various inclinations and motivations for people's art or behaviors. Especially when you look at creative people, or really evil people, and you start seeing how many of them fit into a certain astrological sign, or element. It may not be scientifically proven, but that's the sort of mystery and liminality that we derive meaning from.
I am a scientific person. I believe that reason, empirical evidence, and research is important. I live with a chronic illness, and I'm a health writer as a day job. It's important to me that information is disseminated accurately, or, say, that the injections I take have been proven both effective and safe, and that sometimes, you need medication over meditation, in order to heal.
At the same time — people need to know there's more to health and wellness than big pharma. And there's more to this world than what we can see. I think the zodiac allows us to approach the liminal, the intuitive, the subterranean. It does exist outside of 'objective science' and that's okay. It allows us to dive headfirst into the shadows of this world and our lives, and I think that's the key to the feeling whole — straddling both sides. Science has a place, but so does the esoteric. You can't prove love, but we all feel it. So, it's the same thing. Some things we just explore knowing that it may be obscure. I am grateful to be able to take part in the world from both stances.
What do you think about how people can use the zodiac as a healing tool, or in daily ritual?
There more to this world than what we can see. I think the zodiac allows us to approach the liminal, the intuitive, the subterranean. It exists outside of 'objective science' and that's okay. It allows us to dive headfirst into the shadows of this world and our lives, and I think that's the key to the feeling whole — straddling both sides. Science has a place, but so does the esoteric. You can't prove love, but we all feel it. — LISA MARIE BASILE
Sunday afternoons at home. 📸 by @michaelsterling
A post shared by Andi Talarico (@anditalarico) on Apr 7, 2019 at 10:18am PDT
ANDI TALARICO: I definitely look through several horoscopes during the morning to see what my day/week might bring me. I mean, the basis of horoscopes are transits, what the movement of the current celestial journey means in my zodiac placements, and I love that about horoscopes — how it's a constant reminder that everything changes, nothing stays still, and how cyclical life can be, for good or bad.
I like to look to the planets/celestial bodies and their assigned western astrological associations for greater personal meeting. Like, what does it mean to be represented, as I am, by the Moon? The Moon shines because it reflects the light that is given to it. I feel the same way, again, for good and bad. I also shine brightest when I'm basking in the the light of stimulating conversation and affection. I turn inward and dark when I'm not given light to work with.
Also, since the Moon transits more often than other bodies, since it's constantly waxing or waning, it serves as a beautiful remind to keep pushing forward, that this moment isn't forever, to enjoy the view and perspective before it changes yet again. It's why I have a little crescent moon tattooed on my finger — my constant reminder that the only constant is change.
How do you feel connected or represented by Pluto, Lisa? Pluto is such a symbolically important planet of creative destruction, I'd love to hear your thoughts on that!
What does it mean to be represented, as I am, by the Moon? The Moon shines because it reflects the light that is given to it. I feel the same way, again, for good and bad. I also shine brightest when I'm basking in the the light of stimulating conversation and affection. I turn inward and dark when I'm not given light to work with. — ANDI TALARICO
LISA MARIE BASILE: Oh, that's so beautiful! When you say, "I turn inward and dark when I'm not given light to work with," I feel that in my core! I love the idea of this cosmic duality, how it represents the shadowy quietude and the display of light. It reminds me that we are all just star stuff. It's why I started Luna Luna!
It's funny you mention the tattoo, because I have one that also reminds me that things change; it's an ampersand. Maybe that's why you and I are so drawn astrology? That it provides a foundation we can find stability in but the fluidity we need to always be growing.
I think the fact that Pluto has been considered a planet, a not-planet, an exoplanet and whatever else, is very beautiful—a perfect and living representation of Pluto as a symbol: it dies and is reborn, and yet it remains this beautiful archetype of transformation, weathering the storms of idea and rule and order. Could literally anything be more perfect?
Pluto is my beautiful ruler, and I am indebted to its reminders. I have always been able to die and rise. I lean into the dark and then I die. I go into dark periods of change and emerge. I almost need it more than the light. But I suppose, that is my language. The darkness becomes a kind of light that makes sense.
I think that's the beauty of this cosmic story. No matter what you believe or feel skeptical about, astrology's narrative, symbolism and reminder to explore the grandness of human emotion and circumstance is all splayed out up there. We just need to look up.
What do you think about people who say they they believe in astrology and make Huge Life Decisions around it? Do you think it's important to figure astrology into your day to day? Jobs? Dates? Etc? Or do you think it serves its best purpose as a tool for introspection, rather than a rulebook?
No matter what you believe or feel skeptical about, astrology's narrative, symbolism and reminder to explore the grandness of human emotion and circumstance is all splayed out up there. We just need to look up. — LISA MARIE BASILE
ANDI TALARICO: LOVE this: "...Pluto as a symbol: it dies and is reborn, and yet it remains this beautiful archetype of transformation, weathering the storms of idea and rule and order. "
wandering the streets, finding magic in Spanish taverns and wooden bars and long conversations and hanging flowers 💐 camera 📷 by either @lifestudies or @anditalarico
A post shared by lisa marie basile (@lisamariebasile) on Apr 15, 2019 at 8:50am PDT
As for me, I don't make huge life decisions based on astrology in the sense, that, say, I won't work with people of certain signs or judge them based on their natal chart. The idea of not dating this sign or that sign is a prejudice to me, and unfair. Even knowing someone's chart information is an act of intimacy — that's private knowledge — and to use it against someone or to think you know everything about a person based on it...hell no. Absolutely not.
Can it help you locate potential challenges? Yes, I believe that. Is is exciting when your synastry is in alignment and looks positive? Of course. But we're all much more than our natal charts. We're our upbringing, we're our ancestors, we're survivors, we're our good days and bad days, we're what we've been allowed to be and what we've rebelled against. Our zodiac signs matter but they don't make or break us.
I WILL make decisions based on transits and the moon's phases, though. Like, new beginnings during the new moon — that just makes sense to my entire being, both my physical and spiritual self. I definitely believe in harnessing the new energy at the start of a new zodiac phase — focus on good communication at the start of Gemini season! Make those spreadsheets in honor of Virgos everywhere! Get real sexy at Scorpio time!
But, would I, say, not send an important email when Mercury's in Retrograde? No, I try not to rely THAT heavily on astrology. I try to use it more as a guide and tool for learning than a strict rulebook. But...I also hate rules and authority in general. I naturally bristle against those who think they have the exact answers, at least in areas that don't involve exactitude and true yes or no areas. I'm a skeptical human, in many ways.
Is is exciting when your synastry is in alignment and looks positive? Of course. But we're all much more than our natal charts. We're our upbringing, we're our ancestors, we're survivors, we're our good days and bad days, we're what we've been allowed to be and what we've rebelled against. Our zodiac signs matter but they don't make or break us. — ANDI TALARICO
FANCY THE COSMOS, WINE, AND A COZY CONVERSATION BETWEEN FRIENDS? LISTEN TO THE ASTROLUSHES PODCAST HERE
In Pop Culture, Social Issues, Poetry & Prose, Interviews, Lifestyle, Body Ritual, Wellness Tags astrolushes
Genevieve Pfeiffer is Assistant Director at Anomaly where she is curating a folio on reproductive justice and its intersections (she urges you to submit). She is a writer and poet, and facilitates workshops with survivors of sexual assault and harassment. Her work is forthcoming or has been published in Erase the Patriarchy, Juked, So to Speak, Stone Canoe, and more. She blogs about outdoor wanderings and herbal birth control's intersections with witches, colonization, and personal and bioregional health at: https://medium.com/@GenevieveJeanne
In Social Issues, Lifestyle Tags witch, feminism
Body Ritual: Journal Prompts for Chronic Illness Exploration
BY LISA MARIE BASILE
Body Ritual is Lisa Marie Basile's column about wellness, chronic illness and finding healing and autonomy in ritual. You can follow her on Instagram for more on this topic.
If you live with a chronic illness, or if you love someone who has one, you know the delicate balancing act it requires. Living on that liminal precipice, between doing just enough and doing too much, requires an almost spiritual focus. And it's tiring. I know, as I have ankylosing spondylitis, a degenerative, incurable spinal disease.
Who we feel we are within our minds is not always what our bodies reflect. And sometimes, that very lack of reconciliation rewires us. We start to believe we cannot, are not, will not.
We can, we are, and we will embrace the wholeness of our limitations and our magic. It doesn't matter if people want us to stay quiet, go away, or stop complaining. We have a right to explore what it means to experience life as we do.
Stigma, lack of education, and fear make it hard to exist in a body that exists on the margins. Sometimes all the noise and suffering keeps us at a distance from ourselves. We often are so tired from the pain or insomnia or anxiety that we smile and pretend everything is okay. We sometimes allow ourselves to be taken advantage of just so we can seem "normal." We push the limits of our bodies and lose grip on our boundaries. Sometimes, we get through the day, and that's it. Sometimes it's hard to feel empowered, to feel enough, to feel that we can and are and will.
The deep and important work that goes into healing the trauma of illness is often ignored. Instead, we focus on the day to day needs. We keep our heads above the water — but the secret is that we must become the sea.
I remember one of the first days many years ago when I realized that my body wasn't working the way it was supposed to. I was doing something simple, something that should've been innate. . Climbing on a bike, I thought that my hips were off, almost as if I was completely out of alignment. The best example I can give is when your car's axle is off and it continuously steers toward the left or to the right. There was no center, no feeling of steadiness, almost as if I could split in half or split into thirds and each part of me would fall to pieces in different directions. . My #AnkylosingSpondylitis (an #autoimmune or immune-mediated, incurable, degenerative spinal disease) deeply affects my hips, which is pretty ironic because I spent many years hating them for being so wide. Because society. Because magazines. Sometimes I wonder if I poured all of my negative energy into my body, making myself sick, as if I casted a spell - but I *know* that that is not the case. . Regardless, I try to treat my body with love and respect these days - I love my hips -and I try to see those situations in which I cannot do something or cannot do something comfortably, with compassion. I am always in the pool, where I feel I am larger than life, able to move fluidly with the lower impact, made stronger by water's sneaky resistance. But there are days when I want to crawl into bed and hide forever. Sometimes I win, sometimes it does. It's a process. It is my process. . Movement is integral to my life, it is ritual. It is a song. It is the ONLY thing keeping my spine from fusing; I am literally running for my life. But it can also be painful. . So sometimes I use devices and tools to make my life a little bit easier, and I wrote all about that for @healthline - check it out in my bio. https://bit.ly/2Hw5O2q
Recently I decided to go inward and empower myself to make time and space for my voice and needs as someone with chronic illness. Instead of trying to blend in or assure everyone that, "I'm fine, really," I stared down into visit the abyss. I decided to take my time, for no reason but my own needs, and look my chronic illness in its eyes.
I cut through the noise and the stigma and the denial. My body, alight and in focus.
To do this, I made a list of chronic illness journal prompts and chose a beautiful journal strictly for these questions (or you may want to type these out or dictate your answers).
So, I wrote down several questions in my journal, and attempted to answer them. At times I answered one a day. Sometimes I answered several in one go. The important thing is that you take the time to be honest with yourself.
What I learned from answering the below questions astonished me; I was able to advocate better for my needs, recognize and make space for joy and gratitude, and find the parts of myself, like glass shards, I thought I'd lost. I didn't lose them, it turns out. They simply changed form.
Chronic Illness Journal Prompts
Who am I without my chronic illness?
Who am I with my chronic illness?
How did I change when I was diagnosed?
How did I not change when diagnosed?
How is my pain level today? How is my fatigue?
Are my basic needs met? How can I facilitate this?
What positive thing have I learned about myself while actively experiencing symptoms or side effects?
What negative thing have I learned about myself while actively experiencing symptoms or side effects?
What do I do during periods of remission?
What do I do or feel when I'm in a flare-up?
Are there any ways at all to bridge the gap between feeling good and not feeling good?
How do others make me feel about my chronic illness?
Who understands my illness and supports me in my experience of it?
How can I help others understand my illness?
What do I not feel comfortable explaining about my illness?
Where are my boundaries?
Where can I be more receptive or open? Is it in receiving love? Is it in talking about my needs?
How do my finances play into my illness?
Are there areas in which I am privileged and thus, have gratitude?
Are there community resources or other resources I can tap into for help?
How does my race, gender, or educational background impact my experience of chronic illness?
How does my illness impact my job?
How does my illness impact my social and/or sex life?
Are there other intersecting issues that impact my chronic illness?
What do I love about my body?
What do I need to feel happy on a day to day basis?
What do I need to feel sustainably happy in the long term?
Among the things I need, which do I have?
What are three things I am thankful for right now, in this very instance?
If I am not happy, what is in my power to change that?
What work — no matter how seemingly 'small' — can I do to advocate for or contribute the wellness of others who may be suffering? Would this feel gratifying?
BODY RITUAL: 12 VERY REAL THINGS I LEARNED ABOUT CHRONIC ILLNESS
BODY RITUAL: GRATITUDE MAGIC
AT THE INTERSECTION OF CHRONIC ILLNESS & RITUAL
Lisa Marie Basile is a poet, essayist and editor living in New York City. She's the founding editor of Luna Luna Magazine, an editor at Ingram's Little Infinite, and co-host for the podcast, AstroLushes. Most recently, she is the author of LIGHT MAGIC FOR DARK TIMES (Quarto Publishing/Fair Winds Press), a collection of practices and rituals for intentional and magical living, as well as a poetry collection, NYMPHOLEPSY . Her second book of nonfiction, WORDCRAFT, will be published by Quarto/Fair Winds Press in April 2020. It explores the use of writing as ritual and catharsis. Her essays and other work can be found in The New York Times, Chakrubs, Catapult, Narratively, Sabat Magazine, Refinery 29, Healthline, Entropy, Bust, Bustle, The Establishment, Hello Giggles, Ravishly, and more. She studied English and psychology as an undergraduate at Pace University, and received a Masters in writing from NYC's The New School. Want to learn more? She's been featured at Amy Poehler's Smart Girls, HelloGiggles, The Cools, and more.
In Wellness, Social Issues, Lifestyle Tags chronic illness, Chronic pain, Chronic Illness, ankylosing spondylitis, journaling, Journal Writing, writing, therapy, wellness, body ritual
AstroLushes: A New Podcast for Astrology Lovers Everywhere
ASTROLUSHES is a podcast at the intersection of astrology and literature, ritual, wellness, pop culture, creativity — and, of course, wine. Hosted by Luna Luna editor-in-chief Lisa Marie Basile and contributor Andi Talarico (both water signs!), you can expect guests, giveaways, book reviews, and more. You'll have fun, but you'll also go deep.
Episode 1 is an introductory episode during which the hosts chat about astrology's impact in their own lives, plus they tackle the ideas of reductive astrology memes, pop culture (Rihanna lyrics!), folk magic, family lineage and trauma. They also a Rapid Fire Round of Guess That Sign (which sign is Poe?).
For now, you can listen to ASTROLUSHES on Anchor.Fm (there's an app and also a website), but the podcast will soon be available on iTunes, Spotify, and everywhere else podcasts can be found. If you like what you hear, leave them a clap or star the show on Anchor. You can also listen below!
You can tweet them at @astrolushes.
In Lifestyle, Music, Wellness, Social Issues Tags astrolushes, astrology, podcast, trauma, wellness, literature, lisa marie basile, andi talarico
Photo by Rob Potter on Unsplash
Healer or Trickster? On Healers Taking Advantage of The Vulnerable
In a recent article in The Daily Dot, a popular influencer was called out for their "blurry" beliefs and work, overpriced but not actually handmade goods (as claimed) and abusive tendencies toward employees. The overarching message of the piece: Not every healer or influencer out there — no matter their follower numbers or beautiful Insta-curation — is worth their salt. Some, in fact, are downright theives.
I've always taken issue with people selling promises of healing without any real sense of accountability. Grandiose and often empty words ("light and love heals everything," "all you have to do is manifest hard enough!" and "you have to invest in X to find abundance") are distracting to people in rough situations. These are — I have been, and will be — people who want to be seen, validated, and healed.
I just can't get past overpriced abundance rituals, the refusal to acknowledge the importance of shadow work, or concepts that aren't grounded in reality. Because love and light and abundance rituals do not solve racism or poverty. And because telling people your cheap, badly-produced goods are ethically sourced hurts everyone at every level.
The thing is, it's hard to tell the frauds from the sincere folks. I started noticing this several years ago, when I created Luna Luna (which obviously has a vertical around magic and ritual). I'd come across healers and gurus and guides who seemed to have it all together: Beautiful photos. Money. Bestselling books. They'd sell full moon serums or crystal-infused oils. They'd sell you candles that would attract money or heal a disease or find you a lover. How could one parse the capitalist who appropriates spirituality from the person who genuinely cared? And how can one ethically tout an object that 'cures' social and physical/mental ills, without acknowledging the many variables at play?
I would consider myself spiritual in specific ways, but this wasn't always the case. I identify with the archetype of the witch, and I have carved space for ritual and meditation in my life, but it took a long time for me to get there. For one, I have leftover trauma from childhood catholicism; adhering to strict beliefs and associations (this color represents this outcome, for example) doesn't quite sit right with me. I prefer chaos. I prefer to go off my gut. I prefer to study, learn, and then take what feels good for me. My practice these days is mostly based on meditation, journaling, and connecting with nature.
I've had a few people direct me to a specific recent article about healing/spiritual/ community manipulation and emotional abuse today, asking for my opinion. I've been out of commission all week with two removed teeth (fucking worst), but I did take the time to read the piece. . I've even written one like it (with a different subject, for which I received numerous cease and desist letters) for @lunalunamag in the past. It is still up. So I'll keep it short and sweet: there are lots of spiritual 'gurus' and 'guides' out there. Especially on Instagram. We are treated to highly curated, beautifully designed shows of magic and healing and quotes. Some of it is amazing. Some of it feels a little shady. Right? Some people swear they can save you, that they have the answers, that they can guide you to divinity or healing. Some sell products. There are as many frauds as their are people who want to support, empower, uplift, and love you, though. Sometimes there's no way of actually knowing, though, since all of this is presented in such a magnificent manner. No one can hold all the answers. No one knows you better than you. They can provide tools and inspiration, but that's it. Otherwise, even the gospel of the curated Instagram is still just a shady ass who-knows-what's-real being shouted toward you in an array of pretty colors. This is the case for any industry. . Your gut is what matters. When you feel like you need support and encouragement or a little burst of inspiration, find what feels right to you. Whether that's joining a group dedicated to ritual or reading quotes from a certain influencer. There is a dark belly to even the beautiful things—and your gut knows it. Trust your own feelings and put stock in your heart above all other promises and products. I say this because I have experienced group manipulation, promises of splendor, people trying to tell me how to get rid of my "demons" in ways that felt off to my own personal intuitions. It's a hard, vulnerable line to walk, and it's easy to be led astray. This is not on you. But it should be stopped. 💓
A post shared by Lisa Marie Basile (@lisamariebasile) on Feb 20, 2019 at 3:43pm PST
So when I see someone make grand promises, that you have to do this to do this, or believe this to achieve this, or buy this to get this— especially to the vulnerable: the poor, the sick, the disabled, the traumatized, the abused — it doesn't sit right with me.
Sometimes those promises come in the form of feigned care and support, when at the bottom of it all was an Instagram strategy and some pretty words.
I don't believe that any one person can have the answers. And I don't believe that anyone should peddle goods to people when they don't have the integrity to back it up.
Among those promises would be actual spiritual advice despite questionable stuff, like the not-so-ethical production of goods, plagiarism of both products and feel-good quotes, and employee mistreatment. This likely happens a lot, but all of this came up in the Daily Dot article about this one specific person.
So what do we do about it all?
I wrote a book about self-care and regenerative rituals, so I spent a lot of time thinking about this sort of thing. When writing my book I wanted to make sure it was a guidebook, not a rulebook. That any practice I wrote of wasn't from a closed culture — and that anything referenced I cited in the Resources section.
I wanted to make sure my book was a byproduct of my experience, not a way or promise or path. That the reader would be self-healing using my prompts, that I would not — and could not — be healing them. That, if anything, the book and the reader would enter into a conversation about healing together.
That's the thing about healing. It has to happen in a safe space. Before I started really working to heal my lasting trauma from childhood — the obsessive memories of homeless shelters, assault as a child, family addiction, foster care, chronic illness — I found comfort in all sorts of untoward things.
This included drinking all night with friends who thought getting obliterated was the answer. I found comfort in false friendships or relationships, where people wanted to be loved more than they want mutual loving care. I turned to fraudulent psychics here and there for advice, and of course there were those who'd want to dig into my pockets rather than genuinely help.
The point is, we take comfort and care wherever we can find it — and sometimes, because of pain, loneliness, poverty we turn a blind eye to gut feelings. I's hard to know if it's helping or prolonging the wound.
The Internet version of this really is the abundance of healers and guides out there. Many of them are wonderful — and many are my friends, who take special care to create products and books and ideas around self-care and healing products — but many are there for fame and fortune, not to help.
They want to preach at you, not have a conversation. They claim to know the answers, rather than admit that they're always going to be searching. They lack self-awareness, charging big money to people who literally are seeking magic work because they're on the verge of eviction.
It's hard to know what sort of intentions people have. Sadly, there's just no cut or dry answer. How could there be? I think our gut has to do the work. But for the gut to work we have to have self-compassion and give ourself the space and time to let our intuition work. This is a process — a process damaged by hope being dashed by scammers.
We could spend $45 on a healing candle from someone with 50,000 followers and a beautiful Instagram page, someone who hasn't provided insight or vulnerability elsewhere or even a glimpse into their own real lives. Or we can buy a tarot session or a book or a crystal from someone who is less concerned with a perfect, sort of distant, who-are-you-really? branding, whose track record shows an active interest in trauma recovery or healing or helping others before they started earning money from it. And even the above is an oversimplification.
If something doesn't feel right, even if that something has a quarter of a million followers or is quoted in wellness articles, you are by no means obliged to look to it for wisdom.
I say all of this because I think on my own mother, my own friends, and myself — and all the times we needed a hand, a source of inspiration, a talisman of hope, or a guide to getting back to ourselves. It would be a real shame to get a candle or a reading or a downloadable guide that came from someone who wasn't sincerely invested in our care, who only wanted to make money, and who used unethical means to produce a product, from conception to production.
I read a piece the other day by Kaitlin Coppock for Sphere + Sundry. It's a comprehensive look at fraud-work in the spiritual and healing communities, and it goes into much better detail than I can. It covers:
"Tips for distinguishing real practitioners of astrology, witchcraft, and spirituality from self-serving charlatans taking advantage of the mounting witch-strology renaissance. And lastly, recommendations for how professionals (or aspiring professionals) can navigate related ethical considerations."
I recommend reading the above and asking questions for yourself. Stay alert, be good to yourselves, and don't let influencer numbers drown out your intuition.
Lisa Marie Basile is the founding creative director of Luna Luna Magazine—a digital diary of literature, magical living and idea. She is the author of "Light Magic for Dark Times," a modern collection of inspired rituals and daily healing practices. She's also the author of a few poetry collections, including 2018's "Nympholepsy." Her work encounters the intersection of ritual, wellness, chronic illness, overcoming trauma, and creativity, and she has written for The New York Times, Narratively, Sabat Magazine, Healthline, The Establishment, Refinery 29, Bust, Hello Giggles, and more. Her work can be seen in Best Small Fictions, Best American Experimental Writing, and several other anthologies. Lisa Marie earned a Masters degree in Writing from The New School and studied literature and psychology as an undergraduate at Pace University.
In Social Issues, Wellness, Lifestyle Tags fraud, spiritual abuse, scammers, healers, healing, instagram, gurus
A Grimoire For Self-Love: A Peek At Light Magic for Dark Times
Welcome to a sneak peak of my grimoire of self-development and ritualized living!
Though the archetype of the witch is part of what inspired LIGHT MAGIC FOR DARK TIMES, it's also a book of what inspired me about people I love and care for, like my mother, who has had to grow and regrow several times over; like the people I know who have used their voice for personal and community change in the face of systemic oppression. It's a book of love and care, of rebellion, of reclamation, and growth. That energy is magic.
I wrote LMDT after an editor actually spied a ritual of mine here at Luna Luna and asked me to expand on it— and so it is, in many ways, the unofficial Luna Luna grimoire.
Here are all the places you can pick up the book. And here's a look at what's inside:
I've been using this word board to remind myself of things each day — to stay shadowy, to stay magical, to breath, to listen. Also having a little a fun with it with #lightmagicfordarktimes🔮 . What do you want to remember each day, today, right now?
A post shared by Light Magic For Dark Times (@lightmagic_darktimes) on Jan 24, 2019 at 2:15pm PST
Light Magic for Dark Times is all about ritualizing your life and finding your inner magic — by embracing the light and the shadow together.
It was written as a guide through the self.
The chapters cover everything from journaling and sigil creation to finding your own personal magic and integrating daily ritual.
The foreword was written by the inimitable Kristen J. Sollée. You should read her book, Witches, Sluts, Feminists: Conjuring The Sex Positive.
Because I'm a poet, you'll see a lot of literary references woven throughout the book.
Light Magic for Dark Times is for the rebels, dreamers, shadow-dwellers, thinkers, darklings, & light-seekers amongst us.
You can find more inside peeks below
A peek inside #LightMagicforDarkTimes — from journaling prompts & sigil work to shadow exploration and self-love rituals, my book is designed for anyone who wants to ritualize their life, lean into the archetype of the witch, and celebrate the many layers of self — both dark and light.
A post shared by Light Magic For Dark Times (@lightmagic_darktimes) on Jan 28, 2019 at 11:53am PST
I have always felt a connection with darkness, the space between here and now, the shadow. For so long I have felt not only a home in the dark—but too comfortable, almost naturally made of it. I do not think this is a bad thing. I understand its liminality & language, just as I think others do when they encounter a hardship or loss or trauma at a young age. This changes our hearts, our wirings, and even our physiological responses. . Shadow work is about reframing those changes and making that liminality work for you—the pain is not always a negative. I believe it is an opportunity to transform, or cycle through transformations, as I learned early from a mentor. It might take a while, or feel bumpy, but it can happen. . For example, when I was much younger in my teens and in foster care, I always held the blaring sense that I was different, invisible, not enough. I heard the others gossiping about me and I longed to vanish, to be validated in my heartache, and I pined for the traditional family unit with all the trappings that come with it. For many years I lived with shame and silence and anger, not realizing in those very differences was my entire world. . Shadow work is the work we do to look into those feelings and internalized ideas to disassemble or rearrange them to bloom better things for ourselves. My shadow work was always through writing and self-listening and even though I'm not nearly perfect, I have been able to make peace with my past and turn that shame into pride. I hope that those of you reading the book or those of you that are looking to pick up the book find some healing and opportunity in it. When reading it, you are the guide and you are in charge of the results. 🖤🌗
A post shared by Light Magic For Dark Times (@lightmagic_darktimes) on Sep 29, 2018 at 11:42am PDT
🍃Spending time in nature—also called 'earthing'—has been well-documented to have a positive effect on our mood and physiological health. Connecting with water or flora or the soil helps us come back to simplicity, our natural selves, & the quiet, pulsing energy of our creativity and joy. 🍃
A post shared by Light Magic For Dark Times (@lightmagic_darktimes) on Sep 12, 2018 at 9:46am PDT
This photo is courtesy of @divine.goddess.vibes—thank you! It is so special when someone connects with the book. Though the archetype of the witch is part of what inspired LIGHT MAGIC FOR DARK TIMES, it's also a book of what inspired me about people I love and care for, like my mother, who has had to grow and regrow several times over; like the people I know who have used their voice for personal and community change in the face of systemic oppression. It's a book of love and care, of rebellion, of reclamation, and growth. That energy, that goal, is magic. I don't have all the answers, nor does this book, or anyone, really— but it is a guide to finding your own for yourself. 🖤
A post shared by Light Magic For Dark Times (@lightmagic_darktimes) on Dec 10, 2018 at 12:24pm PST
Lisa Marie Basile is the founding creative director of Luna Luna Magazine and the most recently the author of "Light Magic for Dark Times" and "Nympholepsy." Her work encounters the intersection of ritual, wellness, chronic illness, overcoming trauma, and creativity, and she has written for The New York Times, Narratively, Sabat Magazine, Healthline, The Establishment, Refinery 29, Bust, Hello Giggles, and more. Her work can be seen in Best Small Fictions, Best American Experimental Writing, and several other anthologies. Lisa Marie earned a Masters degree in Writing from The New School and studied literature and psychology as an undergraduate at Pace University.
In Poetry & Prose, Wellness, Social Issues, Pop Culture, Beauty Tags Light Magic for Dark Times, lisa marie basile
This Friendly Depression Workbook Provides Support & Actionable Steps
As World Mental Health Day trends across social media, I've felt both sorrowful and appreciative. On one hand, it's hard to see just how many people suffer with various forms of mental illness. On the other, I know intimately how damaging it can be to shame and silence those who suffer, and I'm glad we're changing that. That suffering can be passed down, internalized, neglected. It rots away at us, our families, our communities, and our cultures.
It seems we will always battle with mental illness, whether it's chemical or triggered by one's experiences, or both—but there are options. From medication to mindfulness, from simply speaking as a way to release the albatross, to learning to work with your own triggers and cycles (I think of it as intuiting when the sea is coming to flood shore), everyone will explore different approaches, unique to their needs.
And if we are always fighting against the illness, the least we can do is create an judgment-free and compassionate environment for one another.
I recently received The 10-Step Depression Relief Workbook: A Cognitive Behavioral Therapy Approach, written by Simon Rego, Psy. D. and Sarah Fader, my friend and also the creator of Stigma Fighters. The book creates that environment.
I was so glad to have received it as well, as I've always lived with a lingering anxiety and depression. My mental health challenges are deeply tied to life changes and times of powerlessness, rooted in my past: As a kid, both of my parents suffered with addiction, and we lived in homeless shelters and then we went into foster care. I've come to recognize what may set my depression and anxiety off (moving home or job, being thrown for a loop, not feeling cared for or supported), and living with these issues is like walking on a tight rope. I've come to force myself to understand that it's all a balancing act, and that that's just the truth. That said, I'm grateful to have been able to manage my symptoms.
When I received this book, I was in the middle of a move. Perfect, right? I hadn't fallen into the depths, but I was feeling it. That undercurrent, its surging, its quiet little hum. And so, I turned to the workbook, which I appreciated very much because of its kindness and its approach.
First off, the book starts off with an intro that makes it clear that depression is a real illness—not just a bit of melancholy that sometimes makes us feel blue. It also notes the very real risks of depression—including the physical. Because chronic depression can lead to heart attacks, diabetes and stroke—all of which have been verified by science.
Next, it discusses the barriers to treatment that many people and countries face—limited access to therapy, medical treatments, or a lack of trained healthcare providers. (Just take a look at this study around the prevalence of Brazilians living without depression treatment). For this reason, the workbook uses a cognitive behavioral therapy step-by-step approach, which can help find a workaround to some of those barriers. It specifically mentions that it may be best suited for those with mild depression or people who are hesitant about medical treatment.
Written in a friendly and clear voice, it helps the reader first get honest with themselves: What is depression, what are the symptoms? What are your symptoms? It also offers some glimpses of Sarah's own experiences—and asks the reader to share theirs. This feels very much like a loving conversation rooted in both gentleness and serious action.
It then moves to discussing the therapeutic process—and CBT, which offers action items for managing depression. CBT, defined, means, "Cognitive-behavioral therapy (CBT) is a form of psychotherapy that treats problems and boosts happiness by modifying dysfunctional emotions, behaviors, and thoughts. Unlike traditional Freudianpsychoanalysis, which probes childhood wounds to get at the root causes of conflict, CBT focuses on solutions, encouraging patients to challenge distorted cognitions and change destructive patterns of behavior."
The book goes on to discuss other therapies as well, just so you know the differences—which I appreciated. Following chapters include recognizing and workshopping problem areas (like replacing negative thoughts, and enhancing objective thoughts), making a plan for yourself, learning to not procrastinate when it comes to tasks and self-care, and learning to develop lifestyle skills and finding gratitude.
What I like most about the book is that it very much sounds like a kind and objective friend who wants you to help yourself and be happy, in whatever small step feels right for you. Its focus on both the short-term (immediate behaviors) and the long-term (learning mindfulness and maintaining wellness, even when not depressed), is important. The fact that is acts as both a triage and a holistic coach is so key, I think. This helps the reader get some relief while thinking about the bigger picture.
I recommend this book to anyone who wants to peer inward, discover healthful and pragmatic tools to manage depression and create a step-by-step approach to taking action.
I also recommend checking out CEO Sarah Fader's Stigma Fighters, which is a mental health non-profit organization (founded in 2014) dedicated to helping real people living with mental illness.
As the site says, "There are teachers, doctors, lawyers, psychologists, actors, writers all living with mental illness. These are the stories that need to be told; the people who seem to be "regular" or "normal" people but are actually hiding a big secret. They are living with an invisible illness. They are struggling to function like the rest of society. It is Stigma Fighters' mission to raise awareness for people who are seemingly "normal" but actually fighting hard to survive. If you are living with mental illness and you want to share your story, please fill in the form HERE. We look forward to fighting the stigma of mental illness one story at a time."
i hope that whatever your path, and whatever pain you're feeling, you take the time to care for yourself. You deserve it.
Click here if you have difficult hearing and need help.
Lisa Marie Basile is the founding creative director of Luna Luna Magazine--a digital diary of literature, magical living and idea. She is the author of "Light Magic for Dark Times," a modern grimoire of inspired rituals and daily practices. She's also the author of a few poetry collections, including the forthcoming "Nympholepsy." Her work encounters the intersection of ritual and wellness, chronic illness, magic, overcoming trauma, and creativity, and she has written for The New York Times, Narratively, Grimoire Magazine, Sabat Magazine, The Establishment, Refinery 29, Bust, Hello Giggles, and more. Lisa Marie earned a Masters degree in Writing from The New School and studied literature and psychology as an undergraduate at Pace University
Sarah Fader is the CEO and Founder of Eliezer Tristan Publishing Company, where she is dedicated to sharing the words of authors who endure and survive trauma and mental illness. She is also the CEO and Founder of Stigma Fighters, a non-profit organization that encourages individuals with mental illness to share their personal stories. She has been featured in The New York Times, The Washington Post, The Atlantic, Quartz, Psychology Today, The Huffington Post, HuffPost Live, and Good Day New York.
Dr. Simon Rego, a licensed clinical psychologist with close to 20 years of experience in Cognitive Behavior Therapy (CBT) and other evidence-based psychological treatments, is currently Chief Psychologist, Director of Psychology Training, and Director of the CBT Training Program at Montefiore Medical Center and an Associate Professor of Psychiatry and Behavioral Sciences at Albert Einstein College of Medicine in New York
In Wellness, Social Issues, Lifestyle Tags depression, mental illness, mental health, The 10-Step Depression Relief Workbook, stigma fighters, sarah faders
How to Get Published & Feel Good About Your Work
Wild Words is an everyday, accessible, friendly series of how-tos around publishing, writing, and creating. It's a response to the many inbox queries we get around writing (a lot of our readers come here for the literature, and also want to write!). There is no way these entries can be totally comprehensive, but it's aimed to provide a general overview of any given topic. Feel free to leave questions (and additional advice!) in the comments below or tweet us at @lunalunamag.
Whether you're looking to publish poetry, an essay, a researched piece, or a book, here are some of my responses to the questions we're asked all the time. We hope it helps!
You are already a writer.
One of the things I hear the most is, "I'm not a writer yet, but I'd like to be." But my darling, quiet that voice because—and may I be struck by lightening if I am wrong—yes, yes you are a writer. If you write, you're a writer. That might sound like a platitude, but consider this: Have you ever looked upon a beautiful piece of art, a painting perhaps, sitting in your friend's living room and thought, "well, it's not in a museum, so you're not an artist"? I doubt it.
The same goes for writers. There's this all-too-common myth that a writer isn't initiated into the dark mansion of writerly glory until published (see mantras like "publish or perish" or even well-meaning terms like "emerging writer"). You can very much be a writer without publishing credit.
Step one: Get out of your head. Save your head for the page. Your art comes first; everything else is secondary. Being a writer is less important than writing. So, just write and the rest will come into place.
Now, there's a caveat to all that.
Writing is not always glamorous; you have to put in the work.
Writing is often said to be lonely. It's not just an over-romanticization of the archetype of the writer (as we fall upon the chaise, in solitude, our poems clamouring in our chests), it's honestly a fact. Writing is one thing. Publishing is another, so in a way, being a professional writer is half craft half business. We're alone at home, sitting in a dressing gown, downing coffee, and hitting "submit" over and over again.
Publishing is made up of all the unglamorous, sometimes uncomfortable parts we don't want to think about: formatting a manuscript, submitting to magazines and journals, attaching files, updating your "accepted" and "declined" excel sheets. It's all very Virgo, my friends.
There are a sea of opportunities out there; finding them is your job.
So how do you find journals or magazines? To start, social media is a wonderful resource. You can start by searching 'literary journal' or 'poetry magazine' on Twitter or Instagram's search bar. Then, read the journal. Yep, actually read it. Does the work resonate with you? Does the journal's niche work well with your voice? Does the journal stand for what you believe in? Do they take risks on style and genre? Do they make a point to welcome diverse writers?
Make lists of writers you admire. Who are they? Where have they published? You can see this by looking at their bios or Googling their names. (Most published works come with a bio (biography) of the writer.
Another easy way to find literary journals is by perusing your local bookshop; most indie stores have a dedicated literary magazine section. One of my favorite resources for literary journals (in this case, most are English-speaking ones) is at Entropy Magazine. They do an amazing service to writers by finding open submissions and separating them into journals, presses, and genres.
Facebook has some great groups, as well. Search "poetry writers" or "fiction writers" or "memoir writers" under groups and see what comes up. If you're familiar with #TheBinders, there are groups dedicated to poetry binders — aka, women, gender variant and nonbinary writers who write and submit poetry.
Engage with others, read their work, ask for recommendations to literary journals and follow their submissions policy.
13 AESTHETICALLY BEAUTIFUL LITERARY JOURNALS TO SUBMIT TO & READ
The beautiful thing about the Internet is that you have at your disposal hundreds of literary journals and magazines—as well as their "submit" or "contact" information. This will list what they're looking for and how to send it in.
Look for those words on any literary magazine site, and you'll find out how to submit your work, too. Follow the rules. Don't attach a whole book, for example, if they ask for 3 poems only. Seriously. This inspires ire and bloodlust in some editors. Now, no one is waiting around for you to make a mistake, and you don't have to stay awake at night quaking in your sheets ober understandable errors that happen, but do read the submissions policy and adhere to it in the most basic of ways.
Make lists of journals or magazines or presses that you like, take note of their publication schedules, and prep. Then, you wait. This is the sexy part (not true).
What is a pitch?
If you're trying to submit your writing to magazines (especially nonfiction or essays), you'll want to know there are usually two ways to go about this: You can pitch (aka send a clear idea) an editor directly (you can find emails for editors on social media or by going onto LinkedIn) and then wait for confirmation and the assignment, or you can write a whole piece and send it to a magazine via whatever submissions policy they state.
The latter is risky for one reason: You run the risk of writing and writing without it having a home. That said, you should be writing about what you want to write about—so even if it's rejected, you'll return to the drawing board because you believe in it.
Pitching editors seems scary, right? This is probably the question I'm asked most often: Should I pitch an editor? Will they ignore me if I've never published before? Why would they want to hear from me?
The answer is a bummer but most editors are super busy and many pitches don't get responses (there's just limited bandwidth); however—a succinct, clear, well-developed pitch may yield a response. Editors appreciate pitches because it allows them to work with you—to calibrate an idea and ensure the piece covers the topic in the way they envision.
Pitches should include a well-developed idea, a reason why you're the one who should write the piece (keep this relevant, quick, and professional) and a sentence or two about why it would work for their publication. Here are some excellent tips.
To reiterate: Just because it can be difficult to get a response doesn't mean you should be discouraged. Writers deal with this, and although it's not ideal, it usually doesn't reflect on you (if you wrote a good pitch).
A website and social media presence is helpful.
Many writers loathe the idea of having to step away from the writing desk to maintain a digital persona. I have a love/hate relationship with it. For one, it builds community and allows me to meet hundreds of talented writers. It's also become a source of support for me as a person, when used appropriately (aka not letting it consume my life). However, it can be distracting, narcissistic, and one-dimensional. We are, at times, reduced to parts of ourselves online—we are seen in fractions, and this can get us wrapped up in all the wrong sorts of ideas. Then there's the issue of imposter syndrome. When you see all the others writers online being amazing and publishing everywhere and getting retweets, you might wonder: Am I good enough?
(Yes. There is space for everyone (a glorious truth no troll can take away from any of us!), and that space is what makes writing such a beautiful experience. Everyone starts somewhere. Let the Internet be a place of support and inspiration for you, but don't let it distract from your art. You're a writer; brand is not the main priority.)
That said, an author website (with a short bio, a picture, and some contact details) can go a long way. Don't worry about it being sparse at first. Your bio can be "XYZ is a writer from New York City." It's not embarrassing if it's short, there's no rush to fill it up with details, and there's no competition. Be you, write, and the rest will unfold. You can build websites at Weebly, Squarespace, Wix, and even Tumblr. (We use Squarespace and love it—and my personal website is on Squarespace as well).
What about pay-to-play or self-publishing?
Ever see those commercials or website pop-ups, "Publish a book for only $79.99!"? Yeah. That's, in my mind, a scam — because you could do it on your own for very little money (although you will pay for author copies) through Amazon's Createspace, for example.
Here's the deal with vanity presses (aka vanity publishers, subsidy publishers or hybrid publishers): They typically ask writers (and in some cases agents) to subsidize a portion or all of the fee that it takes to put a book into the world. Some are straight-up shams designed to fuck people over and prey on a lack of knowledge, while others are working presses that are transparent about their fees. Here's a very basic look at the variants within the hybrid publishing model.
There have been plenty of debates around whether this is okay or not, and lots of wonderful writers have worked with vanity presses before; still, others maintain that it's not for them.
Generally speaking, most established magazines or presses will publish your work or book out of love for it, not for money. Most authors don't pay their publishing companies to publish them.
Now, you can self-publish without using a vanity press. You'll use a website (like Createspace or Cafepress) to upload and design your book, and you'll have to buy your copies at a discounted rate — but this entirely autonomous.
Poets & Writers offers great information around this option here. The fact is, some writers love the autonomy and creative power they get when publishing their own work. Many writers would prefer not to self-publish, too, and if you put your ear to the ground you'll hear lots of contradictory talk, everything from "self-publishing isn't really publishing," to "Why would I want someone else in control of my manuscript?"
Many writers who are simply experimenting and want to carry a book with them to local readings might want to self-publish. Maybe they want sell their work on Amazon directly or on Etsy. Many writers may feel disenfranchised by the publishing scene. Many might just like the process of creating their own work.
There is still very much a stigma around self-publishing, but it's important to stay progressive when it comes to art. People should feel empowered to create as they'd like, and people have self-published throughout time like crazy! It's a hard world out there for writers, and no one needs to be shamed for their choice. That said, it's important to weigh the options.
No matter what—self-published or not—the post-publication stage is key: You'll want to share your work.
My work is published!—now what?
It's time to promote it! Remember that most smaller presses have very limited budgets; you'll still be expected to reach out to reviewers and do a lot of the work when it comes to promotion. I've noticed that a lot of writers are concerned about seeming self-obsessed or gauche when it comes to promoting.
Here's the cold hard truth: No one will read your work if you don't advocate for it from conception to page to submission to promotion. Period.
So how do you go about getting people to read your work? A good rule of thumb is this: Promote your work, and everyone else's, too. You can't just drop one link to your poem and expect engagement. You have to take part, encourage others, share ideas. Go to literary readings if you can, join online groups for writers, share links, read magazines, and engage. Tweet your work and someone else's. It's like being at a dinner party; are you only going to talk about yourself? How boring would that be? Join the larger conversation, be yourself, care about others, and the rest comes naturally. Be human; people read humans. There's no greater secret to this.
…but privilege is a thing, right?
Sometimes writers have it hard. They might work stressful, full-time jobs or lack finances; they raise families, they have chronic health conditions, or they are disenfranchised in ways you or I can't imagine. Many are systemically silenced. Others can't attend fancy writing workshops usually and sometimes they can't even access conferences due to inaccessibility!
Recognizing privilege, and a lack thereof, is very important. This is why it's important to help other writers succeed; you never know their situation, and you never know what they've gone through to get where they are.
There will be times when privilege plays into publishing: expensive degrees in writing, Instagram shots of pricy workshops and writer retreats—it's all out there. If this is you, recognizing it is important. If it's not, then know that you're not alone. Despite money, connections, and all the time in the world to write, there's one universal truth: Talent usually rises to the top. Do your best work. Edit it. Rewrite it. Write it again. And put your heart into it. Don't rush it.
Now, onto questions from our readers:
"How do I quite the voice that tells me I'm a shitty writer?"
That voice is like the sea. It is natural. It ebbs and flows, it pulls in and crashes to shore, and it pulls back. It intersects with our culture, use of social media, how we were raised, our mental health, our social life, and our internalized responses. That's heavy, so don't think you're alone in this. That voice is an albatross to many.
Sometimes it's a deep blue, high tide, sometimes it's low, low enough for you to see your feet down there on the sand through the turquoise. This is what it means to write. There are days when you don't want to, don't feel the need to, don't feel like it means anything. When you doubt your ability or purpose.
Why write when others are already so talented? Why am I not as good? Why does this suck?
The sea often yields surprises. What happens when one day the waves don't stop? Will you ignore it? Will you say it's too overwhelming—or will you say it's necessary and beautiful?
Very few writers truly think they are god's gift to humankind; sure, there's ego out there, but it's usually driven by insecurity. Even the best feel it. It's chronic, and can be seriously limiting. However, you have to push past it. Turn the insecurity into fuel. Acknowledge it and let it pass.
You have to know that your relationship to your work (and your personal, very real reason for creating it) is more important than your mood on any given day, more important than what other people are doing, and more important than the ego. Write because you feel the need to, and trust, as you edit and develop it, that it is a thing of beauty. From there, decide whether you want to share it with the world.
The idea of something being shitty is usually predicated on ideas around how it will be received; so, write it for you, and you alone. The voice will happen. Just move through it. And don't beat yourself up for the sea change. Your voice will be there, and then go, and then come—what you choose to do, despite it, is what matters. Choose your work. It deserves love.
When your work is done, celebrate it. Get a drink, print it, decorate a little altar to it, and light a candle for your success. Focus on manifesting that spirit and resilience in your future projects. Grow your garden slowly, and with love—for all the darkness and light that comes with it.
Lisa Marie Basile is the founding creative director of Luna Luna Magazine—a digital diary of literature, magical living and idea. She is the author of "Light Magic for Dark Times," a modern grimoire of inspired rituals and daily practices. She's also the author of a few poetry collections, including the forthcoming "Nympholepsy." Her work encounters the intersection of ritual and wellness, chronic illness, magic, overcoming trauma, and creativity, and she has written for The New York Times, Narratively, Grimoire Magazine, Sabat Magazine, The Establishment, Refinery 29, Bust, Hello Giggles, and more. Lisa Marie earned a Masters degree in Writing from The New School and studied literature and psychology as an undergraduate at Pace University.
In Poetry & Prose, Social Issues, Wild Words Tags writing, publishing, how to get published
The Realities of Sexual Harassment & Assault in Professional Communities
Joanna C. Valente is a human who lives in Brooklyn, New York. They are the author of Sirs & Madams (Aldrich Press, 2014),The Gods Are Dead (Deadly Chaps Press, 2015), Marys of the Sea (Operating System, 2017), Sexting Ghosts (Unknown Press, 2018), Xenos (Agape Editions, 2016), and the editor of A Shadow Map: Writing by Survivors of Sexual Assault (CCM, 2017). They received their MFA in writing at Sarah Lawrence College. Joanna is the founder of Yes Poetry and the managing editor for Luna Luna Magazine. Some of their writing has appeared in Brooklyn Magazine, Prelude, BUST, Spork Press, and elsewhere. Joanna also leads workshops at Brooklyn Poets. joannavalente.com / Twitter: @joannasaid / IG: joannacvalente
In Social Issues Tags assault, harassment
The Power of Makeup in a World with Limited Choice
Joanna C. Valente is a human who lives in Brooklyn, New York, and is the author of Sirs & Madams (Aldrich Press, 2014), The Gods Are Dead (Deadly Chaps Press, 2015), Xenos (Agape Editions, 2016), and Marys of the Sea (The Operating System, 2017). They are the editor of A Shadow Map: An Anthology by Survivors of Sexual Assault (CCM, 2017). Joanna received a MFA in writing at Sarah Lawrence College, and is also the founder of Yes, Poetry, a managing editor for Luna Luna Magazine and CCM, as well as an instructor at Brooklyn Poets. Some of their writing has appeared in Brooklyn Magazine, Prelude, Apogee, Spork, The Feminist Wire, BUST, and elsewhere.
In Beauty, Social Issues Tags makeup, LGBTQIA, Politics
An Interview with Le Balm's Cecilia Corrigan & Monica Nelson
BY DEIRDRE COYLE
When I watched the first episode of Le Balm—the new web series by Cecilia Corrigan and Monica Nelson—I cackled, then anxiously touched my face to check the quality of my skin, then cackled some more. Le Balm follows a makeup vlogger named Madeleine who decides, after the 2016 presidential election, to convert her many followers into radical activists by smuggling coded messages about overthrowing the regime into her beauty product reviews and tutorials.
In the past year, women's media has been full of articles on self-care as both coping mechanism and radical act. Le Balm questions the validity of this rhetoric with dark humor and compassion. As Corrigan wrote to me in an email, "Dealing with questions about complicity, beauty standards, and the privilege of self-care in a time of political disruption, the series brings together the worlds of our current political climate of anxiety and the messages of women's beauty culture."
Despite a shaky connection between New York and Los Angeles, I video chatted with Cecilia and Monica in the hours before their West Coast launch party.
So I first wanted to ask how you came together to work on this project, and where you're both coming from?
Cecilia: I met Monica when we were both working on another short film, Crush, which was another piece that played with dark comedy to critique a certain sector of culture—in that case, the art world. We have pretty different backgrounds—my background is academic, and I started out in poetry, now I write and perform weird comedy, and Monica has been working in branding and advertising for years.
Monica: Different backgrounds, for sure. But we share an interest in using narrative and humor to make a cultural critique, that's sort of the space where every idea we tossed around landed. Cecilia is amazing at creating these intuitive comedic characters that mirror back a very honest reality.
Cecilia: One of the things I like about this character is that she's almost uncomfortably familiar, like she's just taking the idea that self-care can be a radical political act to its natural conclusion. So even though it's parody, it also feels uncanny. I think we were interested in that discomfort.
Monica: Yeah, and there is truth to it as well. The idea for Le Balm started at a women's group that was organized the week after the election. Everyone was trying to figure out how to respond. Then Cecilia was kind of joking about doing a beauty guru character who's having a political awakening after the election, and I was like "we should actually do that." That's how Le Balm got started.
Cecilia: Yeah, that group was cool; I know a few similar groups cropped up that winter. This one was called Feminists Against Fascism—it was all women, a lot of them worked in media, many of them were activists. I found myself thinking about the beauty industry and "women's media" a lot at that time, and about the idea of a coastal elite. The election brought so much misogyny to the surface, but also revealed so many of the limitations of a feminist politics that isn't intersectional.
In a way, is this character in Le Balm also grappling with these questions?
Monica: Yeah, in her own way. She's just taking it very, very literally.
Cecilia: It definitely comes from a relatable place. I first got the idea in a moment of recognizing my own ridiculousness, when I caught myself deeply stressing out about whether I should switch my moisturizer with the changing climate, and simultaneously freaking out about the terrifying political changes that seemed to be already affecting vulnerable people in a really immediate way. I was like, "wow I'm the worst." And you know, I think one of the things that saves me from going crazy is laughing at myself.
Monica: The idea of using what we know, and our own personal experiences seemed really important. I was shaken by the way that women were receiving information, and how it was being framed. All of a sudden all women's media outlets turned to women's causes, and you would literally read an article about a social justice cause and a moisturizer in the same typeface and tone. I still have screenshots from that time period that we would send back and forth. Literally posting these headlines that were like, "Are you bleary eyed because of the news? Here are some eye brightener tips."
RELATED: Interview with Sarah Forbes, the Curator of Sex
I did want to ask about the character. We don't actually learn much about her background in the show, her story before she deleted all of her social media and then restarted it. But clearly she's a privileged character: a young, attractive white woman able to make her living vlogging (she talks about her sponsorships in the first episode). Could you talk a little about how this character's conception of "radical activism" is informed by these advantages?
Monica: This girl is earnest. That's something that's really important to us. This character did kind of exist in this bubble before the election. She was very sheltered and was able to create this whole ecosystem that was just hers. Her aesthetic was probably a little more decadent, or kitsch. But then her world was sort of blown. When we were briefing the team for the shoot, I would say "Imagine a girl that discovered politics and Garance Doré in the same day."
Cecilia: Yeah. She was definitely in a bubble before. I think a lot of people with a certain kind of privileged complacency felt like they had to become political, become "woke," right after the election. I imagined that whatever was going on with her in the lead-up to this moment, like whatever happened between the election and her new videos, was probably pretty messy. I think this is more than just a re-brand for her: I think she imagines that she's going to be a real activist now. And in these videos we're just watching her struggle to make makeup tutorials into political statements, about causes she just found out about and barely understands.
But I also find that struggle endearing: she's striving to be better, she's trying to use her influence for good, with, I think it's called "cringe-worthy results?" She's been in the business of selling self-improvement for a while, but now she wants to do a make-over on her soul, like Cher in Clueless (who, incidentally, is also a privileged white woman). It's easy to make fun of people like her, but we decided not to make it a total mockery. It's a complex situation, right? She's trying to get involved, but she doesn't know what she's doing. And in the last episode I think we see her realizing that she might not actually be offering any useful advice, or helping anyone, by telling them that if they have self-confidence and look good it's going to protect them from real political and legislative threats to their safety.
Monica: She's just like, "the show must go on!" And, just like everyone, she's trying to find new meaning and purpose in what she's doing. She's thinking, "I have this audience I could educate about these things."
Cecilia: Monica's direction really helped bring that out, for me, when I was trying to find the character in the performance. At first I was doing her in a really over-the-top, you know, like, "Hiiii Guys!", like, vocal fry, totally kind of bug-eyed and scary, which is actually—you do see a lot of that. But Monica was like, "This person should be someone that you like. You have sympathy for her, she's really different, and she has all these different interests, but she's basically someone that you might know, or meet at a party, that you have empathy for." I do feel empathy for her.
Monica: I thought it was really important that she have depth, and that those things came through. That it felt like she was an actual woman struggling with these things.
Cecilia: Basically what I'm saying is that Monica was like, "Try doing good acting. Like that, except with acting."
Are you worried about the NSA watching the series?
Cecilia: Um. No.
Monica: It's more like what if the beauty industry NSA sees it. But, actually it's been funny having interviews with beauty brands. I show them a few episodes and they are laughing and fully understanding what we are doing, but then they say, "This is so funny, it's amazing, we could never do anything like this."
Cecilia: And we knew that. The reason that we didn't really pursue doing this like for a brand or even a magazine per se, is because we wanted it to exist on its own in a modular way, which adds an uncanny tone. It looks and feels like a beauty vlog. But at the same time it's dark, character-based comedy. And the intersection of those things is unusual: it's just its own thing. Hopefully in an enticing way.
Did you want people to initially view it as a real beauty vlog?
Cecilia: I think that the primary way to read it is as comedy, at least that's our intention. But it's presented in a coy way. But if people read it as a beauty vlog, that's awesome.
In an email, you'd mentioned wanting to work in a "venn diagram of beauty journalism, political commentary, and unhinged comedy." Could you talk more about how those ideas overlap in Le Balm?
Monica: We had so many conversations about how we wanted to put it out. And at the end of the day, we just said, "This is original content." It's scripted, but it's playing with meta-reality. There are heightened moments, but it could be real, on some level. Nothing we're talking about is fantasy. And I think that realism is something both of us are interested in exploring, that essayistic quality. We're both interested in creative work as a critical practice. But then again, this piece goes back to some of the things we know best. Performance for Cecilia, and for me, creating "content." Le Balm uses those two things to write an essay about this very specific sector of our culture.
Cecilia: Absolutely: the performance of branded content creation. Le Balm is an imitation of vlogger culture, and a tribute to it. It's comedy about beauty content and it also is actual beauty content, in a way. It's an expression of this weird moment we're living through, rendered through this really simple and clear concept. It feels very conceptual to me in that way.
Monica: I think it asks its viewer to imply the depth, and to read into it. I think that's the type of content that I'm most excited about.
Cecilia: Yeah. I've always really loved stuff that lives in a certain frame but does something different inside of that frame. The work that excites me the most lives in a certain context but plays with people's expectations. A lot of the ideas in Le Balm are everywhere right now, and there's been some amazing journalism recently about the strange relationship between contemporary politics and beauty culture. Of course, Le Balm isn't journalism, even if it is kind of essayistic.
Monica: I think it is rooted in documenting a real phenomenon. Now, beauty is a really powerful category, much more powerful than fashion, because of its ability to create such personal change. Historically, beauty industries have always boomed during political turmoil because beauty is something you can control. Like Elizabeth Arden and all these brands being like, "Red lipstick is empowering!" We have an episode about that. Maybe there is an innate truth to it, because you feel better. It's a real feeling.
Cecilia: It does seem like there's so much emotion attached to that space now, so much public feeling around beauty, skincare, makeup. It's like the final market where people believe buying the right products could actually make them better people. So the character represents something I think is a huge part of life in America and the developed world right now. The new form of aspirational luxury is self-improvement: you want your skin to look better, you want to spiritually be better, politically be better. I think this character wants to believe what we all want to believe, to some extent, that we can have control over our lives and that we can prevent chaos from enfolding us by focusing on self-improvement.
Monica: Beauty is definitely an exercise in control.
Will there be more Le Balm, either in this form or another, in the future?
Cecilia: I'm working on a pilot that's an expansion of this world.
Monica: I think we also like the idea of using it as a discussion piece. That's the thing I'm the most excited about, is seeing what people get out of it. It's been really fun to hear the reactions of people from different backgrounds. There are these funny signifiers that trigger things for people.
Cecilia: Yeah, one of the things I've noticed in comedy is that people, when things hit too close to home, tend to be kind of repulsed, they're like, "Ugh, I hate that character," if they identify too much. Whereas if you're more distant from the character, you just laugh.
Deirdre Coyle is a writer and goth living in Brooklyn. Her work has appeared in Electric Literature, Lit Hub, The New Republic, Hobart, Joyland, and elsewhere. Find her on Twitter at @DeirdreKoala.
In Beauty, Pop Culture, Social Issues Tags Le Balm, deirdre coyle, Monica Nelson, Cecilia Corrigan
Poet and essayist Isobel O'Hare is saying more with less in the recently released all this can be yours.
The Text Is My Enemy: Erasing The Patriarchy With Isobel O'Hare
"The erasures are transformational, I think, in that they mutate the original messages of the statements into my own vision of the truth behind them. It's sort of like wetting a sheet of paper covered in invisible ink and seeing the message hidden there."
In Interviews, Social Issues Tags Poetry, #MeToo, Patriarchy, Books, Isobel O'Hare, Caitlin Pryor, all this can be yours, #TimesUp, Erasures
Alice Teeple
Dear Jesse, by Andi Talarico
BY ANDI TALARICO
Dear Jesse,
Happy 29th birthday in prison.
I write this to you on your 29th birthday, which you'll spend in prison.
Happy Birthday, little brother, in prison.
I meant half-brother. It matters.
Dear Jesse-
I don't know how to write this letter. I don't know how to do it.
I hate you.
Her life mattered too.
She was 23. She was 23 and you gunned her down over $60 worth of shit heroin. You did that.
I hate you for making this family the wrong kind of poor. A snarl of statistics on rural poverty, a tragedy so common, so small, you're not even a footnote in the 10 page New Yorker article on the opioid epidemic. I read it on the train to work. I read a clinical article on the pharmaceutical industry on the train to work in New York City. In my ears, airpods scanned the highs and lows of Chet Baker. The most distant mirror.
I read about your world at arm's length. I thought of you saying-
"Fuck you, Andrea, and your perfect fucking life."
"Give me 20 bucks, Andrea. I know you got it."
"You're not better than me."
I watch your arrest on the news. They show a picture of the dead girl on the bottom right corner of the screen. The reporter asks you what you have to say for yourself. You snarl,
"Get out of my face."
I know you're no broken branch on a perfect family tree. Not even a tree, really, a snarl of a thorny bush, really, a tangle of blighted limbs, really. To call anything that happens here cyclical is to bestow too much order upon it. Really.
We have different fathers. Yours was not a great man. Let's say that. Let's remember that when his chemicals crested or cratered, the wrong pill, say, the wrong smoke, the wrong spike, the wrong sniff, it usually ended badly for our mother. You're too young to remember her broken arm. You're too young to remember when he still drank. I watched him pour a beer over her head during an argument. I watched her hurl a glass ashtray at his face and almost blind him.
I remember.
I was seven when you were born, barely not a baby myself. I learned how to love a new human through you, your bright brown eyes reflecting everything you saw around you, new and holy through you. You, on my hip. You, taking the bottle in my hand. You, a small version of me. You, making a big sister of me. You. You named me DeeDee. I named you Young King. I wanted to give the world to you. You.
Our mother joked that she named you for Jesse James. She always liked the bad boys best.
Your father was one of the worst.
I know it was right after he died that you spent your first bout in Juvie. What were you, twelve? Thirteen?
I know that you chose violence over grief, or violence through grief, or violence as grief, or that maybe violence is a grief, or that maybe grief is a violence in that it can murder the person bearing the weight of it.
It is not lost on me that your drug of choice is a pain-killer.
That poor woman. I grieve for her life.
You poor child. I grieve for yours as well.
The letter I send will say just this,
Try to have a happy birthday. You know I'm here if you need books. Love you, little brother."
Andi Talarico is a Brooklyn-based writer and reader. She's the curator and host of At the Inkwell NYC, an international reading series whose New York branch meets at KGB Bar. She's taught poetry in classrooms as a rostered artist, and acted as coach and judge for Poetry Out Loud. In 2003, Paperkite Press published her chapbook, Spinning with the Tornado, and Swandive Publishing included her in the 2014 anthology, Everyday Escape Poems. She also penned a literary arts column for Electric City magazine for several years. When she's not working with stationery company Baron Fig, she can be found reading tarot cards, supporting independent bookstores, and searching for the best oyster Happy Hour in NYC.
In Social Issues, Personal Essay, Poetry & Prose Tags fam, family, prison, letters
Michael Ramstead
Community, Murder & Feminism on the Podcast My Favorite Murder
I have discovered a pretty well known podcast called My Favorite Murder. Two women, Georgia Hardstark and Karen Kilgariff, host the show. It's considered a comedy podcast. Most people wonder: Where's the humor in murder? Most would also argue that there is none. However, the humor comes from somewhere else. It's part of this idea that in order to understand something better we have to get close it. In order to understand why people like Dennis Rader kill we have to pay attention and get closer. So, the humor then, it comes from a place of trying to conquer fear and come to a point of understanding.
In Personal Essay, Poetry & Prose, Social Issues Tags My Favorite Murder, True Crime, Feminism, Podcast
Interview with Aquamarine Space Unicorns About Their New LP She Persisted (The Brink)
Aquamarine Space Unicorns is an awe-inspiring musical experience that sends you on an ethereal and unearthly trip to a galaxy far, far away from this god-forsaken world where mystical unicorns exist and are sometimes creatures that bellow like banshees, other times they soothe you like sirens, but never, ever are they tame in their songs that roar and fight for the oppressed and the marginalized. They graciously invited me to their magical woodland so I could interview them about their upcoming LP She Persisted (The Brink).
In Interviews, Music, Social Issues Tags Aquamarine Space Unicorns, Music, ASU, Joyanna M, Lily Bell, IndieGogo, Campaign, Social Justice, Feminism, Nadia Gerassimenko


In serving and protecting the interests of the public of Alberta, the primary roles of the Alberta Institute of Agrologists are to regulate the practice of our members, to encourage good public stewardship in agrology related areas, and to advance the profession.
Establish, maintain and enforce standards of practice, registration and continuing competence for the profession of Agrology.
The Institute enforces a Code of Ethics and Code of Practice which provide standards of conduct for the practice of Agrology.
While AIA is not an advocacy body, the AIA office can direct the public to members who are able to provide objective scientifically based information. AIA members bring the science of agrology to the policy makers by responding to requests for input. The Institute commissions "green papers" to advance discussion on important issues.


text:
Le bassin de la Pyramide est un bassin des jardins de Versailles.

Localisation
Le bassin de la Pyramide se trouve au croisement de l'allée de Cérès-et-de-Flore et de l'allée d'Eau, au Nord-Est du parc.

Composition
Ce bassin, situé au sommet de l'Allée d'Eau, est censé incarner l'aboutissement de la quête apollinienne. En effet, après avoir tué le serpent Python, Apollon remonte sous les acclamations des enfants et autres groupes de l'Allée d'Eau, pour parvenir à la Pyramide, symbole de la connaissance, qui représente le temple de Delphes où se trouve la célèbre Pythie. Cette quête se terminait initialement à la grotte de Téthys où le dieu se reposait et se délaissait entre les mains des nymphes.

Creusé en 1668, le bassin adopte une forme circulaire en 1683. La pyramide en plomb est formée de quatre étages, le tout appuyé sur de puissantes pattes de lion. Au niveau inférieur, des tritons adultes semblent se courir après. Puis, la seconde vasque est soutenue à bout de bras par des tritons enfants et des dauphins et des écrevisses portent les derniers plateaux. Enfin, au sommet se trouve un vase à têtes de satyres où se trouve le jet d'eau.

Liens externes

Pyramide

redpajama_set_name: RedPajamaWikipedia


My main selling fiverr gig on article writing was suddenly blocked by fiverr citing the reason of fiverr not being in support of gigs that help people do their college assignments. My gig isn't really related to that niche and besides there are a number of gigs on fiverr about helping with assignments.
I was asked to tweak it before it is returned live, I've done so, removing things I felt could be red flags but no result.
Has this happened to any one on here? Any advice?
There appears to be a new rule against offering services for anything that could be turned in by students as their own work. My suggestion would be to contact Customer Support and ask them for advice. So far, the forum only has anecdotal info.
Sorry to hear that, but as a Teacher, good on Fiverr!
I am sure you'll get some better help.
Alright thanks. I appreciate each of your contributions. It seems the gig has been returned live.


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Cosmetic, or, Facial Acupuncture, has been practiced in China since the Sun Dynasty (960AD – 1070AD) with records showing that women of the elite upper classes receiving treatments. Facial acupuncture treatments not only focus on points on the face, but also on points on the arms and legs to help balance any internal disharmonies that may have an effect on the face and complexion.
The Facial Acupuncture treatment is based on the principles of Traditional Oriental Medicine and involves the insertion of hair-thin needles into particular areas of the face, ears, neck, hands, trunk, and legs into specific points that are chosen to have an effect not only in the appearance of the face, but also, on overall health and wellbeing.
"Ageing is a fact of life. Looking your age is not".
Each course of Cosmetic Acupuncture and advice is formulated for your particular circumstances and following the foundations of Traditional Chinese Medicine treats you as a whole body, mind and emotions.
A course of treatment generally consists of around 12 – 20 treatments. The effects become most noticeable and lasting on or about sessions 8 – 10. Each person responds differently, depending on his or her condition and lifestyle prior to treatment. Following the initial course of treatment, maintenance sessions can prolong the results for five to ten years.
It is often recommended to supplement the Facial Acupuncture programme with Herbal and Nutritional Supplements, a healthy diet along with plenty of fresh air and appropriate exercise.
Many sources suggest that acupuncture has been used for almost 5,000 years to treat a wide range of conditions. Having proven itself with literally billions of people, Acupuncture has survived the test of time. The use of acupuncture in cosmetic treatments, especially in preventing and reducing wrinkles has already attracted great attention in Japan, Hong Kong, and Sweden. The effectiveness of Acupuncture on improving overall health has been well documented over the last 30 years.
A 1996 report in the International Journal of Clinical Acupuncture reported that among 300 cases treated with Facial Acupuncture, 90% noticed marked effects with one course of treatment.
For thousands of years, the Chinese have known that beauty comes from the inside. At least as early as the Sung Dynasty (960AD-1270AD) Acupuncture rejuvenation practices were employed for the Empress and the Emperor's concubines.
Even for those unfamiliar with the principles of Chinese Medicine, it is known that increased circulation helps the body to look and feel better. Common sense would tell us that treating the underlying cause of why someone is ageing is preferable to masking the outward symptoms and allowing further decline and dysfunction to continue within the body.