Books like Alchemy of a Blackbird

I had never been to The Cloisters here in Manhattan after many decades of living here, but I read Katy Hays's book, and had to visit it afterward. Hays’ book was a great pre-cursor to the trip to the Museum of Medieval and Early Renaissance Art.

I kept in mind the world of the fictional underdog, Anne Sitwell, who worked her way up to know there were secrets in the vault at the Cloisters. A Tarot Deck, possibly from the d’Este family in Italy, sets the stage for skullduggery while secrets and murders mount, leading to a plot twist at the end for our hapless Anne. It was interesting talking to the docent at the museum after I took a garden tour, and to spot a copy of this book for sale in the gift shop there.

I was intrigued by the magical abilities in the “Hands” of each one of the three protagonists in this book. Tamara uses her hands for tarot readings to tell people’s futures, while Phyllis’s hands have a super-power strength for knife-throwing, and Dev has “Saint’s Hands” have a sort of spidey-sense, helping his work as a police spy.

I was intrigued by Tamara’s tarot readings as part of this crime story, with the weaving in of black people’s stories of trauma, the double-edged sword of passing for white, and Juju assassins. This alternate history is a nebula of magic, criminals, and an exploration of how love heals people.

This book was the 2021 Winner of the World Fantasy Award. It was an unexpected winner, but I can see how Johnson’s gritty writing pulled people in. Trigger warning: if you have nerves about reading about knives as weapons, you may want to… show more.

I love this book; it is my all-time favorite nonfiction resource book for female tarot creators during the Victorian Age. I was totally absorbed reading about the art and artists that Mary Greer selected: Maud Gonne, Moina Bergson Mathers, Annie Horniman and Florence Farr.

These are four women who transformed the face of women in power in the occult and magical societies. I especially dote on a book with photographs and illustrations when talking about a historical topic, and there are fantastic images, many one-of-a-kinds, that are well-researched and noted. If you have any interest in tarot, female Magicians, and the struggles of these amazing Suffragettes and artists, this book is for you. 

I like the format of this book, where each chapter is titled after a Tarot card. The involves a manuscript from Cleopatra’s time with a seer named Ionna to our modern-day protagonist, Semele, who works in an auction house.

Ionna foresaw a sort of doomsday tarot deck throughout history and in this manuscript, which is now up for sale, named Semele in her prophecy. She has to track down the descendants of Ionna, who may have the key to where this tarot deck is, before the manuscript passes into the wrong hands.

While tarot isn’t the main focus of the book, the background research on tarot is fascinating.

My copy of this foremost biography of Remedios Varo is in tatters.

It covers Varo’s life from her childhood in Spain, her time in Paris with the surrealists, her flight from Paris and life in a safe house in Marseilles, and her escape from Vichy France to the haven of Mexico, her home for the remainder of her life.

Kaplan includes insights into Varo’s spiritual beliefs and practices, including the tarot. Filled with gorgeous reproductions of her paintings. 

Carrington’s surrealist masterpiece is a bit lighter than her other well-known novel, Down Below.

She tells the tale of someone not often seen, much less celebrated, in literature - the crone. At age 92, Marion Leatherby is given the gift of a hearing trumpet by her dear friend Carmella. It is only then she can hear that her family is planning on sending her to an institution.

Carrington’s fondness for the tarot (she even painted her own deck) can be found in the archetypal characters Leatherby encounters at the institution including the Abbess, the Snow Queen, and the Queen Bee among others.     

Writer, photographer, and journalist William Cook Haigwood selected his own photos to create Journeying the Sixties: A Counterculture Tarot. The book helped me understand the context for my early childhood when my parents had an apartment in the Haight. Haigwood practically offers a graduate-level course in the Sixties by examining the major players, the opposing forces, and the gifts and wages of the unbridled idealism and enthusiasm characteristic for the times (love, religion, art, music, politics, law enforcement, war, drugs, feminism, poetry, revolution, and more). The Eight of Cups chapter looks at People’s Park in Berkeley; Mick Jagger represents the King of Pentacles; the Death card discussion explores Martin Luther King, Jr., Kennedy, and Vietnam. Haigwood’s interpretations make tarot’s archetypal energies relevant to the lessons of an entire generation. 

This is a sentimental pick. Learning the Tarot by Joan Bunning was one of the first tarot books I owned and was foundational in my early years as a reader. It is definitely my favorite choice for new readers to pick up. The card meanings are detailed yet simple. For example, The High Priestess can mean “waiting patiently” – Joan offers short meaning such as these and card descriptions with long length explanations. Joan helps newbies also learn which card ‘oppose’ or ‘reinforce’ any given card. For example, The Two of Wands (acting bodly) opposes The High Priestess (being passive). The Hermit (looking inward) reinforces the High Priestess (trusting your inner voice).

When this book was published in 1979, mythologist Joseph Campbell was not yet a media celebrity—just a noted scholar. But poets and artists had already begun to engage with his exploration of the “hero’s journey.” As a student of archetypal psychology, I was initially excited to discover that Campbell had written about the Tarot.

I say “initially” because I was soon put off by the fact that Campbell had placed the origin of Tarot around 1350—a hundred years too early. But since then, I’ve become enthusiastic about his commentary, which draws associations between Tarot and Dante Alighieri’s 1332 epic poem, the Divina Commedia. Although 1450 (the probable timeframe of the earliest Tarot) was a transitional space between the periods designated as the “Middle Ages” and “Renaissance,” my research and experience suggest that Tarot is most closely tied to a medieval worldview and best understood in that context.

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As a designer of systems, I find this book intriguing because the author has created his own rather idiosyncratic system of sorcery. (The emphasis being on “sorcery,” written from a practicing sorcerer’s point of view.) In addition to outlining his theories on rules of magic and providing new perspectives on magical tools, Emerson provides a section of tarot spells with rhyming incantations, unusual layouts, and diverse aims, including concealing a secret, conjuring an omen, seeing from afar, sequestering beyond time, drawing wayward souls, brewing a tempest, and more.

The spell layouts also have fanciful titles like “The Knight’s Vigil,” “The Queen’s Mirror,” “The Prison of Shadows,” and “The Shroud of Unseeing.” One warning, though: this book is not for people who are easily offended by any hint of manipulative magic.