"Douens leave the wrong footprints" — Day 8

🎃 31 Days of Caribbean Folklore—Day 8

Today's story comes from Trinidad and Tobago.

Welcome, my dears, to our 31 Days of Caribbean Folklore—today, the tale of the children who walk backwards.

In Trinidad, the elders say the forest keeps its own secrets. Not every rustle is an animal. Not every laugh belongs to a child. And not every footprint leads where you think it does.

Deep in the bush, where the light thins and the air grows still, wander the Douens—the spirits of children who died before they were blessed, before they were named, before the world got to welcome them. Their feet point backwards. Their faces hide beneath wide straw hats pulled low. And their voices sound like echoes of children you know… or children you have lost.

They move lightly, almost playfully, leaving footprints that trick the eye—prints that seem to lead toward you, even while the Douen is already slipping deeper into the forest. They call softly. They mimic a mother's voice. They repeat a child's name, over and over, until curiosity becomes danger.

The old people warn, "Never call a child's name near the bush. " A Douen might hear it first.

But the Douen is not a monster. It is a memory—a reminder of grief, of unfinished rituals, of the fragile line between life and spirit. It carries the sorrow of families who never got to say goodbye and the caution of a culture that teaches its children to respect the land, the river, and the unseen world.

WHERE THIS STORY COMES FROM

The Douen is stitched from three worlds.

From West Africa came the belief that children who die before their naming ceremonies become wandering spirits—souls caught between worlds, not yet claimed by the living or the dead.

From the Catholic colonial years came the idea of the unbaptized child—spiritually incomplete, waiting at the threshold.

And from the Indigenous peoples of the islands came the knowing that the forest itself is a spirit realm, where things move freely and do not follow human rules.

These three beliefs braided together into a single small figure: a faceless child with backward feet and a straw hat pulled low to hide what is missing. The backward feet became the signature—a sign that the spirit world walks its own path. Follow those footprints and they will lead you deeper into the bush, never out of it.

WHAT IT MEANS TODAY

Even now, farmers swear they have seen backward footprints in the mud. Parents still hush their children at dusk and will not call their names outdoors. Folklorists keep the stories alive in books, in Carnival portrayals, and in school programs. And in the villages, the legend is told not to frighten, but to remember—to honor the grief of unfinished goodbyes, and to teach the young to walk with respect.

The Douen is a story of loss but also of identity—a reminder that Caribbean folklore carries history, emotion, and the echoes of those who walked before us… and behind us.

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THE RITUAL: WELCOME TO LIGHT, WELCOME TO EARTH

A Caribbean ancestral blessing for the first days of life

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To protect the newborn, honor the ancestors, and spiritually claim the child until baptism or naming takes place. Gentle, non-binding, rooted in cultural symbolism.

1. PREPARE THE SPACE—Choose a quiet room or shaded outdoor spot. Lay a white cloth down and place the baby gently upon it. Set a bowl of clean water and a small candle nearby. Take a breath. This moment is about calm, not ceremony.

2. CALL THE ANCESTORS TO WITNESS—Light the candle and say softly, "Ancestors of this family, stand near. Guide this child with gentle hands. Let only light walk with them."

3. THE WATER BLESSING—Dip your fingers in the water. Touch the baby's forehead, then chest, then tiny feet. Say, "Water of life, cool and clean, bless this child from crown to heel. Let their path be straight, let their days be sweet."

4. NAMING WITHOUT NAMING—If the child is not yet baptized or named, do not speak their name. Say instead, "Little one, you are known. Little one, you are loved. Little one, you belong."

5. THE CLOTH OF PROTECTION—Fold the white cloth once over the baby's belly or chest. Say, "Cloth of light, cover this child. Keep their spirit steady until the day they are blessed."

6. CLOSING — Blow out the candle. Say, "Walk with light, little one. Walk with peace. Walk with the love of those who came before."

*A note of care: workings shared here are for spiritual and cultural purposes only—not medical, legal, or financial advice. Practice fire safety, and trust your own judgment and traditions.*

📥 Download the printable ritual: Welcome to Light, Welcome to Earth

No moral, just an old warning: never call a child's name near the bush—a Douen might hear it first. Jack Mandora, mi nuh chuuz none…

…listen carefully.

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🛒 Walk protected—evil eye charms, ancestral altar cloths, and blessing supplies: https://anewagephoenix.com

"Papa Bois — Guardian of the Forest" Day 7

 🎃 31 Days of Caribbean Folklore—Day 7

Today's story comes from Trinidad and Tobago and St. Lucia.

Welcome, my dears, to our 31 Days of Caribbean Folklore—today, the tale of the old man who was never young.

If you walk the forest trails of Trinidad and Tobago or St. Lucia long enough, you will hear of an old man who was never young. The hunters call him Papa Bois. The elders call him Maître Bois. And the forest simply knows him—the way the forest knows the rain.

He is the guardian of the forest, the keeper of the animals, and the first conservationist the Caribbean ever had—though he would never know the word.

**How he came to be**

Papa Bois is stitched from the old world and the new. From Africa came the belief in forest spirits who guard the wild and punish the greedy. From the Indigenous peoples of the islands came the knowing that certain places—certain trees, rivers, and ridges—are held by spirits and must be approached with respect. From the French colonial years came his name: Papa Bois, father of the woods, or Maître Bois, master of the woods.

He appears as an old, powerful man, sometimes with leaves tangled in his beard, sometimes with a cloven hoof or a bull's horn, a staff of twisted wood in his hand. He can take the shape of a deer—and woe to the hunter who raises his gun at a deer that turns its head and looks back at him with a man's eyes.

**What he does**

Papa Bois protects the animals of the forest. He does not forbid the hunt—he forbids greed. Take what your family needs, and he leaves you alone. Take for sport, take more than you can carry, trap the young or the mothers, and you will meet him on the trail. Hunters tell of getting lost in woods they have walked since boyhood, of guns that would not fire, of a voice behind them that was not quite a voice.

**How it lives today**

In Trinidad and Tobago and St. Lucia, hunters still speak his name with respect. Conservationists who have never heard his name preach what he always taught: take only what you need, leave the mothers, and leave the young. The forest is not a storehouse—it is a household, and it has a father watching.

THE RITUAL: THE HUNTER'S ASK

This is the practice the old hunters kept, and some still keep it today. Before entering the forest, stop at its edge. Speak aloud—tell the forest who you are and what you have come for. Leave a small offering at the roots of the first tree: a little fruit, some cornmeal, and a sip of rum or water poured into the earth. Ask Papa Bois's permission to take only what you need. And if the forest feels wrong—if the birds go silent all at once, if a deer looks back at you with a man's knowing—you do not argue. You leave. That is the ritual: ask, offer, take only enough, and know when to walk away.

1. Stop at the forest's edge. Speak aloud who you are and what you have come for.

2. Leave a small offering at the roots of the first tree—fruit, cornmeal, a sip of rum, or water poured into the earth.

3. Ask permission to take only what your family needs.

4. Take only enough. Never the young, never the mothers, never more than you can carry.

5. If the forest turns wrong—birds silent all at once, a deer looking back with a man's knowing—leave. Do not argue with the forest.

📥 Download the full ritual: The Hunter's Ask—Papa Bois

No moral, just an old warning: enter his forest with respect—or do not enter at all.

Jack Mandora, mi nuh chuuz none…

…listen carefully.

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KEEP THE FOREST'S FAVOR.

The old hunters never entered empty-handed—and neither should you. Herbs, earth offerings, and ritual tools for walking respectfully:

*A note of care: workings shared here are for spiritual and cultural purposes—not medical, legal, or financial advice. Practice fire safety, and trust your own judgment and traditions.*

🛒 Shop ritual supplies: https://anewagephoenix.com

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"The Lagahoo: A Night‑Road Story" Day 6

Welcome, my dears, to our 31 Days of Caribbean Folklore. Today our story comes from the island of Trinidad.

Tonight, we walk the old night roads—and mind the chains.

WHERE THIS STORY COMES FROM

Trinidad—born on the plantations, where the French settlers' loup-garou tales met the shapeshifter spirits the enslaved Africans carried across the ocean. Two old worlds landed on one island, and out of that tangle walked the Lagahoo. The chains he drags are no accident: they are the memory of bondage, made into a warning you can hear coming.

THE TALE

The Lagahoo: A Night‑Road Story

On the old night roads of Trinidad, where the cane fields whisper and the crossroads hold their breath, people say a chained spirit still walks. They call him the Lagahoo—a creature born from the island's tangled past, part French werewolf, part African shapeshifter, and entirely something else.

Long ago, when French settlers brought tales of the loup‑garou, enslaved Africans carried their own stories of spirits who could change form, slip between worlds, and wear the shapes of animals. On the plantations, these beliefs fused into one terrifying figure. And so the Lagahoo emerged: a shapeshifter who could become a dog, a goat, a headless man carrying a coffin, or a rolling mass of shadow and chain. But no matter the form, the chains always followed, dragging behind him like the memory of bondage and death.

People say the Lagahoo walks after midnight, choosing lonely roads and crossroads—places where the living and the dead meet. His chains scrape the gravel before you ever see him. If you do, he rarely attacks. His presence alone is the warning. A sign that danger, misfortune, or death is close.

Some elders believe he guards the boundaries between worlds. Others say he is the weight of history itself, roaming so we never forget what shaped us. Today, he appears in Carnival portrayals, school folklore lessons, art, and storytelling—a reminder that transformation, fear, and ancestral memory still live in Caribbean culture.

And so the Lagahoo continues his walk. A creature of chains and shifting shapes, born from colonizers' myths and African spirits, still haunting Trinidad's night roads. Not just a monster, but a message: respect the unseen, remember the past, and tread carefully where the worlds meet.

WHAT IT MEANS TODAY

He still walks—in Carnival portrayals, in school folklore lessons, in art and storytelling across the Caribbean. The Lagahoo is an ancestral memory with chains on: transformation, fear, and history living in the culture, not just in books. When something heavy follows you that you cannot name—an old grief, an old injustice—that is his road too. Respect the unseen. Remember the past. Tread carefully where the worlds meet.

THE RITUAL: THE NIGHT ROAD RULES

The old people kept rules for walking after dark, and they kept them the way you keep a lamp trimmed:

1. Never walk the lonely road alone if you can help it.

2. If you hear chains dragging on the dirt—do not look back. Eyes forward, feet moving.

3. Do not answer a voice that calls your name from the dark.

4. Get yourself home before the candles burn low.

No moral, just an old warning: hear the chain? Don't look back.

Jack Mandora, mi nuh chuuz none…

…listen carefully.

Hear chains on a lonely road—do you look back?

A note of care: workings shared here are for spiritual and cultural purposes—not medical, legal, or financial advice. Practice fire safety, and trust your own judgment and traditions.

Download your free Full Night Road Ritual PDF

🛒 Shop ritual & protection supplies: https://anewagephoenix.com

"Jack Mandora, Keeper of the Story Door" Day 5

 🎃 31 Days of Caribbean Folklore—Day 5

Welcome, my dears, to our 31 Days of Caribbean Folklore. Today our story comes from Jamaica—and it is about the one whose name you have heard at the end of every tale.

WHERE THIS STORY COMES FROM

Every Anansi story in Jamaica ends the same way: "Jack Mandora, mi nuh chuuz none." Generations of children have said those words—but few stop to ask who Jack Mandora is.

His roots reach back to the Akan lands of West Africa, where storytellers believed every tale carried power. A story could teach, warn, bless, or harm, depending on how it was told. So the old people imagined a guardian—a watcher standing at the edge of every tale, making sure the storyteller did not take on the burden of the trickster's deeds.

When our ancestors were carried across the ocean, the stories traveled with them. Gods changed names. Spirits shifted shape. Traditions bent but did not break. And the guardian followed—all the way to Jamaica, where he became Jack Mandora.

THE TALE

Long before Jamaica was Jamaica, before Anansi spun his first web of tricks, there was a quiet crossroads between the worlds—the place where stories are born. At that crossroads stood a single figure: Jack Mandora, the Keeper of the Story Door.

He was not a man, nor a spirit in the way people understand spirits. Jack Mandora was the Listener—the one who heard every tale spoken under moonlight, every proverb whispered around a fire, every lesson wrapped in laughter. His task was simple and sacred: to guard the doorway between truth, mischief, and consequence.

In Jamaica, he became the one who listens at Heaven's gate—the one who knows the difference between the storyteller and the character they describe. When the children finished an Anansi tale, full of greed and cunning and chaos, they spoke the old words:

"Jack Mandora, mi nuh chuuz none."

Jack Mandora, I choose none of these wicked ways.

It was a way of telling the guardian, "I am only repeating the story." Do not judge me for Anansi's mischief.

He was never feared. He was respected—a quiet presence, like someone standing just behind the storyteller, nodding as the tale unfolded. And when the tale ended, he nodded—satisfied—as the storyteller whispered the old words once more.

WHAT IT MEANS TODAY

Jack Mandora still walks with anyone who tells stories. In an age of social media, rumors, and fast-moving narratives, he reminds us that stories have consequences—what we repeat, share, or amplify carries weight.

He is proof of cultural survival: every time those words are spoken, they echo a tradition that endured enslavement, displacement, and centuries of change. He teaches discernment—you can tell a story without becoming it. You can speak of darkness without choosing it. You can learn from trickery without practicing it.

And he stands beside every writer, poet, musician, and creator who feels someone listening—urging them to tell the truth, honor the culture, and respect the power of narrative.

THE RITUAL: JACK MANDORA'S BLESSING FOR STORYTELLERS

For writers, creators, and anyone who works with words—to be spoken before you begin, or whenever the work feels heavy.

Light a white candle. Place your hands near its warmth and say:

"May my words walk clean. May my stories carry truth without burden. May the trickster's lessons sharpen my wisdom but never stain my spirit.

May every tale I tell open a door—and may Jack Mandora stand at that door, guarding my heart from the weight of the worlds I create.

May inspiration find me gently, and may clarity sit beside me like an old friend. May my voice be strong, my vision steady, and my craft protected from doubt, fear, and mischief.

Jack Mandora, Keeper of the Story Gate—watch over this creator, guide my hand, and witness my work with favor.

So the story may be told, but the storyteller remains free."

Blow out the candle. Begin your work.

📥 Download the full blessing: The Jack Mandora Blessing

No moral, just an old warning: tell the tale, but don't take on the trickster's burden—say the words, and walk clean.

Jack Mandora, mi nuh chuuz none…

…listen carefully.

Did you grow up saying the Jack Mandora words at the end of Anansi stories? What did the old people tell you they meant? Tell me below.

*A note of care: workings shared here are for spiritual and cultural purposes—not medical, legal, or financial advice. Practice fire safety, and trust your own judgment and traditions.*

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🛒 Shop ritual & protection supplies: anewagephoenix.com

"Guabancex, Lady of Winds" Day 4

🎃 31 Days of Caribbean Folklore—Day 4

Welcome, my dears, to our 31 Days of Caribbean Folklore. Today our story comes from the Taíno people of these islands—the tale of the lady whose name lives inside the word "hurricane."

WHERE THIS STORY COMES FROM

Long before any flag was planted on these islands, the Taíno people fished these waters and farmed these valleys, and they understood the natural world as alive—every force a being with intention. The earliest written record of their religion comes from Fray Ramón Pané, a priest who lived among them and wrote down what he saw in 1498. He tells us her cult was centered in the territory of the cacique Aumatex and that she was carved in stone—a face with two spiraling arms, turning, turning. It is one of the oldest pictures of a hurricane anywhere in the world.

Her name was Guabancex. And the Taíno word for her spiraling storms—juracán—is the direct ancestor of the English word "hurricane." Every time we say it, we are speaking her name's descendant.

THE TALE

Guabancex was not a gentle mother. She was the Lady of Chaos, the Mistress of Winds, and when she rose from the sea, the whole sky knew it.

Before her ran Guataubá, her herald—thunder in his voice and lightning in his hands, tearing the clouds open so all could see she was coming.

Behind her came Coatrisquie, gathering the waters—rivers rising, seas swelling, floods crashing down on the villages below.

And Guabancex herself at the center, her arms spiraling like the storm winds, the juracán turning around her. The old people carved her exactly as they saw her: a face with two great spiraling arms.

The behiques, the wise ones, would enter the cohoba trance to ask what she wanted. The caciques would lay out food offerings, begging her to spare the crops, to spare the canoes. Sometimes she listened. Often she did not. That was her nature—chaos does not negotiate.

But the people learned her the way you learn a fierce elder: you cannot control her, but you can respect her. You read the signs. You secure the house. You humble your heart. And when she passes, you rebuild—because that is what the people of these islands have always done.

WHAT IT MEANS TODAY

She never left. When a Jamaican grandmother says, "The storm is angry," when a Puerto Rican fisherman reads the clouds and decides not to go out, when any of us feels the air go heavy and strange before the winds come—that is Guabancex's worldview, alive in our mouths.

In recent years, Taíno descendants have reclaimed her openly—as Indigenous identity, as female power, as a reminder of ecological respect. Her spiral face appears in art, in tattoos, and in festivals. And as the storms grow stronger with the changing climate, her meaning sharpens: nature out of balance and a people who have always known how to endure it.

We survive storms. We rebuild. We rise stronger. That was true in Aumatex's time, and it is true now.

THE RITUAL: CALLING THE EYE OF CALM

When your life feels storm-tossed—everything spinning, nothing steady—the old people would say Guabancex is passing through. This is a modern working inspired by her symbolism, not a Taíno ceremony (those belonged to the behiques, and they were sacred). It is a way to find your own eye of calm.

You will need a bowl of water, a candle, and a spiral drawn on paper—her turning arms.

Dim the lights. Set the spiral before you, the candle to the left, the water to the right.

Light the candle and say, "Guataubá, bring me clarity. Coatrisquie, carry away what no longer serves me. Guabancex, Lady of Storms—I honor your power, and I seek your calm."

Trace the spiral slowly with your finger, moving inward. As you go, say, "I walk into the storm." When you reach the center, pause, breathe, and say, "I find the eye. I find my calm." Sit in that stillness a while—the winds circle, but they do not touch you.

Dip your fingers in the water and say, "Coatrisquie, take this from me." Name what you want washed away—fear, anger, confusion, old heaviness—and let each one fall into the water with your touch.

Hold your hands near the candle's warmth and say, "Guataubá, give me strength to rebuild."

Then place your hand over the spiral and say, "Guabancex, Lady of Winds—I honor your chaos, I welcome your clarity, and I rise renewed."

Blow out the candle. Let the water sit a few minutes, then pour it onto the earth outside.

📥 Download the full ritual: Ritual of Guabancex—Calling the Eye of Calm

No moral, just an old warning: when the winds turn strange and the sea goes quiet, the Lady is rising—secure your house and humble your heart.

Jack Mandora, mi nuh chuuz none…

…listen carefully.

Have you ever felt the air change before a storm—that heavy, waiting stillness? Tell me what it felt like.

*A note of care: workings shared here are for spiritual and cultural purposes—not medical, legal, or financial advice. Practice fire safety, and trust your own judgment and traditions.*

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🛒 Shop ritual & protection supplies: anewagephoenix.com

Br'er Anansi & the Loophole

🎃 31 Days of Caribbean Folklore — Day 3

Welcome, my dears, to our 31 Days of Caribbean Folklore. Today our story comes from Jamaica.

The dry season had the village holding its breath. The headman called everyone to the square and laid down the law: "No one eats before I eat. The food stays covered till I lift the first spoon. That way, no belly goes before another."

Anansi bowed low. "A fair rule, Headman. A fair rule."

By midday, the smell of the pot was walking through the village on its own two feet, knocking on every door. Anansi sat in his yard watching the pot-house, and his stomach was making speeches.

He strolled over, casual as you please. "Headman," he said, "someone must make sure the food is fit for you. What if the salt is wrong? What if it turned? Let me taste—one spoon—so you don't lift a spoiled spoon before the people."

The headman frowned, but the logic held. "One spoon."

Anansi tasted. "Hmm. The pepper might be shy. Let me check again—for you, Headman." Another spoon. "And the salt—a cook's hand slips. One more, to be sure."

Spoon by spoon, taste by taste, Anansi "checked" the pot all afternoon. He never ate—oh no. He only tasted. And tasting, as everybody knows, is not eating.

By sundown, when the headman lifted the first spoon before the people, the pot sat light—and Anansi sat back with a full belly and a clean conscience.

THE ROOTS:

Anansi crossed the ocean with our people, from Akan tradition into Caribbean storytelling. When you cannot overpower the one who makes the rules, you outthink him. That is Anancyism—meeting hardship with humor, nerve, and the perfect loophole. The trickster is not always noble, but he is rarely powerless.

THE RITUAL: FINDING THE OPENING

The old people kept Anansi close whenever the rules were made by full bellies:

1. When a rule boxes you in, read it back word for word—out loud.

2. Ask what it does NOT forbid. The gap is always in what's unsaid.

3. Walk through the gap cleanly—and never brag at the table. Anansi's true skill wasn't the tasting; it was keeping his face straight.

No moral, just an old warning: when the pot is covered, watch who's doing the tasting.

Jack Mandora, mi nuh chuuz none…

…listen carefully.

What is the cleverest Anansi story you remember? 

🛒 Shop ritual & protection supplies: https://anewagephoenix.com

WHY ANANSI HAS THIN LEGS

🎃 31 Days of Caribbean Folklore — Day 2

Welcome, my dears, to our 31 Days of Caribbean Folklore. Today our story comes from Jamaica—the tale of how the spider got his long, thin legs.

WHERE THIS STORY COMES FROM

Anansi is older than the Caribbean itself. He comes from the Akan people of Ghana, where the elders gathered the children and called these tellings "Anansesem"—spider stories. He crossed the Atlantic tucked into the memory of our ancestors, and he took root in Jamaica, in Trinidad, on every island where our people set foot.

The spider is small, but his wit is bigger than any strongman alive. And that is precisely why the old people kept him close: when you cannot overpower the one who holds the whip, the law, or the purse—you outthink him.

THE TALE

Every dinner was ready at once, and Anansi couldn't resist.

In the old days, when the village cooked, the smell of it traveled. One evening, word came that Rabbit was stewing a pot, and down the road Monkey was roasting, and by the river Hog had a feast on the fire—all at the same hour.

Anansi's stomach made the decision before his head could. He could not be in three places at once—unless.

He tied a string to each of his eight legs and handed the ends to the cooks. "Tug when the food is ready," he said, "and whichever tugs first, that's where I'll eat." Then he settled himself at the crossroads to wait.

Then—tug. Tug-tug. TUG.

Every pot was ready at once. Every cook pulled at once. And Anansi was stretched eight ways at the crossroads, pulled long and thin, while the dinners went cold and the laughter went hot.

When they finally let go, he gathered himself up—and his legs were as thin as thread. And thin they stayed.

The old people laughed telling it, and the children laughed hearing it. And somewhere inside the laughing, the lesson landed all by itself: greed will stretch you thin, and everybody will see it.

WHAT IT MEANS TODAY

We still tell this one whenever somebody is doing too much. Two jobs, three obligations, every invitation answered yes—stretched eight ways at the crossroads, just like Anansi.

In the Caribbean, mothers still warn their children not to be "too Anansi"—not to chase every advantage, not to trick every situation. Cleverness is a gift, but cleverness without wisdom will stretch you thin, and everybody will see it.

THE RITUAL: THE TELLING

Anansi stories were never just told—they were kept.

At night, at nine-night wakes, on the veranda after supper, one voice would begin: "Crick crack"—and the whole circle would answer. The story belonged to everyone in the circle, and the trickster belonged to no one.

If you want to keep the old way, gather at nightfall, let one voice begin, let every voice answer, and let the children laugh. That is how the lesson survives—not in the teaching, but in the telling.

No moral, just an old warning: don't tie your legs to every pot in the village.

Jack Mandora, mi nuh chuuz none…

…listen carefully.

What Anansi tale did you grow up on? 

📥 Download the full ritual: ritual-untangling-the-strings.pdf

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🛒 Shop ritual & protection supplies: anewagephoenix.com

31 Days of Caribbean Folklore

 🎃 31 Days of Caribbean Folklore

Every day this October, one story from the islands—told the way the old people told it, with the ritual that goes with it and the warning at the end.

Follow along daily. New stories appear below as they're published.

THE STORIES

Day 5 — Anansi

Day 6 — The Lagahoo (Trinidad)

Day 7 — Papa Bois

Day 8 — The Douens (Trinidad)

Day 9 — Jumbie Night

Day 10 — The Mocko Jumbie (Virgin Islands)

Days 11–31—coming as the month unfolds.

🛒 Shop ritual & protection supplies: anewagephoenix.com

taylor swift - willow (official music video)

Why We Should All Be Keeping Coronavirus Journals

Keeping a journal in these uncertain times may prove to be so important. The world has been turned upside down, sometimes only the bad drop out. Keeping a diary will help us remember the good and bad times along with the gratitude we have towards each other.

While social media is fighting about the who, what, where and how. It seems our feelings can get in the way of what's rational. We suppress our feelings just to shelter each others feelings. Those feelings have to go somewhere, chronicling our feelings may help us through these times. A journal it can be factual, original and soul searching at the same time.

These are interesting times the medical field will spend the next decades studying this coronavirus and COVID-19. Epidemiologists, doctors, researchers and even hospital administrators are already busily studying how this pandemic has happened, what it is doing to our bodies and how to respond.  But historians, while busy now putting current events into historical context, will not begin actively studying our times for another 30 years or so. And they will need our help.

Wolf leather blank book w/ latch

While most of our Facebook debates will likely be lost to time, at least some of our tweets will be saved by the Library of Congress for posterity. But these public sources will be just snippets of our present. Historians will need other sources to be able to understand, and learn from, our times. They will need more to ensure that the stories that are so often lost to the past are told. Oral histories and personal journals will be vital tools to take their understanding beyond the headlines.

One of the most famous talked about diary's  is The Diary of a Young Girl, also known as The Diary of Anne Frank,  the diary was written while she was in hiding for two years with her family she wrote about her feelings and frustration of her situation.  One passage in her diary, reads: "I'm afraid they'll mock me, think I'm ridiculous and sentimental and not take me seriously". 

Her last know extract:

Anne Frank

Dearest Kitty,

"A bundle of contradictions" was the end of my previous letter and is the beginning of this one. Can you please tell me exactly what "a bundle of contradictions" is? What does "contradiction" mean? Like so many words, it can be interpreted in two ways: a contradiction imposed from without and one imposed from within.

The former means not accepting other people's opinions, always knowing best, having the last word; in short, all those unpleasant traits for which I'm known. The latter, for which I'm not known, is my own secret.

So it seems that Journaling our personal thoughts, our highs and lows can be very therapeutic and historically important.

Mystic Aura journal

sources
Anne frank House
nytimes
Wikipedia

Ostara buns/Hot Cross Buns

Ostara buns and Hot Cross Buns

BY MOTHER GOOSE

Hot-cross buns!

Hot-cross buns!

One a penny, two a penny,

Hot-cross buns!

If you have no daughters,

Give them to your sons;

One a penny, two a penny,

Hot-cross buns!

I loved singing that nursery rhyme from my youth, I would sing this rhyme while waiting for these delectable pastries to come out of the oven. "Hey it was better then saying "mum aren't they ready yet"😊


There are a number of English traditions revolving around hot cross buns. It is believed that if you bake yours on Good Friday, they will not spoil or grow mold.
Another custom says that sailors should take a hot cross buns on their travels to prevent shipwreck.

The cross on the bun comes from a superstition that marking the bun so would prevent the Devil from getting into the baked goods. Interestingly, it’s possible that breads with crosses on top were baked by the ancient Greeks, which makes the whole idea pre-Christian anyway.

If you are weary of Hot Cross Bun's this might renew your taste buds. Think of it as a Celtic Cross, the four equal armed cross of balance within the circle. You have two Equinoxes crossed by the two Solstices, the four seasons, the four Sacred Directions of North, East, South and West and the five elements of Earth, Air, Fire and Water with Spirit at the Centre. The circumference represents the cycle of the year, the circle of life, with the still point of balance at its centre. (Brazenly lifted from Glennie Kindred's book of 'Sacred Celebrations'). 

                      Hot cross bun recipe

Ostara Buns

4 cups pastry flour
2 cups sugar
1/2 cup vegetable shortening
1 tube almond paste
1/2 teaspoon baking powder
1 teaspoon cinnamon
5 eggs, slightly beaten

Icing
1 cup confectionary sugar
1/4 teaspoon almost extract
1 tablespoon soft butter
4 teaspoons water

Preheat oven to 375*F.  Combine bun ingredients in large bowl until a medium-soft dough forms.  Add a little flour as needed for consistency.  With your hands, shape biscuit-size balls.  Slightly flatten the balls when you place them on an ungreased cookie sheet.  Bake until golden brown, 15-20 minutes.  Cool.  Beat icing
ingredients together until smooth.  Frost buns with large cross (+) with icing.  Great for an Ostara breakfast

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