This review covers the following books:
Did Gerald Gardner invent witchcraft? I think many look at books on Wiccan history as a place to answer this question. I feel one of the most clear answers is a book that I have already reviewed in a past issue of Widdershins, called The Triumph of the Moon, by Ronald Hutton.
For those who are interested in the history of Wicca, what shaped it and where it came from, Triumph of the Moon will enlighten and entertain you as few other books will. Within this history, we learn that something of a magickal practice existed for hundreds of years preceding Gardner's books. We find magickal practice evidenced in archaeological finds of talismans, amulets and bell jars. Some of Gardner's predecessors were called cunning folk, some were called "La Fe" or the "Fairy Folk," some the more popular "strega" or witch. The question then becomes whether Gardner's practice truly is the same as that preceding or just a borrowing of convenience.
In Philip Heselton's books Wiccan Roots and Gerald Gardner: Witchcraft Revival, Heselton makes clear that there were many interests and influences on Gardner. These books contribute much to the understanding of who "initiated" Gardner into "Wica" and Druidry, Co-Masonry, Masonry, the Ordo Templi Orientis (OTO) and the Crotona Fellowship. These books demonstrate that Gardner did gather together a Book of Shadows, as such a book is known in many initiatory lines. They show also that a real practice preceded him that existed before his tradition began.
Heselton demonstrates in Wiccan Roots that Old Dorothy, a witch whom Gardner said taught him an existing Craft tradition, was real, as was Dafo, Gerald's initiator. Heselton has gathered evidence that there were others as well and gives us reason to believe him by presenting many historically checkable sources. He has found some of Old Dorothy's diaries. Though there is no clear proof of Wiccan involvement, there is plenty of circumstantial evidence here, and clear proof of pagan attitudes in these notebooks.
In Gerald Gardner: Witchcraft Revival, Heselton presents us with a readable and clear synopsis of earlier work. Before the recent histories, it was Doreen Valiente who had best informed us in her many books on Wicca. Of special importance as a source of information about Wiccan history was Witchcraft for Tomorrow, published in 1978, which has been kept in print by Hale Publishing. Janet and Stewart Farrar and Gaven Bone, along with Arnold and Patricia Crowther, put their contributions forward as well. The Farrars published most of their Book of Shadows, along with various volumes of explanation and elaboration. Patricia's Lid off the Cauldron, 1981, is of great help in the planetary work found in some traditions, a study to itself. The Sufis among us will be delighted to find out that their beloved Idris Shaw played a hand in writing Gerald Gardner: Witch, published in 1960 under the name "Jack L. Bracelin."
Heselton's Gerald Gardner: Witchcraft Revival goes on to present us with facsimiles of the brochures that were available to the public at the Witches Mill, the original witchcraft museum under Gardner. Many of the objects mentioned are currently in the stewardship of the Ripley's Believe it or Not collection. Any who would examine the modern collection will find their task much easier with these museum guides in hand. Heselton's book gives a very complete look at how the collection was presented and how it grew with Gardner as curator.
Just as the practice of witchcraft changed in Gardner's hands, it has continued to change. However, as occurs all too often in religion, some of Wicca has had a tendency to become orthodox in its opinions and practice, as well as form. This is natural enough in itself. One line Heselton finds in Gardner's writings, which I found extremely significant, was "The `Book of Shadows' is not a Bible or Koran, but a personal `cookbook' of spells that the individual witch has found to work. I am giving you my book to copy to get you started: it contains the spells and rituals that worked for me. As you gain in experience, add the successful spells that you have made up, and discard those that didn't work for you!"
I believe this makes it clear what has happened. Some have carefully copied and preserved the practices and rites, while others innovated freely. The result is the diversity of Wicca today. Gardner and his ideas, and those who embraced them, have fueled even the traditions that do not resemble or acknowledge Gardner. This is not quite the same thing as his inventing the entire Craft.
As one who studies such things, I can recommend Heselton's works most heartily. They will entertain you as they inform. Heselton writes clearly and identifies his own speculations when he is making them. He is writing as an informed insider and has definitely assisted all who would understand the Craft's history, should they take the time to read these two wonderful volumes.
Two other works of importance in studying the history of the Craft and the related tradition of Druidry are Philip Carr-Gomm's In the Grove of the Druids and Druidcraft. They affirm the friendship between Gerald Gardner and Ross Nichols and document that these "naturalist" (nudist) neighbors assisted each other's work in various ways. An unexpected bonus of these books was the affirmation of the testimony of Ithel Colquin in her book The Sword of Wisdom. She writes as an informed insider, but I had never been able to figure how she knew so much. It turns out she too lived near Gardner and Nichols at the naturalist club. Another such bonus is the mention of Justine Glass (Enid Corrall) who wrote Witchcraft, the Sixth Sense and Us.
Deepening our understanding of the influences found within our faiths will only make the practice of these paths easier and healthier. Far from the common attitude of many authors that it is all hogwash and made up from whole cloth, we find instead in these books that Wicca is a cunning amalgam of cultures and practices, some of which are innovated, and some of which are very old.
Druidcraft leads us into the magickal world. It gives form to the practice of Druid magic, which will serve well both pagan Druids and Christian ones, granting each a powerful set of myths and exercises. It makes the history live in the present.
This work of finding the roots of the Craft is far from finished, but these recent developments make it much more likely that the truth will be discovered and reported in print. I for one thank all those who have made this possible.
Leon Reed is the founder of many traditions of Wiccan practice locally, as well as being an initiate in both bootstrap and traditional lines.