Writer in Residence – The Dancing Floor of Glastonbury Tor by Paul Andruss

In June this year thousands descended on Glastonbury in Somerset for a music festival.. As always, images in the media show that there is a certain amount of licence to partake in various shenanigans during the days and nights of the festival.. but there is nothing new in history.. And who knows what ancients stand on Glastonbury Tor looking down on the festival site, laughing at the amateurs emulating a much more fascinating and sometimes deadly time in history.

The Dancing Floor of Glastonbury Tor by Paul Andruss

Somerset Levels Flood 2014 (Daily Mail)

For those who don’t know, the hill of Glastonbury Tor dominates a huge area of low-lying land called the Somerset Levels, which you may remember from the UK media coverage of the disastrous floods submerging large parts of the area during winter 2014.

Ancient Somerset Landscape (Andruss)

The Somerset Levels are marshy fenlands medieval monks drained for agriculture. Before silting up with eroded run-off from the surrounding hills, the area was a sea flooded valley scattered with wooded islands. It would have made Glastonbury Tor a wonder to behold. You can appreciate how it looked on magical winter days when a sea of grey mist leaves the Tor hanging above the horizon like a Fata Morgana; a mirage named after the powerful sorceress of Arthurian legend as it appears to leave places suspended in air like fairy castles.

Fata Morgana (unknown credit)

The hill is topped by the ruined tower of the ancient St Michael’s Church. It was demolished during the Dissolution of the Monasteries by Henry VIII and not destroyed by the earthquake (felt all the way to London) as is sometimes claimed. That earthquake happened in the 1200s and destroyed an earlier wooden church on the site.

Glastonbury Tor showing the terraces (Geoff Ward)

Seven worn and weathered terraces spiral around Glastonbury Tor. Various explanations are given for them, such as natural features; bank and ditch fortifications; early agricultural terraces; cattle paths or even cart tracks. None hold up. Some antiquarians suggest they are the remains of an ancient labyrinth or maze leading to a great Celtic sanctuary on the crest of the Tor. Although parts have crumbled away, they maintain you can reconstruct the shape from what survives.

Reconstructed terraces (Geoff Ward)

Aerial photographs often turn up ghosts of labyrinths cut from the turf in fields near ancient lost villages. All of these labyrinths have the same pattern, or are close variations. Unlike modern mazes labyrinths have no walls. They are simply a turf cut double spiral path that was danced during Easter.

Like dancing around a maypole, the Easter maze dance was a relic of an old pagan fertility ritual. It took place in villages across Britain right up to recent times. Men and women each taking one of the two paths, strutted and hobbled into the centre and then out again.

The same hobbling fertility dance, on mazes of exactly the same design, can be traced back through history. The Ancient Greeks thought it copied the mating dance of the lascivious partridge. Such a belief indicates the dance dates back to the very first farmers, for whom the annual arrival of partridges provided a welcome food source in early spring. The partridges were so intent on mating they were easily caught and so came to epitomise lewdness to the ancients.

Cretan Labyrinth Coin (Pinterest)

Because the maze design was found on ancient coins from Crete, the Greeks thought it was the labyrinth where King Minos kept the Minotaur. In the story Theseus killed the monster at the centre of an underground maze before successfully negotiating his way out by following a scarlet thread from Minos’ sorceress daughter Ariadne. Yet the word labyrinth did not originally mean a maze, it comes from labrys: a Minoan double headed ceremonial axe that was a symbol of sovereignty.

Greek myth has it that the inventor Daedalus built the labyrinth for Minos. Daedalus was the chap who made wings for himself and his son to escape Minos. When his son Icarus flew to near the sun the wax holding the wings together melted, and the boy drowned. Homer (the poet… not the guy from The Simpsons) adds, without explanation… Daedalus in Cnossos once contrived a dancing-floor for fair-haired Ariadne.

The earliest Welsh and Irish books of Celtic myth claim the Celts were descended from ancient Greeks and linked Minos’ daughter Ariadne with the Welsh goddess Arianrhod (meaning Silver Wheel – the Moon).

Robert Graves in ‘The White Goddess’ believes the myth of Theseus remembers the overthrow of the old religion of the Bull god Minos by the moon goddess Ariadne during the collapse of Bronze Age civilisation about 1,000 BC. This places the change to the collapse of the Minoan civilisation around the time of the Santorini explosion. At this time human sacrifice became common on Crete, and may be associated with a new agricultural religion, one that originated the Middle East and involved the sacrifice of the sacred king or Green Man- the male fertility principle.

Ancient Egyptian document from round this time speak of a group of pirates, traders and invaders they call the Sea Peoples. It is thought these were from the coast of Turkey and Phoenicia. These areas worshipped the Harvest Mother Goddess Cybele (Sybil) and her consort Attis, a dying and reborn harvest god slain by the boar’s tusk of winter: just as Dermot O’ Dyna was in Irish myth. Castration featured in the Attis cult as the god’s fertility was given to the fields to ensure the coming harvest.

During the 6 days of mourning at the end of the year, which commemorated the god’s death, want-to-be priests of Cybele would dress as women and emasculate themselves in his honour. Running through the streets, although staggering is probably the more correct word, they would throw their severed genitals through an open doorway. If their aim was true the household would be obliged to nurse them back to health. If they missed, they were left to die where they fell.

According to Sir James Frazer’s ‘The Golden Bough’, there are legends all over Europe of sacred kings being ritually murdered at the end of his reign. His severed genitals were secretly buried and his blood spread on the fields to ensure the coming harvest. No one wanted to leave the King’s ritual death to chance; especially with the harvest depending on it. It is likely the king was first drugged and forced to dance the maze as part of a ritual to induce a hypnotic altered state; offering a vision of the otherworld before his murder.

Newgrange (Andruss)

There is evidence of such a ritual being performed in the Neolithic mound of Newgrange in Ireland. When scientists played drumming through loudspeakers in the inner chamber, the noise caused the sandy floor of the passageway to dance, forming regularly repeating patterns such as circles, waves and chevrons. The corbelled ceiling created infrasound echoes promoting nausea and disorientation. Coupled with psycho-active drugs such a foxglove, deadly nightshade and the hallucinogenic fungus still known as The Old Man of the Woods, any victim would have been confused, faint, ecstatic, disoriented and hallucinating as he proceeded up the passageway to his fate.

Glastonbury Tor was believed to be the Celtic Underworld. The early Welsh poem, the ‘Spoils of Annwn’, calls Glastonbury Tor Caer Sidi; which not only means a Fairy Castle, but also the Spiral Castle; which may refer to the ceremonial spiral labyrinth, carved into the side of the hill. Perhaps it is referring to the ‘dancing floor’ leading the sacred king to the afterlife.

To the Celts the afterlife was real as this one, so much so they left debts to be settled in the next world. They believed doors between the two realms opened on Samuin and the dead returned, real as the living: ideas which still haunt our Halloween. They believed also in reincarnation – a Greek idea adopted from Pythagoras, but much, much older and found across ancient Asia. In their version of reincarnation you might not only be reborn, but somehow return to life looking exactly as you always had.

By Roman times, the partridge dance was performed by young noblemen. Called the Troy Dance, it was supposed to remember the legend of Roman descent from survivors fleeing the fall of Troy. Troy fell when the Greeks left a hollow wooden horse as an offering to the Trojan gods after they packed up and went home. It was a ruse. The Greek fleet was holed up over the horizon, and the wooden horse was stuffed with soldiers. The Trojan horse was dragged into the city and when everyone was flat out from celebrating, the Greek soldiers emerged and opened the gates to their comrades, who slaughtered everyone.
It led to the old adage: ‘Beware of Greeks bearing gifts’. Although one could equally say… ’Beware of gifts bearing Greeks.’

The turf-cut mazes were called ‘Troy Town’ in English, which is ‘Caer-droia’ in Welsh. According to the 9th century chronicle of the ‘Historia Britonum’, Britain was settled by survivors of Troy. The first British King, Brutus, was the grandson of a Trojan prince. Geoffrey of Monmouth recounted the tale in his ‘History of British Kings’.

The Brutus legend was believed true up to Tudor times and many ancient documents, referred to Britain as a ‘Remnant of Troy’. Legend says Brutus and his followers landed at the town of Totnes in Devon, around 80 miles from Glastonbury. A stone in the town, known as the ‘Brutus Stone’, commemorates his arrival.

The original pattern of the labyrinth circling Glastonbury Tor may date as far back as 8,000 years to the Neolithic period, or New Stone Age, when farming first spread to Europe. The same design is found from the eastern Mediterranean to Scandinavia, North-eastern Russia and Ireland. Two mazes are carved on a rock slab near Bosinney in Cornwall; and another is carved on a massive granite block from the Wicklow Hills in Ireland. All are thought to date from the same period.

Rocky Valley Labyrinth Carvings (Britain Express)

©PaulAndruss 2017

My thanks to Paul for this intriguing article that will make me pay more attention to those attending the Glastonbury Festival in future… Little do they know that their shenanigans are minor compared to others who have danced there.

About Paul Andruss

Paul Andruss is a writer whose primary focus is to take a subject, research every element thoroughly and then bring the pieces back together in a unique and thought provoking way. His desire to understand the origins of man, history, religion, politics and the minds of legends who rocked the world is inspiring. He does not hesitate to question, refute or make you rethink your own belief system and his work is always interesting and entertaining. Whilst is reluctant to talk about his own achievements he offers a warm and generous support and friendship to those he comes into contact with.

Paul Andruss is the author of 2 contrasting fantasy novels

Thomas the Rhymer

Thomas the Rhymer – a magical fantasy for ages 11 to adult about a boy attempting to save fairy Thomas the Rhymer, while trying to rescue his brother from a selfish fairy queen.

Finn Mac Cool

Finn Mac Cool – rude, crude and funny, explicitly sexual and disturbingly violent, Finn Mac Cool is strictly for adults only.

Connect to Paul on social media.

Blog: http://www.paul-andruss.com/
Facebook Page: https://www.facebook.com/paul.andruss.9
Twitter: https://twitter.com/Paul_JHBooks
Google+  https://plus.google.com/s/+jackhughesbooks

You can find all of Paul’s posts in this directory: https://smorgasbordinvitation.wordpress.com/writer-in-residence-writer-paul-andruss/

Thank you for dropping by today and please feel free to share the post on your own blog and networks. Thanks Sally

Guest Writer – Essay Seven – Fantastic Realms 1: Genius Loci by Horatio Grin

This essay follows on from the six that I featured last week and can be found in this directory: https://smorgasbordinvitation.wordpress.com/guest-writer-fairies-the-hidden-history-by-horatio-grin/

Fantastic Realms 1: Genius Loci by Horatio Grin

During the introduction in ‘Lost Beginnings of the Fairy Races’, I distinguished between the two types of fairies haunting popular imagination. The first were the fairy races of Chinese and Indo-European myth, who are described as essentially human but with extraordinary abilities. The second group I called nature spirits or elementals.

I realise this is hardly an all-encompassing description given the number of preternatural entities occupying the astral planes surrounding the physical realm, but I needed to be quite firm due to the enormous diversity of such phantasmagorical creatures. Given the complex relationships between the plethora of beings occupying the ethereal, I feared being drawn into labyrinthine byways of definition and distinction, and losing the thrust of my argument all together.

In occult lore they range from said elementals, goblins and shape-shifting sprites, to djinn races, great and minor demons, as well as the angelic choirs. It must be said some are closer to human than others. At the fringes exist creatures that literally defy comprehension in their strangeness.

Now I have secured my theories concerning what, for the sake of ease, I refer to as the humanistic Fairy Races (those evolving alongside man from an ancient common ancestor), it is time to redress the balance and explore the myriad of magical beings in existence.

The Ancient Romans used the all-encompassing term Genius Loci to describe the guardian spirits of holy places. It included the nymphs of trees and water and half human wild creatures such as satyrs; as well as non-human hauntings and inexplicable sensations associated with sacred places: glades, temples, standing stones, wells, springs, lakes, mountains and a thousand and one other places. Such sensations include feelings of déjà vu, pricking of the skin, shivers down the back, the small hairs on the neck and arms standing on end, and sudden violent overwhelming emotions such as hysteria, euphoria or melancholy.

Today the old word Genius means something entirely different. It conjures up knowledge and skills far beyond normal human ability. This is because it originally signified someone who was temporarily or permanently possessed by one of the greater or lesser gods.

Even today we refer to ‘flashes of genius’ and believe genius sits next to madness (another sign of possession by a god).

There is one more modern word whose origins we ignore: inspiration. Inspiration was a gift of the gods like prophecy. A prophet was not merely a soothsayer but someone possessed by a god and whom the god spoke through. This often included the ability to foretell the future as nothing was hidden from the gods.

The Celts believed Gwyn ap Nudd (Lord of the Otherworld) kept a pearl rimmed cauldron filled to the brim with mead, a drink made from fermented honey, which granted the gifts of poetry and eloquence (for which of us are not wiser, more insightful and loquacious after a few drinks). The mead was warmed by the breath of nine maids. This is an uncanny parallel to ancient Greek myth where we find the Nine Muses of Mount Parnassus.

In ancient times these minor goddesses were responsible for Poetry, History, Song, Dance, Drama and Astronomy. Originally there were only three muses; the significantly older and more powerful goddesses of Song, Memory and Practice. In earlier times song and poetry were one the one and the same. Music, drama and dance are still considered gifts of the muses. Creative people will tell you they genuinely fear their muse deserting them.

From the Roman word Genius meaning spirit, Islamic scholars coined the word Djinn. Djinn were originally elemental forces: dust devils, mirages, makers of mysterious patterns on the dunes, wind sculpted rock faces, voices heard in forsaken places and in the eerie singing desert winds. Eventually, the name came to includes unearthly beings possessing both divine and demonic qualities; but more of that later.

Genius Loci residing in ancient magical sites may not necessarily be human. Indeed they may not even constitute what we understand as beings or intelligences. They may be elementals; forces which hold the world in balance by maintaining the equilibrium of their assigned element within the natural order. They are essentially composed of etheric matter from one of the four elements and are able to move through their native element as man moves through the world.

Elementals usually consist of air spirits called Sylphs, who possess a cloud like form; Undines with bodies of glimmering blue green water and eyes like pools in a featureless face; Salamanders possessing bodies of smokeless fire and the Gnomes of the earth.

Across the world there is a huge array of animal and vegetative life elementals belonging to the Eros life force and an equal number of lower demons, representing ill luck and disease, belonging to the death force: Thanatos.

Other examples of Thanatos sprites include the Irish Banshee who wails at the impending death of certain noble families; the Scottish Washer at the Ford who also foretells death; the ghostly black dogs giving a similar warnings and apparitions (white ladies, headless horsemen and phantom armies) haunting old scenes of violence. For none of these spectres have an independent existence outside their primary purpose.

As elementals arise where they are needed to keep their part of the world turning, they may in fact be different aspects of the same force. The Gnostics referred to this primal force as the Demiurge. Taking their name from the Greek work for knowledge, the Gnostics were an ancient mystical Christian sect whose origins lie in the religions of Judaism, Babylon, Mesopotamia and Egypt.

The Gnostics did not believe a Supreme Being would make a world so flawed and marred by misery, disease and death. They credited the creation of the world to a rebellious subordinate with ambitions above his station, who they called both the ‘Demiurge’ and ‘The Lord of this World’: a name more recently acquired by the Christian devil. It is from the primal force of the Demiurge that the lower ethereal beings including elementals and the minor demons emanate.

Although powerful elementals and the lower demons have no reason or free will, they have cunning. To mortals they appear to possess personality traits associated to their native element: be it mercurial, calming, tempestuous, quick and angry or solid and dependable. If properly bound, they make good magical servants. But their powers are limited to a range encompassed by their native element. As they have no human intelligence, the magician must bond with an elemental to harness and direct its powers. This often results in possession, leaving a carless magician exhibiting outbursts of raw emotion and monomaniacal compulsions that are often deemed as madness.

Similar to elemental possession, but of a lower order, are atavistic resurgences. Artist and occultist Austin Osman Spare believed there were chaos elementals within the lower demonic orders. He argued spiritual development paralleled physical evolution. Just as a fish’s fins became animal limbs and we have vestigial organs like the appendix, and the primitive cerebellum that underlies our complex rational brain, so we retain remnants of primitive souls. These revenants contain violent mindless emotional energies from the time when the universe was chaos. It is these unconscious irrational impulses (collectively referred to as the id by Freudian psychoanalysts) chaos elementals ignite within their host.

When chaos elementals violently unleash subliminal energies they can literally overwhelm and consume the rational mind in a similar but more devastating way than nature elementals. Through learning techniques to control elemental forces, atavistic resurgence can be made to serve an initiate in much the same way as totem spirit animals guide Shamans through the astral planes.

Lying above the orders of minor demons and mindless elementals sit the ‘little gods’ of nature and the home. While the little gods are closer to the man in thought and appearance, they are not the same as us. Due to their wholly or mainly human appearance, and natural empathy with the human spirit, they can unwittingly deceive humanity into thinking they are kin. Beware, for they are not. They are not blessed with either free-will, morality or rationality. Under their human veneer lurk wild creatures of impulse. Esoteric doctrines that speak of the soul’s evolution claim their apparent humanity is a direct result of being in our presence.

The household gods gave rise to stories of Brownies – tiny elves who help around the home. It may surprise you to know when the Girl Guides created a junior branch they took the name Brownies from these helpful domestic creatures. Originally the intended name was ‘Rosebuds’.

Brownies, and their kind, are unequivocally dependent in some way on man’s spirit for their human attributes, for they only exist around humanity. They do not demonstrate higher faculties or intelligence, preferring instead routine repetitive tasks. They find it difficult to communicate with man, though they chatter incessantly among themselves. Brownies and their ilk do not easily adapt to change and will continue to haunt abandoned mine workings, farms and villages, even though lack of human contact drives them mad turning them into malevolent goblins and boggarts.

The word ‘nymph’ meant a girl of marriageable age – judged to be so when she became nubile, or womanly; as opposed to looking like a child. There were nymphs of fresh water (Naiads) and the sea (Nereids). Both become foam when they die as in Hans Christian Anderson’s The Little Mermaid. There are two types of tree nymphs. Hamadryads die when their tree dies, the others who do not. They are collectively known as dryads, although this is a misnomer. Each type is individually known by their chosen tree: dryads are only spirits of the oak; meliai of the ash; caryatid of the walnut and epimaliad of the apple. Their male counterparts are the vegetative principle and the rutting beast.

The vegetative principles are jointly Named ‘Green Man’ and ‘Old Man of the Woods’. They are linked to the spirits of winter and summer and often wedded to Eostre: the goddess of spring, or Ceres: the goddess of harvest. Each year the Old Man of the Woods is murdered by his rival and successor the Green Man, who ages over the year to be murdered in turn by the new Green Man.

The Arthurian romance Sir Gawain and the Green Knight is a late and somewhat glossed over retelling of this myth. The Old Man of the Woods is the name given to a poisonous psychoactive mushroom, an intoxicant fed to the human sacrifice before the rite to allow the nature spirit to inhabit him.

Satyrs are the male animal procreative drive, the rut of spring or autumn that drives out every other instinct, while Silenes, associated with Bacchus, signify intoxication; originally considered a way of directly communing with the gods.

Occupying much the same niche as the nymphs and satyrs of classical mythology are the Huldr or hidden folk of Northern Europe. The Huldr and their kin, the Nixe, bridge the humanistic fairy races with both the angelic races and nature spirits. They are creatures of the forest, known for their great kindness to woodsmen and charcoal burners. While male Huldr are incredibly ugly, Huldr women, like fairy queens are seductively beautiful, except they possess a fox’s tail.

It is incredible the Huldr from Scandinavia and Lapland have counterparts in the fox spirits of Chinese mythology. At 50 years of age a Chinese fox spirit can take the shape of a beautiful woman who visits men while they sleep. At 100 it can also become a handsome man that preys on sleeping women. At 1,000 years of age it becomes a celestial being taking its place in heaven.

This is almost identical to the succubus of European legend, a demon who assumes a female shape to visit sleeping men and then become a man impregnating sleeping women with stolen seed. The wizard Merlin’s father was such a creature. In this way the Chinese fox spirits reveal a forgotten tradition that links the Huldr to the angelic realms, for angels and demons are surprisingly not that different.

Nixe or nekker are water sprites who also shape change to lure people to their death by drowning. They appear as beautiful women with siren voices to lure men, or naked youths tempting women with ravishing tunes from their violin. Despite both sexes appearing as handsome seducers, it is believed Nixie have no natural shape. Often they appear as a beautiful white brook-horse. Anyone foolish enough to climb on its back is held fast until the horse dives into the water to drown them. They also take the shape of white water-wyrms to trap unwary swimmers.

In the second part of this chapter I discuss the angelic and demonic realms

©HoratioGrin 2017

A brief bio for Horatio Grin

Horatio William Grin was born 29 July 1940 in the village of Kingstone Warren, Oxfordshire, in the shadow of White Horse Hill. His parents were William George Grin, Barrister and latterly King’s Counsel and Beatrice Caroline Grin nee Lough, a younger daughter of Squire Horatio Arthur Lough of the Oxfordshire Loughs.

After matriculating from Whychwood and Rye School, where he stayed as a day boarder, Horatio Grin went up to Girton and Caius College at Cambridge to read Particulate Physics, graduating with First Class Honours. For his Masters he read Russian and Mandarin. Eschewing a career with his alma mater, he joined military intelligence at the age of 23. Little is known of him for the next twenty-five years except for small snippets from diverse sources.

H. W. Grin is credited as a Research Assistant in the abstract of a paper from a team headed by Professor Able Epstein of Cambridge University. Professor Epstein acted as a Senior Researcher at the Los Alomos Facility in New Mexico during the atomic bomb tests. The research paper is not particularly significant, a description of the projected paths of post-collision sub-atomic particles.

His latest work on fairy lore called ‘Fairies: a Hidden History, the Collected Essays of Horatio Grin’, again containing no publisher’s mark, is a series of articles rumoured to be from the Archives of the Magi Temple of Central England. The essays are remarkable for effortlessly marrying ancient mythology and fairy folklore with the latest discoveries in the scientific disciplines of archaeology, genetics and physics. They are currently the subject of controversy among different schools of occult thought.

Please follow the link to read the full biography of this remarkable man: https://smorgasbordinvitation.wordpress.com/2017/06/19/smorgasbord-guest-writer-19th-june-to-27th-june-author-horatio-grin-biography/

You can read all the previous essays by Horatio Grin in this directory:https://smorgasbordinvitation.wordpress.com/guest-writer-fairies-the-hidden-history-by-horatio-grin/

As always Horatio would appreciate your feedback.. thanks Sally

Sally’s Cafe and Bookstore – New on the Shelves – The Annwyn’s Secret by Claudine Giovannoni

new-on-the-shelves-updateSwiss author Claudine Giovannoni has several books published in Italian and has received some excellent critical reviews for them. Unfortunately, none as yet have been translated into English and Google translate, whilst great at giving your basics is not the best tool to use for capturing the more literary specific words and nuances.  However, Claudine has translated one of her books into English and it was published in 2016 and we welcome her to the shelves of the bookstore.

The Annwyn’s Secret blends together Celtic myth and New Age Mysticism in a unique, dystopian vision of the future


About the book.

Chrysalis is an Annwyn, a being of great potential and power whose purpose is the betterment of humankind. In a world ruled by the totalitarian hegemony known as the Unified Power, this task is not easy and everything is not as it seems.

Together with her brother Joshua and their mysterious Irish friend Marius, Chrysalis must unravel the mystery of an ancient relic, which could be the key to her purpose in this existence. Her undertaking will be difficult when it is hard to distinguish friend from foe.

Reviews for the English edition.

An extract from a comprehensive review of the book by Marian Translature: https://translature.wordpress.com/2016/08/17/the-annwyns-secret-by-claudine-giovannoni/

I found Claudine’s writing style sophisticated, but at the same time neat and simple. The reviewing and researching behind her writing is evident, both in regards to the content (references to mythology, to the quantum theory and philosophy) and to the refined lexical selection. Nevertheless, she maintains an informal tone throughout the book, making it easy to read and accessible, in spite of its plenty encrypted messages. This is why I would feel recommend The Annwyn’s Secret to young readers, but I think it may suit the taste of a wide range of people of all ages. I am sure that different target readers will be able to access different level of interpretations and reflections. From my perspective, there may not necessarily be specific readings for certain ages.

Claudine’s writing is imbued with feminine sensibility and acute wittiness; it reflects her hunger for knowledge, her attitude to analyse and explore reality with her critical sense of observation and self-awareness. Readers may be disappointed at the end if they expect to find all answers revealed, as clear as a cloudless sky. The epilogue is quite inconclusive and it remains pretty much wrapped up in a cloud of mystery. Nevertheless, I think that the responses to the enigmas are to be found elsewhere and not in the conclusion of this book. It encourages researching through the act of living and dreaming, and maybe the knot will be untied at some point. The book itself is a tool and should be used as such, together with other resources. I fancy finding an analogy between the power of the Annwyns and the power of literature, I feel they share the same mission on the planet (betterment), they both aim to change the direction of the energy and try to put an end to the endless struggle between Good and Evil.

If you like deep philosophy with a mix of Celtic mythology saturated … By Kevin Cooper on January 13, 2017

If you like deep philosophy with a mix of Celtic mythology saturated by fantasy in a totalitarian ruled world The Annwyns Secret may be your cup of tea.Chrysalis and her brother journey together in search of the secret to an ancient relic in their possession, but who can they trust with The Unified Power also wanting to know because it could change the balance of power in the world.

I thought this was a children’s fantasy for some reason, but it isn’t. The reading level is far too advanced, and I felt the characters could use more development, hence the four stars rating.

Buy the book: https://www.amazon.co.uk/Annwyns-Secret-Claudine-Giovannoni-ebook/dp/B01KNFCVS0

Also by Claudine Giovannoni in Italian.

piccoli-passi-definitivo immagine-copertina-cristallo-parte-fronte i-4-elementi copertinanebbie-fronte copertina-silloge-ulivo-luglio-2011 copertinakumihimo-fronte

About Claudine


Claudine Giovannoni was born shortly before Christmas, in 1959 in Locarno – Switzerland. Since youth, she was enthralled by learning foreign languages and cultures. She lived and studied in the USA and in the Dominican Republic, she fluently speaks 7 languages and her commitment is to help children and animals in need. She is, as well, deeply interested in philosophy and theology.

All these topics mixed together brought her to travel around the world. She takes inspiration from real life experiences and subconscious ones, transcribing her happenings into novels or poems. “Annwyn’s Secret” (Il segreto degli Annwyn) is her fourth novel, now translated into English, and soon into Portuguese. There were agreements with the Torino Film Lab for transposition of the novel into a movie.

Connect to Claudine.

Blog: https://annwynsecret.wordpress.com
Website: https://claudinegiovannoni.com
Facebook: https://www.facebook.com/claudine.giovannoni

If you would like to be in my Cafe and Bookstore.. here are the details.


Thanks for dropping in today and as always your feedback is appreciated.. Sally