Carson, Jo. Celebrate Wildness: Magic, mirth, and love on the Feriferia path. Natural Motion Pictures: Fairfax, CA. 2015. 116 pages.
This work is not just a book; it is really a complicated work of art with interleavings of prose, poetry, liturgy, theaology (sic) and lots and lots of visual art by Fred Adams, the founder of Feriferia. Together it is designed to communicate something of the Feriferia consciousness of the world to the reader/viewer, and at that it succeeds wonderfully.
The name Feriferia means “celebrate wildness,” from the roots feri-, meaning wild as in feral, and feria, to celebrate. This ecotopian new religious movement founded by Fred Adams after a vision in the early 1950s that everything is united and alive, and the spirit of all is goddess. Out of this came his dedication to creating a new approach to life which revolted against the overculture of the 1950s by celebrating wildness. As Carson expresses it, “Our great work is to unify ecology, artistry, mythology, and liturgy to create a paradise on earth.” (43)
This book serves as an introductory gateway to Feriferia, which concentrates on the ineffable in wildness and cannot be fully expressed even by such a complicated piece of art as this book, although it does a good job of capturing the ecstatic spirit of the movement. Adams’ art constitutes a significant portion of the work, and for those interested in accessing the original spirit of Feriferia, there is nothing like going directly to the source. He drew goddesses in all sorts of contexts and imaginative settings, and these reproductions are as much an important part of the resources in this book as the text.
Part 1 is composed of descriptions of key pieces of art and the ideas they illustrate in the Feriferia path. These introduce the idea of goddess and god as partners, named Kore and Kouros (young woman and young man, in Greek), although Kore, also described as the Divine Daughter, is the central figure in Feriferia myth and practice.
Part 2 introduces the reader to a number of those practices, describing how to create a sacred space, described as a Faerie Ring Henge, whose attributes correspond to the directions and the Wheel of the Year, which is followed by a fuller explanation of the year myth and seasonal celebrations. Interestingly, Feriferia includes a ninth holy day, named Repose, around the time of American Thanksgiving, between Samhain and Yule. It marks another stage in the goddess’ retreat into her winter seclusion. Also discussed are the phytala, the symbol of Feriferia, the importance of fruit trees, and a number of basic ritual practices, including a lovely ritual for planting and blessing a tree.
Part 3 is described as the “deep roots” of Feriferia, and goes into the mythological sources from which it draws inspiration. Especially important is the myth of Demeter and Persephone (also called Kore, the daughter). This myth played a central role in the Eleusinian mysteries, and like many new religious movements, Feriferia applies its own imaginations to what those mysteries might have been and how they might be translated into modern practice. There is also an emphasis on certain interpretations of Cretan culture, with some citations of archeological studies, although this is not by any means a reconstructionist movement.
Part 4 is entitled “Paradisal Magic – Letting it Blossom” and contains a composite of dreams about how Feriferia could be made manifest in the world, advanced topics including suggestions for exploring sensual sexuality as part of magical practice, a ritual for self-initiation into Feriferia, and Adams’ own “Hallows of Feriferia,” a manifesto of the movement’s intentions.
The material that comes directly from Adams sometimes reads a bit like a Dr Bronner’s soap label with its triumphant proclamations of ideas too grand to be expressed without inventing new compound hyphenated words – love-play-work is an especial touchstone – but this exuberance communicates the joyful sense of idealism that characterized this movement like others in the 1960s and 1970s.
I have some concerns about the use of mythology based partially on archaeological and other types of research. Carson writes that Feriferia’s “utopian visions of the future” are bolstered by knowing that Crete was an entirely peaceful matrifocal society for over a thousand years. (75) But what if new research proves otherwise? How will the foundations of the faith react to the kind of changes that are part of the nature of research-based knowledge?
In another place, the author states that only humans and the great apes menstruate, when this is in fact not the case. (83) Now, the fact that humans have hidden estrus (which is technically a different thing from menstruation) may very well have played an important role in the development of human bonding and social behavior, but the way it is stated is prone to misinterpretation that endangers the conclusions when scientific knowledge changes, as it inevitably will.
My biggest discomfort about the book is that something about the approach feels slightly off to me in a feminist sense. It’s very hard to put my finger on, but the whole attitude seems like it honors the goddess as the divine feminine other, perpetuating the idea that masculinity is normal and the feminine is other. The clearest example I can point to is that I am inclined to distrust a religious leader who claims to be trying to balance out “the excesses of patriarchy” but still refers to humankind as “mankind” repeatedly in his manifesto. (16, 104)
Overall, though, the movement is not restricted to Fred Adams’ personal beliefs and practices, and this work is the kind of introduction that a complicated subject like Feriferia deserves. I admire the idea of creating a poetic religion that restores soul to the earth and honors the divine feminine, and this work is certainly an extraordinary compilation of key materials from one of the groundbreaking movements in that area.
The author provided a copy of the work and asked me to write about it as part of her “blog tour” for the book. As always, I did my best not to let that influence my review.