Monday, November 23, 2015


The master himself: Robert M. Place

Welcome to The Divination Nation blog!

We are Pleasant Gehman and Crystal Ravenwolf, a duo of divination divas, “spiritual sisters from another mister”. We’re life-long Tarotistas, obsessed with all things esoteric and paranormal. 

We’ve created this blog to share our knowledge and to connect with the vibrant worldwide metaphysical and paranormal community.

We hope this blog is as fun for you to read as it is for us to write!

 Robert M. Place is a living legend in the divination community. A triple threat, his body of work is nothing short of staggering. He’s a world-renowned and extremely prolific lifelong visual artist, and creator of many popular  Tarot and oracle decks, including The Tarot of the Sevenfold Mystery, The Facsimile Italian Renaissance Woodcut Tarocchi, The Tarot of the Saints, The Buddha Tarot, The Vampire Tarot, and The Angels Tarot. His Facsimile Tarocchi is included in the permanent collection of the Metropolitan Museum of Art, and in 2007, he was the guest of honor at the opening of the Tarot Museum in Riola, Italy. In  2010, he was curator and catalog designer for the LA Craft and Folk Art Museum’s Tarot exhibit, The Fools’ Journey.

Robert’s decades of scholarly research and  his  extensive writing on Tarot, divination and magick have brought him all over the world to teach and lecture on these subjects.  Along with writing many of the books that accompany the decks he’s created, he’s also authored The Tarot: History, Symbolism, And Divination; Astrology and Divination; Magic and Alchemy; Shamanism (written for the Mysteries, Legends, and Unexplained Phenomena series) Alchemy Of The Tarot and he regularly posts on his information packed blog. He’s been featured on several television shows including the BBC series The Book of Thoth and the Discovery Channel series Strictly Supernatural, and appears regularly as a guest on numerous radio programs.

 Increasingly, he’s turned his passions toward Lenormand   and oracle decks, publishing the acclaimed Burning Serpent Oracle (a collaboration with highly respected Tarot diva Rachel Pollack) and The New York Lenormand, a facsimile of an 1882 oracle deck. In February 2016, he’s releasing the highly anticipated Hermes Playing Card Oracle, scroll down to the bottom of this post for a link to pre-order your copy.
The Hermes Playing Card Oracle  deck by Robert M. Place: forthcoming in February, 2016

 Somehow, in the midst of all of this, Robert finds the time to be a doting Dog Dad to the two greyhounds he and his wife own, and is - who knew- an avid weight lifter, currently in training preparing for a bench-press completion in January!

We are absolutely ecstatic to present the following interview with this incredible talented highly creative force of nature. In fact, we’re two middle-aged broads who swooned like teenage fan-girls when he agreed to do it...Enjoy!

Divination Nation: You’ve had a long and wonderful artistic career, which started well before you began creating Tarot decks. You’ve also published many acclaimed books… What came first: your writing, your art or your divination practice?

 Robert M. Place: I have been an artist since I first learned to say the word. By the time I was six I could draw realistically. In grammar school, I was continually working on bulletin boards and class displays. As I graduated each year, my teacher would introduce me to my teacher for the next year as the “class artist.” In high school, I worked on stage sets and designed a school mural; I won every art award in the school and even a national scholastic art award, and I was voted “most artistic.”
I had always been an artist and I had no desire to be a writer. It wasn’t until I was attending college in Montclair, New Jersey, where I was majoring in art, that my friends started to encourage me to be a writer. I seemed to be a natural scholar and spent a lot of my spare time in the library studying art history or taking trips into New York to wander the halls of the Metropolitan Museum of Art. My friends noticed that I had a talent for explaining art works and expounding on history and philosophy. They said I should write down some of my words, but other than writing the usual term papers I didn’t listen. I also became the art director of the school literary magazine. So I tried to write poetry for the magazine, but that did not go so well. It was only after I became fascinated with the Tarot that my need to write became strong enough to force me to do it. To answer your question, art came first, then divination, and then writing. 

DN: How did you first become interested in Tarot?

RMP: Actually, I did not come to the Tarot. I feel that the Tarot came to me. I think this will be clear when I explain how it came about. 

On a summer night in 1982, I had a dream in which I was walking through a brick building. It was an ordinary dream. Analyzing it later, I realized that it was about a new opportunity that was opening up for my career as a jeweler. It was not about the Tarot. In the middle of this dream, I was walking through the living room of the building when a phone rang. The dream phone was sitting on a phone table by the wall, and when it rang, it startled and interrupted me the same way that a phone can when one is awake. I realized instantly that the phone was a link to something outside of my normal consciousness, and I was thinking, “I didn’t know that someone could call you in a dream.”

When I picked up the phone, a dream operator said that she had a person-to-person call from England for Robert Place, and asked if I would accept it. That was the way long distance calls were handled in 1982. I accepted it and then she connected me to a secretary from a dream law firm in England. The secretary told me that I had an inheritance coming. She said that it would come from England in a box and that it is called the key. She added that I would know it when I saw it.

Within a few days my friend Scott came over with his new Waite-Smith Tarot deck. As he walked through the door, my head turned of its own accord and my eyes focused on what he was holding. It seemed that my unconscious had temporally taken control of my head to focus my attention on this deck. Although this was not the first time I had seen a Tarot, I now saw it in a new light. I instantly recognized it as my "inheritance."

Scott left taking his deck with him that day, but after he left, I made up my mind that I would buy a Waite-Smith deck of my own. Before I accomplished that, however, another friend spontaneously gave me a Tarot deck. It was the traditional French deck, the Tarot of Marseilles. A few days later drove to New York City and bought the Waite-Smith deck.

I started using these two decks but primarily the Waite-Smith deck. At first, I did not want to read about the Tarot. I wanted to let the cards communicate with me directly without preconceptions. Because this tool was presented to me by my unconscious mind, I realized that it was a device for communicating with the unconscious and I did not want anything to interfere with the process. However, as I worked with the cards, I found that they opened an inquiry into the Western Mystical tradition. And, that inquiry led me to seek out the best information that I could find on alchemy, Neo-Platonism, Hermeticism, Gnosticism, Christian Mysticism, Kabbalah, and Renaissance iconography. I wanted to know who created the Tarot and understand what these creators were communicating.

DN: Once you started creating your decks, did you realize it was your calling right away, or did it take a while? 

RMP: I think from my answer above you can see that for me the Tarot was a calling. But although I was an artist, I did not start designing a deck for several years after I started working with the Tarot.
In the summer of 1987 I was reading The Picture Museum of Sorcery, Magic, & Alchemy, by Emile Grillot de Givry, when I became fascinated by an alchemical hieroglyph representing the Philosopher’s Stone. The design depicted a heart in the center of a cross with images of the four elements assigned to each corner. In a flash, I realized that the symbolism in the design was entirely interchangeable with that of the World card in the Tarot. 

The heart surrounded by a thorny wreath, of course, was related to the Sacred Heart of Jesus, but alchemists often made use of Christian icons and gave them new meanings. This heart was clearly meant to be a symbol of the soul. That it was in the center of the elements meant that it was the soul of the world, the alchemical “Anima Mundi”, the matter of the stone which is also called the “Quinta Essentia,” the essential fifth element that holds the other four elements together. I remembered that the pose of the figure on the World card is identical to the dancing figure that the Egyptians used as a hieroglyph for one aspect of the soul, and that the symbols of the four evangelists that surrounded it are equated to the elements. Certainly, the World card represented this same Anima of the world.
This realization was like a key opening a lock to a door in my mind. A series of images emerged from this portal and I sat mesmerized as it became obvious that the Tarot trumps are alchemical, and that the series of trumps outlines the alchemical opus. This insight happened in seconds, but it began a seven-year journey that led me to design The Alchemical Tarot deck and to write the accompanying book. 

DN: What's your artistic process for creating decks? How you select imagery, how long  does it usually takes to create a full deck, or to make each card…. And what is your favorite card in the deck- is each deck different in this respect? 

RMP: As you can see from the story of how I started on The Alchemical Tarot, each of my decks starts with an insight, which comes from a personal vision. Sometimes as with The Angels Tarot, the Buddha Tarot, and The Tarot of the Saints, it came as a dream. But I also find that research can become a type of meditation that can lead to a vision. 

That is what happened with The Tarot of the Sevenfold Mystery. It started with my fascination with the art of the 19th century, English Pre-Raphaelite painter, Burne-Jones. I saw that he was painting some of the same themes that we find in the trumps, such as Temperance, Foolishness, and the Wheel of Fortune. I love his style and I had a desire to create a deck in his style—to complete the deck he had started but did not know he was making. I started by drawing my interpretation of his painting, Temperance. But as I kept going, inventing new cards in his style, and continuing with my research into the origins of the Tarot, I realized that the Tarot was created by Renaissance artists, who were influenced by mystical Neoplatonic philosophy, and that Burne-Jones, in turn, was influenced by these same artists. It was like a visual conversation that was being carried on over the centuries, and now I was part of it. I worked on the deck for over ten years and through it I was able to express all of my theories on the mystical teaching that was captured in the Tarot from its creation in the 15th century. 

As for my favorite card, I would say it is the World card in each deck. The World is a mandala depicting the Anima Mundi in the center of the world—the sacred position. And it is one of the first cards that I need to be able to design to know that I can do the rest of the deck. It is also where my inspiration for designing decks began. 

DN: Your latest deck, The Hermes Playing Card Oracle is scheduled for release in February 2016.  We love that you did the art as traditional playing cards with divination symbols!  

 RMP: Lately, I have been branching out from Tarot and creating oracle decks. Once or twice a year, I a take a class to the Metropolitan Museum of Art and act as a tour guide for the museum’s collection of historic cards. We go into the museum’s print library and pull out all of the cards in their collection. They have some of the oldest printed Tarot cards in the world, from the 15th century, and examples of Minchiate and the Tarot of Marseilles from the 17th century. But when we get to the divinatory decks from the 18th and 19th century the collection is dominated by oracle decks, which are not Tarot and that were designed just for divination. 

Images from The Burning Serpent Oracle, a collaboration between Robert and Rachel Pollack

From the beginning, when decks of cards were introduced to Europe, they were used for both games and divination. This is true of four-suit decks, of the first Tarots. In the late 18th century, artists began designing decks that were primarily for divination. These were oracle decks. Each cards in these decks depicted an iconic images designed for interpretation and each was correlated with a playing card. Often a small version of the playing card was pictured at the top or in the corner of the card. In the 20th century, the Tarot became the most popular deck for divination and we tended to forget about these older decks. 

The most popular oracle deck was a 36-card deck called the Lenormand. There has been a resurgence of interest in this deck lately. And in 2013, Rachel Pollack and I teamed up to create our own version, called The Burning Serpent Oracle. 

But for my latest deck, The Hermes Playing Card Oracle, I turned this formula on its head. I designed a deck of playing cards, with 52 cards and two jokers, like a regular Bicycle deck. But mine has divinatory symbols worked into the background on each card. It is a beautiful collectors card deck and it is an oracle deck. . It is actually at the printers right now and I'll mail our copies starting in February 2016. 

In the future I will be printing my interpretation of the oldest known Tarot deck, called The Marziano Tarot. This is based on the oldest description we have of a Tarot from the early 15th century. Tarot historian Ross Caldwell translated the letter that describes it, and he will write a book to go with it.
Also Rachel and I are starting on another project, called The Raziel Tarot: The Secret Book of Adam and Eve. You will be hearing more about this soon.

 DN: How do you prepare for your work? Any specifics, or do you just start full speed ahead? Do you need to be in a certain “zone”?

RMP: I start with an inspiration or vision, based on my research, and decide on an artistic style that will work with it. My decks are primarily works of art. But I consider the philosophical and functional aspects of the deck part of the art. Then I begin gathering visual information that I can work from. For example, when I was working on The Tarot the Sevenfold Mystery, I gathered lots of images of Burne-Jones’s paintings and drawings. 

When I first made The Alchemical Tarot, I drew each image in pen and ink and colored them with gouache. Now I primarily work on the computer. I work in Photoshop and Illustrator. In this way the files that I create are exactly what the printer needs to print the deck. I don’t need to be in a zone, because I work almost every day. I can just sit down and start. I guess that I am always in the zone. 

DN: What artistic, magical or  metaphysical disciplines do you practice aside from Tarot, your writing, and creating art?

 RMP: I meditate regularly. I have even taught meditation in my classes at the Open Center in New York. 

DN:  What do you love most about what you do?

RMP: It is what I would do even if I weren’t making a living at it. I don’t know how I could do anything else. 

DN: What do you enjoy doing when you’re not at work?

RMP: My favorite thing is visiting museums and historic places. I love to walk in New York and look for art deco sculptures. 

DN:  Many of our readers are either working on creating a divination deck or have dreams of doing that in the future.  Would you please share your favorite tips and advice on deck creation for our readers? 

 RMP: The thing I would like to emphasize is that a Tarot or an oracle deck is first and foremost a work of art. Many people have inspirations or ideas for decks, but the idea has to be expressed as a work of art. It has to be visual and pleasing or you will not be communicating with your audience and you will have nothing to sell. 

Once you do have an idea that can be expressed visually and symbolically, you need to get people involved in your process from the beginning. You will need feedback and you want to develop your audience as you are working on your project.

The Vampire Tarot deck by Robert M. Place

 Robert’s Website:
 Purchase a copy of Robert’s Hermes Playing Card Oracle Deck here:
 Roberts Alchemical Tarot website:
The Hermes Playing Card Oracle by Robert M. Place

  Robert is teaching an Introduction To The Tarot workshop series with Wednesday Evenings at 8pm December 2, 9, and 16, 2015 at The New York Open Center, 22 East 30th Street, New York, NY  

Pleasant and Crystal

We’d LOVE to connect with you!
Visit our website to book  metaphysical  and occult workshops,  Tarot readings, or have us come out for a paranormal investigation:
Like us on Facebook:
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To find out more about Pleasant  or request a reading or healing session, click here:
For more on Crystal’s background, or request a reading or healing session, click here:

Tuesday, November 17, 2015


Marilyn D'Auria reading for a client

 Welcome to The Divination Nation blog!
 We are Pleasant Gehman and Crystal Ravenwolf, a duo of divination divas, “spiritual sisters from another mister”. We’re life-long Tarotistas, obsessed with all things esoteric and paranormal. We’ve created this blog to share our knowledge and to connect with the vibrant worldwide metaphysical  and paranormal community.
We hope this blog is as fun for you to read as it is for us to write…Enjoy!
Not that many Tarot readers can say they’re enjoying  a career that spans four decades, but Marilyn D’Auria  can- she’s been a professional  cardslinger since 1976. Her insight is nothing short of profound, her readings straight ahead and on point. It’s no accident that  she called her website Tarot Clarity…in her hands, the cards and their meanings are extremely clear and focused.  In September, 2000 Marilyn became a Certified Professional Tarot Reader…though by that time, she’d already been reading professionally for twenty five years! In addition to her lifelong passion for Tarot, Marilyn is a devoted wife and mother, an artist,  a silent film buff  whose  absolutely obsessed with Old Hollywood, and  an avid world  traveller.
We first discovered Marilyn on Instagram, where she posts daily one-card  readings. We were so  taken with her thoughtful posts – not to mention the  many gorgeous decks she owns-  we thought we’d “share” her with you!
Divination Nation:  Please let our readers know how you embarked on your Tarot journey…
Marilyn D’Auria: I began reading Tarot when I was seventeen. I had just graduated high school and I was preparing to go away to college, a professional art school in Philadelphia. I was an art geek in high school, totally submerged in creating art and learning art history. One day that summer, a girlfriend showed me cards that somehow came into her possession. Her deck was the Rider Waite Smith, which had only fairly recently became available in the US market. I had never seen a tarot deck in person before but I knew what they were from watching the 1960s TV paranormal/occult soap serial, Dark Shadows as a kid.
The cards I remembered from Dark Shadows did not match these ‘new’ cards that my friend had, so I realized right off the bat that the art on tarot cards varied from deck to deck. Since they were visual and artistic, I was immediately drawn to and seduced by them and I had to get my own deck, ASAP! So yes, it was an immediate connection. Within no time I bought the only deck available in our local bookstore that was the same deck that I remembered from Dark Shadows, the 1JJ Swiss Tarot deck. I think I also picked up the only tarot book that I could find that day which was Eden Grey’s book for the RWS deck. Obviously, the book wasn’t written for the deck I had, but at least I had something to read to get an idea of how the cards worked.
I read that little Eden Grey book a few times before I left for college. There was no one in my world that read Tarot cards, not even my girlfriend who first showed them to me had any real interest. Anyway, naturally, I took my book and deck with me when I went off to art school.
In a wonderful case of synchronization, I made a visit to a museum and saw a few cards on display that I guessed to be a deck of Tarot. I asked the docent about them she told me all she knew about them and this is where I learned the name, Visconti-Sforza, which became the Holy Grail to add to my then one-deck tarot collection. As it turns out a commercial V-S deck would not be available for many more years. I mention all of this because the cards just naturally fell into my life and I was a willing and eager participant. But I was my own teacher, remember this was nearly forty years ago and Tarot reading was not a mainstreamed activity. Whenever I went to a bookstore or museum, I began buying and reading every tarot book or other books related to reading the cards like numerology and astrological symbolism that I could get my hands on. Most of the time the more serious esoteric Tarot books that were available were on the Major Arcana only, and almost exclusively based on the Tarot de Marseilles, which my 1JJ Swiss shared similarities with.
DN: Tell us about your first official gig.
MD: I immediately began reading from the cards as soon as I got them and at college I pulled them out during the down times in my studies. I kept it private because I did not want others to know I did it, until I felt ready. Like most newbie readers I only read for myself or ‘pretend’ querents until one of my college roommates caught me with them and insisted that I do a reading for her and her friends, so I guess that was my first official ‘gig.’ I shocked them by agreeing to do it - but only for payment. They expected a freebie. So right out of the gate I communicated that this was a skill like any other and I knew that if I started a precedent of free readings in the dorm I’d be harassed for free readings. So charging was the smartest thing I could have done. It restricted them to ask for readings only when they really felt they had a need. And it was good discipline for me too because aside from earning a little extra pocket money as a starving art student, it made me very aware of the responsibility of doing the best readings I was capable of since I was being paid.
DN: How do you prepare for your work?
MD: It’s evolved over the years and become remarkably simplified. In the beginning I kept the cards under my pillow, and went through all kinds of cleansing shenanigans preparing the cards before a reading. This is a natural process that I think every reader goes through in their relationship with the cards. There are so many rituals and I think the most important thing is to decide what makes sense to you.
 It depends on circumstances too. When I’m trying to be discreet I don’t want to bring attention to myself by burning incense or sage especially if I’m traveling in hotels with smoke detectors. Nowadays, I have my own sacred space in my home dedicated exclusively to my cards and readings. My cards are housed in their own pieces of furniture, which are themselves filled with crystals and selenite and other wonderful natural rocks and minerals that they are always charged and cleansed and at the ready for use. I no longer go through any cleansing rituals before using them, except that I wash my own hands before handling them. I only handle the cards with freshly washed hands and there is no exception to this. My own little quirk I guess. I always mix the cards many, many times with intense focus on the question.
I never shuffle the cards casino style. I treat my cards with respect. They are never lying around the house, or anywhere need food, drink, or pets. They are my tools and even my oldest decks are in pristine condition considering their ages. After concentrating on the question that needs to be answered, for some unknown reason I knock the top of the deck twice before pulling the cards. I used to allow my querents to handle my cards, but now I see my cards as what they are, my tools. If I were painting a portrait of someone they do not have to handle my brushes or mix my paints for me to capture their essence and I have come to feel the same way about my cards. They are my tools, which allow me to tap into something that I seem to be a part of.
DN: What if any metaphysical disciplines do you practice aside from Tarot?
MD: As I mentioned, I see the cards as a tool to tap into the energy surrounding a situation. As a child, my parents referred to me as a ‘spooky kid’ because I had experiences at a very young age that they could not explain. I can walk into a space and sense the energies of what was there before. Once I refused to walk into a room because it gave me a very bad feeling. I didn’t say anything to anybody at the risk of sounding like a nut, but I later learned that a person was murdered in that room a hundred years earlier when he was hung from a beam in the ceiling. I have had many experiences like these but they are probably not relevant to this discussion other than to illustrate that I seem to be able to tap into something and tarot is the discipline that allows me to use it to an end that doesn’t freak me out. So as far as other disciplines go, I seem to have abilities that may or may not enhance my tarot skills.
I’m not sure if my success with Tarot is a psychic ability that I have learned to fine tune using the cards or if I’m just super observant and pick up on energies and impressions of a situation in an acutely perceptive unconscious way; I don’t know.  I don’t know how I do it, I’m only glad that I can.
DN: What do you love most about your job?
MD: Tarot is a natural extension of who I am. It’s a natural fit for me and I’m good at it. It helps other people and that brings me great satisfaction. It calms me and focuses my attention, and after all these years I remain intrigued by the cards’ origins and still read every intelligently written book of research on the subject and related subjects that I can find.  I have met lots of people and have had some wonderful and intense conversations.
I am still seduced by the beauty of the cards and now have many cards in my collection and I read from every one of them.  I am very particular and only buy a deck if I am aesthetically attracted to it or think that it can bring something to my readings or tarot education so I probably don’t have as many cards as one would think, but enough to need furniture to house them!
DN: Tell us what you enjoy doing when you are not working.
MD: Lol, I’m always working! I’m always reading or writing or reading for clients or doing something Tarot related when I’m not working on my business and other passions. I even dream about Tarot. Tarot IS one of the primary ways that I enjoy my personal time.
I’m also an artist and still occasionally paint, make jewelry, and engrave glass. I also love to write. During my free time at home I am usually busy with one of these creative outlets.
My husband is now retired and since I own my own business, I have the luxury of scheduling my own time so we can be flexible for things like travel. We go lots of places every year, visiting friends or seeing new places, or even revisiting locations that are special to us. So travel is a fun thing we like to do together.
DN: Would you please share some tips and advice for our readers?
MD: My primary tip is to listen to instinct and follow your heart.
 It sounds like a corny cliché but it’s true. It never would have occurred to me forty years ago that I’d still be doing Tarot all these years later or get any recognition for doing it. There were a dozen other ways I thought that I might have gotten noticed in the world. But Tarot was one of the special things that I have done consistently throughout my life because it was driven by passion. Obviously I’m not a household name, but enough people know about me to keep me busy and doing one of the things that I love to do.
So I guess I’d advise to keep doing things you really love doing even if you can’t immediately make them your primary vocation. Longevity in a field of interest means that eventually those passions will take deep root in your life and provide opportunities for great satisfaction and maybe even recognition.
And finally, for you Tarot readers out there, charge for your skills from the get-go! When we give away our skills (even as newbies) we communicate that there is no value to them, that they are frivolous pastimes not worthy of compensation. But if you do something well enough to do it for others, you have acquired a skill and in the same way you would not expect a friend to cut your hair for free or dole out free legal advice, it is important to communicate value for what you have to offer.
 Follow Marilyn’s  daily Tarot posts on Instagram:
Check out Marilyn’s website and book a session with her here:
Marilyn’s blog is insightful and amazing-read it here:
Lovin' life: Marilyn relaxing at home
We’d LOVE to connect with you!
Visit our website to book  metaphysical  and occult workshops,  Tarot readings, or have us come out for a paranormal investigation:
Like us on Facebook:
Connect with us on Twitter:
To find out more about Pleasant  or request a reading or healing session, click here:
For more on Crystal’s background, or request a reading or healing session, click here:

Saturday, November 14, 2015


The "Father Of The New Age Movement", Carl Llewellyn Weschcke

 Welcome to the Divination Nation blog!

 We are Pleasant Gehman and Crystal Ravenwolf, a duo of divination divas, “spiritual sisters from another mister”. We’re life-long Tarotistas, obsessed with all things esoteric and paranormal. We’ve created this blog to share our knowledge and to connect with the vibrant worldwide metaphysical and paranormal community.

We hope this blog is as fun for you to read as it is for us to write…Enjoy!

The “Father Of The New Age” movement,  Llewellyn Worldwide publisher Carl Llewellyn Weschcke, passed away at the age of eighty five on November 7, 2015.  Even though we had never met him, like many in the worldwide metaphysical community, we were profoundly affected by the news of his passing.  

 While discussing why his death impacted both of us so intensely, we came to the conclusion that without Weschcke’s life-long work, our own lives would be very different. As children of the 1970’s, both interested in anything and everything esoteric and occult oriented, the wealth of knowledge he provided through his publishing company gave us permission to pursue our nascent “woo-woo” interests.  Though we were certainly not unaccompanied in these pursuits, it was easy to feel isolated during this time because our primary interests as teenagers definitely went against the grain of the societal norm. Since there was no social media back in those days- or Internet for that matter- Llewellyn’s books provided us with the knowledge we so avidly sought. Perhaps more importantly (on a personal level) the information he published provided a validation for our outré interests; it was through his work that we realized that we were not alone. What a revelation it was to realize that there were not only others like us, but that they had been seriously studying -and writing about- these ancient practices and disciplines for longer than we had been alive.

On the off chance that you are not familiar with Weschcke, and his work, perhaps this thumbnail sketch of his extraordinary life will allow you to become familiar with his accomplishments. An eternal student of spiritual, metaphysical and occult subjects, in 1961, Weschcke bought the original Llewellyn publishing company, which had been founded in 1901 by George Llewellyn. He relocated the company to his house in St. Paul, Minnesota, which was presumed to be haunted and was the subject of many paranormal investigations and news stories through the 1960’s and 1970’s. The books he published- covering a wide range of metaphysical subjects ranging from Astrology, Paganism and Magick, to Parapsychology, Eastern practices, Tarot, Yoga and Wicca and beyond- were groundbreaking in those days, during which the very first stirring of what would come to be termed The New Age Movement was coming to life.

 A former Wiccan High Priest, Weschcke was absolutely instrumental in the rise of Wicca and Paganism during that time. In 1973, he helped organize the Council of American Witches and became its chairperson.  Apparently tireless, he also sponsored the popular Gnosticon Festivals, opened an occult school and bookstore, and published the occult newspaper Gnostica.  In addition to of this, he co-authored ten books with Dr. Joe Slate of Athens, Alabama, while continuing to publish the work of others. In more  recent years, Llewellyn Worldwide has been widely known as one of the leading proponents of anything related to the esoteric.

 His wife Sandra, son Gabe, and daughter-in-law Michele survive Weschcke. Sandra is President and Treasurer of Llewellyn Worldwide , Gabe is Vice President; Michele works in Accounts Payable. They plan to carry on Carl’s legacy by championing alternative approaches to mind, spirit and body.
May you rest in peace Mr. Weschcke, your dedication and spiritual beacon are missed.


 For more information on Llewellyn Worldwide,  the company's history or to order products, please visit their website:

Crystal & Pleasant

 We’d LOVE to connect with you!
Visit our website to book workshops, Tarot readings, healing sessions or have us come out for a paranormal investigation:
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To find out more about Pleasant or request a reading or healing session, click here:
For more on Crystal’s background, or request a reading or healing session, click here: