Gaining Clarity By Using Multiple Tarot and Oracle Decks

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The Fortuneteller, Mikhail Vrubel

In the past on my own blog I’ve talked about the fundamental differences between tarot cards and oracle decks. I’ve also shared here about how I complement my tarot readings by using other systems of divination such as the I-Ching. Now I’d like to explore how readers use multiple decks of cards in the same reading or in multiple readings on the same issue.

Most of the cartomancers I know own several, if not several dozen, different decks of cards. And most of them, if they aren’t outright card collectors, own different types of decks, not only tarot. Card readers often use various decks to suit their mood, question, or need, such as playing card decks or oracles like the Lenormand or the Vera Sibilla.

Sometimes, a reading will end by presenting additional issues that need further depth to fully clarify. Perhaps the initial question was something that was already generally understood, and the cards nudge the recipient of the reading to push a bit more to get to the real nitty gritty. That happened to me in a reading today, where I was left with an overabundance of swords (!) and not knowing how to proceed or handle that, given that the initial scope of the reading was already complete. You can see this reading at my post What To Ask When You Don’t Know What To Ask.

I’m going to explore this issue further by using a combination of card decks.

First, I want to spend some more time with my newest deck, Rebecca Schoenecker’s Creatures of the Moon oracle.

When you want to gain clarity into a murky issue, it can be helpful to start with a broad question to an oracle to gain a general overview of the scenario and its main theme or themes in your current life path.

Referring back to my previous reading, I ask:

“What are the cards Judgement, 10 of Swords and 8 of Swords trying to tell me about what’s coming into my life now?”

Rebecca’s deck is a unique double-sided one, with a moon side and a creature side. I got it because one of my aims this year is to connect more deeply with the moon cycles and learn about their different energies.

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On the moon side, I got Waning Moon Fourteen. Even though I don’t know much about the moon cycles yet and haven’t used this deck much yet, I can immediately see how the super narrow sliver of a waning moon could easily symbolize the closing of a chapter shown in the 10 of Swords and the step just before the deep transformation and rebirth of Judgement.

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As for the creature side, I got the snake of Courage, and this also comes as no surprise because all those swords look mighty challenging, especially the work that will be required to step out of the psychological limitations I’ve imposed on myself shown in the 8 of Swords. And it goes without saying that answering the clarion call of Judgement requires a huge dose of courage; how else might one have the audacity and strength to rise up from the proverbial dead?

Rebecca’s deck comes with a lush full-color, 296-page LWB (which is neither white nor little). Waning Moon Fourteen is in fact the last waning moon card in the deck. Rebecca says that Waning Moon Fourteen is the skin of Snake. The story of Snake perfectly reflects that of Judgement in my previous reading:

The uncomfortable process of shedding your skin shows that as Snake, you are filled with true grit. You need to trust that change may not be clear, but that the end results clothe a new you.

In fact, the people who rise up from their tombs on the Judgement card are of course unclothed. Rebecca also mentions the symbolism of the ouroboros and the cyclical nature of life and death. Metaphorically speaking, this oracle card reflects Judgement and further indicates a transformative process. She says the message of Snake is to embrace change with courage.

Already now I have more food for thought and reflection. I can move further in this process by bringing in the Lenormand. Even a simple three-card spread can give some information. I learned the following easy spread from Marcus Katz and Tali Goodwin’s Learning Lenormand, which I found to be a good beginner book for me.

For this reading, I decide to charge the Lady card to represent me. The process involves taking the card out of the deck and concentrating on it for a moment to “charge” it. Then, shuffling and cutting as normal, after which, you go through the cards face-up until you find the charged card, in this case, the Lady. You then lay the card before it and after it on each side and you have your three-card spread. (You can increase the cards as you wish, for a five, seven, or larger card spread).

I ask the cards:

“In what area of my life is this upcoming transformation going to manifest?”

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Fish + Lady + Garden

The fish represent money, generally speaking, and increased material abundance in terms of projects. The Garden is about being social and expanding networking and opportunities with others. It could be that change is coming in terms of increased money from work through more contacts.

I expanded it out two cards further and got:

Mountain + Fish + Lady + Garden + Tower

Perhaps this money/social transformation is couched within overcoming an obstacle or sticking point and then needing to become more strategic and long-range visionary in overseeing my career, without isolating myself. Tower can also indicate security from risks and thus could be the natural outgrowth of a transformation towards increased material abundance in work and widened social contacts.

All true things. And, all things I’m aware of but don’t feel the ambition or energy to pursue at the moment. (Maybe that’s why Judgement needs to trumpet his horn and get me to rise up from my “dead” position. But I’m tired!)

Further questions can abound, especially regarding how to best approach the transformation and work with it to bring it successfully about.

When you need additional clarity on a reading, don’t be hesitant about bringing out different decks and different oracles. It can be eye-opening to see how the same message and themes are expressed across different vehicles. You’ll also increase your symbolic vocabulary as well as your ability to translate the imagery of the cards into practical, everyday scenarios. Plus, you’ll be practicing through different mediums which increases your overall cartomantic fluency.

Your thoughts?

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Do You Have To Believe in Tarot For It To Work?

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I have often heard people tell me, “Oh, but I don’t believe in the tarot.” I’ve heard that almost as much as I’ve had people ask me: “But how does tarot work?”

The idea that one has to believe in the tarot in order for it to work puts it on the same level as either 1) religion or 2) chicanery.

The idea that tarot either does or does not work implies that it sometimes can go right and sometimes can go wrong, much like a car or a computer, running smooth on some days and broken down on others.

In my opinion, there’s nothing inherent in the deck in which to necessarily believe. I think the declaration from people that they “don’t believe” in the cards comes from not understanding what the cards are about and how they can be used, and perhaps fearing them for that same reason. It’s a way to dismiss the cards as insignificant, unimportant, unworthy of faith, silly; and as such, reassuringly impotent, unintimidating, docile, unthreatening. We know that ignorance breeds fear. And doesn’t organized religion often require a firm belief in its tenets so as to keep the faithful in line (controlled, manageable, unempowered)?

Tarot doesn’t ask anyone to believe anything. It simply exists and is available as a tool, as a mirror, to those who wish to consult it.

There’s no need to associate belief with tarot. There’s nothing to believe in.

As far as how it “works,” that’s another story. When I asked that very question to my tarot teacher Enrique Enriquez, his immediate response was: “Who said it works?”

This one is a bit tongue-in-cheek, because obviously those of us who have a tarot practice wouldn’t spend time with the cards like we do if we weren’t getting some benefit. So I’m not dismissing the cards here as saying they have no use or no purpose. But the idea of them either “working” or not working is a loaded question.

I appealed to some of my friends and colleagues for an answer; if you haven’t read “Five Tarot Experts Explain How Tarot Works,” I encourage you to have a look.

It’s important to take the multiple layers of mysterious, imposed potency off of the cards. It’s important for readers to stop insisting that other people agree with them that the cards are useful, special, magical. Tarot is not a religion, it’s a practice. Tarot cards are not imbued with super powers. They don’t either work or not work.

What makes them so special, then? Why are people afraid of them? Why do people sometimes dismiss them, fear them, belittle them, or impose otherworldly powers upon them? Why do those of us who use them keep coming back to them, despite all the misunderstanding?

Well, let’s ask the cards themselves.

  1. What’s the most misunderstood aspect of tarot?
  2. What’s at the core of a tarot reading?
  3. What’s the best way to sum up the cards?

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In the 8 of Cups we see someone actively walking away from a set-up that seemed nearly perfect, but something was missing. No matter how hard this person tried to make things work, to fit the square peg into the round hole, it simply wasn’t going to ever be the way the seeker, the person walking away in the image, wanted it or needed it to be. As such, he or she is walking away from something that he or she invested heart and soul in, but is now letting go of. This person understands, even if it’s hard to acknowledge, that it makes no sense to keep devoting energy, time, heart, and soul to something that is clearly never going to change.

In my interpretation the most misunderstood aspect of tarot, then, according to this card, is that it isn’t about having all the answers tied up with a pretty bow and presented to you in a perfect gift box. It’s about seeking the answers and being honest about what you receive, and knowing when to take action, even if it hurts to do so, because it furthers your personal growth. It’s about knowing when to walk away, knowing when to give up, knowing when to let go. (In fact, I’d say this flies right in the face of the pop-culture notion of tarot as providing neat and accurate “hits” or predictions that give querents the answers and outcomes they desire, or, on the other extreme, cards that foretell of terrifying and unavoidable doom. Both of these concepts remove agency from the seeker. Tarot doesn’t show you what you want, it shows you what you need.)

At the core of a tarot reading is speed, and news. The 8 of Wands is about getting a message fast, about events moving at lightning speed, and about not having enough time to fully digest and comprehend everything that’s swirling around you. At its core, tarot goes straight to the heart of the matter before you even realize what’s happening. You either learn how to dance with this, or you resist it, or you try to rationalize your way out of it, or you try to control it. But at its core, it’s like a speeding bullet. You either consciously ride the fast current of the river, or you get swept up in it and carried away.

The best way to sum up the cards is the 4 of Swords – total silence and stillness. I’ve often had people tell me, after their first-ever reading, that they think “everyone” should have a reading, because it “puts you in touch with your inner self.” Let’s get quiet, and still, and listen, and stop. That’s what the cards can do for us. They can give us respite, a place to be silent and reflect, a place to recuperate and to regenerate, a place to completely stop and focus.

Your thoughts?

Balancing Movement with Quietness

In the tarot, the Death card can have many meanings. The first one is death, obviously. Something or someone is going to die. Usually it’s something that dies, so you can lay that particular image down to rest. In fact, in my practice, I’ve foreseen actual physical deaths more often with other cards of the tarot (like the Hermit or the Chariot) than with the Death card. And well, when I say something, I mean everything that is something: a cycle in life that ends; a relationship; work, etc. And then, well… there’re all those meanings that usually come up in books about changes and transformations… But between you and me, since no one else is reading this, all of these meanings are just for those who can’t accept death at face value.

My relationship with Death is just like that. I have no problems accepting that someone dies and I usually deal with that very well, just when I start thinking about my own death, everything changes and what was rational becomes emotional. The whole idea that death is just part of life and that everything has an end I was brought under gets cut down and I find myself looking into the abyss, this long and dark abyss wondering what the hell is going to happen to me. Death frightens me, because I love having a life and the idea of loosing it is just enough to scare the shit out of me..

It’s also interesting how we keep using the word “loosing” when talking about death. There’s never any mention of loss in the tarot books. And yet, we loose. We loose our lives and the company of others. We loose things in us that we cared about. Even when we didn’t do that much to keep those things near to us, death still acts as a painful reminder of what was once there. There is loosing and there is protecting those whom we might think are incapable to deal with the issue of death. Like children, who are often told not that someone has died, but that that someone has left. ‘Gone to God’, ‘gone to heaven and became a star’, ‘left to be with some family member’. There is death and there is loosing. My death frightens me because I loose everything: family, friends, living, etc; but other people’s deaths don’t mess with me, because no matter how personal the loss, there’s still something left behind.

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One of the things that I like about the Death card of the Waite Smith deck is looking at the people who face their coming end. Everyone of them has a different reaction. I mean, here is Death all high and mighty entering stage left riding its horse and flying its banner. And all of a sudden, people start dying at its passage. There’s a priest there, a young girl and a young lady. On the left, the King has died, as it should, he being the symbol of temporal power. Of the power that always ends up dying. The pope, who raises his hands high, either as a sign of worship or to plead to death not to take him just yet. The young woman with the flower wreath, hands down, lying on her knees with her head leaning sideways, as if she has just surrendered to death. And the child who boldly walks up to death and kneels before it.

Death takes all, young and old, rich and poor. It takes both the ones who are tired with living and the ones who embrace it. For, as we were taught since we were little, death is one of the very few certainties about life. And really, were I to have a life without death, would I want it? I don’t know. There’s something about things having to end that gives them value. If there’s anything I cherish in this life it’s those moments the happen before everything is done and over. Like I said above, I take many things for granted. Not giving them the attention and care that they should have. It’s the idea that they might end someday that makes me move and want to enjoy this moments as often as possible. If this idea is over, what is left? People and moments that little by little become forgotten in the haste of daily routines. Connections who just sit there, gathering dust, not really going anywhere and not really ending, since there was no end in site. How bland everything would be…

On the other side, two things usually bother me in the Waite-Smith card: that death arrives fully armored and that it rides a living horse. I can understand that sometimes, death does come announced: in a prolonged illness, in a fall from a building or something like that. But other times, it comes softly, unnoticed. So this parade that is seen in the Waite-Smith card can be unsettling. Ok, it’s the idea of Death as the great conqueror. But look closely: Death is riding a living horse! Surely all living things already carry the seeds of death with them. And then I look at the Marseille card, with just a skeleton doing its dance, grooming its garden and I end up asking, “Why the hell does all of this mean?”

Thankfully, cards can answer all questions. Even those about them. There’s something you don’t understand in a card and can’t work it out by yourself, well then: ask the cards! Which is what I did.

Why does Death come fully armored?

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THE POPE / THE WORLD / THE MAGICIAN
I look at the Pope, and see him pointing upward. Death comes from above, he seems to say. As it enters this world, It needs something to manifest her in it. Hence the armor. The key is in the world card: the four figures in the corner, standing for the four elements indicate our world. And then there’s Death, separated from it by that green wreath. It is coming, bearing its gifts, but still needs to take a form, which is what she ends up doing in the Magician. For all of its power here, Death remains disconnected from this world. It remains its own unique thing. For Death is death and there is nothing remotely like it.

Why does she ride a living horse?

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THE EMPEROR / THE WHEEL / DEATH
Two cards caught my eye here: the first is the card of Death. I mean, really? I’m asking about Death and it decides to show up in the reading? Talk about being omnipresent! The second was the Emperor card. I see immobility here. I see a man wanting to do its stuff but being stuck in its place. And yet, as the Wheel card seems to point out, things continue to move in this world of finite beings; everything keeps going. We know that the Wheel card refers to this world, because once again, the four figures at the corner that represent the elements are present. And so, death comes. Riding a living horse, because again, all living beings carry the seeds of death.

But then, there’s something else. Something right there staring at me and demanding my attention. And I notice: there’s movement in the world of the living, but not in the realm of Death. There is no change in Death; only permanence. This means that to act upon this world, Death needs to be able to move. Which is the domain of the living. So it really has no choice but to use a living being.

This is an interesting idea: that which is comes after that which moves. That which moves can only hope to remain still. But living is all about moving: it is doing stuff, meeting people, seeing places. It is about creating events. And I look again at that little girl down on her knees, looking up to Death and I smile. For in her young age, she is the only one in this whole picture that actually understands what it means not needing to move.

Meeting the Mermaid: An Interview With Dame Darcy

I've known Dame Darcy as a comic book writer for years. She was the creative mind behind Meatcake, a mind-blowing comic that mixed romance, mermaids, strange characters with interesting names like Wax Wolf, StregaPrez or Scampi the Selfish Shellfish, Victorian landscapes, tutorials on how to make dolls, goth chicks and whatever else caught her fancy.

She also used elements of the tarot in one of those. In a four panel page, Dame Darcy was able to synthesize the essential about the minors. You can check it out below:

For someone that grew on a steady diet of superheroes, Meatcake was a breath of fresh air and made me realize how much I was attracted to weirdness. Meatcake was dark and funny and campy and strange all at the same time, and you never knew what to expect from the next story. Only that it would be fun.

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Fast forward to 2015. I was browsing some facebook postings and I saw someone talking about a Mermaid deck created by Dame Darcy. The very same Dame Darcy that created those Meatcake comics. Which, of course, meant, that I had to have them. It also meant that another of my favorite comic book creators also had a foot on the magic scene.

And just this year, the Meatcake Bible, which for the first time collected all those Meatcake stories in one single volume, got a nomination for the Eisner Awards for Best Graphic Album – Reprint category. While it didn't end up winning the prize, just getting nominated for what is considered "the Oscars of comics" was already quite a feat and a recognition of the quality of her comics work. And it also gave me the perfect reason to reach out to her and bring a little of her mermaidness to you. After all, we're supposed to be a maelstrom here, and what's a maelstrom without some mermaids?

1) What brought you over to tarot and, since you've published a book about it (The Handbook for Hot Witches), magic?

I set a goal, then I trust the Goddess to guide me, every day.
Working towards the goal, I watch for the signs she shows to guide me on the path of least resistance. Repetitive numbers appearing as confirmation is one kind of sign.
The basic outline of my experiences here have been that, sometimes frustrating or infuriating circumstances will lead to an ultimate unexpected reward and one must remember to be patient.
Making a mermaid tarot deck is one way to serve the ancient mermaid Goddess Yamaya and writing an occult book for children on a main stream publisher like Holt makes me so happy!
When I lived in LA I didn't like how my Latina students were treated like second class citizens in what was originally Mexico. And I felt like the billboards with all the white girls weren't honoring diversity and celebrating different kinds of beauty.
My students inspired me to write Hand Book For Hot Witches as well as my FairyGodchildren.

2) In both your Meakcake comics and the Handbook for Hot Witches you've made a point in showing how being different was actually a good thing that brought richness, creativity and diversity to the world. And yet, you've identified yourself as a mermaid, and even put out a Mermaid tarot deck. But mermaids have traditionally been associated with bad omens and dangerous events, the story of the goddess Atargatis who transforms herself into a mermaid after unintentionally murdering her human lover immediately comes to mind. How do you see the mermaid as an agent of change in this world?

Like the ocean, Mermaids can be beautiful mysterious and happy sparkiling creatures, representing the glorious days spent at sea when the weather is clear and bright. Bringing joy and abundance to all who love the sea. It is the source of all life on this planet.
My parent's named me Darcy Megan which means Dark Sea Pearl. How they knew I was going to be a goth mermaid when I grew up is very intuitive of them. And I embrace the dark side of mermaids. Everyone should fear and respect the ocean because Tsunami’s and shipwrecks are not a joke.

All the sad things going on with climate change nowadays and the ocean kills me. I wish plastic had never been invented. Or the corporate jerks who don’t take responsibility for its clean up, and one day they will all be stopped. Ultimately, the ocean will win and humanity will lose if they keep it up.

3) Also in your Handbook for Hot Witches, you've mentioned in passage how witches were related with storytellers and how rhymes and songs were important in spells and chants. Being a tarot reader (and deck maker), what do you think is the song of the tarot?

I made the tarot to be lyrical and romantic like a song, and even in one review someone said they could tell I was a musician.
I think the song of my Mermaid Tarot would be a sea shanty.

4) Browsing through your Mermaid deck, there's a noticeable Waite-Smith (WS) vibe there, specially in the minors. At the same time, the court cards and the majors often deviate from that WS matrix. What made you choose the WS tarot as a backbone for your own deck, and why did you choose to present different images for the Majors (for the most part) and the courts?

The first time I saw a tarot deck was my mom’s classic Ryder Waite from 1971.
I’ll never forget one night Mom’s friend was visiting us in Idaho from LA, and they were in the back room sitting by the fire. My mom’s long light auburn hair hung like a curtain with the fire glowing through it as she placed the cards in front of her friend to tell her a story of her life.
I thought it was very entrancing. When I was a teen witch my Mom bought me my own deck in Highschool, but I lost it sadly.
Then my friend Kat Bjelland from Babes in Toyland bought me another Rider Waite deck about ten years ago which I still use now.
I loved the atmosphere of the illustrations and have tried to emulate and recreate this kind of drawing style influenced by the Ryder Waite deck as well as illustrations from turn of the century fairytale books in my comics.

5) Comics are a form of visual narrative and the same could be said about the tarot. Both have their own distinct approach, and yet, there are several similarities between them. Having worked with both, how did your comics work and your tarot work influenced each other? And how do you think comics can help with tarot reading skills?

I was raised catholic and I always loved how the catholic church has stained glass windows that tell a visual sequencial narrative like comics.
When I decided to do a tarot deck I was very inspired by the fact it is also another form of sequencial art. And I couldn’t wait to do a nautical themed one with mermaids as the key characters.
The next tarot deck I want to produce will be based on the characters from my comic book Meat Cake.

 

 

You can contact Dame Darcy through her site, here. The Meatcake Bible can be bought over at amazon, at Fantagraphics or through Dame Darcy's online shop. Her tarot deck, now on its third edition, can be bought directly from her also from her shop. As for the Handbook for Hot Witches, you can get it from amazon and Dame Darcy's online shop.

Every Picture Tells A Story: An Interview with Aliza Einhorn

Aliza Einhorn is a recent find. I was over at Patheos a few weeks ago when I saw an ad for one of her astrology posts there. At the end of the post, Aliza had a short text plugging her latest on-line tarot workshop on how to create your own tarot deck, which is being developed in collaboration with the Sequential Artists Workshop (SAW). For those of you who don't know what SAW is, SAW is a school for cartooning, comic art and graphic novels that started its activity in 2012. But more that just a school devoted to teaching the art of making comics, they're invested in bringing more people to comics and guiding people on how to communicate through images. Which is, basically, what we all do with tarot cards. Watching comic book people discovering the tarot is always a joy. Tom Hart, both a comic book professional and the director of SAW and has just posted his reaction over at the SAW's newsletter and it's great.

This is why, when I learned of Aliza's course, I was all over the place and immediately contacted her for a short interview. After all, comics and tarot are two of my major passions. Capital M, capital A, capital J, capital O, capital R. And I will take every chance I have to bring them on. This time, I have invited a tarot reader / astrologer / poet. Which, as you probably know, is a great combination to have together. She will talk through images and words and will spin those into a charm just for you. With her new course, she proposes to bring some of that magic forth and show you how magic is just another word for art.

So, without any further delay, here's Aliza Einhorn, about tarot and comics.

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1) How did your collaboration with Tom Hart and SAW, the Sequential Artists Workshop, come about?

Synchronicity! I was messaging with my friend, illustrator and cartoonist Leela Corman (who is married to Hart) and was saying how I'd like to do another local Tarot workshop for SAW students. I had already done one, a few months before. Literally a second later, Tom asked her if she thought I might be interested in teaching in the on-line SAW school. It felt like it was meant to be.

I've been teaching Tarot and Astrology classes on line for years, on my own. This was the first time I’d ever done anything local and also my first collaboration. Astrology lovers reading this know that Jupiter is in Libra and I have had all kinds of new partnerships spring up during this transit.

2) What is the class about? Who is it for?

I like to say that the class is for everyone! Artists, writers, those who want to create their own decks, Tarot lovers, Tarot curious.
It’s also for folks who simply want to get more in touch with their creativity, or feel blocked, using the Tarot as our template. It’s different than anything I’ve done before, more structured with weekly videos and writing and drawing assignments, and a private forum to talk about it all.

3) How can comics benefit Tarot readers?

Exposure to any art form will benefit Tarot readers because art, good art, moves us on a deep level, just as the Tarot does. This makes us more sensitive humans and thus better able to read the cards with compassion and truth and help people.
For me, comics are like holding a movie in my hands. It’s an immediate, raw experience. Happens so fast and so deeply. The best comics, for me, are like arrows to the heart and I can’t put the book or the comic down. It’s the feeling of not wanting to take the arrows out.

4) You said that reading comics is a raw immediate experience. How would you define a tarot reading?

I really love this question! Although Tarot reading, for me, is art and magic, ultimately I want clear answers, whether I'm drawing for clients or for myself. I want clarity. I want the road ahead. And I want to know what is most likely to happen. I'm in pursuit of truth, more than mystery. And if mystery comes, then I wait, and seek the truth again. So to answer the question of "how would I define a Tarot reading?" a Tarot reading is daily life. Just like I brush my teeth, drink coffee, eat food, work, etc., I draw the cards. For me, the spiritual is practical. And yet I often say to people: I don't know why it works, just that it does. I know a lot of Tarot readers who shy away from prediction. I run towards it!

5) What do you think is the most important aspect when creating a deck?

Courage. To be yourself and to tell your story. Your own imagination is key. This is a theme that runs through the class, but also it’s important to have some knowledge of Tarot history and tradition. You don’t need to be a Tarot scholar, but I think one should know some of the history they’re stepping into.
Still, the most important aspect is YOU and to discover your personal vision, what you want to say, show, within the Tarot context. Every new deck is a conversation with the decks that came before.
There may be folks in the class who decide to NOT make a Tarot deck at all and instead create some other Oracle or head off in a different direction. Folks who do want to create their Tarot deck though will have ample opportunity to explore and experiment and sketch out their ideas with plenty of support. I’ve just started creating mine and class hasn’t even started yet! I got inspired just from the process of putting together the class.
But in order to be yourself and to tell your story and to go deep in that, it helps to be fearless, vulnerable, and allow yourself to feel. Allow yourself to draw (or write) how you feel. That’s the hard part, that letting go, but that’s what will cause you to create something unique and authentic and beautiful.

 

Every Picture Tells a Story, Aliza Einhorn's Tarot Deck Creation Class starts September the 5th. For more information on how to sign on and a freebie, do please go the SAW website, here. For more Aliza goodness, you can check her personal website MoonPlutoAstrology and her Patheos column.