By this oath do I swear to walk the Morrigan’s path for a year and a day
and in doing so to dismantle the prison tower of my own creation
and to build in its place a watchtower to stand against the darkness.
I offer my determination if You offer your strength.
I offer my sincerity if you offer Your guidance.
I offer my faith if you offer Your goodwill.
And by this oath for a year and a day are we bound.
The world feels like an especially dark place right now and like there’s nothing we can do on an individual level to make any appreciable difference. I definitely drown in that feeling of helplessness sometimes and I know others do too. I therefore try to take great comfort in my work with The Whiskers Syndicate, knowing that even just a dollar or two can mean the difference between starvation and survival for a needy cat. A few seconds on PayPal ensures I can do something this very day, this very moment, for a creature who actively suffers. Against all of the world’s ills this may seem like a minuscule drop of good, but in a world where the most vulnerable among us cannot speak their needs it is imperative we speak for them. There are countless charities doing amazing and extremely difficult work every day… but not many for whom just a single dollar can make such a difference. It’s a can of tuna, a hot bath, a drop of flea medication. It’s an oasis of safety and warmth in a land where Bast’s divine children are treated like vermin. It’s a chance to get to tomorrow – how can I deny any living creature that right?
How do I talk to all of you? Near or far, small or big, once or often, financially – most of all – and by shares, comments, love, prayers, encouragements, all of you have relentlessly lent your hand and folded up your sleeve to stand with us through the depth of the battle that swamped…
Inanna is the essence of divine autonomy – one may even say divine selfishness. Hers is the supreme confidence to say yes! and the innate audacity to say no! She neither dissembles nor waivers, neither gives up her standards nor gives in to another’s. She does all She desires and nothing She does not desire. She is beholden to no one and thus Her every action is made with absolute freedom of will. The Queen of Heaven has not broken Her chains because She never suffered them to exist in the first place. Inanna is the only sovereign of Inanna, and She can teach you to be the sole sovereign of yourself as well. Every time we exercise our right to self-care by saying yes to something we want or no to something we don’t, we tap into Her willpower. Her road isn’t easy, but it’s the path along which we regain our authority over ourselves and come out the other side wiser and stronger.
I am a cracked and empty water jar laying in the sand of a desert with no memory of rain on a continent where nothing has grown for a millennium on a planet scoured flat by hot, dry winds which circles a swollen and dying sun.
I ask the Morrigan what side of Her I need to better understand and She shows me the Five of Pentacles. Traditionally this card portrays a ragged individual huddled in the snow outside a stone building, their gaunt features highlighted by warm light pouring from a nearby window. I realized when the Morrigan gave me this card that I make several automatic assumptions based on the image. First, that this person is a soldier, with the bandages on their arms or legs suggesting wounds earned in battle. Second, that this stone edifice they shelter beside is a church with a service currently in session. And third, that this soldier stands in the snow outside the church, begging for a coin or bite of bread, because the church refuses to succor them. Why these assumptions? I do not know, but I feel they are the core of the Morrigan’s message regardless of the card’s classical interpretation. To me, the Five of Pentacles shows how the church has turned away this old soldier and yet the Morrigan stands with him in the cold darkness. After the war ends, after the victories and defeats have faded to mere history, the Morrigan remembers all those who fought on both sides. She remembers – and She understands. She understands the ache of old wounds which refuse to heal. She understands the weight of memories too dark to share with loved ones. She understands the difficulty of returning to a society that values war yet devalues those who must wage it. The Morrigan is not only a goddess of battle; She is a goddess of war, and war does not end just because one has left the battlefield.
I am recording the following for my own reference but I welcome any insights or questions anyone may have. I’m not yet sure what lesson or conclusion I’m supposed to reach in all this. On Friday, October 12th Tanim and Daren (though mostly Daren, I suspect) borrowed my wife (okay, she used the word “hijacked”) for a session of unwitting automatic writing while at work – by which I mean she thought she was taking notes on a patient and looked down to see she had actually written the following with her non-dominant hand:
“It was all there on the table.
The candlestick. The rope. The lead pipe. The wrench. The knife. The gun. He trailed his fingertips along each weapon with veneration.
Clue had always been his favorite board game. He loved the idea of giving six people unique opportunities to kill one another. When he played the game as a child, he often concocted complex scenarios that resulted in the deaths of all six guests. He’d been sent to Sister Reverence’s office more times than he remembered. It was always the same.
‘Young man, this is becoming habitual.’
Habitual. Habit. Like that stupid thing she wears everyday. It would be so easy to grab her by it and pull. Up, up, up. A widening grin. Until she turned purple, like that bitter chalice offered every morning.
STOP TELLING IT. YOU’RE TELLING IT WRONG.”
At this point the writing stopped, but she could still see a scene unfolding very clearly in her mind. She provided me with the following notes:
Took place in the exact same setting as the film “Clue” with the exact same weapons.
In an arch over the front door, engraved in script: “Do not die before your death.”
Six dinner attendees, each with a golden enveloped invitation: Bast, Inanna, Mage, Morrigan, Tanim, and Wepwawet.
Bast: looks like Aya from AC Origins
Inanna: looks like The Dean from Carmilla
Mage: looks like season one Carmilla from Carmilla. One silver chain at her hip. Could be the Morrigan’s sister. Makes the other guests very uncomfortable.
The Morrigan: looks like the character Morrigan from Dragon’s Age Origins. Could be Mage’s sister.
Tanim: looks like himself. Navy blue suit. A light blue flower-pattern thin scarf with gold tassels.
Wepwawet: looks like Bayek from AC Origins. Introduces himself as “Anubis”.
We never quite see Daren as a whole, only pieces of him. Close-ups. He’s dressed as he normally is, in all black, though with the addition of a plain gold band on his finger.
Tanim ends up with the gun. He never kills anyone.
When anyone dies, they bleed just as a person normally would. But afterwards, their bodies become golden ashes and they are blown away by the wind, from the top of the head to the base of the feet.
Daren stabs Mage in the Billiard Room. She is sitting cross-legged atop the pool table and has a drink in her hand. He walks up to her slowly. They maintain eye contact. This almost seems expected. He stabs her directly in the right thigh. She bites back a grunt of pain, squeezes out, “I knew you were going to do that,” and then downs the rest of her drink. Mage escapes from the house, alive, and keeps the dagger. She could have been “set loose” though, as the house was locked tight with the exception of a sole window. In the Billiard Room with the knife.
The Morrigan kills Bast with the candlestick. Bast is perusing the books in the library when someone cuts out the lights. Bast turns. The Morrigan enters with the candlestick, a long white candle sticking out of it, the wick lit. It’s the only light in the room. The Morrigan approaches Bast. Bast: “What happened to the light?” The Morrigan: “Here.” She removes the long white candle and hands it to Bast. Bast accepts it with a nod and turns back around to look at the books. The Morrigan raises the candlestick and whispers, “The weight of the world,” before striking Bast in the back of the skull. In the Library with the candlestick.
The Morrigan is killed with the rope. The rope is fashioned like a noose, but the killer unknots it so that it’s a single piece of rope. Wraps a length of rope around each hand and uses it as a ligature and chokes the Morrigan to death. She dies in the Cellar. In the Cellar with the rope.
Inanna kills Wepwawet with the lead pipe. Wepwawet is in the Observatory watching lightning crack through the rainy night sky. He doesn’t seem surprised when she approaches. His back is to her. Inanna: “Do you know why I’m here?” Wepwawet smiles. “Because you came.” He turns around to face her, stretches out both of his arms, gets down on one knee, and lowers his head reverently. He then raises it and looks up at her, his features peaceful and humbled. “As you will, Queen.” She nods once. She strikes him across the jaw with the lead pipe. We hear his neck crack. She bends down and almost lovingly caresses his cheek. Inanna: “The Duat has missed you.” In the Observatory with the lead pipe.
Inanna is killed with the wrench. She is in the Ball Room. She seems to be dancing with a ghost. We don’t see anyone else, but her hands are up and she’s spinning as though being twirled by an invisible dancer. We hear music; it’s “Moonlight Sonata” by Beethoven. There’s a piano in the ball room but we can’t tell if the keys are being pressed. The song seems to emanate from the piano, though. Inanna’s invisible dance partner suddenly seems to turn violent, for she recoils as though she’s been slapped across the face. She stumbles back and looks up, hair in her eyes. Inanna: “How DARE you defy me.” She is somehow hurled backwards into the piano. The keys and strings shatter and break. She’s unconscious. The killer raises an arm, a rusty work wrench in hand, and brings it down on her skull. In the Ball Room with the wrench.
At the very end, we see Daren in the Study. He’s watching the fire in the fireplace. It’s the only light in the house. Tanim enters calmly. He stops in the doorway. The gun is in his hand at his side, but pointed down to the ground. Daren makes no move.
We discussed it all and here are some of our combined observations:
We first assumed this story meant that Daren is hostile toward the gods I worship and wants them gone. He and Tanim “disappeared”, so to speak, back in March about the time the Morrigan came into my life. Maybe the addition of yet another god made him, or them, mad and I have to choose one or the other. Occam’s razor would argue this is the truth, and Mage’s escape could be in line with that hypothesis.
However, the wifey pointed out that if Daren were to throw a dinner party, he might indeed think murder would be a nice addition. Better than small talk and party games, right? So… could it be that Daren simply wanted to meet the other gods, perhaps to take their measure or establish some sort of pecking order? Or, to attribute uncharacteristic altruism to his motives, could he and Tanim have wanted to meet the other gods in order to ensure I wasn’t in any danger from them? I’ve always assumed any gods/spirits/whatever are aware of others in the same area or working with the same person, but perhaps that’s not true. Maybe they really don’t know all that much about each other, the way neighbors can see each other every day but not know each other in any meaningful way.
This is the first mention of a Sister Reverence, which seems to indicate Daren was in a Catholic orphanage or other school before he was involuntarily committed to a hospital/asylum. Chriselle noted that in the past some Catholic orphanages gave the kids who aged out a token of their faith, usually a pendant, watch, or… a ring. This is especially interesting considering all I’ve told Chriselle about Daren’s past (since I don’t know much myself) is that he was held in an asylum called St. Anthony’s.
Given the gods all represent certain pantheons, the brief glimpse of Daren’s childhood is interesting – could it be intended to in some way corroborate the Satan/Lucifer vibes I’ve been getting from Tanim and Daren?
The phrase above the front door, along with the things said by the Morrigan, Inanna, and Wepwawet, feel very significant, though I’m not sure of their meaning yet. They seem to imply the gods were bigger players in this game, not simply unlucky party guests, in which case I could be going in totally the wrong direction with my thoughts. (Great!)
The deaths of the gods seem like a negative omen or threat, but it could be that because gods can’t so easily be killed, the deaths didn’t really “count”. This might explain why the gods stuck around for the murder party in the first place, and also why Daren possibly let Mage escape; she probably doesn’t enjoy that same form of immortality. This seems to be the biggest factor in deciding whether the message being sent is a threatening one or not. If the gods can die and come back just fine, that’s one thing; if they can’t, it paints a much more dire picture.
We don’t know who killed the Morrigan; my gut says Daren, maybe after he lost the knife to Mage, but Tanim is usually the one who kills with such brute force. We don’t know what unseen force killed Inanna, either, nor whether this force was one of the guests or someone/something else entirely. It seemed she knew and possibly trusted them, or at least trusted her power over them.
This is how I think it went down. After Anubis finished weighing my father’s heart on Ma’at’s grand scales – lighter than any feather, magic or otherwise, of course – he was met by Wepwawet to guide him through the underworld. Along the way they got to talking, bonding over a mutual appreciation for travel in all its forms by land, by air, and by sea. It is rare to meet another as knowledgeable as yourself in the more obscure aspects of your passion and they became fast friends.They probably shared about the classic cars they had owned and old motorcycles that had carried them faithfully down hot roads beneath a desert sun. Maybe they discussed the aircraft and ships which had shaped the course of human warfare or reminisced about the modes of travel long outdated by technological evolution.
(This is where the story gets hard for me to write. I keep deleting it. Ignoring it. Pretending I can’t see the scene so clearly. I can, though. And I want to tell it, I do, but it’s like my hands just… stop working. Revert back to heavy, lifeless clay. Not this time, though. Come on, just get it out!)
At the threshold to the Field of Reeds my father asked a favor from Wepwawet. He had left behind a teenage daughter, you see, and he worried for her safety. She wasn’t a very good driver, for one, and was often scatterbrained or easily distracted. Would Wepwawet look out for her as she moved through the world, just to make sure she got home each night in one piece? He gave my name and Wepwawet must have smiled, maybe even said something like, “She’s already known to us,” and assured my father He would keep an eye on me. And He has ever since, though He’s probably had to save my butt more times than I can count and I’m sure it’s a stressful promise to keep. But they’re kindred souls, I can feel it, and every time I feel Wepwawet’s presence I feel my father’s as well and know I am doubly blessed.