Bill Griffiths

Poetry. "One of poetry's old hands, Bill Griffiths, uses fewest words to best effect. A visit to Durham goal is related as well as conveyed, apprehension palpable in the memories provoked, in stories minimalistically alluded to. Language is at times invented, always wrung out, each word examining its own use"--Sam Smith, New Hope International Review On-Line. This new collection from Bill Griffiths features a series of composite texts and a world of subject material, from Astor in the New World to Cuthbert in the Anglo-Saxon North East, via rural scenes, metropolitan furnishing, a garnish of top vegetables and a prison visit. Can poetry cope with any subject matter? In three decades of published poetry Bill Griffiths has never stopped trying to find out.-Google Books

"Magic is something special, something unauthorised; an alternative perhaps; even a deliberate cultivation of dark, evil powers. But for the Anglo-Saxon age, the neat division between mainstream and occult, rational and superstitious, Christian and pagan is not always easy to discern. To maintain its authority (or its monopoly?), the Church drew a formal line and outlawed a range of dubious practices (like divination, spells, folk healing) while at the same time conducting very similar rituals itself, and may even have adapted legends of elves to serve in a Christian explanation of disease as a battle between good and evil, between Church and demons; in other cases powerful ancestors came to serve as saints." "It seems that there was a convergence of the two cultures, native and Christian, and this may affect the tendency to view pagan 'gods' as near omnipotent beings. Here it is argued that their origin was usually ancestral, their status rising to match the organisational needs of the Germanic migrants or to parallel the growing authority of the Church and its god. At a popular level did the familiar dead continue to be regarded as a source of benevolent power?" "In pursuit of a better understanding of Anglo-Saxon magic, a wide range of topics and texts are examined in this book, challenging (constructively, it is hoped) our stereotyped images of the past and its beliefs." "The texts are printed in their original language (e.g. Old English, Icelandic, Latin) with New English translations. Contents include: twenty charms; the Old English, Icelandic and Norwegian rune poems; texts on dreams, weather signs, unlucky days, the solar system; The Signs of the Fifteen Days before Doomsday and much more."--BOOK JACKET.

This early Anglo-Saxon charm attempts to enhance the production of fields through the use of magical ritual. This ritual is very complex, mixing a variety of folk magic potions and chants with religious blessing and ceremonies.