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The sabbat site was off a rural road. We needed something to mark the entrance, something that would say, to those in the know, “Here Be Witches."

A sign?

A bunch of helium balloons?

In the end, I nailed a deer skull to the top of a fencepost. From every tine, a long red ribbon fluttered.

Even the youngest among us can read that rune.

As a movement, the modern Old Craft has tended to be characterized by a verbal style that I can only call “opaque.”

Anyone who has ever tried to work her way through the letters of Robert Cochrane (1931-1966), Father of modern Old Craft, will know what I'm talking about. Cochrane hints, but rarely tells. He's very good at dropping a few evocative details, then drawing the veil back over. He writes, as my friend and colleague Bruner Soderberg once rather acidly observed, “to impress rather than to inform."

His would-be successors, alas, have often tended to follow suit. Particularly notorious for the opacity of his prose was mage Andrew Chumbley (1967-2004), whose books have got to be among the most-collected and least-read titles on the shelves of modern Witchdom.

Chumbley seems immune to clear exposition. He will never say “mystery” when he can possibly say arcanum, “flying ointment” instead of unguentum sabbati. Maybe there really are people out these who are impressed by high school Latin, but personally, I'm not one of them.

Old Craft thrives here in the American Midwest. What both intrigues and impresses me about Midwest Old Craft is its very lack of opacity. Rather, the standard Chumbleyian style of “I know something you don't know” obfuscation seems to us a pomposity, a bore: in fact, an admission of poverty. It strikes us—whether rightly or wrongly—as a ploy to cover lack of substance.

It's the question always asked of the witch.

If your magic is so powerful, then why are they hanging you?

When things go wrong in your own life, you may well have asked yourself much the same question.

If I'm such a powerful witch and all, then why is my life such a mess?

Well, as they say, sometimes the magic works, and sometimes it doesn't.

But that's to miss the point.

When they gave us the Craft, the gods never promised that life would be easy.

They never said that there would be no hardship.

In fact, they gave us the Craft precisely because they foresaw that there would be hardship. Hardship, alas, there will always be.

Frig and Frig.

Etymologists are pretty much agreed that there's no direct connection between the verb frig (euphemistic for f**k) and the divine name Frig (the Anglo-Saxon goddess for whom Friday was named).

But what a gift of a coincidence it is.

Imagine: a culture in which the word for 'making love' was the name of a goddess.

How good is that?

Robert Cochrane, the father of the contemporary Old Craft movement, used to sign his letters 3 (or 4) Fs. This alludes to an old tongue-in-cheek Devonshire saying: Flax, flags, fodder (and frig). These are the three (or four) necessities of life: clothing, shelter, food, and love.

The stang, or “Devil's Cross,” is the forked pole that, in Old Craft usage, represents the Horned.

It's a Tree of Life.

It's also a Tree of Death.

At the great temple of Uppsala in Sweden, they used to hang the bodies of sacrifices—strange and terrible fruit—from the trees of the sacred grove.

If you've ever seen the gutted carcass of a deer strung up from a branch to bleed out, you'll understand.

They call them the Stangmen.

They also call them the Witchmen, though generally out of earshot.

A bunch of grizzled old farmers that look just like anyone else, though everyone knows who they are.

Everyone knows that at the Old Times they go up to the Hill—the one that everyone still calls Old Baldie, though the trees grew back long since—and there they do their work.

Back before the trees grew back, you could see every field and pasture in the district from up there.

They call them the Stangmen because they keep the four old stangs, handed down since no one knows when.

Different stangs for different times and different purposes: Ram, Bull, Stag, Goat.

The baby bird is lying broken on the ground, dying. Its parents, perhaps detecting some weakness in it, have pushed it out of the nest.

Clearly, it's suffering. What do you do?

“Don't do what you want to do,” wrote Robert Cochrane, father of the contemporary Old Craft movement. “Do what needs to be done.”

Cochrane is critiquing the Wiccan Rede here. “Do what you want to do” is his sneering version of “Do what ye will.”

Old Craft ethic is different from Wicca's. It's tribal at heart, concerned with life together and the obligations that social existence entails.