I recently visited Disneyland for five days. During those 5 days all I did was go on rides, and experience the magic and wonder of Disney. It was a liminal experience. I wasn't engaged in my usual routine and in some ways it very much felt like I had entered a pocket universe. When my trip was over it took me several days to get back into my regular routine.
If you've ever attended a Pagan conference or festival, you've undoubtedly had a similar experience. Once you go into the conference, you enter a different space and you encounter a difference sense of time. It is a space and time that is sacred in its own way, created by the intentional consciousness of the people participating in that space, similar to a ritual, but different as well, because you participating in this group consciousness, but it may or may not have required an overt ritual to occur.
I've been rereading The Dresden Files lately and as I've been reading the books I've been paying attention to the rules of magic that are part of that pop culture magic universe. When you practice pop culture magic, its important to pay close attention to the rules of magic within the given pop culture you're working with because those rules apply to the pop culture characters you work with and how they'll help you magically. It may seem odd that different pop culture universes have different rules of magic, or that those rules should even matter.
However they do matter because you're working in a specific context generated in part by the pop culture you work with. And if you want the aid of the characters you work with, you need to respect the context that is part of the mythology you're working in. Let me share an example to illustrate this.
The other day, in the Magical Experiments Facebook group, I asked the members of the group to share with me what challenges they are experiencing in their magical practice. One of the people shared that they were experiencing a slump in their magical practice. It just didn't feel exciting or shiny or magical like it had before. When I read what the person was experiencing, I really resonated with it because sometimes I've felt the same way about my magical practice.
The first time I experienced a slump in my magical practice, I was really surprised at how hard it was to motivate myself to do the daily magical work I'd committed myself to doing. It wasn't just an off day. It stretched into days and then weeks. I was seriously worried that I'd lost touch with the magic.
When you think of the imagination, do you think of it as as a sacred magical expression of your true self, or do you treat it as a childish fancy, something to be boxed away and forgotten? For many people, the answer unfortunately is the latter...they treat it as a childish fancy and as a result ignore its power, to their detriment. For even when you treat your imagination as a childish fancy you are still applying it to your life, but not in a way that truly empowers you. Your imagination is a double-edged sword and if you don't learn how to work with it as a sacred magical expression you'll miss out on applying one of the most potent magical tools you have that can help you transform possibility into reality and align fortune in your favor.
So how does imagination turn possibility into reality?
Belief is a powerful tool in magic, and in spirituality in general. Belief is a funnel for attention and intention. Whether you believe in something because you genuinely believe in it or believe in it for the sake of something you are trying to achieve, belief has a purpose in magical work. I find the following passage to be illustrative of the importance of belief in magical work:
Be it noted that we do not have to believe or disbelieve in the actuality of such inner agencies per se. what we must believe in is the possibility they exist in their own state of being, yet are capable of interaction with ours by unspecified means or degrees...We need not believe in 'spirit' unless we want to, but we positively must believe in our capability of living and behaving as if the energies available to such entities might be employed on our behalf. From Exorcizing the Tree of Evil by William G. Gray
In Pop Culture Magic 2.0 I discuss how to create pop culture systems of magic , but what I thought I would share here is the actual creation of such a system. I'm in the process of developing my own system around the Batman mythology. I picked Batman, because I've always liked Batman and felt a connection to that particular mythology. However instead of starting with the obvious approach of working with the characters of the mythology, I decided to take a different approach.
My initial work has been around connecting with the prominent places in the mythology Batman, starting with Gotham City, but also including places in and around it that factor significant into the Batman mythology. One of my reasons for focusing on the spaces of the Batman mythology is because of how the characters (and the writers of the comic) refer to those spaces as living beings. For example, there are numerous references to how Gotham is alive and how different characters need to be careful because of how Gotham can interact with them. Now this might be meant metaphorically, but what it creates is a mythological narrative around the actual spaces in the Batman mythology and that narrative can be worked with as well as working with the characters. I think it can actually enhance the work you do with the characters in this mythology and would suggest that you can apply this concept to any pop culture system of magic.
I read my first fantasy book when I was 7 or 8. It was The Hobbit and it conjured up a magical world of adventure that I was fascinated by. I didn't stop at The Hobbit. I read the Greek Myths and then I read the Lord of the Rings trilogy and later the Dragonlance sagas. Inevitably my favorite characters were the magicians or the people who somehow or another got some magical object that gave them an advantage in the adventure. As I grew up, I never got over my fascination with magic or fantasy books for that matter. And as I read each book, I thought about magic a lot and wondered if it was real or just some element of fantasy. Yet it was because of fantasy books that I discovered that magic was real.
When I was 16, a fellow student in my high school sat me down and told me about his experiences on the astral plane. He later admitted that he told me his experiences because he noticed I liked to read fantasy books and he was hoping to freak me out. The last thing he expected was for me to ask, with baited breath, if I could learn myself and if there were books on the topic. The next day he brought me a couple books and I eagerly read them and did the exercises, to see what would happen. At last, I had found out magic was real and more importantly that I could do it myself. It wasn't the same magic as what I read about in fantasy books, but it was something and I took that to heart. I read every book I could find and talked with whoever else was interested in the same topics. I tested everything I read, eager to see what I could do and how far I could take it.