A Very Old Tarot Spread

I am an active member of the Aeclectic Tarot forum, where I take part in a number of remote reading exchanges on a regular basis, where we do readings for other members of the forum whom we haven't met and often whose "real" names we don't even know. And they work, and provide pertinent, relevant information, quite specific to people's individual situations. There are a few circles that I enjoy taking part in regularly, and just in recent weeks  have started taking part in a Tarot de Marseilles exchange circle.

In this exchange we use Tarot de Marseilles style decks: decks with older-style artwork reminiscent of woodcuts, with unillustrated Minor Arcana cards. And it was suggested this week that we use a very old spread.

To quote the attribution of the documentation concerning this spread, I go to a member of the forum that I know as Le Charior, who says: This spread comes from an essay called "Du Jeu des Tarots", published in 1871 in the eighth volume of "Monde Primitif, analysé et comparé avec le monde moderne (The Primitive World, analyzed and compared with the modern world)" by Court de Gébelin. The author is the given as M. the C. of M., and has been identified as Louis Raphaël Lucrèce de Fayolle, the Comte de Mellet.

The actual document being quoted reads:

"... VI
Way in which one proceeds to consult the Fates.

Now let us suppose that two men who want to consult the Fates, have, one the twenty-two letter cards, the other the four suits, and that after having shuffled the cards, and each having cut the cards of the other, they start to count together up to the number fourteen, holding the trumps and the lesser cards in their hands face down so that only their backs are visible; then if a suit card turns up in its natural place, that is, which bears the number named, it must be put aside with the number of the accompanying letter card at the same time, which will be placed above: the one who holds the trumps places this same letter there, so that the book of Destiny is always in its entirety, and there is, in no case, an incomplete sentence; then the cards are mixed again and again receive a cut. Finally the cards are run through to the end a third time with the same attentions; and when this operation is completed, it is a question of reading the numbers which express the accompanying letters. Whatever happiness or misfortune is predicted by each one of them, must be combined with what the card announces that corresponds to them, in the same way that their greater or lesser power is determined by the number of this same card, multiplied by that which characterizes the letter. And for this reason the Fool which does not produce anything, is without number; it is, as we have said, the zero of this calculation. ..."

I used this spread for the first time, not having tried it out first, in an exchange. My exchange-partner had requested a general overview of what they might expect in the upcoming year. As I was using a very old spread, arguably the oldest recorded, it tickled me to use the newest Tarot de Marseilles in my collection (I have several of that style of deck), one designed by Major Tom Schick, that I reviewed once here. It seemed to me that there was an ironic symmetry in doing that, combining an old spread with a new deck

I separated the Trumps, or Major Arcana cards from the Minor Arcana or pip cards, and placed both piles face-down on the table in front of me, the Majors near my left hand, the Minors near my right hand. And I selected my pairs this way: counting one-to-ten for the numbered cards, then eleven to fourteen for the Court Cards (practically, one to fourteen), I turned over the cards one by one with my right hand so that I could see if they matched the numbers I was counting aloud. At the same time, with my left hand I'd move one Major Arcana card at a time from the pile on the left into a new pile.

Four times through the deck, I found that the Minor Arcana that I turned was the same number as the number I was calling, so I would put it aside as a part of the reading I was about to do, along with the Major Arcana card taken at the same time from the other pile.

Four pairs, eight cards, each, comprised my reading for this person. I don't propose to tell you what I said to them in any detail because all of my readings are between the client and myself only, but I'm happy to discuss how I came by what I said to them. I was laying them out with the Major of each pair to the left, the Minor to the right, the first pair on the top, then below it the second, etc, until the fourth pair was the one on the table closest to me.

The first pair was Strength and the Nine Cups. I was struck by how tranquil the Nine Cups looked, and how both the lion's and woman's bodies were pointed towards it, but how the woman's eyes seemed to be looking elsewhere, and how I felt about her glance on that particular occasion. I made some quite specific statements about how I felt that these impressions related to the life of hte person I was reading about.

The next pair of cards was the Devil and the Knight of Wands. I was immediately struck by how the Knight, whom I felt symbolised my client, and his horse, were moving towards the Devil, but how the heads of both the horse and the Knight were turned away, as if suddenly considering other options. And how smug and self-satisfied the two minor minions harnessed to the Devil were, as if some unpleasant, dangerous entity actually made its victims feel as if they were being protected by it. From this I drew inferences about forces in the client's life that might have tempted them into feeling safe when they were anything but safe, and how if they looked at other options they might find a path forward that was a much better option for them. I also felt that I should relate this to a particular area of their life.

The third pair was Temperance and the Two Swords. Immediately, the Two Swords looked like an enticing option again, with bright colours and interesting curves, but very hot and fiery and with sharp blades, whilst Temperance, involving pouring water, bare feet and muddy earth, looked like childhood games involving mud and water. Here, I related my impressions to the client again, with advice to consider whether the dangers of more glamorous alternatives (the Two Swords) were worth it, compared to the safety and child-like simplicity that Temperance seemed to offer in their situations.

The last pair was the Fool and the Five Swords. The Fool was walking towards the Five Swords, on a journey, whilst the configuration of the card made me think of a gateway or passageway towards the future, guarded or possibly blocked from conventional approach. All the unconventionality of the Fool card, I suggested, would be needed for the client to be able to move freely to their future direction.

A lot of people I know, some whose reading abilities I respect very greatly, don't seem to be able to read easily with unillustrated pip cards. I can. I found them hard initially, but these days I find them as easy or even easier than reading illustrated cards with all sorts of visual cues on them. Why?

Largely because they don't have a lot in the way of visual cues. They have colour and basic emblems, which can set mood and tone, but they leave your mind free to follow an intuitive path instead of being nailed down to the mindset of the artist who designed and illustrated the deck. I find if I have a lot of mental activity going on, such as may be triggered by strictly "memorised" rigid meanings for cards or by images that presuppose one major quality for each card such as family happiness, dishonesty etc, these ideas forced on my mind can overrise the intuitive urge to find individual meaning in a card as it falls in that one reading that one time.

So I have learnt to trust my impulses and follow that tiny inner voice, which is much easier with decks that have little or no visual imagery and symbolism to work with. And I believe that I do highly individualised readings specific to each and every client's situation, looking not only for the pitfalls in their situations but the actions they can take to avoid them, and looking not only for the potential in their situations, but for the affirmative actions they can take to make the most of them.

I believe every reader should do that for every client, to the very best of their ability. And this very ancient spread worked so well when I was so inexperienced at it, that I will be using it a lot and mastering this new technique of having no positional meanings for cards at all, but relating a Major Arcana card to a Minor Arcana card in locked pairs, as many or as few locked pairs as the "random" system of counting produces after a good shuffle.

I have done many fulfilling readings recently, where I have seen face-to-face clients sit down with anxiety in their faces and leave with relief and gratitude in their faces, but this one reading, using so unusual a way or laying out cards, was the most personally fulfilling and exciting reading I have done for a long time.

Sanitising Your Tarot Deck

Someone recently asked if it was a good idea to sanitise the Tarot deck before use, to remove "negative" cards. The following represents my thoughts on the subject:

Nope. Not for the very young, not for the very old.

As to "sanitising" the deck to make all the readings happy-happy-joy-joy, well, you might as well buy a Doreen Virtue deck and have it done for you before purchase, if that's all you want from a reading.

I've had a number of traumatised clients (and seen a number of internet discussions from people who had been throught the mill), who uniformly said they didn't like happy-happy decks that didn't reflect reality.

Every time I read for somebody, I set about discovering people's problems and bringing them to their notice - then set about finding potential solutions so that they can repair their lives. With a deck that has had cards like Death, the Devil and the Tower removed, I simply couldn't function to help people. I'd have to talk meaningless puff, as some other readers I know do.

This means that, in the absence of being able to truly identify people's problems, I can also truly identify no cures, no courses of action that they can take to change things for the better.

I did a reading just today for someone in late middle-age who had very severe problems. If the only cards my deck had to offer were all happy-happy-joy-joy cards, I wouldn't have been able to detect what was really happening for them in their life, nor the emotional impact that was having on their inner world. Without that information, I would have been able to make no constructive suggestions, specially as so many of these so-called "negative" cards hold within themselves hints to their own solutions.

Do people really want readings that change nothing and don't help them? I don't think so. At the end of the reading, this person left, giving me a hug and promising to come back and let me know how things play out after they put into action some of the suggestions that the reading brought out. I simply couldn't have said anything important or helpful today if my deck had had its teeth pulled.

13th May, 2011

This video aired on 13th May, 2011, on ABC-1, an Australian TV station. It was a part of their regular programme, "The Collectors". We had enormous fun filming it - the whole story from the very beginning can be found here.

Review: The 7th World Tarot Deck

Title: The 7th World Tarot Deck
Illustrations by Terry Whidborne
Booklet written by Debra-Mary MacInnes
Website: http://www.the7thworld.com/

After the episode of "The Collectors" featuring my Tarot collection was aired on ABC-1 a short while ago, I was contacted by the creator of this deck, who was happy to give me a copy to keep in my collection. Self-published in a print-run of just 100 copies, it has not found distribution outlets or a mainstream publisher yet, and I think it richly deserves to find an outlet, plus mass-publication.

The deck as it is in this first print-run, is presented in a simple white box with no artwork, sealed with stickers on which the title of the deck, contact details and a simple logo of a bug with outstretched wings are printed very simply and plainly.

 On opening the deck, I was pleasantly surprised to find that the Minor Arcana are the first cards you see, with the Major Arcana at the rear of the deck. For some reason which I haven't really analysed yet, this pleased me greatly; it's as if the deck doesn't need to show off its more glamorous side to attract one in the first place.

And overall, it is an attractive deck. The cardstock is sturdy and gently laminated, and its new-deck-smell is different to the variety of chemical smells that most laminated decks gas-off, instead smelling refreshing and somewhat citrusy. The backs are a simple design in red-ochre, yellow-ochre and black featuring that same bug, in the manner of a woven mat, and are warm and appealing.

Throughout the deck, Majors and Minors all have a broad, elaborate border in ochres, yellows and browns, with a scorched and slightly fantastical edging, placing the image at one remove from the observer and set deep within their own world.

The Minor Arcana cards are unillustrated but subtlely decorated, allowing one's intuition more free rein than illustrated pictures do in my opinion, as the observer is not locked into the artist's idea of what the card is about. Wands feature freehand-drawn rods with a burst of ripening grain at the end, simple and more appealing than if the artist had used a ruler to make them perfectly straight. Swords feature a simple, double-sided blade with a basic hilt and a spiral handle forged from the same piece of metal, again drawn freehand. But attractive as these suits are, Pentacles and Cups are where the Minors come into their own. Cups feature cafe-style coffee-cups. I don't know why that surprised and pleased me so much, but it really did. It's as if this deck is more down to earth than decks with showier goblets. And Pentacles are a brown circle, infilled with yellow-ochre, centred with a four-petalled purple flower with a red centre. The floral nature of these Pentacles again veers away from the showy, ceremonious nature of many other Pentacles, towards an earth-based, fertility-based idea, bedded deep in the colours of the country the deck was designed in.

The Court Cards are reversible, busts of individuals usually seen in profile around the symbol of their suit, rather like the court cards in playing decks. Unlike playing cards, though, there is plenty to go on in the expressions and postures of these people to give you divinatory clues. What I like is the cohesiveness of the Court Card characters: cards like the Queen Pentacles and the Knave Pentacles (this deck has Knaves instead of Pages) could be members of almost any race on earth, cards like the King Wands could be anything from Asian to Native American, while the King Pentacles is unashamedly Aboriginal - yet all of the faces, different though they are, seem to come from the same reality the same culture, even the same race - Human.

Along with the reversible, mirror-image Courts, there is something else marrying this deck to commonplace playing cards - the two Jokers. Yes, we have an eighty-card deck here, with no title cards but instead two Jokers. They are identical - I am not even going to begin to describe this card to you - it looks different every time I see it. Needless to say, in my copy and my use of it I'm treating it as a twenty-third Major Arcana card, and leaving both of them in the deck. I've often thought that the Fool card as we experience it in most other decks should really be two separate cards: one indicating the beginning of human consciousness, ignorance, the start of the learning process, and another indicating a state of being experienced but being untouched and uncorrupted by the world. In my own deck which I haven't found an artist for yet, I call the former "The Barbarian" and the latter "The Jester". In this deck, they are The Fool and the Joker, and the cards work well on that level.

In the Major Arcana the range of humans we see in the Court Cards gives way to the non-human, undeniably removing us from the day-to-day and dumping us slap-bang in the middle of the archetypal. Throughout, the "human" roles in the Major Arcana are filled by skinny, long-limbed, floppy-eared, cherry-nosed Tolkienesque earthern-folk who are really very appealing.

Cards I am particularly drawn to? Justice is naked and evidently male, blindfolded and balancing a Sword on his forehead, pieces of a broken yin-yang symbol spinning on strings from its hilt. The Hanged Man is a marionette, hung from strings attached to his elbows, knees and pointy hat. Death is a fantastical crysalis with teeth (and an overbite), with a fat, juicy, delicious moth hovering in the background. The Tower is an unstable stone structure balanced on a wagon and a fork, tipping and crumbling. The Star is an Edward Lear-like bird on a bicycle with a Star on a stick. The Hierophant is old and eccentric, standing on a book and wearing a Papal mitre. The Lovers are Zaphod-Beeblebrox-like: one body, two heads. The Fool is prancing and playing his stick like a flute with his long fingers. The Hermit reverts back to the original concept of Father Time for this card, standing on a clockface and carrying a scythe from which, yes, a lantern dangles, but a double-ended two-candled lantern recalling the shape of hourglasses.

Cards I dislike? It would be hard to name one. Perhaps I am not so fond of the fairly conventional, cutsie dinosaur used in The Chariot, but even that card is attractive in its own way. This is a deck that has a great deal of charm.

I have only had my copy a very short time so far, but I am finding that each of the images gets deeper and more meaningful every time I look at it, which is what you want from a divinatory tool. This is a worthy deck, and I am proud of the fact that it was developed in my country, Australia, and while not labouring its Australianness, has a feel of red earth throughout.

I hope that in the very near future, Terry is able to find a conventional publisher for this deck, as it is a deck that will appeal to many, many people from all over the world and deserves very wide distribution.

"But you Already HAVE a Tarot Deck!"

Some time ago, a friend of my teenager stayed with us for a week, and during that week her mother, a friend of mine, took me out and bought me a carload of groceries - her way of saying thank you, I suppose.

While we were at the shopping centre I went to the post office there, because I was expecting a parcel crammed full of Tarot delights from these people. Actually, I wasn't - most of the delivery had already happened, but one deck had been omitted and sent on later, and that was what I was waiting for.

So my friend M. and I went to the post office, she waited outside and the smiling guy there handed over my parcel to me. As I walked out of the post office to met up with her again, I was jumping up and down, saying "My parcel's arrived! My parcel's arrived!" And before I was even two or three metres (yards) from the door of the post office, I was chewing through the tape at the corner of the package - it was very, very well taped up indeed - trying to get into it.

My friend laughed at me. "Calm down," she said, "you'll soon know what's in it."

"Oh, I already know what's in it," I told her, "it's a Tarot deck."

She looked at me, completely confused. "But you already have a Tarot deck, don't you?" she asked. She simply couldn't wrap her mind around my wanting another one.

I was floored. Didn't she understand? As a Portuguese Tarot collector and friend of mine said, and I quote: "Ive already got a book in my house, but - oddly - keep buying more too. Insane isn't it? Ive also already got a CD and keep buying more of those too. Just can't control myself."

M. is a literate, educated woman, and has plenty of books. She also has more than one outfit that she wears - I've seen her in several, over the years, and I'm willing to wager she owns more shoes than I do: I have one pair of sandals, one pair of runners and one pair of black shoes "for good". She probably has several pairs of earrings, too, or necklaces, although I've never really noticed jewellery on her - I know I have a lot more jewellery than I ever actually wear. She probably even has more than one saucepan, or more than one knife, fork and spoon.

So why should one Tarot deck be enough?

Another person I know in the same discussion, said that her husband used to ask her why she needed more than one Tarot deck - right up until she asked him why he needed more than one camera. Apparently he shut up completely, and hasn't bothered her since.

Different Tarot decks have different artistic styles, and let's face it, the more diverse the collection of art you feast your eyes on, the more content and developed your inner self is. They also have vastly different feels, and put both you and the client in different moods.

A Tarot deck is like a book: every time you pick it up, it tells you a story, a story of greater or lesser complexity. A collection of Tarot decks is like a library: a book for every mood or stage in your life, each one another step on the path of your enjoyment in life and your quest for self-education. And they are things of beauty: a Tarot collector can be both a serious reader and a butterfly, flitting from one glorious flower to another of a different colour, size and shape, and with a different perfume.

But it's not just people who are not involved in Tarot themselves, M's attitude can also be found in people who are involved in Tarot. I have a local friend whom I occasionally swap readings with, not because I really need her to give me readings, but because she needs the practice adn doesn't get as much opportunity as I do, and I'm very happy to give her the chance as well as giving her a reading. She reads with quite a well-known deck, the Mythic deck, which was the deck that was used in the Tarot course she took many years ago.

The teacher of that course taught her a number of things that are hard to un-teach: that Tarot is dangerous and you need "protection" from it in the form of Christian prayers (Tarot is just cardboard and ink - any "danger" is from your own mind and in your own mind), and that no other decks work, the Mythic is the only one that works, and if you use other decks your bond with it will weaken and you won't be able to read with it any more.

This is completely untrue, and almost as laughable as the "dangerous" thingie. Like everyone, I bought one deck first, and learnt on it, But I found that every time I bought a new deck and familiarised myself with the new images and the new ways of thinking and feeling that those images triggered, my knowledge of general Tarot got deeper and more complex. I have around a hundred decks now, and I know and love all of them - and can tell you at a glance what deck any randomly card came from - and each of them have added to me, to my knowledge and abilities.

The last couple of times this friend and I did a swap, she commented on how deep and incisive my readings for her are, while she seems only to skate on the surface of my life when she reads for me. And how do I manage it, seeing as I (deliberately) use a different deck for her every time? It's because a wide range of decks has given me a greater opportunithy to develop and grow as a reader.

And aside from all of this, there's another strong reason in favour of collecting decks. Imagine you were vsiual, and you liked to look at lovely and/or interesting art, art that engages. How many pictures could you fit on the walls of your house? Five? Ten? Thirty-five? Maybe fifty if you're in a biggish place and they're smallish pictures?

A single Tarot deck contains (usually) seventy-eight images, and in many decks they are high art, complex art, satisfying art. I routinely carry two decks in my handbag, and often a third or even a fourth. I keep another half-doxen or so in my Tarot Readers Kit Bag. Which means that at least eighty sit in a large wicker basket on a small shelf. I go through the basket regularly, pulling out decks and revisiting their images with pleasure and delight.

If every deck had exactly seventy-eight images (they don't - some have one or more extras) and I had exactly a hundred decks (I don't - I have either ninety-eight or ninety-nine), then that is seven thousand, eight hundred individual works of art that I manage to fit into a very small house. Many significant public collections of art don't contain as many works of art, and most don't display all of their possessions, keeping much of their collections in storage and rotating it pretty well as I do.

So for those of us who are not billionaires and don't have houses as long as shopping centres to hang paintings in, Tarot collecting is an economical and space-efficient way of collecting art, collecting satisfying visual treats that will give you joy for the rest of your life.

The Question of Beauty

Recently, some other collectors and I were discussing "beautiful" and "ugly" Tarot decks. I was immediately uncomfortable with the discussion, and withdrew fairly soon. Why? Because humans are creatures of pattern. What they do one day, they'll do another day, What they do in one part of their life, they'll do in another part of their life.

Beauty in Tarot decks is often judged to be a matter of colour, precision of line, proportion, balance. Beauty in people is often similar: we are genetically programmed to look for symmetrical features and bodies because some genetic weaknesses produce a decided lopsidedness, and in addition to that, we have different cultural/racial standards of beauty in the shapes of features and bodies, and the proportions between them.

Yet I've lost count of the conventionally attractive people - men and women both - who are rotten to the core, who ride others and use others because they have a blythe confidence that if one relationship or friendship ends they can pick up another based on their looks and their smiles. I've also lost count of the scarred, the disfigured, the deformed and yes, the smelly also, who have big, warm hearts and would do anything for anybody.

Of course people are people, and good-hearted people and bad-hearted people alike can be found in all degrees of physical attractiveness, which leads me to believe that we shouldn't judge people on their appearances at all, but more on their behavour and on what they say and how they say it.

Getting back to Tarot, I don't like to judge decks to be "ugly" or otherwise. If you judge decks to be ugly and therefore somehow lesser in worth, perhaps you will one day judge people to be ugly and therefore somehow lesser in worth. And let's face it, no matter what we look like on the surface, no matter what cards genetics - or disfiguring accidents - have dealt us, we all have the same feelings and the same inner value.

Even as a very young child I was enormously uncomfortable with the tradition of fairy tales to describe heroines as "beautiful" and rescuing heroes as "handsome" - I felt beautiful on the inside, but every time I came across a mirror, I got a shock. Likewise, I hated and still am uncomfortable with Dickens, whose goodies are unblemished, and whose baddies are always scarred and limping from the rough hand life has dealt them - not in my opinion a qualification for evil, although Dickens obviously thought so.

By criticising and dismissing ugliness in inanimate things, we unconsciously make it easier to criticise and dismiss ugliness in people. I judge Tarot decks on appearances when I am reading for strangers - it really helps to have a variety of "attractive" decks on the table as well as some good old workhorses and one or two historical decks - but there are some pretty decks I just don't use - I own them in my collection and I have used them, but no matter how easy on the eyes they are, they have little depth and subtlety and give inferior readings.

And in my own collection and for my own use, I have some ugly ducklings. They read surprisingly well, and many of them are bizarrely appealing because of their ugliness, because they are interesting and intriguing. Should I judge them to be inferior to an airbrushed, glossy, colourful confection that skids along the surface of Tarot and life?

I think not. Nor are all my friends - or even the person I currently have a crush on - all page three model material. Magazines full of beautiful people don't interest me - vital, alive, intelligent, compassionate, real people do. Tarot decks that are pretty don't interest me - Tarot decks that are interesting and work well do.

It's about time we grew up and stopped programming our children from the earliest of ages via fairy stories, cartoons and the like, to value some ideal of physical beauty, and think about beauty of the soul.

The Perils of Reading Tarot

I had a strange client yesterday. He started ringing me last week, and since then has rung me several times a day. I stopped taking his calls, although he said nothing worrying.

This morning, on an impulse, I took his fifth or sixth call for the day, pretending I didn't recognise the number and answering it as I would a call from an unidentified number.

He said we spoke last week about a reading, and did I remember. Did I what. I said yes, and let him book me. What the hell, I needed the money. I had a girlfriend's car for the week - but do you think I could find my trusty local street directory?

So I went to Google Earth - which took time - and downloaded the directions from my address to his. Then I looked at them incredulously: they made a long, winding route out of getting from my place to the local bridge which I already knew I'd have to cross. I went the ordinary way as far as the bridge, then followed Google, word for word. When I was far from home, I sensed my client was nearby: I've been navigated UP the back-streets, to have to come DOWN the major roads to find him. In the meantime, I conferred with veterinary surgeons and boatbuilders to confirm that I was, actually, pointed the right way.

Got there at last, three minutes late. Parked, grabbed my Tarot-stuffed bag, walked to the house - I make a policy of never parking *right* in front of a client if I don't have to - I may want to sit in the car and scream for a while before I'm fit to drive.

The house smelled of unostentatious money, and had a car that also smelled of unostentatious money parked in the drive - not a four wheel drive, which is a good sign in a client. Oh well, at least I'd get paid - why hadn't I quoted him ten dollars more, was my thinking.

Walked up the path. The screen door was shut, but the main door was open. Before I had a chance to knock, I saw my client.

Or rather, his buttocks.

In a nice foyer with what looked like white marble tiles on the floor, a hairy arse in a black g-string was pointed straight at me. His posture was exactly that of a Moslem on a prayer-mat - but without prayer-mat, clothes, or any hint of devotion.

Now, to me, black G-strings, especially on males, speak of BDSM, specifically subs. My first thought was: what kind of a service did he think Tarot readers offered? I didn't feel threatened - I was just amused and caught off-balance.

I knocked; he jumped up, covered himseslf with a towel, apologised profusely, let me in, and went to get clothes on. I came in, happy that he hadn't shown signs of locking the door, and making sure I had it in my line-of-sight the whole time.

I waited, and glanced at the floor he had been addressing. No household Altar. No stain he might have been scrubbing, or scrubbing-brush. No hint of why he might have been folded up, arse-uppermost, on a cold tiled floor.

When he came back he was dressed unostentatiously in neutral clothes, and seemed like a quite personable 50-something guy. He was polite and respectful, and still quite apologetic.

He had concerns about something happening in his neighbourhood that might at some stage concern his children, who were at a vulnerable age, and the reading centred around it. Of the decks I brought with me, he surprised me by choosing Luigi Scapini's Vetrate deck, cultured and beautiful. The cards were quite talkative, and addressed his concerns first superficially, then in some depth.

He was happy with the reading, which had some advice-cards in it, and paid up. As I packed up and rose to leave we were chit-chatting around the reading, and he was apologising once again for how I found him (really - he knew when I was due, and I was slightly late, does he own no clocks?). I repeated a precis of the advice cards, and added an extra word of advice with a smile on my face: next time you book a Tarot reader, be careful how you're dressed!

The reading was unremarkable, but the context it was wrapped up in was so unusual that I think I won't forget it for the rest of my days. What the -

My collection

A little bit of local press coverage can be found here. And some pics can be found here as well. Have fun, people.

It's funny how things change: you talk to a journalist, the years you've been reading get changed (I would have said around thirty) and there's just a slight twist in tone. Still, c'est la vie, c'est la guerre, c'est la pommes de terre.