A Review of Chrysalis Tarot

Chrysalis Tarot

by Holly Sierra and Toney Brooks

Published by U.S. Games Systems, Inc.

Of all the decks published in 2014, Chrysalis Tarot was the one I anticipated most hotly. I love Holly Sierra’s artwork. Indeed, each of the seventy-eight cards that make up Chrysalis Tarot is a delightful piece of collectible of art.

The deck is medieval and ancient feeling, with pastel colors and many scenes from nature. Each card has an antiqued tan marbled border. When you put the cards together side-by-side, the borders blend in to one another, making a connected picture.

The card images are rich in texture and imagery. The colors and characters are cheerful, but not sticky-sweet.  Some of the scenes are fanciful, but not overly childish. Each image stimulates the imagination and the intuition.

Chrysalis Tarot is a standard-sized deck, packaged in the usual U.S. Games box with a 59-page Little White Book. The cards have a matte finish, and are on quality stock. The card backs are lovely, colorful and reversible, picturing two butterflies; one of the only obvious references to the “chrysalis” title of the deck.

The theme of Chrysalis Tarot is Otherworld Journeying.

The Major Arcana of Chrysalis Tarot belongs to the modern tradition of tarot I call “archetypal assignment.” In an archetypal assignment deck, the deck creator finds characters within a theme to fit the archetypes of tarot. In Kris Waldherr’s Goddess Tarot, for instance, each Major Arcana card is associated with a Goddess. In Lisa Hunt’s Ghosts and Spirits Tarot, each card is associated with a ghost story. Hunt and Waldherr each drew from cultures all over the world to find the right elements to fit the tarot archetypes. Other well-known archetypal assignment decks include Mythic Tarot, by Juliet Sharman-Burke, which uses characters from Ancient Greek mythology, and Ancestral Path Tarot, by Julie Cuccia-Watts, which uses four different world cultures to provide characters for the four suits.

The Court cards (in this deck, the Troupe) are my favorite illustrations. Each troupe character stands in a doorway of sorts. The doorway adds an extra border, which Sierra has decorated with flowers, flourishes and remarkable little scenes.

While the art of Chrysalis Tarot is simply outstanding, and the author, Toney Brooks, is clearly an excellent wordsmith, Chrysalis Tarot is non-traditional enough to present a few problems for some tarot traditionalists. I will be clear about my reaction to these problems in an effort to get Chrysalis Tarot into the hands of the people who will appreciate it, and to save the time and money of those who won’t.

The artist and author of Chrysalis Tarot, Holly Sierra and Toney Brooks, both claim some prior knowledge of tarot and metaphysics. They have intentionally created a deck where few of the old rules apply. Tarot traditionalists be warned, Chrysalis Tarot could make you angry. There could even be some argument over whether Chrysalis Tarot is indeed a tarot deck at all, or whether Diane Wilkes’ term “taroracle” (that is, an oracle loosely based on tarot) is more fitting.

I think there is a value to the study of non-traditional tarot decks. For example, Chrysalis Tarot re-imagines the Page of Pentacles as “The Acrobat.” For me to step out of my tried-and-true idea of who the Page of Pentacles is, and to try to imagine the Page of Pentacles as an acrobat, is a good tarot exercise. Either it will expand my understanding of the card to include these new ideas, or it will solidify my understanding of the card in a way that clearly defines what the card can and cannot symbolize for me.

Toney Brooks and Holly Sierra are working on a full-length companion book for Chrysalis Tarot. This is good news; if any deck ever needed or deserved a full-length book, it is this one.  The ways in which Brooks and Sierra see the cards might make more sense if we had more background information.

Very often in the LWB, the stated key words and interpretations for individual cards are quite different from any classic or accepted meanings in any tarot tradition with which I am familiar. That’s fine, but little effort has been made to explain the inspiration behind the change, or the filter that was used to decide which traditions would be honored, and which would be changed. I am hoping the full-length book will clear up a lot of this for the many tarot traditionalists (like me) who truly want to love this deck.

As it is, I have a very hard time understanding how the Knight of Pentacles could be “spontaneous” and “confusing,” or why Major Arcana 14, Temperance, is called “Golden Flower.” The assignment for Major Arcana 12, the Hanged Man, is “Celtic Owl.”  The owl, in Celtic lore, fits the theme of the deck as a keeper of the Otherworld. I’m not sure, archetypally, if this Celtic owl is an appropriate stand-in for the Hanged Man. Does this owl carry the same energy as Christ on the cross, or Odin on the tree, or yoga, or any of the other traditional associations for this card? I hope the book will answer the many thematic questions this deck presents.

It feels like an oxymoron that the artwork of Chrysalis Tarot is intricate and specific, and the thematic elements of the deck seem haphazard. While many of the characters in the Major Arcana are deities, some of characters are plants and animals that may be specific cultural symbols, but are not explained as such in the LWB. For instance, I had to Google on search terms “Golden Flower”, “Celtic Owl”, and “Divine Child” to make any sense of the Major Arcana at all. I learned that “Golden Flower” is an obscure cultural reference from the I Ching, but I am still not sure why it is the assignment chosen for Card 14, Temperance.

 “Divine Child” for Major Arcana 5, the Hierophant, is another problem for me.. “Divine Child” is certainly an archetype; it’s just not the same archetype as the Hierophant.

Likewise, Merlin and his cat for the Fool (in this deck, the Hero) makes me want to give up and go home. First, yes, technically, the Fool is a “hero” in that he is the protagonist of an epic journey. However, the Chariot is usually associated with the archetype of “Hero”. Generally, the Fool is an explorer. Any heroic actions on his part would be by virtue of being in the right place at the right time, rather than intent. Merlin’s age, and his role in legend, also makes him a poor choice for the Fool, in my opinion.

In the LWB, the first line to describe the card reads, “Merlin’s cuddly cat draws you at once into his mystery and magic.” Sierra and Brooks had all of world mythology, history and literature from which to draw an Everyman character and the best they could find was “Merlin’s cat.”

My favorite assignments are Kali as the Tower, Phoenix for Judgment and Ma’at for Justice (Card 8).  My favorite Major Arcana images are Gaia, the Empress and Golden Flower, Temperance.

The Minor Arcana suits of Chrysalis Tarot have standard elemental associations.  The suits are gently color-coded, which will be a boon for newer tarot students.

 The Water suit, traditionally Cups, is Mirrors. I like the idea of reflective mirrors for Water, although some of the images, though beautiful, are not terribly evocative of their traditional meanings.

For instance, the Ten of Mirrors is a colorful bird with ribbons. Attached to the ribbons are ten mirrors. The key word given in the book for this card is “Peace.” You have to stretch to make a connection with the traditional “love, family, friendship, home” meaning of the Ten of Cups. Those things are “peaceful,” but they are not “peace.” Traditionally, “Peace” is the key word of the Crowley Two of Swords, by contrast. It is many things like this that make Chrysalis Tarot feel a bit intellectually sloppy to me, an unhappy contrast to its precise and detailed artwork.

The Earth suit, traditionally Pentacles, is Stones. The pip Stone cards are quite appealing to me, especially the Four of Stones,  an ornate bejeweled treasure chest, too large to fit through a door, and blocking the path.

The Fire suit, traditionally Wands, is Spirals. The Air suit, traditionally Swords, is Scrolls. I love the art in the Wands suit; Holly Sierra’s style is curvy and curly, with flourishes and details. The spirals feel textured and tactile. What I don’t like about Spirals and Scrolls for Wands and Swords is how very feminine the icons are. Traditionally, the masculine suits have phallic icons for a reason. Their absence weakens the energy of the deck for me.

Not all of the pip cards bear pictures of people. Some are animals, or forest scenes. Each of the pips is evocative enough to tell a story. Sometimes the obvious story easily matches the standard and familiar interpretation of the card, sometimes not.

The Court of Chrysalis Tarot is called the “Troupe”. Each of the sixteen characters has a unique name, like “The Acrobat” for the Page of Pentacles, or “The Sojourner” for the King of Cups. Again, I would love to know more about the process Sierra and Brooks used to find these particular names. My favorite images in the deck are the “Troupe” cards, but until I know the reasons behind their transformation, it is hard for me to embrace them. Many of their names don’t feel like a natural fit for me. For instance, why would a King “sojourn”? I would think, archetypally, “sojourning” would be the realm of Knights.

Chrysalis Tarot will be a wonderful deck for intuitive readers who don’t work with set interpretations, and for anyone who loves beautifully illustrated card oracles.

A new reader could easily work with the LWB and find Chrysalis Tarot a wonderful tool for divination, magick and personal growth. However, they would not be able to make an easy leap to any standard tarot deck without having to learn the traditional tarot associations.

Serious tarot readers may love the artwork enough to ignore the smarmy teardrop on the Sun (and many other annoyances) and find ways to work with Chrysalis Tarot. I’ve already done a few successful readings with this alluring deck.

Chrysalis Tarot is the perfect tarot deck for someone who doesn’t completely resonate with tarot, but wants a structured card oracle.

This deck proves it possible to love tarot and not care at all about the archetypes, just as it is possible to love tarot and not delve into the Kabbalistic or astrological associations. If you aren’t attached to the tarot archetypes, and don’t use them in your readings, you will very likely love Chrysalis Tarot.

Tarotists who work with archetypes may wish that Sierra and Brooks would use their astounding talents to create a tarot deck that more fully respects time-honored tarot traditions, or that more clearly and understandably defines a new tradition.

Chrysalis Tarot has enough substance to make you think. Some folks will enjoy the pretty pictures, some will get angry about the blatant disregard for tradition, and some will enjoy the opportunity to stretch a little.

Watch the video to see the deck images.

Christiana Gaudet Reviews Chrysalis Tarot

Video of Christiana Gaudet Reviews Chrysalis Tarot

A Vision Realized: A Review of Oracle of Visions

Ciro Marchetti’s “Oracle of Visions” has been in my personal vision since before his completion of the original project.

I have been a Ciro Marchetti fan since Gilded Tarot was first released. I met Ciro first when he graciously invited me to his home to interview him about his then-forthcoming “Legacy of the Divine Tarot.”

I invited Ciro to speak to my Tarot Meetup in West Palm Beach. At the time, we were a group of rabid tarotists who wanted to hear about his work as a tarot artist. Ciro complied, but was most excited to share some images from his new project, an oracle deck.

At the time, I had no interest in non-tarot oracles. I like the structure of tarot, its history, its correspondences, its archetypes. A tarot deck feels to me like a complete guide to human existence. Most oracle decks feel like an incomplete and random subset of possibilities. Most tarot images make sense to me. Many oracles seem contrived. Why is this angel the symbol of hope, or that unicorn the symbol of power? For me, the operation of an oracular device is random, the design of it should be anything but.

I was prepared to politely admire Ciro’s oracle images, and then turn the discussion back to my favorite topic; tarot. What happened surprised me.

Ciro’s oracle images spoke to me. I mean, they really spoke to me. They made me feel things more deeply than I would have imagined. There was one image in particular that gave me a visceral response. I began to anticipate “Oracle of Visions” as a new and unique device, rather than just another deck of pretty pictures

As Ciro worked on the accompanying book for his oracle, he invited Mary Ellen Collins, Garnet Schaeffer and me to the lovely home he shares with his talented wife, Maria, to play with his prototype deck and help him organize his thoughts for his book.

I know Mary Ellen and Garnet were just as thrilled as I to be some of the first people on the planet to work with the “Oracle of Visions.”

Ciro Marchetti first released “Oracle of Visions” as a self-published collector’s deck. I am happy to have a copy of that edition. I was curious to see how the newly published U.S. Games edition of “Oracle of Visions” would compare with the premium self-published edition.

I’m happy to report that the US. Games version of “Oracle of Visions” is delicious. It’s a smaller package than the collector’s edition.  The deck and book come in a lovely, premium-quality box with a lift-off cover.  The 140-page booklet fits snuggly in the box. The 52-card oracle is essentially the same as the first edition, except that the card edges aren’t gold.

To those folks who have already purchases the collector’s edition, here is my advice.  Pack your collector’s edition away for safe-keeping. Get a copy of the U.S. Games edition and let yourself play with these fabulous images, without having to worry about keeping them in pristine condition. The fact is, “Oracle of Visions” contains some of the most evocative images you will ever have the pleasure to explore.

“Oracle of Visions” separates itself from most original oracles in a number of ways. First, of course, it contains the inimitable artwork of Ciro Marchetti. Second, there is nothing preachy, religious or dogmatic about “Oracle of Visions”. 

In the design and production of three tarot decks, Ciro Marchetti learned a great deal about tarot tradition and the structure of tarot. He also learned that we tarotists can sometimes cling to our own understanding of a card, unwilling to stretch to see someone else’s vision.

“Oracle of Visions” is a remedy to that, just as it will be a remedy to any situation where we allow ourselves to be limited by dogma, expectation and self-imposed barriers. “Oracle of Visions” is aptly named in that one of its major functions is to allow each seeker to find their own vision within the intricate images.

The cards are large, with a black and gold border. Each card is numbered at the top, and has a stylized “OV” for “Oracle of Visions” at the bottom. These are the only writing on the cards. Each image is symbolically and graphically rich, with many opportunities for interpretation and introspection.

The book offers key phrases, descriptions and possible interpretations for each card, along with a quotation that seems to match the energy of the card. I like the scope of the quotation sources; they include everything from Charles Darwin to Cat Stevens.

The book includes some ideas of ways to work with the “Oracle of Visions”, as well as some of Marchetti’s thoughts about his journey to create this oracle.

In the card interpretations themselves, as well as the ways we can use the cards, Marchetti’s goal for us is that we be flexible, intuitive, open and exploratory There is no history, there are no traditions, and there are no sacred mysteries in the “Oracle of Visions,” except the ones we find for ourselves.

As I look through my new “Oracle of Visions”, I come to the card that first spoke to me. It’s card 24. The Key phrases for this card are “Letting Go” and “Offering a Way Out.” When I look at this card now, it is as if I were looking at a younger picture of myself, taken during a difficult time.  I have grown, healed and changed since this card first spoke to me. I think some of that healing came from my connection with this image.

Now, I am still grateful for this image, but it no longer pulls at me. I look through the deck again, to find a card that speaks to me today – a card that can help me heal and grow today. I know that random draws with “Oracle of Visions” can be very insightful, but today I want to choose a card visually, rather than at random.

The image that pulls at me today is card 3.  The key phrases are “Dreams,” “Meditation” and “Spiritual Escape.” As I read further, I see that the rich imagery in the card – the frog, the fish, the bird, and many other symbols, are not there on a whim. Each is a symbol of dreams. Marchetti draws on a variety of cultures to include symbols, archetypes and sacred images. I am sure these images impact us on a metaphysical level, as well as simply visually.

“Oracle of Visions” will be a great addition to any collection. It separates itself from many oracles in that this deck could be a gift for anyone who appreciates art – regardless of spiritual or metaphysical inclination.

The uses for “Oracle of Visions” are limited only by your imagination. When chosen either randomly or cognitively, these cards can provide spiritual guidance in divination and introspection. They work equally well as creative prompts. I can imagine using them in meditation as well.

Now that “Oracle of Visions” is available through U.S. Games I will be very excited to see the ways intuitive, spiritual and creative people find to weave this tool into their practices.

Check out my video review to see this wonderful deck in action!

Christiana Gaudet Reviews Oracle of Visions

Video of Christiana Gaudet Reviews Oracle of Visions

A Hardcore Tarotist's First Lenormand: Under the Roses Lenormand

I’ve been a tarotist for nearly thirty years. I am holding my very first Lenormand deck in my hands today. Well, that’s not quite right. What started my journey into card-reading originally was the Lenormand-based “Gypsy Witch Fortune Telling Cards” that Santa brought me as a curiosity when I was eight years old.  It was those cards that first showed me the truth inherent in oracular divination.

My first Lenormand is “Under the Roses Lenormand” by Kendra Hurteau and Katrina Hill, published by U.S. Games Systems, Inc.

The ‘”Sub Rosa” theme speaks to me. We can use the cards to create a sacred space where secrets are revealed. The rose theme plays into the lovely artwork of the deck.

The deck is the size of a small playing deck. There are thirty-nine cards and a Little White Book (LWB).

The LWB is clear, concise and informative. Within just a few minutes I was able to do some basic self-readings.

The thirty-nine cards include the thirty-six card deck, along with an alternate Gentleman, Lady and Child.  The second set of characters offers a choice in the characters’ ethnicity.

It’s no secret that European cartomancy, both tarot and Lenormand, can be rather classist, racist and sexist. Modern tarot artists and authors have made a real effort to allow tarot images to reflect all people and to depict relatable culture.  It’s nice to see this happening in the Lenormand world as well.

One of the first things we are instructed to do in the LWB is to choose which of the Ladies, Gentlemen and Children we will use. At first choosing between the black people and the white people felt a little forced, and even a little smarmy to me. It reminded me of the Lovers card choices, one lesbian and one sort of androgynous couple, in the ground-breaking “Daughter of the Moon Tarot.” Certainly anything that makes an effort to make cartomancy images more inclusive is a great thing. Some attempts just seem a wee bit clumsy to me.

Then I decided I was overthinking things. I looked at the two Child cards. Based purely on aesthetics and vibes, I chose the child with the yellow dress. Then I looked at the two Lady cards. I choose the Lady who was holding a rose. One of the two Gentlemen looked a little emo to me. I chose the other guy. Suddenly the cards looked very much like my own family – a hodge-podge of cultures and ethnicities. Then I saw the wisdom in offering the alternative card choices. The deck already felt more personally attuned to me.

An early lesson I learned from “Under the Roses Lenormand,” then, is this.

Not everything has to have grand socio-political implications. Sometimes you just have to look at the pictures.

Lenormand decks are typically visually different from tarot.  The Lenormand structure is based on a subset of a playing deck. In many cases, Lenormand cards feature the suit icons in the appropriate number, as well as the card name and some image associated with the name. In “Under the Roses Lenormand,” the number and suit icon appear in a small box in the lower right hand corner of each card.  Card numbers one through thirty-six appear in a circle in the upper left hand corner of each card.

“Under the Roses” is beautifully illustrated. Lenormand images are traditionally simpler than tarot images.  The “Under the Roses” images are lovely and evocative. As the LWB tells us, Lenormand is typically read analytically, rather than intuitively. However, the images of “Under the Roses Lenormand” have enough depth and texture to stimulate the intuition.

The cards are colored in brown and beige tones. This makes them look deliciously old-fashioned. The art has a Victorian feel. Some of the cards are significantly more colorful than others. The Dog is adorable, looking cuddly with a rose in its mouth. The Whip is a sexy redhead in a corset.

The card backs feature a red rose, stylized with curly-cue vines.

I had already done several practice readings, following the directions in the LWB, when I noticed that in the background of each card, in very light scroll, are key words. This is brilliant. The key words are not visible enough to be distracting, or to limit the deck’s usefulness. But, for a Lenormand beginner like me, they are certainly helpful.

The LWB offers small two-and three card spreads as a way of teaching card-combining, which is a cornerstone of Lenormand interpretation technique. The LWB also includes instructions for more complex spreads, such as the traditional Grand Tableau.

I can already see ways in which Lenormand cards could fit into my divinatory practices, both personally and professionally.

It’s evident that Lenormand is here to stay. I’m looking forward to a lot of great new Lenormand offerings over the next few years. No matter how many wonderful Lenormand decks are published, I believe that “Under the Roses Lenormand” is destined to become a well-loved classic, and one of my favorite divinatory tools.

Christiana Gaudet Reviews Under the Roses Lenormand

Video of Christiana Gaudet Reviews Under the Roses Lenormand