Category Archives: Skin Spirits

Updated Editions of Early Books Now Available!

I am pleased to announce that I have released updated and annotated editions of my three earliest books: Fang and Fur, Blood and Bone; DIY Animism (formerly DIY Totemism); and Skin Spirits! These were originally published between 2006 and 2009 by Megalithica Books, an imprint of Immanion Press. My parting with them is on good terms, and I highly, highly recommend them for anyone wishing to go the small press route for either sci fi and fantasy fiction, or pagan and occult nonfiction. I’ve just been moving more toward self publishing for the bulk of my works in recent years and was given back the rights to these earlier works. (Both the anthologies I did for IP/MB, Talking About the Elephant and Engaging the Spirit World are now permanently out of print.)

I’ve completely redone the interior layout and covers of the books; the interiors are more compact to cut down on paper usage, and the covers feature my own photos and design. My material is much the same, though I’ve added updates where information has been outdated. I’ve also changed quite a bit as a practitioner, and I’ve annotated the texts to note where I either don’t use a practice any more, or wanted to clarify things that I felt needed a little expansion.

You’ll also notice that I’ve ceased using the terms “totem” and “shamanism”. I’ve chosen to do this as these terms were appropriated from the Ojiwbe and the Evenk, respectively, and while they have been used more generally in both anthropological and spiritual settings, I’ve decided to switch to more culturally neutral terms like animal spirit and animism. I’ve done my best to update the language in these early books to use different terminology while making the text still make sense, and keeping totem and shamanism only where I discuss indigenous practices.

All three books are now available as both paperbacks and ebooks through my website at http://www.thegreenwolf.com/books. Thank you!

Vulture Culture 101 is Here!

Vulture Culture 101: A Book For People Who Like Dead Things has arrived! This is the first book about the subculture (fandom?) surrounding hides, bones, and other animal specimens. In it you’ll learn about who Vultures are, how to build your own collection, tutorials on bone cleaning, tanning and more, how to explain Vulture Culture to the general public, and much more. Whether you’re just getting involved or have been a Vulture for years, this is a great addition to your bookshelf–and it’s the perfect thing to hand to someone who may not understand your unusual interests, too!

Get the book here: http://www.vultureculture101.com/buy-the-book/

Bella Morte

Note: This was first published on No Unsacred Place around 2011-ish, which went defunct a few years ago (RIP–it was a good site). Then it was on Paths Through the Forests, but I split from Patheos a couple of years ago due to philosophical differences with their new ownership. As they have not honored my request to have my writing taken down, and I don’t want to direct more traffic to them, I am slowly reproducing my work from there here. That way if I want to share this post with someone it will come from my site and not theirs. Please help me by sharing this link around–thank you!

************************************

The beauty of the wild is the long gesture of life in time. The beauty of skin and fur and feathers, the beauty of blood, the beauty of bones sinking into grass.

–John Daniel, from The Soul Unearthed

That is the quote I painted on a recent creation of mine, shown in the picture above. My canvas was a piece of rawhide left over from a drum kit. The visual punctuation of the entire piece included an eclectic mix: a rooster feather; a coyote toe bone; a sea urchin spine; and two pieces of deer hide, fur and leather.

I chose the quote deliberately for that piece. There is a certain ambiguity to the words, flowing from one end of the life-death cycle to the other. “Life in time” breathes and pounds its heart, while the “bones sinking into grass” create a vivid image of the core structure of the animal, all the rest borne away, disintegrating into nourishment for the flora. In between, the hides and the blood are left open; they may be alive and running yet, but the blood may also be sluiced upon the ground, and the skin stripped from muscle and tendon and prepared for preservation.

In much of the United States, people have a poor relationship with death, to include that of nonhuman animals. The idea of the “poor, dead animals” (particularly those that aren’t carved up on a dinner plate) is often enough of a shock that no one wants to think, let alone talk, about it. We eat beef and pork, not cow and pig, and very few of us ever eat anything that’s looking back at us; even the shrimp are conveniently decapitated for our culinary comfort. The most common discourse about dead animals seems to come from some animal rights activists who quite often use guilt, shame, and shock to try to convince unsuspecting leather-clad omnivores into changing their ways. When the choices are either silence or stigma, there doesn’t seem to be much room in between for more moderate discussions.

“Skin Spirits” book cover photo by Lupa, 2009

I choose what I perceive as one potential moderate path, tempered with much awareness. For over a decade I have been an artist of animal remains, part aesthetics and part spiritual work. On the one hand, I very much appreciate the lovely curve of bone and the lush texture of deerskin, the intricately veined colors of feathers, and the varied structures of the hairs of all sorts of furs. Beyond animal parts as an artistic medium, though, the core of my work is funereal. From the beginning my art has been about reclaiming these remains from being trophies or status symbols, and a significant portion of my “supplies” is made of old fur and leather coats, reclaimed taxidermy, and the like.(1) I guide these remains to a better “afterlife” with others, as has always been my role with them, and everything I make with animal parts gets a full ritual purification as part of my pagan practice.

Over the years I’ve gotten a wide variety of reactions to my work, from awe to indifference to outright hostility. Thankfully the responses have canted toward the more receptive, whether in person or online. I get the distinct feeling, though, that most people, regardless of their views, are highlighting certain individual facets of the work that, together, I tend to take as a whole.Most of the people who favor my work seem to primarily connect with it on an aesthetic level. They like having something pretty, whether as something to wear, or as a “powerful” ritual tool. They appreciate it as art, which is perfectly fine. At the other end of the spectrum are the occasional activists who come in swinging; they see the death and the remains, to the exclusion of anything else.

On some occasions, though, I will meet people who bring my art home both as art, and as sacred remains. They haven’t glossed over the fact that what they hold was once living, often combining the parts of animals that never would have met in life (such as the cow and the sea urchin in my wall hanging above). But they still see the beauty in those remains, and in the fact of their death. They can appreciate the loveliness of a long-dead deer’s ribcage seated in a field, and the arrangement of those same ribs into a totemic shrine. They know they carry lives in their hands.

I have not lost sight of the living end of the cycle, either. I have always donated a portion of the funds I make from selling my art to nonprofit groups that work to preserve both animals and their habitat, as well as informal donations to friends and acquaintances in need of help with emergency vet bills and the like. I think my partner, S., put it best when he told me that my most powerful alchemy was taking the remains of animals that had often died cruel and inhumane deaths, and turning them into funds to help those creatures still living and the environs that support them.

And I do my best to educate people about the sources of the remains; I maintain a database of international, federal and state laws on possessing and selling animals parts in the US to help them make educated decisions. Nor do I lie about those of my “materials” that are byproducts of the fur industry; I do not claim they’re roadkilled or “natural deaths”, or wild instead of farmed, to try to assuage people’s guilt or to make me look more ethical in their eyes. To do so would be an insult both to the people I speak with, and the animals themselves, never mind my artistic and spiritual work.

Coyote totem headdress by Lupa, 2011

This work with the remains is another foundational part of my nature-based path, and as I write in this place over time, you may see me refer to the “skin spirits” as a collective term for the spirits of all the animals whose remains I work with, skin, bone and otherwise. My nature-based paganism is rooted in all of the life-death cycle, and this is how I seek the beauty in that which is all too often ignored, or so symbolized as to be almost entirely removed from the gritty reality.

(1) I have become so known for collecting dead critters in certain circles, in fact, that I have been over time gifted with a number of antiques that were inherited by people who had no idea what to do with them, and so decided I was a good next stop for Grandma’s fur coat, or Uncle Doug’s deer heads.

Did you enjoy this blog post? Consider picking up a copy of my book Skin Spirits: The Spiritual and Magical Use of Animal Parts, or The Tarot of Bones, or my other books (some of which also have dead things in them!) Or you can check out my artwork made with hides, bones and other natural and found items. And I have a forthcoming book about Vulture Culture, the subculture that has formed in recent years around the appreciation of taxidermy and other dead things.

Introducing Pocket Osteomancy: A Simple Bone Divination Set

Surprise! I have a new book! Well, booklet, anyway. And there’s a nifty handmade divination set with it, too!

Pocket Osteomancy is a bone divination system that I created based loosely on the Minor Arcana of the Tarot of Bones. It’s a bone casting method using a casting cloth divided into four quadrants. I first released it to some of my Patrons on Patreon last year so that they could try it out, but they only had a single instruction sheet to work with. Now I’ve fleshed that out into a 24-page booklet available as a paperback or ebook, and you can purchase the casting cloth and bones as well!

Divination with bones doesn’t have to be complicated! Pocket Osteomancy: A Simple Bone Divination Set is a simple but effective system for using animal bones to focus your intuition and explore possibilities in your present and future. It’s great for both beginners who may feel intimidated by more complex systems, and also provides a basic structure for more experienced practitioners to build on and explore.

I’ve ordered paperbacks and they should be here within the next week to week and a half, so you can go ahead and place your orders now. I will fill ALL orders once the paperbacks have arrived. You can make your purchase here at https://thegreenwolf.com/pocket-osteomancy/.

Call For Writers For Vulture Culture 101: A Book For People Who Like Dead Things

Hey, everyone! So in case you haven’t heard, I am writing a book about Vulture Culture, the “fandom” that’s sprung up around the appreciation of hides, bones and other dead things in recent years. The working title is Vulture Culture 101: A Book For People Who Like Dead Things, and I will be self-publishing it via CreateSpace; the projected date of publication is Summer 2018. Currently, the first draft of the book is done, and I am working on edits and revisions. There’s also an IndieGoGo campaign through March 23 at http://igg.me/at/vultureculture101 which has already met its initial goal and is working toward stretch goals.

While I have spent over twenty years making hide and bone art, I do not have extensive experience with tanning hides or cleaning bones or otherwise prepared raw specimens. However, no book on Vulture Culture would be complete without tutorials on some basic processes, which is why I’m seeking writers to contribute essays!

Each essayist will be compensated with $100 and 10 paperback copies of Vulture Culture 101 once it has been published. Thank you again to my IndieGoGo contributors for helping to make this happen!

I am seeking one essay each on the following topics:

  • Skinning a freshly dead or frozen and thawed animal and preparing the hide for tanning
  • Tanning a hair-on hide, starting with a raw hide (rabbit would be best as it’s a nice small hide that’s easy and inexpensive to acquire); while you may choose one method of tanning, such as alum, please briefly mention other tanning methods like egg tanning
  • Brain-tanning leather, starting with a hair-on hide (deer is most popular but I’m open to other easy to acquire suggestions like goat)
  • Cleaning bones through maceration, starting with a whole skinned carcass, though with a brief mention of dermestid beetles and nature cleaning as alternatives, and proceeding through degreasing and whitening
  • Wet specimens in jars, to include long-term care, how to change out old fluids, etc.
  • Very basic mouse or rat taxidermy, including how to prepare the hide, positioning, etc.
  • The basics of skeleton articulation; there’s not space to go through an entire skeletal articulation, but at least give people an idea of the tools and methods involved, and basic steps from skeleton acquisition to final display

Essays should have the following qualities:

  • Between 1500 and 2000 words (you may be able to go over that a bit if you need the space)
  • Written in easy to read English and suitable for a general audience
  • Thoroughly explain the topic in a step-by-step manner; steps should be numbered
  • Be accompanied by at least 4-6 print-quality photos showing different steps of the process (if you have to show different animals at different stages of the process, such as for longer processes like maceration, that’s fine, so long as all pertinent stages are covered clearly)
  • Should not be previously published, either in print or online. If you’ve written similar essays that’s fine, just write a unique one for this project

I will have already covered topics like where to get hides and bones, and legalities concerning them, so you don’t need to go over them again. Stick to the how-tos of your topic. I will be doing some basic editing and proofreading, but you should be sending me final drafts by the due date.

Please apply by contacting me at lupa.greenwolf(at)gmail(dot)com; you will be asked to provide the following information:

  • Your name, general location, email address and phone number
  • A brief description of your experience in working with hides and/or bones and/or other dead things
  • Which topic you would like to write about and what makes you qualified to write about it (you can apply for more than one topic; however, only one topic will be assigned to one writer unless there is a serious lack of suitable writers)
  • At least three samples of your writing, published or not; Vulture Culture topics and how-to articles are extra-awesome, but send the best of whatever you have. Please also send a few sample photos showing your photography skills. You can send them as links and/or attachments.
  • If you are under the age of 18, proof of permission by a parent or legal guardian

The deadline to apply is March 28, 2018. Selections will be made by April 7, 2018 at which point acceptance letters and contracts will be sent out. Completed final essays have a FIRM due date of June 7, 2018, so please make sure before you apply that you can dedicate the time to finishing your essay on time. You can also send me drafts in progress before that point if you’d like feedback.

Thank you!

The Vulture Culture 101 IndieGoGo Campaign is Live!

The Vulture Culture 101 IndieGoGo Campaign is officially live at http://igg.me/at/vultureculture101!
What compels me and many other people to fill our homes with the preserved remains of animals, and how can you join in the fun? Vulture Culture 101: A Book For People Who Like Dead Things explores the modern revival in acquiring, preserving and creating art with these natural specimens. Written by author and artist Lupa, this is the first full-length guide to Vulture Culture, a subculture that in recent years has grown up around the appreciation of hides, bones and other animal specimens.
Want to help Vulture Culture 101 become a reality AND get your copy of the book at the lowest price ever? Want to get neat perks like my other books and art made from hides and bones? Want to help a self-employed author and artist create a valuable resource both for members of the V.ulture Culture, and people who are just curious about what it’s all about?
Back the Vulture Culture 101 campaign today at http://igg.me/at/vultureculture101! We’re already well on our way, and early bird specials are going fast. Even if you can’t back the campaign right this moment, please send the campaign to anyone you feel may be interested, and thank you for your support 🙂

Coming Soon: The Vulture Culture 101 IndieGoGo Campaign!

I am excited to announce that the official IndieGoGo campaign for my next book, Vulture Culture 101: A Book For People Who Like Dead Things, will launch on February 6, 2018! More than a book on taxidermy or bone identification, Vulture Culture 101 is a guidebook to the subculture surrounding the preparation, collection and appreciation of hides, bones and other specimens. It’s suitable for both beginners and experienced Vultures and may even appeal to those who are just curious about us and our collections.

The full IndieGoGo campaign won’t be launched til the 6th, but you can get a taste of what will be included at the prelaunch page here. And you can sign up for an email reminder to be sent to you when the campaign officially starts!

As with my wildly successful IndieGoGo campaigns for The Tarot of Bones, this campaign will help me to fund attendant costs for the book, such as paying guest writers for how-to essays on topics like hide tanning and bone cleaning, as well as the cost of printing physical books and having them shipped to me. Anything left over after that will help me cover my bills and other expenses as I finish up the last bit of writing, editing, layout and other work that remains before projected publication in Summer 2018.

I will, of course, make an announcement when the campaign itself goes live, but for now check out the prelaunch page for a taste of what’s to come! And, as always, thank you for your ongoing support.

A Few Important Notes on Changes to CITES and Animal Remains

As a hide and bone artist it’s part of my business to do my due diligence in knowing the laws governing possession and trade in animal remains. That’s why I’ve maintained the Animal Parts Laws Pages for a few years now–it’s a good resource for me, and one that I can share with others, too.

I wanted to point out some of the most relevant recent changes to CITES, the Convention on International Trade in Endangered Species. CITES is an agreement among almost every country in the world to monitor and restrict trade in endangered species, both alive and dead, and last month they had their big annual meeting where they decide what animals will maintain protection, and which will get more or less protection than before. Because some of these animals have remains that are sometimes seen in the Vulture Culture, and because not everyone knows about the recent changes, I wanted to bring more attention to them. These are not the full summary of the CITES changes, of course; I haven’t yet been able to find notes from this year’s meeting (the most recent set on the CITES website are from 2013.) If anyone has an online version of these notes I’d greatly appreciate it.

So–on to my own summary!

–Elephants in most African countries are CITES I; however, those in South Africa, Botswana, Namibia and Zimbabwe are still CITES II. Attempts to uplist these to CITES I were blocked, which means those countries can still trade their ivory legally. (Keep in mind that the United States has banned almost all trade in ivory, so those of us stateside should not be trying to import CITES II ivory!)

–Pangolins, which are the most heavily trafficked endangered mammal, got overwhelming support for CITES I protection for all species. We really shouldn’t be encouraging trade in such a critically endangered critter anyway, but now it’s officially illegal. So just go get yourself a replica skull for your collection and donate some cash to an organization helping to protect these scaly anteaters.

–African lions already became illegal to trade in the United States (except for a very few exceptions) when they got added to the Endangered Species List earlier this year. CITES now bans the trade in all wild lion parts–but it is still legal for the bones, teeth and claws of captive-bred lions to be traded, and hunting trophies can still be exported. Considering the IUCN estimated the remaining wild lion population at 20,000 across the continent (the population was 450,000 in the 1940s, less than a century ago), things are looking dire for the biggest cat not given CITES I protections. My recommendation, even if you are in a country that allows lion parts to be traded, is avoid–it’s easy to lie and say that bones from wild lions actually came from captive ones, and this is one animal that really needs the pressure taken off of it.

–African gray parrots were given CITES I protection. Thanks to their popularity as pets (boosted by the now-deceased Alex, whose charisma often enticed unwitting people to take on pets they weren’t prepared for), African grays have been relentlessly hunted for the pet trade. Habitat loss is also a major factor in their decline. CITES I protection means that it’s now illegal to trade in the remains as well as live specimens of this specie; here’s hoping this intelligent little dinosaur will now have a better chance at recovery.

–Skulls of several species of hornbill are often legally traded in the Vulture Culture, but if you ever see someone offering the skull of a helmeted hornbill, watch out! This species has been declining in recent years as its solid bill became an alternative to elephant ivory for carving and other art. It already had CITES I protection, but this year the meeting emphasized the need to publicize that fact. So here I am, helping to publicize it!

I hope you find this helpful; again, you can research more about legalities related to animal remains at https://thegreenwolf.com/animal-parts-laws/ (and, as always, neither this post nor the resources I provide are intended to be legal advice. I am not a legal professional and have no legal training, I am just an artist doing layperson’s research.)

Why We Need the Migratory Bird Treaty Act

It’s festival season again, which means it’s time for one of my favorite pastimes: counting the number of illegal bird feathers I see on people’s hats, jewelry, and rear-view mirrors. Well, okay, to be fair there are plenty of other things I’d rather be doing, but being a naturalist my eye is automatically drawn to the ephemera of the wild. The feathers people tend to pick up most often are pretty easy to identify–usually the wing or tail feathers of assorted raptors and corvids, or more colorful songbird plumage. (I very rarely see the more drab garb of your average Little Brown Job.)

If the owner of said hat/jewelry/vehicle is nearby, I’ll usually follow up my observation  by surreptitiously mentioning to them that technically they’re not supposed to have that feather. Responses are usually along the lines of “Wow, I had NO IDEA! Let me take care of that!” with the occasional variant “Well, too bad–I found it and it’s mine, and no one can take it away from me because of religious reasons/finders keepers/etc.”

There’s not a lot I can do about the latter group of folks, but I always hope I’ve made a difference to the former. On the grand scale of wildlife violations, a molted blue jay feather is pretty far down anyone’s list of priorities, and it’s not highly likely that fish and wildlife officials are just going to be bumming around your average pagan or hippie festival. But there’s always that chance that someone is in the wrong place and wrong time with the wrong feather, and not knowing the law isn’t a good defense if an official decides to make an issue of it.

You Don’t Know What It’s Like, Breaking the Law

Law? Yes, that happens to be the Migratory Bird Treaty Act of 1918 (MBTA). The text of the law prohibits, within the United States, the “pursue, hunt, take, capture, kill, attempt to take, capture or kill, possess, offer for sale, sell, offer to purchase, purchase, deliver for shipment, ship, cause to be shipped, deliver for transportation, transport, cause to be transported, carry, or cause to be carried by any means whatever, receive for shipment, transportation or carriage, or export, at any time, or in any manner, any migratory bird, included in the terms of this Convention . . . for the protection of migratory birds . . . or any part, nest, or egg of any such bird.”

What’s a migratory bird? It includes almost every wild bird in the United States, from raptors and corvids to songbirds and waterfowl. About the only birds not protected are non-native species like pigeons (rock doves) and European starlings. There are hunting seasons on a few species, such as certain ducks and geese, and American crows. However, their remains are still strictly regulated; only the hunter who killed the birds (legally!), or someone that they give them directly to, may possess them, and they can’t be bought or sold.

What this all boils down to is that unless you have a scientific permit, you cannot legally possess the remains of any migratory bird, even naturally molted feathers. A common misconception is that Native Americans (federally enrolled or not) are exempt, but this isn’t the case. The only exception there is to a different law, the Bald and Golden Eagle Protection Act of 1940, and even then enrolled tribal members must be on a waiting list to get feathers and other remains from the National Eagle Repository.

The Birth of the MBTA

If you were to walk down the street in any American city in the late 1800s to early 1900s you would likely see an abundance of birds, dozens of species within just a few hundred yards of each other. The catch? They’d all be dead, resting on fancy women’s hats as individual feathers, wings, or even entire bird skins. From common songbirds like robins and cardinals to more remote species like sage grouse and goshawks, all would be on display for the sake of fashion.

Now, there’s nothing wrong with feathers as adornments. But at the time there was no regulation of how many feathers (or birds) could be taken in a season, which meant commercial hunters could kill millions of birds a year with no limits. This is the time period in which we lost the passenger pigeon and the Carolina parakeet, among other now-extinct species. And we almost lost many others along the way.

Probably the best example of the excesses of the time was the great egret. Egrets develop a particular sort of fine plume during breeding season, and maintain them while still nesting. (You can see a particularly lovely example on the cover of Faith No More’s album, Angel Dust.) By the time the birds naturally molt these feathers they’ve gotten ragged and dirty from months of nesting and other wear and tear, so they weren’t sufficient for the hat trade. Plume hunters therefore would go into the wetlands and kill one or both adult egrets, often while they were still incubating eggs or caring for young. For the sake of a few feathers, both parents and up to four young could die. Egret numbers plummeted.

Enter the MBTA

The early 1900s saw the passage of the first laws to protect wildlife and trade in their remains. The Lacey Act of 1900 made it a federal offense to transport illegally acquired or possessed species over state or national lines, but it was sometimes difficult to enforce. The Weeks-McLean Act of 1913 set hunting seasons for birds, to include prohibiting hunting in the spring during nesting season, but it was found to be unconstitutional.

The MBTA improved on what the Weeks-McLean Act was trying to accomplish. It laid out firmer and more widespread restrictions on the killing and possession of migratory bird species. The Act was based on treaties the U.S. made first with Great Britain (representing Canada), and then later Mexico, Japan and the then-Soviet Union. Its goal was to protect all species of wild native bird that migrated between the U.S. and any of those countries.

The feathered hat trade had slowed down significantly with the rise of World War I; the fancy excesses of the Victorian and Edwardian eras were replaced by more sober practicality as participating countries had to tighten their belts to pay for the materials of war. The millinery industry, market hunters and others dependent on the feather trade were already hurting financially, and the MBTA was a final nail in the coffin.

But the trade-off was worth it for the birds. The great egret and many other species rebounded to healthier population levels. Today songbirds are a common sight even in urban areas, and raptors glide over the landscape (helped along by the ban on DDT in the 1970s). Waterfowl are recovered enough to allow hunting seasons, though these are carefully regulated.

Sadly, the MBTA came too late for some species. The ivory-billed woodpecker may have lasted longer than the Carolina parakeet, but low numbers coupled with continuing habitat destruction led to the almost-certain demise of this bird. The story is the same for Bachman’s warbler, the heath hen, the New Mexico sharp-tailed grouse and the dusky seaside sparrow, as well as many Hawaiian native birds whose MBTA protection came only with Hawaii’s statehood in 1959.

Migratory Birds and the MBTA Today

Despite the successes of the MBTA, there are still good reasons for it to remains on the books in the 21st century. One third of North America’s migratory bird species are at serious risk of extinction. Habitat destruction, climate change and pollution events like oil spills have devastated both bird populations and their nesting and wintering sites. Predation by domestic and feral cats accounts for the deaths of  hundreds of millions of wild birds every year. Our birds aren’t out of the woods yet.

Still, some people question the strictness of the law, particularly in cases of building infrastructure for alternative energy and other human endeavors. Some of the questions I’ve heard everyone from taxidermists to festival attendees as are: Why should someone face fines and possible incarceration for picking up a crow feather? Why can’t there be some limited season on non-game birds, especially those that are common like gulls? And why on earth are Canada geese, which are considered pests in many areas, still protected?

I know it’s frustrating. There are plenty of times when I’ve had to pass by beautiful molted feathers on the ground, no matter how lovely they might be in my art or personal collection. (And those human-acclimated Canada geese can be MEAN!)

But ultimately, I’m on the side of the MBTA and the scientists who are in support of it. For one thing, it’s next to impossible to tell the difference between a naturally molted feather and one that was stripped from a poached carcass, so lifting the ban on found feathers would almost certainly have devastating consequences. Remember, too, that 1918 was just under 100 years ago, a blip in ecological time. Forests felled that year are still recovering, so why should we expect the forests’ inhabitants to be completely in the clear?

Most of all, I support the MBTA because it’s still having positive effects. Do we need to discuss situations like making exemptions for wind farms and the like? Of course. But wind farms are much more necessary than taxidermy mounts or feathered hats, and I feel that those of us who create non-essential (but pretty!) things out of feathers, hides and bones should leave the exemptions to the necessities. We have plenty of alternatives–just look at the beautiful variety of feathers available on heritage chicken breeds, for example!

And if your concerns are of a spiritual nature, I have found over many years of experience that the totems and spirits of endangered species appreciate the substitution of more common feathers and remains in lieu of their own. Really, what better offering can you give an endangered animal totem than protection of its physical counterparts? You don’t actually have to have a raven feather to connect with Common Raven; a dyed goose feather will do just as well (though be sure to thank Domestic Goose as well!)

You can find out more about the Migratory Bird Treaty Act and other relevant laws at my Animal Parts Laws Pages.

Did you enjoy this post? Consider picking up a copy of my book, Skin Spirits: The Spiritual and Magical Use of Animal Parts, which includes discussions of legalities and ethics along with rites and practices for treating hides and bones with respect on a pagan path.

Wednesday Only–Get My Booklet “Skull Scrying” For Free!

Hey, everyone! Want to get a free copy of my newest booklet, Skull Scrying:Animal Skulls in Divinatory Trance Work?

I just got done replacing the clunky old Paypal buy it now buttons on my website with a shiny new WordPress-based shopping cart! To celebrate escaping 2008, every paperback book order, even if it’s for just one book, placed on the Green Wolf website from 12:00 AM December 23, 2015 to 12:00 AM Pacific Standard Time December 24, 2015–that’s midnight to midnight Wednesday only–will get a copy of Skull Scrying added for absolutely free! You get a freebie, and I get to make sure the shopping cart is working for people besides me.

Sound like a good deal to you? Head over here to my website to get started shopping!

(Note: this applies to orders placed at the Green Wolf website only, not Etsy, Amazon or any other third-party website. Offer good for one free copy per person.)