What a pleasure to read a useful and well written book from outside the
field of history.  The publisher, Llewellyn Press, specializes in books
about "magic", which is to say other people's belief systems.  "Slavic
Sorcery" uses an approach taken by modern anthropologists, that of
the insider's point of view.   Several texts interweave-- the author's search for
authentic Russian sorcery in contemporary St. Petersburg; a fine discussion
of the little that is know of ancient beliefs and how they come down to us;
and lastly, hands-on exercises in magical practice.

The author's modern quest takes some twists and turns.  The seeming
irrationality and arbitrariness of his teacher annoyed me in the way
I was annoyed when reading Carlos Castenda many years ago.
But then I realized that this is only right, in that magical beliefs are
not necessarily a consistent or unified world view.  In this he is simply
recording the chaotic world of these beliefs.

One of his more apt observations is that we should not be put off by
language referencing "Eastern" beliefs.   Often it is merely a modern overlay
on an ancient Slavic system.  He says of his task of reconstruction,

"Those who generally describe themselves as Pagans seem, at least to outward
eyes, to be participant in a kind of costume party, inspired by old movies,
Renaissance Faires and wild historical misunderstandings of European
witchlore-- frustrated office workers dancing around the port-a-potty by the
light of the silvery moon….   What else can one expect from a tradition that
has been reconstructed out of old books?"

Much of the background material that follows is very well researched.
I would call particular attention to Chapter 4 "Icons and Archetypes"
which gives a good discussion to the Russian Pagan pantheon.  But as much
as anything, I like the flavor, the atmosphere of this book-- I feel that it
took me closer to the Pagan mind.  He reminds us that the Russians
hold sacred house spirits, the trees and the rivers.  This is a world full of
open spaces, where everything is alive.  In this, it is not very different
than the world of the Twelfth Century Russian Epic "Song of Prince Igor."

The one serious flaw in "Slavic Sorcery" is its attempt to draw universals from
the specific beliefs of one culture.  This, I assume, is the influence of
Joseph Campbell and before him Jung. In places the gods are hammered
into triads, polarities etc.  Up to a point this may help our understanding,
and beyond it deadens it.   You can see this especially in the exercises,
or should I say meditations, which appears to stray furthest from source
material.  Fortunately, the author displays a good amount of rigour and
these detours are limited.

Peotr