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The Gifts of Madame Death

Eric O. Scott —  November 16, 2012 — 19 Comments
Image taken at the Bellefontaine Cemetery, St. Louis, MO

Death and Birth at the Bellefontaine Cemetery, St. Louis, MO.
Image by William Scott.

Madame Death’s dressed all in black and seated next to a battered metal table. We do not look at her, or touch her, or do anything else to acknowledge her. For her part, she says nothing, but only watches our circle while we partake in the first communion of the night: water and crackers, nothing else.

We chew on this meager harvest, and for a moment, at least, we forget that we stand in the backyard of a house in St. Louis, Missouri, a house with electricity, heat, and more food waiting in the kitchen than we could possibly eat in one night. The ritual takes us to a darker place, a hungry place, a pit in our collective unconscious that knows that the coming months bring a time want and death. We know that we travel through a gate tonight, a gate on the road between bountiful autumn and desperate winter, and the gate is called Samhain.

For me, this Samhain cuts deeper. I expect it is the same for the rest of Sabbatsmeet, too – Sabbatsmeet being a group of covens and unattached Witches that share the festivals together. I have been a part of one of those covens, Pleiades, since I was born. We range from infants – little Julian, less than a year old – to retirees. Most of us have been a part of Sabbatsmeet for decades. This is my family, the same or more so than my legal relatives. And this year, our family has been visited by Madame Death.

“We have come to the part of the ceremony where we remember the dead,” my father says. He sets the cup and the plate, now barren even of simple grain and water, on the battered table. “Speak their names, and remember them.”

I don’t recognize most of the names spoken: people who were known and loved by someone within our circle, but who were not of the circle themselves. Sometimes we mention someone better known: a writer, or a musician. (Someone says “Whitney Houston,” and the circle goes quiet save for a few badly-suppressed snickers.) But we all knew the name that hung heaviest on our hearts.

“Barb,” says my father, the first name called.

Madame Death came to her this year. She arrived after a lengthy correspondence, the culmination of many years of cancer. We had barely seen her in years – her health had been too poor, and she had lived too far away, to travel to St. Louis for the sabbats. But still, we missed her – she had been ours, and now, she was gone. Her absence felt like January wind through a broken window.

I do not cry in the moment’s silence that follows. Instead, just as Barb’s name is called a second time, a memory floods in…

Another Samhain, more than a decade ago. I was 13, perhaps. There was no traditional ritual that year, but instead a sort of haunted house… We wandered through the halls of a familiar place made strange, encountering forms we knew and personalities we did not. I can’t remember the things they said anymore, except for one.

I remember walking into the bedroom, lit in sensuous, dangerous red. A woman with wild auburn hair sits on the bed, dressed all in black. She smiles, and it’s Barb’s smile, but possessed by the spirit of the night. She curls a finger, beckoning me to come closer.

“Oh, Groucho,” she says. “I’ve been waiting all night for you…”

My mind fills with the echo of Barb’s voice, a voice never to be heard again.

For many of those around me, I am sure the pain of Barb’s death comes from the memory of their time together – the years of shared experience, inside and outside the ritual, that make up a friendship. It’s not quite the same for me, being younger, a child of the second generation of Sabbatsmeet. I loved Barb, but I knew her entirely from Sabbatsmeet. I knew of her life outside – that she was a foster mother and a social worker, for example – but I knew her from Wicca. And her death, the third loss our circle had suffered in as many years, forced me to confront an inescapable truth: our family was aging. Some day Madame Death would come to my elders. Someday I would call their names at Samhain.

When we are finished with the calling, my parents tell us to join hands and close our eyes. I take their hands, feel the bones of their fingers twined into mine.

I doubt it would do much good to describe my meditation-visions; they were largely darkness, a dance between night and the ritual fire. Sometimes I thought I could see some of those we had lost: Tom, or Kurt, or Image. Once I thought I saw Barb, dressed forever in the Samhain black of memory. But mostly I felt the heat of the fire, and the cold of the air, and the warmth of my family’s hands pressed to mine.

My father’s voice called me back to consciousness. “Look now,” he says, “Look upon the true gift of Death.”

Madame Death opens her black robe. Beneath her hood, she is a redheaded woman, smiling. In her lap sits a serene infant – little Julian.

Because Madame Death is also Madame Life, my father explains, because every act of destruction leads to space for creation to happen, because without loss there can be no magic – and to most Wiccans, all of this will, of course, be old hat. You will have heard this all before, in books and speeches and rituals. But it’s good to be reminded of it on Samhain, reminded of why, to Wiccans, this is the most important night of the year.

I appreciate that, but it’s what my father says next that strikes me clean to the heart.

“In twenty or thirty years, some of us will be gone, and it will be Julian standing here, saying our names.” He pauses. “And that is a good thing.”

The current narrative in the United States, at the moment I write this, is that the nation has begun to change, that the dominant culture of white suburban Protestantism has begun to give way towards something more diverse. I can’t say how true that is. Life here in Missouri still feels quite entrenched in the culture the media pundits tell me has begun dying away.

But still. I look at Julian, with the serious eyes and the inviting cheeks, Julian, who is the child of my brother in Coven Pleiades, Julian, whose father and father’s father have stood in this circle before him. I look at this child, and in him I see everything I have ever been given and everything I have it in me to give. I look at him, and I see the future of our religion. Even more important than our religion, I see the future of our family, of us.

Someday my parents will be dead. Someday I will, too. Someday Julian will be an old man, and if I am lucky, he will call my name at Samhain. Someday Julian himself will have taken the hand of Madame Death, and some other child, a child whose face I can barely imagine now, will be standing in the circle that her great-grandparents once knew.

We drink at last the second communion, the honey wine and delicious cakes, singing “Hoof and Horn” as we pass the cup and plate from hand to hand. We remember the dead, but we celebrate the living.

In the lap of Madame Death, the little baby stares at the ritual fire, and then lets out a sharp and vital shout.

It is a good thing.