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I went to see the play, “Who’s Afraid of Virginia Woolf?” last night. As I like to do, I drew cards before going so I could contemplate them during the performance. It enhances the experience for me to be more aware of the dynamics, character conflict and themes as they are occuring.
For those who don’t remember the movie with Liz Taylor and Richard Burton, or who never saw the play: A middle-aged couple, George and Martha, have invited a young couple, Nick and Honey, over for late night drinks after a dinner party. What follows is a series of drunken mind games getting more and more deadly as they all head straight for nuclear armageddon. It was played as a very black comedy. Luckily, it was done by a local troupe of fine actors who gave the play their own unique twist. I focused on George and Martha.
I hadn’t remembered many details of the drama, so I was thrilled by how perfect the cards turned out to be. I did two spreads. The first one was with the Rider-Waite-Smith Tarot. What was I to think when three out of five cards were reversed Court Cards? As it turned out, the play provided excellent examples of how these Court Card types can “go wrong.”
Martha definitely has father issues. Her father is president of the college where her husband teaches in the history department, a sorry disappointment in that George never fulfilled the potential for which Martha had picked him—to become head of his department and eventually take her father’s place. Really, she is the one who should have done so; she, we are told, “wears the pants in the family.” But, her father has never really “seen” her. George sees that she’s the one who should have been king and he keeps her from falling into total despair.
George wields words like a sword, slashing and burning with derision, scorn and disgust all who come within his reach. A word-smith, he’s comfortable with attack and is always looking for a worthy opponent, only most of them fall far too easily beneath his sword. Martha does not.
He’s also her Knight in Shining Armor, tarnished beyond repair and, if we are to believe him, the agent of the deaths of both his mother and his father.
While many other themes can be found, this card clearly points to this one: how we hurt those we love and how little love there can be when one doesn’t love oneself. It suggests the lengths they will go in order to not feel sorry for themselves, despite being emotional wrecks.
Among other things, this theme is played out through the failure of both couples to have given birth, to have had a child—the empty, deflated womb (poof!). The card could also be a nod to the alcoholic haze they are all in.
• What is the central conflict?
The Chariot reversed, crossed by Death.
This is war; a horrible end is always just around the corner, the death of every supposed victory cuts off one-after-another means of escape or reconciliation. The play culminates with a fresh story, concocted by George, the botched novelist, in which he tells Martha that a telegram has been delivered informing them of the death of their son on the day before his 21st birthday. The Chariot is often seen as the son of the Empress and Emperor (3+4 = 7). That the existence of a son is just another game they play with each other doesn’t diminish the agony of a mortal wound—the seeming death of another piece of themselves and their relationship—that ultimately strips them down to the bare bones of who they are.
I also drew five cards from the Petit Lenormand Deck asking for a description of the plot, and I got:
Heart – Mountain – Letter – Book – Man
24-Heart: love and relationships
21-Mountain: blocks, obstacles, barriers
27-Letter: written communications, documents
26-Book: secrets, knowledge, books
28-Man: a man, the querent or significant other
This is the story of love (Heart) that has insurmountable blocks (Mountain) keeping it hidden (Book) and from being communicated (Letter). George (Man) wrote (Letter) his biggest secrets (Book) in a book that never got published (Mountain – blocked by Martha’s father). The characters are continually sending messages to each other, uncovering secrets in an attempt to touch on their true hearts that are unreachable behind the barriers they’ve erected in their disfunctional lives. As I mentioned, George (Man) is the wordsmith who is essentially composing (Letter+Book) all the scenarios (the scripts-within-the-script) to get at what is most deeply barricaded (Mountain) in each person’s heart (Heart). The Letter is also central when George claims that a telegram has arrived reporting the death of their supposed-to-be-secret son (Book+Man).
Finally, I added the numbers of these cards together and got 126, reducing it to 9-Bouquet (1+2+6=9). This stumped me at first. What could the plot have to do with a beautiful gift or invitation? Of course!—the play opens with Martha having invited the other couple over for drinks. But I was even more astounded when George mockingly presents Martha with a bouquet of flowers that he proceeds to throw at her, stem by stem.
Before the play, I also felt compelled to look at two other cards contained within that sum of 126: 12-Birds and 6-Clouds. These were perfect to describe a play that is all about conversations (Birds) or, more properly, dialogs between two couples (Birds can also mean two or a couple) that play on deliberate misunderstandings, fears, doubts, instability, sensibilities fogged with alcohol, and confusion as to what is true and what isn’t (Clouds).
Decks: The 1910 (Pamela”A”) Rider-Waite-Smith deck. The Königsfurt Lenormand Orakelspielkarten, based on the 19th century Dondorf Lenormand (borders cut off).
Also check out my post involving reading for the movie, Beasts of the Southern Wild.
I often get asked how to keep a tarot journal. Of course, you can do it any way you want, and there are dozens of things you can include and mediums you can use: notebook and pen, computer files, blogs, etc. A blog is nice in that it is set up for a sequence of dated entries, and you can choose whether to keep it private, make it public or only allow a few friends in.
I just happened on a “Tarot Book of Days” called Quirkeries by Sharyn Mallow Woerz. It’s practically perfect in its elegant simplicity.
Often there are no more than a half dozen sentences. Entries begin with a title, the deck and the card. These are followed with three brief paragraphs: 1) first thoughts on card image, 2) personal associations regarding card meaning, 3) an inspirational quote on a related topic. The card is pictured in a space to the right. Sharyn switches to a new deck every Sunday and usually adds a brief deck overview at that time.
I’m so glad I found this blog. I wrote Sharyn asking her some questions about the blog, which she kindly answered in the comments. I recommend reading what she has to say. I find her whole process inspiring. She’s given me permission to post this sample clip from her blog (click here to get a readable size). Imagine doing one of these every day!
Feel free to add your own experiences with keeping a daily tarot journal, and tell us what medium you use.
I asked a group of tarot readers on Facebook to give their top advice for how to combine and integrate card meanings in a spread. It’s one of the things that beginners find most bewildering, but we can all learn more about. Forty-nine people responded (see list of contributors at the end). I combined, edited and grouped the advice to form sets of approaches, moving roughly from the most intuitive to the most analytical. Share this material freely but please include the list of contributors and a link back to this post.
There are no rules to interpretation.
- Be intuitive.
- Look at the cards from an internal perspective.
- TRUST in your intuitive awareness and reactions to the cards.
- Go with the flow!
- Be guided by the HOLY Spirit (The Whole (holy) Picture).
Combine right brain/left brain work: analysis and imagination/story.
- Both the universal and the personal must be understood. Use both the Intellect and Intuition.
- Use analysis to “check” the intuition which can sometimes get clogged or confused.
Look at the big picture (Option 1).
- Step back and look at the spread from a larger perspective, not simply focusing on individual cards and their individual meanings.
- Become unfocused and blurry eyed (take off your glasses) and feel the energy flows as an energy picture: wands are direct and immediate, swords reflexive, turning, twisting, cups are energy accuminlations and coins ground or build up energy, etc.
- Look at the whole picture of the layout and then tune into a “knowing” of the entire spread before anything else. See it as a snapshot of the unconscious mind made manifest. After the initial “feeling the meaning,” look at the individual cards and symbols.
- Sense the *vibration* of the *whole* spread.
- Pay attention to any movement you can actually feel or see.
- Quickly glance over all of the cards at once and jot down the immediate thoughts that come to mind – words, images, feelings, messages, etc. that jump out. How do the cards feel together? What kind of feeling do they invoke in you?
One card at a time (Option 2).
- Turn each card one at a time and watch how each builds on the last in terms of a pattern.
- Build the relationship between cards and positions as you move through the spread, one card at a time, until all is revealed.
- Turn the cards over one at a time, gaining a tiny ‘clue’ from each, so the story builds and changes, letting the cards talk to each other as the “new kid on the block” gets turned over.
Look at how the images and figures interrelate with each other.
- Determine the direction the figures on the cards are looking or moving; their body-language.
- Are they back to back, or facing each other?
- Is the Knight of Wands galloping towards the Queen of Swords or galloping away? Is he riding towards a tomb entrance? Or a family gathering? Is the Emperor turning his back on the World, or facing it?
- Look at the direction symbols are pointing.
- Does each card point to another card in a sequence?
- Are they actively engaging in something or inert?
- Does a card at the bottom seem to carry all the others? Or a card at the top lead the way?
- Several cards can mean “new” or “let go.” Such ‘blended’ meanings are very potent, sort of like the overlapping gray area between black and white.
- Look for combinations. Find the patterns and connections among cards and positions, then mush it all into a composite idea (position + card is too limiting).
Where to Start
- Build off of what is obvious first.
- Start by talking through the stuff you do understand and it’ll come to you or not; usually it’ll come to you.
- Read the cards/positions that stand out to you; the rest of the cards in the spread are filler. If you can understand the noun and the verb of a sentence you can deduct the rest.
- Reversed means one might not be perfectly comfortable with the situation, something needs to be adjusted.
Find the story within the cards. “Every Picture tells a story.” –Rod Stewart
- The cards always tell a story.
- Let a story flow from your interpretation of the cards.
- Sometimes the message is clear and will form a ‘seamless sentence’, but, at other times, only one card may stand out.
- Let that story flow from picture to picture. The cards will show you the weavings and patterns. The numbers, the titles are road maps or signs along the road.
- Read the cards in the order you laid them out in the spread and create the tale of what they are all doing, interacting with one another, and how that relates to you.
- Let the story, the narrative of the reading, jump out at you. “Make up” the story as you go along. If you can’t “see” it, check a few cards with the querent for verification.
- Look for a card that you intuitively feel is driving the reading, i.e., the one that seems to be directing events a little more than others. Ask what the character in that card is saying to the characters in the others.
- The story is the intuitive weaving of the nature of the cards. Alfred Woolard once said in his poem, “My life is but a weaving … when I reach the other side can I truly see the whole design” (paraphrased).
How the cards in a spread relate to one another.
- How are two or more cards like the relationships that we have with others or how the characters relate in a story?
- Think of the reading as a conversation. Let the cards “talk” to you, and talk back to and through them. Imagining that the cards are “talking” to you opens your mind to “hear” the message. PAY ATTENTION to it.
- View the cards as a council circle: lay them in a circle and let them interact with each other and advise you in a sacred space-circle kind of way!
- Think of two cards interrelating from their respective positions, much like having a conversation or discussion, until there is greater understanding.
- Ask what each card (or figure in a card) thinks about the other(s)—what’s the attitude of each to the other and to what they’re thinking and doing?
- A reversed card can mean it is not ‘playing well’ with others.
Look at what’s there and what isn’t.
- Look indeed for what is not there as much as what is.
- Notice what’s NOT in the spread.
- Which cards didn’t come up can tell you as much as the cards that did. For instance, if The Lovers, 2 of Cups, King/Queen of Cups are absent from a love reading, that’s telling you there is no love relationship over the time period specified by the reading.
Look for repetitions of numbers, images, suits/elements, colours, symbols, themes, etc. (Correspondences).
- Use the correspondences as a base and go from there.
- Start with the foundations: suits, numbers, Majors, Minors, Courts.
- Look at the suits/elements to know what world you are dealing with: work, money, practical stuff, or something emotional or mental?
- Notice things like Gate cards, or which suit is prevailing or dominant.
- Check for a progression among the numbers as a sequence of development.
- What colors dominate? What color stands out as different than the others?
- With the elements, if there are two fire and one water, for instance, the fire cancels out that watery influence. [referred to as Elemental Dignities.]
- Look for a predominance of Major or Minor cards to get a feeling if the reading is depicting a key event/change/issue for the querent (majors) or a more minor everyday event (minors).
- Trumps [Major Arcana] can be an over arching theme or a life passage and the rest are everyday life stuff.
- See if Minor Arcana cards repeat a Major Arcana card in the spread by number or other similarity.
Compare and contrast, looking for both how cards are alike and how they are different.
- Are there similar scenes in two or more cards? What are the interactions among these factors.
- Place cards next to each other (not necessarily in a straight line) to see how they relate.
- See how, in the example to the right, the churning waters of the Moon become a cloak that is almost too heavy to wear. [Trimmed decks work best.] The deck is the Revelations Tarot by Zach Wong.
Find two to three keywords for each card and put them into a sentence. First reactions are best; you don’t have to go to the core of the cards existence.
- Read them as a sentence. For example: First card—Hermit and the flicker of his lamp catches my attention, so I think, “ah, a new idea.” Next card—Chariot, and the black horse going the other way catches my attention. Linking the two cards to form a sentence, it becomes “ah, a new direction going against the norm.”
- The position is the “noun” and the card is the “verb”. Tense (past present future) is supplied by the positions relative to the Querent (now).
- View the positions in a spread as the framework of a sentence. Insert keywords or phrases for each card into the basic sentence format and then embellish it based on symbols and correspondences. “While I am conscious of ____, I unconsciously need ____, in order to achieve ____ and meet the challenges of ____.”
Use Occult Systems.
- Figure out where cards are on the Tree of Life and what paths or sephiroth are involved.
- For instance, the Ace, 6, and 9 of Cups are on the middle pillar and not yet grounded in Malkuth, but they are an indication that energy is flowing. Or most of the cards are on one pillar making the situation out of balance.
Look for astrological relationships.
- For instance, the Empress and Hierophant are Venus and Taurus and Venus rules Taurus. Or, the 5 of Swords and The Fool are both Air.
- If you are doing a horoscope spread you can combine the meanings of the cards that fall in the opposite houses or that are trine or square using the meaning of that astrological aspect.
- Determine the speed of the cards to determine how much light they shed on your reading of the images. This way, even a shadowy situation can emerge as crystal clear.
- Switch decks periodically as a conduit to “open” your attention.
- A few cards in key positions can determine how you read the rest of the spread. If they don’t tell the story right away, then use all the other techniques.
CONTRIBUTORS: Hildegerd Haugen, Sophie Nusslé Falco, Maureen Aisling Duffy-Boose, Jon Kaneko-James, Fiona Dilston, Stephen Russell, Jean Foster, Jeanne Fiorini, Lisa Bruno, Kevin Quigley, Nadia K. Potter, Mary Mueller, Paul Nagy, Tero Hynynen, Virginia L Beach, Gwydion LosAngeles, Paula Gaubert, Gloria Scotti, Berthe van Soest, Lynda England Bustilloz, Bertrand Saint-Guillain, Greg LeFever, Carola Meijers, Steph Myriel Es-Tragon, Kustiana Murtjono, Terri Bivona, Jera-Babylon Rootweaver, Diane Brandt Wilkes, Rosie Grace, Nancy Antenucci, Sue Clynes, Sandra M. Russel, Camelia Elias, Christine Payne-Towler, Lorrie Kazan, Stacy LaRosa, Toni Gilbert, Vyvien Starbuck, Sherri Glebus, Flash Silvermoon, Judy Nathan, Helene Martz, Stephanie Arwen Lynch, Monika Sanders, Katrina Wynne, Rana Fakhouri George, Robert Moyer, Dancing Bear, Mary K. Greer.
Here’s a classic “reclaimed spread” in the form of a five-card-cross that is most often found in French and continental Tarot books. The version I offer here is from Oswald Wirth’s Tarot of the Magicians, with an introduction by me (originally published as Le Tarot, des imagiers du moyen-age, 1926). Wirth claims to have learned it from his teachers, Stanislas de Guaita and Joséphin Péladan (famous 19th century French occultists). It uses only the Major Arcana. Note that the card layout itself will probably be familiar as it has been adapted to many different kinds of readings, some of them focusing on the four elements or directions with the fifth-essence/situation/resolution in the center. The original spread is quite different. Note: This new edition of the book includes a reproduction of Wirth’s original 1889 Major Arcana!
What’s great about the Oswald Wirth version is that it’s based on the premise that your case is being considered in a court of law with the result being advice or direction for achieving success. The Major Arcana cards that turn up are characters in the resulting courtroom drama and should be seen as acting in a manner aligned with the card and presenting its unique attitudes and perspectives. Ham it up; imagine a scene from your favorite legal-eagle TV show.
Ask a specific question, and using only the Major Arcana, shuffle and cut. Then, taking cards from the top of the deck (*see alternate technique below), place them in the positions indicated.
The first two cards are the lawyers and the evidence presented by the two sides.
THE CARD ON THE LEFT is affirmative, showing what is in favor of (“for”) the situation. It points to what it is wise to do and those people or qualities on which one can depend.
THE CARD ON THE RIGHT is negative (the opposing counsel) and represents what is “against” it. It points to hostilities that should be avoided or feared: the fault, enemy, danger or the “pernicious temptation.”
THE CARD ABOVE is the judge who discusses the evidence, weighs the pros and cons, and may arbitrate between the for and against. The judge helps clarify the decision to be made and gives advice as to what’s required.
IN THE CARD BELOW the “sentence,” result or solution is pronounced. Taking into account the synthesis of the fifth card, this “voice” of the oracle offers a look into what comes from the decision. It may contain a “teaching” about what style, attitude or demeanor is ultimately to be aimed for.
THE CENTER CARD is determined by adding the numbers of the first four cards and reducing to 22 or less.** It is a synthesis of what has gone before, and points out what is of prime importance on which everything else depends. Although placed last, Wirth reads it first, since the situation or topic depends on it.
The Fool is considered 0 when adding or 22 when it is the result of the addition. The fifth/center card may be the same as one of the other four.
* Wirth suggests a special way of selecting the first four cards that you can use if you like. Shuffle the Major Arcana and then ask the querent for the first number between 1 and 22 that comes into her head. Count down that many cards and place the final card of the count in position one. Shuffle again and repeat for each of the next three positions.
** A much superior way of obtaining a reduced synthesis, numerologically speaking, is to add all the cards and then subtract 22 from any sum over that. This is the only way to get a true range of card possibilities as your synthesis. (Thanks to Steve Mangan, aka Kwaw, who did the math!)
In a sample interpretation Wirth asks “How should one advise a would-be diviner?” (That is, What advice should be given to a person who wants to become the best tarot reader possible?)
The cards received give an answer that you might find surprising. Please tell us your interpretation in the comments section, but here’s some direction from Wirth. He begins with the center card, stating that it shows what the divination depends on. He then contrasts the “for” (on the left) with the “against” (on the right): “the Emperor puts himself at the service of Strength to whom the Moon is detrimental, being against.” That is, the Emperor opposes (or reigns in) the Moon. Cards in positions three and four offer instruction. The Judge (above) shows what we must do and the Solution (below) shows what will come from doing that. What do you make of these cards?
This is the Radical Wirth Tarot painted by Carol Herzer, a beautiful, 22-card deck currently available in a limited edition, although perhaps not for much longer.
Charles San introduced the 1973 Causeway Books edition of Waite’s Pictorial Key to the Tarot with an essay, “How to Read the Cards,” in which he recommended this Major Arcana-only spread. It features an interesting way of selecting the cards and, when I first tried it, the cards themselves suggested a way to give the reading additional definition and depth. Here is the spread with my own modifications. (San did not state where to place each card except that they circle around the Significator.)
- Shuffle the Major Arcana and deal out six cards face down on top of each other. Turn the seventh card face up and place it in the middle of the reading area. This is the Significator and represents a starting point for the reading. Return the other six to the bottom of the deck.
- Deal two cards face down and turn one card up, placing this third card at the 10 o’clock position (relative to the Significator). Do this seven times placing every third card in a counterclockwise circle around the Significator [this order is added by me as a result of the example spread that follows]. You will end up with seven cards circling the card drawn in step 1.
- Optional: if unsatisfied that these cards suffice, deal three more cards from the remaining thirteen, taking the third, tenth and thirteen cards, and place them above the circle.
San says you are to build a vision of the “present place in the ebb and flow of one’s life,” as “the individual cards and the combining of them provides one with the reading.” You can read this spread for yourself or one friend, but if three people are present then “the reading that results concerns all three as part of the society in which they live and work.”
Here is my spread using the Golden Dawn / Whare Ra Majors: Read the rest of this entry »
In 1935 the British magazine and book publisher Tomson-Leng produced a set of “Tarot Fortune Cards” that were given away to the readers of “My Weekly”—a women’s magazine. This unusual set of 79 cards (including this verse) is partly based on the Rider-Waite-Smith deck but with some significant differences, especially in the suit of Rods [Wands], which owe some of their symbolism to designs published by Eudes Picard in Manuel Synthétique & Pratique du Tarot (1909). The suits are Rods, Cups, Swords and Pence, which, according to Picard, correspond to Fire, Air, Water and Earth‚ respectively, which is why so many Swords cards have water and Cups cards have a butterfly as an air symbol. The Fool is numbered 21 and comes before The World.
This deck is also notable for being chaste and family-friendly with no nudity. The The LWB [little white booklet] is one of the most interesting and original works from this period, having spreads that I’ve never seen elsewhere. None of the spreads list individual position meanings. There are card interpretations for both upright and reversed orientations and often special meanings when the card appears near one or two other cards.
Here is a “reclaimed spread” from the 1935 booklet: Read the rest of this entry »
What does it say that I’ve lived in five of the top 12 “Best Cities for Singles” (according to Forbes Magazine), and I have visited another five (of the top 11) in the past seven years (all tarot related trips) yet haven’t dated since my divorce?
I was struck by the oddity of this coincidence (since among the other 28 cities I’ve only lived in one and visited three). [I admit D.C. was a bit of a cheat since we lived in Falls Church though we were there because my father worked in D.C.]
I drew three cards (no spread positions) to answer my question and got (in the order I drew them):
I suppose the cities could be pure coincidence, but it doesn’t feel like it, and the spread seems very odd—like something I don’t really want to know. Since, there are times when we all need someone else’s opinion I’d like to ask for help in understanding this. Please comment. Feel free to be wild with your thoughts—don’t hold back. I should mention—I lived in three of these cities as an army brat (King of Swords?). I’ve always loved the travel and no hardship was involved, so it’s hard to see the Five of Pentacles as referring to anything external.
I see this as an example of how the silliest of seeming coincidences can be a catalyst that takes us deep into the hidden realms of ourselves if we bother to look. The question at the top was what popped into my head spontaneously as I looked at the list. I decided to take the question seriously and see what came up.
ADDED: The comments have taken me on an incredible journey of insight that has reached so many levels. However, the most immediately significant thing for me is that my father (identified above as possibly the King of Swords) died on Thursday (9/11-Patriot Day) at a military nursing home. He had worn an electronic buzzer (see bell around cripple’s neck) that would go off whenever he tried to get out of his wheel chair. This seems like a foreshadowing similar to that mentioned in my post on Prediction or Insight. After all, my inquiry arose in the first place because I couldn’t understand why that silly list wouldn’t let me go. I phrased the question in the only way that made sense to me at that time. [BTW, I originally posted this on 9/9 (my time zone was incorrect).]
Is prediction what tarot reading is all about? What if it is not to learn that a particular thing is going to happen but, rather, to explore later what those cards can teach us about what does happen? What if the reading is simply to make us spiritually or psychologically aware of what’s really important and significant in life events—to wake us up to how the outer and the inner reflect each other in a meaningful way?
As an example, I’ll describe a very powerful experience a group of us had in one of my classes (permission granted to tell this story). I had proposed an experiment in prediction. Each member of the class was to draw a Major Arcana card to signify the most significant archetype that would be functioning over the following week. They were then to draw two Minor Arcana cards that would describe the situation that archetype would function within—giving us the particular circumstances and literal details. As a group we made predictions that would be evaluated the following week. (Without reading any further you may want to look at the three cards below and think what prediction you would make.)
The cards Heidi drew from the RWS deck were Judgment, Three of Swords, and Knight of Pentacles. Knowing that Heidi’s father had recently died, we predicted that her feelings of grief for her father would be strongly triggered but would result in some kind of awakening or acceptance of her loss. She told us she would be going to his home three hours away to tie up his financial affairs and we warned that going through his papers would probably be very difficult.
When we gathered the following week Heidi told us that the reading had referred to a very specific dangerous and traumatic event. Given that the assignment was prediction, she wondered (as did we all) why no one had been able to warn her so she could have avoided it.
She had gone to the bank to close her father’s accounts when a man with a gun came in to rob the bank. As the robber waved his gun around, Heidi dropped to the floor in fear for her life. The robber even stepped on her shoulder when he took money from that cashier’s window. To add to it all, he had taken a bank deposit box withdrawal slip containing the address of her father’s house.
When a customer stupidly ran after the robber, Heidi had held and comforted his young daughter, assuring her that her father would be all right (although she couldn’t know that) and that the robber wouldn’t return.
She felt that Judgment referred to her fear for her life. Heidi had faced the thought that she might be meeting her maker. The Three of Swords was her terror and anguish, and the Knight of Pentacles was the robber (jumping in a getaway car with the money), as well as herself (traveling to the bank to deal with money issues). He might even have been the “hero” who tried to stop the robber from getting away. And, of course, it was her father leaving her.
The archetypal images in the Judgment card include a guardian angel, a “wake up call,” emergence from some kind of “boxed” thinking, and a child and parents. Something about being a child to a parent appeared to be breaking into consciousness. Having just lost her father, plenty of early childhood issues were being triggered in Heidi. She was able to be both guardian angel to a terrified child and the child herself.
Heidi also noted that, like in the movie Roshamon, everyone’s judgment varied. Each person at the scene described the robber differently (the three swords crossing each other). And, while most people turned in only a few lines of written description to the police, she had written at least a page and a half, even while realizing that her own judgments might be coloring what she said. Judgment would never mean the same thing to her again!
The strangest thing Heidi found was that she was left with a tremendous fear of revolving glass doors leading outside, and she remembers having had this fear when she was younger—although we didn’t have time in class to explore that. The revolving metal holding the glass was like the metal of the three crossed swords. Of course, death itself is a painful doorway—especially to those left behind on the other side. In essence, Heidi had been robbed of her father, but she ended up assuring a little girl (as well as the child within herself) that both her father and she would be all right. Would it have served her as well to have avoided the situation all together?
Everyone in class agreed that they could never have predicted a bank robbery from the cards Heidi had drawn. However, looking back on the incident, we saw how perfectly they describe the robbery. Much more importantly, they indicate how Heidi was affected and point to unconscious complexes that were triggered by the events. An experience she’ll never forget also became a rich vein of personal alchemical gold that Heidi will be able to mine for years, using the cards in the reading as guides to layers of healing.
So, is tarot best at prediction (since it is too often a hit-or-miss proposition), or is it more ideal for reliably exploring the deeper significance of whatever does happen?