I should note, I review this as a straight, cis-gendered person, an interfaith minister and as a storyteller who has done some deliberate work with gender-crossing deities and mythic traditions. My perspectives are, obviously, shaped by this.
So firstly and most importantly, I am so glad this book exists.
Raven Kaldera, a self-identified ftm shaman of the northern-European/Heathen pantheon, takes a global and mythic approach to transgender spirituality. In so many traditions, third-gendered and other trans-gendered individuals were seen to have sacred roles, and so many Gods/Goddesses and Divine beings transcend the modern, Western gender binary. Kalderra picks a variety of these, including with Agdistis, Shiva, Lilith, and dedicates a chapter to each.
And these chapters follow a formula. A poem or prayer to introduce. A version of the story of the particular deity on which that chapter is focused. An exploration of an aspect of trans-identity relevant to that particular deity. Some suggestions of inner and outer activities to help engage with that deities concerns. A ritual inspired by that deity. And an interview or two with other trans- spirit workers, almost all of them from under the pagan umbrella, about their life, their gender, their spirituality and how those things are all connected.
It's a tight formula and it makes sense, though about halfway through I began to find the regularity repetitive. Kaldera is a skillful writer and this book feels like it addresses a real need in the world. It's not really for me to imagine how helpful this book might be to a trans-person in helping them contextualise their place in the world, but as a cis-reader it was horizon-expanding, comprehensive, passionate and powerful.
The gripes. Kaldera makes so little effort to cite his sources during his mythic re-telling. Perhaps this only annoyed me because I'd love to go away and do my own follow up research on the story versions, but it also plays into one of my pet peeves with pagan writing. Take, for example, Kaldera's version of Inanna's descent into the underworld. In it, he has her create gender-less beings from the dirt under her fingernails. Great, that's a powerful image. But in most of the Sumer/Akkadian tablet translations I've come across, that particular piece of magic is done by Enki, the trickster. Now there's a whole host of reasons why Kaldera may have decided to write a version in which it was Inanna who carried out this act of creation - perhaps he found a tablet or translation that credited the deed to Inanna. (There's an enormous number of different versions out there!) Perhaps he's worked with Inanna as a Deity and felt like that version of the story had come directly from Her to him. Perhaps he had aesthetic considerations - maybe he wanted to limit the number of deities in his story because it might confuse someone new to the pantheon, or perhaps he wanted Inanna to save herself rather than rely on a male intervention - all of which are valid and heck, I've done them myself in my own reworking of Gilgamesh. But my experience of pagan writing has been that it conflates research, revelation and aesthetics, whereas to me these things are tangibly and importantly different and I want to know which the writer is engaged in.
There's a couple of other minor complaints. I felt like some really obvious characters were missed. (We have a chapter on Shiva but nothing on Shikhandi, for example.) I was also rarely blown away by Kaldera's ceremony writing, an experience I also had with his book of handfasting and wedding rituals. My own taste in ceremony involves a little more "way opening" into the symbolic language of the ritual elements. But that's probably just my own taste as a celebrant working often with bespoke ceremonies for congregations I'm meeting for the first time.
The second edition finishes with a section on Solid Visions, essays from other writers on different aspects of trans-spirituality, for example the congruence of the physical and astral body. These are a very welcome conclusion, especially as they interrupt the by then repetitive chapter structure.
Argh. Once again I've written a review that comes across far more negative than I mean it to. This was a skillfully written, deeply-researched book, accessible, inspiring and entertaining. The world is so much better for "Hermaphrodeities" being in it and I've already ordered another of Raven's that I'm looking forward to reading.