Oracle

of Visions
by Ciro Marchetti

If art serves any purpose other than

simple decoration, it’s to bring into
focus, if only for an instance, that which
might otherwise pass unnoticed.
Copyright © 2014 U.S. Games Systems, Inc.
All rights reserved. The illustrations, cover design, and
contents are protected by copyright. No part of this
booklet may be reproduced in any form without permis-
sion in writing from the publisher, except by a reviewer
who wishes to quote brief passages in connection with a
review written for inclusion in a magazine, newspaper
or website.
Photographic reference has been used as inspiration for
many of the characters used in these cards. However,
any resulting resemblance to real persons, living or
dead, is purely coincidental.
First Edition
10 9 8 7 6 5 4 3 2 1
Made in China
Published by
U.S. Games Systems, Inc.
179 Ludlow Street, Stamford, CT 06902 USA
www.usgamesinc.com
foreword
O ver the previous decade I have been involved
in the world of tarot and have created three
tarot decks during that period. Despite attempt-
ing to add personal touches and variations to
those projects, by default they still adhered
in great part to the structure and format that
define the tarot genre. Nevertheless, as I describe
in the latter part of this book, I found the pro-
cess increasingly restricting and concluded that
producing an oracle deck offered a far more
flexible opportunity to create a worthwhile tool
for divination and meditation. With its lack of
established pre-conceived format and structure,
it provided a platform for far more personal cre-
ative output. This Oracle of Visions is the result
of having taken that opportunity.
Browsing through the spirituality shelves of your
local bookstore, it is likely that you will find
many options for oracle decks that are themed
on goddesses, faeries, angels or some kind of
New Age system of positive affirmation. God-
desses and angels, with their corresponding
attributes, serve as archetypes for certain char-
3
acteristics, virtues and gifts. But beyond the
more commonly known, one is obliged to learn
and become familiar with the numerous other
goddesses (along with their attributes) that make
up the full deck in order to be able to use it. The
different qualities associated with each goddess,
fairy or themed character is not apparent unless
one reads the corresponding explanations pro-
vided for each.
My intention was to create a set of images that
would speak for themselves and require no sup-
porting text in communicating their possible
meanings; a deck consisting of a set of visual
starting points on which to base readings from
an entirely intuitive level. Additionally, these
images would for the most part be neutral; their
purpose would not be to provide a consistent
‘feel good’ positive spin or motivational self-help
encouragement (although they can certainly
provide that if you, the reader, see them in that
way). In and of themselves, these images could
be interpreted quite differently, often with con-
trasting or contradictory conclusions, depending
on the specifics of any reading. I hope that this
Oracle of Visions fulfills that objective.
4 5
Life is a constantly changing maze filled with
choices at every turn with consequences for every
decision. Making better decisions requires the
reference point of experience, intuition and com-
parison. The best we can do is think our circum-
stances through, evaluate the possible scenarios,
and consider the various factors related to them.
We do this by using our instincts, as well as con-
firming facts. Where appropriate we consider the
ramifications of our decisions and actions both
for ourselves and any others directly or indirectly
involved. Ultimately, despite it all, we must be
cognizant of the fact that despite our best inten-
tions, there are still no guarantees that whatever
choices we make will prove to be the correct ones.
?
T he images of the Oracle of Visions are
loosely broken into four categories: Situa-
tions, Emotions, Actions and Behavior. Initially
I had intended to subdivide the deck into only
those four groups, but I soon realized that this
would be imposing an unnecessary restriction.
The images needed to be able to apply to more
 and characters, are shared throughout, and
than one category, e.g., a card depicting “fear”
there is no specific significance to which cards
(an emotion) might equally be communicating
they are employed. In general terms the jest-
“danger” (a situation). Similarly, a card depict-
ers, masks and theatrical performances serve
ing “memories” (a concept) might equally serve
as archetypes. Masked figures and performers
to communicate “remembering” (an action). By
can serve as either generalizations or individu-
discarding such categories, each card is free to
als. They are both anonymous and role playing
serve in many roles.
and as such can more easily be representative
By extension, there is no need for reversals in a of whoever is the subject of the reading.
reading as the potential for such variations are
The mechanical devices serve as they do in
contained within the images themselves. To this
most of my work (including the previous tarot
end I have also chosen not to include keywords or
decks) as metaphors of our partial control in
titles on the face of the cards. I believe that doing
our fate. A Wheel of Fortune may represent the
so would only serve as restrictions to their inter-
cyclical spiritual and mystical ups and downs
pretations. By omitting any preconceived mean-
of life, but in its man-made mechanical form it
ings, it will be far easier for you, the reader, to
also suggests that we have some buttons and
interpret them differently for the context of a par-
levers of our own making that we can adjust
ticular reading. I have included numbers, but that
along the way. The Victorian feel is a decora-
is simply to provide a practical reference point.
tive indulgence that visually aligns with the
There is no intended significance on my part as
“Steampunk” (or as I have always described it,
to which numbers were chosen for which cards
“Retrotech”) style of my mechanical devices,
apart from 21 for Lady Luck. (I couldn’t resist.)
and gives them a complementary setting. What
Visually there is no one common theme. My per- commonality the images do share is hopefully
sonal penchant for jesters, masks, and mechani- they all in their own way invite interpretation
cal devices, along with faux Victoriana costumes and ask to be given meaning.

6 7
 ? vying for our souls was often a conflict played
I hope that these images can be equally appli-
cable to the bigger issues as well as the every-
day nuances of our lives. If there is a common
thread, it’s that they mostly deal with the theme
of choice. Choices made, choices to be made,
their timing and the influences that go into
making them. Our lives are filled with decision
making and its consequences. These images may
help provide a perspective as to how we might
arrive at those decisions and consider their con-
sequences both to ourselves and others. How we
evaluate our options is influenced by a myriad
of factors, including personal self-interest, moral
issues, fear, anticipation, value of rewards and
consequences of punishment.
Historically, images of tarot acknowledged
this element of choice, albeit reflected heavily
through the iconography and agenda of church
doctrine on how best to live one’s life. This was
encouraged with the corresponding promises
and threats offered in the afterlife, but despite
that there was also great emphasis on the role
of fate. The battle between good and evil forces
8 9
out by the deities on our behalf and beyond our
mortal control. From that viewpoint one can
almost see humans as merely bit part players in
a grand theatrical performance of life, following
a predetermined script.
Today, we are aware of having greater choices
in our lives compared to the past. Clearly, this
can be an overgeneralization and regrettably,
this might not apply to the majority of people
even today. But for the vast majority of those who
are likely to be using this deck, it is applicable.
We enjoy many freedoms of choice that simply
would not have applied to less complex times in
the past. Where we live and work, with whom we
choose to share our lives, how many children to
bear and when, what religious beliefs and polit-
ical opinions we hold; these are just some of the
options we experience that would not have been
the case in earlier times. The images on this deck
reflect those freedoms of choice we may now
have along with considerations and responsibili-
ties we have to apply when making them.
 ?
I n the following pages I have provided a brief
summary of my personal description and
meanings for each card, along with some occa-
sional opposing suggestions where applicable.
These can serve as a starting point from which
you are welcome and encouraged to deviate. You THE CARDS
as a reader will take it from this point. What will
the Oracle have to say? Your journey with these
cards will be your own as mine has been; but
I am confident that you will have a wealth of
images to accompany you.

10 11
 – card 1 –

T o move on from failures or simply to

expand and explore new horizons, we
make choices to leave the past behind. Whether
it is in the form of treasured objects of mate-
rial or symbolic value, relationships, careers,
familiar surroundings or even personal ideals,
at some point we may have to discard them like
a tree shedding leaves in order to liberate our-
selves and allow for future growth. On the floor
are three discarded cards, each a Fool from my
three tarot decks. From the box their spirits are
released as doves for a new beginning.

Ensure that the time is right to move on. Has

your present circumstance been truly fulfilled,
or is it being abandoned prior to its completion?

A New Beginning See additional interpretations of this particular

card on pages 117-121.
Release from the Past
You may have a fresh start any moment
you choose, for this thing we call “failure”
is not the falling down, but the staying down.
–unknown

12 13
 – card 2 –

O ur sense of belonging and acceptance by

others requires affirmation. Peer recogni-
tion and acceptance is a compelling motivation
and reward for our participation. To that aim we
may have to demonstrate, to some degree, our
allegiance. Some communicate their allegiance
and commitment through body marking, others
by more transient expressions such as dress code
and fashion, and still others by their conduct or
mannerisms. Whatever the form, all are varia-
tions of the same basic objective, namely a con-
firmation that “I am this and I belong”, and in
turn “you are this and we accept you.”

The flamboyantly coiffed female modifies her

appearance with a disguise in order to assimi-
late. The masked beak transforms her visual per-
Belonging sona, and her poise and means of posture fur-
Acceptance ther confirm her spiritual transformation. She is
at one with those she has joined.
Assimilation
In our enthusiasm and desire for acceptance, we
The primary joy of life is acceptance, approval, must be careful to stay true to ourselves. Are we
the sense of appreciation and companionship really comfortable with the “me” we are claim-
of our human comrades. ing to be or is it strained, forced and ultimately
–joshua liebman unsustainable?
14 15
 – card 3 –

O ur dreams provide us with an alternate real-

ity. Limitless and unfettered, we are free to
soar with angels or sink to the depths of demons.
To imagine, to create, to escape the norm, to won-
der and ask “what if” and to awaken refreshed,
and question “why not?”

A jester rests atop a magical box prop, her cos-

tume a nightcap and slippers. It is a time now for
rest and escape. Around her float magical dream
catcher nets, which capture her drifting elusive
imagination. Climbing up the adjacent pole are
a variety of creatures, each symbolically associ-
ated with dreams in different cultures.

Be wary of dreams and interpreting them falsely,

they may be true visions or merely mirages of the
Dreams truth that will send us further from reality.

Meditation
Spiritual Escape
Some colors exist in dreams that are
not present in the waking spectrum.
–terri guillemets

16 17
 – card 4 –

T here may be no right or wrong. The view is

the same but its perception is different. Fresh
ideas and experience sharing the same eyes, but
a different vision.

Two manifestations of the same person share a

commonality: one from the fresh, eager inno-
cence of youth, the other from the calmer, sober-
ing maturity of experience. Both grasp the same
mask in unison, their destinies entwined and
ultimately inseparable. At some point, both will
see the same vision.

Perspective
Points of View
I was once like you are now, and I know that it’s
not easy to be calm when you’ve found something
going on. But take your time, think a lot. Why, think
of everything you’ve got. For you will still be here
tomorrow, but your dreams may not.
–lyrics from father and son, cat stevens

18 19
 Twenty years from now you will be more
disappointed by the things you didn’t do
than by the ones you did do.
So throw off the bowlines. Sail away from the safe
harbor. Catch the trade winds in your sails.
Explore. Dream. Discover.
–H. Jackson Brown

– card 5 –

I f you take that leap of faith, oh the places you

could go...but you’ll never know until you try.
We can dream and hope and take that leap, but
there are risks involved. Nevertheless we do not
have to be a tarot Fool innocently leaping from
a cliff. We can instead assess the scenario, the
dangers, and prepare. We can train or educate
ourselves, become informed, take precautions

Flights of Fancy and increase our chances of success.

Leap of Faith
Taking a Next Step

20 21
 – card 6 –

W e have experienced a difficult period, but

the trial is over. Challenging times in
their multitude of forms, worries over financial
or health issues, troubled relationships or con-
cern for others close to us have left us physically
weakened or spiritually tested. Now, either by
acceptance or conclusion, our troubles are past.
Now, we need the comforting embrace of rest. It’s
time to recuperate and regain our strength.

A woman draped in a purple cloth reclines

peacefully. A glowing divine light or spirit drives
away the shadows of her troubles. She floats gen-
tly above a Zen-like garden of cherry blossoms.

Tranquility
At Peace
I go to nature to be soothed and healed,
and to have my senses put in order.
–john burroughs

22 23
 – card 7 –

T he abstract concept of infinity is given a

visual reference here. This card represents
limitless possibilities that infinity embraces.

A monkey would, by random keystrokes, even-

tually put them into the precise order required
to replicate the entire works of Shakespeare. This
intriguing theory is effective despite its over-
whelming odds because it defines infinity in
terms other than an abstract improbability. It
provides enough essence of possibility that it can
be quantified and grasped, even if only in the
realms of our imagination. But then, we are free
to imagine so many other improbable scenar-
ios. It is appealing to consider that any personal
goals or ambitions, no matter how fanciful, can
by the same criteria as our Shakespearean anal-
Infinity ogy, ultimately be achieved. The only limitation
No Limits to their fulfillment is a matter of time and effort.

Perseverance
Difficult things take a long time,
impossible things a little longer.
–andré a. jackson

24 25
 – card 8 –

I n a larger metaphysical sense, our journey

through life is said to be full of transformation
from an imperfect, corruptible state towards a
perfect, healthy and everlasting state. What does
not kill us makes us stronger. Thus, painful or
difficult changes that we endure can in theory
burnish us in a spiritual sense to a high, golden
shine. We can also seek out knowledge, opportu-
nity and challenge; it is not necessary to merely
allow life to happen to us.

In this scene, an Alchemist serves as an analogy

for striving to achieve an end goal through study,
experimentation, dedication and perseverance.
His facial markings trace the beginning and
end points of his quest from base lead through
its various stages of purification of the soul to
Goals gold. The symbol for gold appears in the center
Dedication of his forehead, where the Third eye chakra is
Process perceived to be.

When we are motivated by goals that have deep This card is a reminder to stay focused on the
meaning, by dreams that need completion, by pure goal and to continually apply the required
love that needs expressing, then we truly live life. self-discipline. It will all be worth it in the end.
–greg anderson

26 27

Support
Bearing the Weight of Others
’Tis not enough to help the feeble up,
but to support them after.
–william shakespeare, TIMON OF ATHENS, 1.1
28
– card 9 –
T his card represents the offering of strength
and assistance, and bearing a burden on
behalf of others. Providing support can take
many forms: moral, emotional, physical and
financial. We can offer our shoulders to bear the
weight or lend an ear to share grief.
Here, a jester offers his shoulders on which the
girl can perform. He raises her up, allowing
her to be the focus of the audience’s attention,
his subdued posture deliberately taking second
place. His identity hidden, he provides an anon-
ymous contribution. In the background are three
tarot Strength cards, which serve as props and
reaffirm this card’s message.
While the effort and gesture is a noble one, there
are times where we should come out of the shad-
ows and take credit for our contributions. You do
not always have to settle for being second fiddle.
Be careful not to allow others to take advantage
of your generosity.
29
 As the biggest library if it is in disorder is not as
useful as a small but well-arranged one, so you may
accumulate a vast amount of knowledge but it will be
of far less value than a much smaller amount if you
have not thought it over for yourself.
–arthur schopenhauer

– card 10 –

P art of the process of assessing a situation is

the use of intuition and psychic gifts. But
some circumstances may merit a more analytic
approach. Being better informed and armed with
a greater understanding of the facts and back-
ground to any situation might provide a stronger
basis from which to make better decisions.

It appears that the character in this scene has ded-

icated the necessary due diligence and is armed
Knowledge with a substantial amount of information.
Research But therein is a question of how much may be too
Knowing the Facts much. One can become overwhelmed and tied
down in the detail, suffocated by the volume or
Being Prepared unnecessary diversions, at the risk of over analyz-
Forewarned ing or not seeing the forest through the trees.

30 31
 – card 11 –

H armony is not achieved in isolation; it

requires a resonance or participation
with others linked by time, rhythm or agree-
ment. To be out of sync results in disharmony,
discord and conflict. These musical metaphors
can easily be applied to other actions and
relationships that require us to live, work and
generally relate to others.

Adjusting our perspective and modifying our

position allows us to disregard differences and
move forward in tune with others. With deft
fingers the jester produces a melodic rain-
bow of harmony, her dress and the musical
score sheet also working together to tell the
same message of her “delight”...Greensleeves of
course.
Harmony
Be wary of always making adjustments for the
Balance common good. There will be occasions when
Being in Tune with Others you should take the lead and solo performance
is also required.
You don’t get harmony when everybody
sings the same note.
– doug floyd

32 33
 – card 12 –

A g
 uardian angel is witness to the birth of
the one whose life he will oversee. He is in
awe of the wonder of creation and its signifi-
cance. Cradling a mystical incubator in which
this new life is enclosed, he understands its fra-
gility. As he is now so will he remain throughout,
offering help and support, yet knowing the lim-
itations of his influence.

Fate and destiny will play their part, the chakras

and astrological zodiacs orbit the central sphere,
suggesting the role they will play in this future
life. But this wondrous mechanism is also man-
made; a grand part of how this life will be lived,
and what it will achieve will not be pre-deter-
mined by fate alone, but by free will and choice.

Wonder of Creation
Protection
Destiny
The guardian angels of life fly so high
as to be beyond our sight, but they are
always looking down upon us.
–jean paul richter

34 35

Productivity
Control
Organization
Take your needle, my child, and work at your pat-
tern; it will come out a rose by and by. Life is like
that—one stitch at a time taken patiently and the
pattern will come out all right like the embroidery.
–oliver wendell holmes
36
– card 13 –
T his card considers the gathering of separate
elements, people, or ideas, from the every-
day nuances of family dynamics to the manag-
ing of a corporate team.
This Victorian seamstress manipulates various
components as threads of color. With skillful
hands, she arranges them, taking into consider-
ation the distinct and individual qualities that
each may possess. She coaxes the best from each
and orchestrates their ultimate working together
as a whole. Giving each strand order, position
and purpose, she blends them into a rainbow of
unity. Its beauty is a metaphor of accomplish-
ment surpassing that of its original, separate
parts.
Be wary of over-controlling, micro-managing or
getting lost in the details. Allow each participant
to contribute fully and not be undermined by
one person’s overall position.
37
 – card 14 –

I n its myriad forms, creativity is an expression

of our humanity and imagination, both in its
production and in its recognition. To take shape,
color, form, sound, or words and give them a new
life is an act of creation. Various symbols of the
tools and medium through which creativity is
expressed are worn by our artist as a decorative
headdress of imagination.

Sometimes creativity can consume our thoughts

as slow-burning embers waiting for release.
At other times it is a spontaneous explosion of
inspiration. Either way, it is a wondrous human
characteristic and there are infinite varieties of
individual expression, but alas also an infinite
variety of assessment by others.

Creativity
Imagination
Each day is a new canvas to paint upon. Make sure
your picture is full of life and happiness, and at the
end of the day you don’t look at it and wish you had
painted something different.
–ritu ghatourey

38 39
 – card 15 –

T his card portrays a farewell, which might be

a final parting or a temporary good-bye. A
tragic loss or simply a turned page could be lead-
ing to a new future.

The woman’s sober expression gives us no clue

as to the content of her envelope. A farewell mes-
sage yes, but one received or to be given? The
rose suggests a possible lovers’ separation, but
is it a final goodbye or a temporary one “until
next time?” Either way as any airport scene will
demonstrate, departure lounges tend to be sad-
der than arrivals. The birds flying in the back-
ground suggest that a return is in the future.

Our lives are a constant flow of farewells, to peo-

ple, places and things, some with regret but some
Farewell with enthusiasm as they are replaced with new
Goodbyes options.

Closure
Forever and forever, farewell, Cassius!
If we do meet again, why, we shall smile;
If not, why then this parting was well made.
– william shakespeare, julius caesar, 5. 1

40 41
 – card 16 –

P hysical distance or emotional detachment

serve to give us a greater comprehensive
view. Distance may also provide a clearer over-
all perspective than a close-up would. From this
vantage point we can often get “the big picture”
and reach different conclusions.

A solitary woman strolls a desolate beach, her

isolation providing a point of reflection. Dis-
tanced from the influence of others, this is a
scene of personal contemplation. The floating
monoliths provide perspective and suggest the
distances with greater emphasis than would an
empty sky. Perhaps representing issues in her
life, their distance reinforces her isolation but
may also provide her with the perspective and
clarity of vision that she is seeking.
Distance
We need to strike a balance when assessing a sit-
Isolation uation. Are we too closely involved? Or, should
Perspective we step back?

Distance not only gives nostalgia,

but perspective, and maybe objectivity.
–Robert Morgan

42 43
 – card 17 –

D espite our differences, by changing our

position, stance or direction, we may find a
common ground and jointly interact. This pro-
cess is made easier when both sides participate
in unison.

A jester performs his dance. Strength and motion

combine and in one instance he remains frozen
in perfect poise. In his hands he balances two
masks of opposing shapes. Despite their funda-
mental differences, his dancing form positions
them so their opposites are transformed, and
their shapes now morph to one—of compliment-
ary yin and yang harmony.

Balance by default requires equality of purpose,

position and desire. Both sides of a pivotal point
Balance must consider the position of the other. If one
side fails to cooperate, balance is lost.
Equality
If I’m losing balance in a pose, I stretch higher
and God reaches down to steady me.
It works every time, and not just in yoga.
–terri guillemets

44 45
 – card 18 –

T his card may represent the nurturing nature

of a mother embracing her child, a teacher
guiding his student or a master training his
apprentice. Each balances the desire to protect
and provide direction to those under his or her
care, with the need to also allow room for per-
sonal growth.

We can prepare them, inform them, advise them,

but eventually there will come the moment when
we will need to resist the impulse to reach out,
and instead must let them fall. When they rise
again of their own accord, we can take comfort
in knowing that we taught them well.

Nurturing
Taking Care of Others
When you are a mother, you are
never really alone in your thoughts.
A mother always has to think twice,
once for herself and once for her child.
–sophia loren

46 47
 – card 19 –

W hile we share common traits with all other

living entities and are indeed linked to
them in so many ways, our humanity is prob-
ably best defined by our awareness of ourselves.
We alone can look up at the sky and contem-
plate our role in the universe. We alone have the
freedom of choice and the capability of rational
thought beyond survival and procreation. We
alone can question relative values and choose
right from wrong.

Our consciousness is both a blessing and a bur-

den. It provides us with the ability to ponder and
question. More than any other living entities,
we have the capacity to consider variables and
options for the future, and to be either encour-
aged or concerned about the possibilities.
Contemplation
Analysis
Awareness
Man is the only animal for whom his own existence
is a problem which he has to solve.
–Erich Fromm

48 49
 – card 20 –

T he concept of this card is similar to those pre-

sented in the Faith cards of my tarot decks.
A selection of religious symbolism represents
a gamut of beliefs. The irony of this common
denominator is tragic. With so much suffering
inflicted in their name, religions have much to
answer for. The blindfold can represent the blind
faith such religions demand from their followers,
but also the blindness often shown towards the
beliefs of others.

All this is set against the backdrop of Darwinian

evolution shown in red below the various golden
symbols. An ironic contradiction that represents
the common denominator of humanity is shared
by all religions, and adds a question mark to
them all.
Belief
Faith
Faith must be enforced by reason.
When faith becomes blind it dies.
–Mahatma Gandhi

50 51
 You’ve got to ask yourself one question:
Do I feel lucky? Well, do ya, punk?
– Clint Eastwood in Dirty Harry

– card 21 –

T his card is all about evaluating the odds

and taking risks. Life is a constant roll of the
dice, so you must consider all the pros and cons.
While some choices can be avoided, others we are
forced to make. Each comes with its own promise
of reward or consequence. Our perception of our
chances are often influenced by our individual
abilities, beliefs or superstitions. But, ultimately
only the lady knows what card she holds.

Lady Luck personifies our conceptual approach

to luck and fate. Adorned and surrounded by a
collection of associated symbols, she offers us
Lady Luck another card that will determine whether we
have a winning or losing hand.
Fate
Are we relying too much on luck? Are we strug-
Taking Risks gling to pay our bills, but still buying a lottery
Evaluating the Odds ticket? Are we basing important decisions simply
on the hope that things will turn out in our favor?
Superstition If so, good luck and keep your fingers crossed.

52 53
 – card 22 –

S uccesses, failures, mistakes and regrets all

belong in the past and cannot be changed.
Some things should not be dwelt upon, and we
should move on. But both the good and bad have
value and have contributed to what we are now
and offer lessons to be learned for future deci-
sions. The distance of time adds context and per-
spective to a nostalgic review of past events.

In this scene a man views a selection of images

from his past. A retro-styled projector is loaded
with images of other cards from this deck. As his
expression is neutral, it’s unclear whether those
projected images are evoking fond memories or
painful regrets. Probably like any album or cata-
logue from the past, it will be a mixture of both.

Reflections Do not dwell in the past, there may also be a

tendency to overlook details and remember with
Looking Back emotional bias rather than accuracy.
Hindsight
A moral being is one who is capable of reflecting on
his past actions and their motives—of approving of
some and disapproving of others.
– Charles Darwin

54 55
 – card 23 –

O ur relationship with the natural world is

at its lowest ebb, and as humans we are
becoming increasingly detached. Our physical
lives may have been made more comfortable by
our technical advances but our spiritual lives
may be diminished.

A woman transforms her body with a symbolic

tree, as she offers support and safety to nature.
The sincerity of her offer is accepted and returned
with complete trust. A warm glow is generated
from that interaction. In the distance a unicorn
notices and looks on approvingly, but ironically
there is a sad poignancy in his attention. Is it
that this magical creature has seen so few of
such acts?

Providing Shelter Despite the overall trend there is hope in that

we are at least aware of our damaging imprint
Home is a shelter from storms—all sorts of storms and an increasing acknowledgment and desire
–William J. Bennett to redress the imbalances.

56 57
 – card 24 –

H ave the courage to set it free, if it flies

away it was never truly yours. If it returns
of its own free will, then you know for sure it
was yours.

Such is the old adage regarding a loved one.

To truly love and be loved, love has to be given
and returned freely and unconditionally.

This image captures that moment of release.

Letting Go
Offering a Way Out
Truly loving another means letting go of all
expectations. It means full acceptance, even
celebration of another’s personhood.
–Karen Casey
Will the butterfly return or leave through the
open window? It is a poignant moment and
one of courage for the girl who has released the
butterfly but is herself a prisoner. Her scenario
is symbolically represented by the chess pieces.
The analogy of imprisonment can of course
be applied to self-incarceration. We are often
prisoners trapped in a cell of our own making,
either by fear, perceptions of duty, or loyalty to
causes or people. Whether caring for a loved
one or feeling trapped by financial, medical or
any other such circumstances can represent an
emotional imprisonment as real as any barred
window.

58 59
 – card 25 –

W hat we experience and how we interact is

often indirect and from a distance. Phys-
ical interaction that would normally have pro-
vided all of our senses an opportunity for feed-
back and assessment is now increasingly being
replaced by virtual alternatives. From e-mail and
texting to social networking, our relationships
are becoming increasingly defined by virtual
interaction that can distort and substitute real-
ity. We can now create multiple new identities.

How we go about quantifying people and events

is now increasingly based on new paradigms
that can provide a false perspective both for
viewed and viewer alike.

Misleading Illusion
Confusion
Do not be misled by what you see around you, or be
influenced by what you see. You live in a world which is
a playground of illusion, full of false paths, false values
and false ideals. But you are not part of that world.
–Sai Baba

60 61
 – card 26 –

W e are often encouraged to live in the

moment, enjoy the present and not to
dwell too much on either the past or future. Yet
in a sense the “present” is the least consequen-
tial of the three concepts; it’s merely an abstract
state that we inhabit but for an instant.

In this frozen moment the woman balances

symbols of the enduring concepts of time that
precede and follow on from it. On one side is
the past, which is now locked and cannot be
changed, symbolized by a book on its last page
and fully written. But there is also a mirror,
as the past still provides value as a reference
for reflection, and for appraisal and lessons
learned. On the other side of her there’s a key

Past & Future that will open doors to new opportunities and
a blank book ready to be written.
Fresh Start
You just have to turn the page. It’s tough knowing what
has happened in the past and how close we’ve been,
but you can’t dwell on the past. This is the time to
rewrite a new chapter for the future. Hopefully we can
put ourselves in a position where we’ll all be happy.
–Donovan McNabb

62 63
 – card 27 –

T his card portrays a seductive and alluring

femme fatale. At some point we have all met
her in some guise and gender. Possibly not even
in a human form but as a situation, a place, or
an invitation to act.

We are attracted irresistibly like moths to a

flame. We may even be cognizant of how ill
advised it would be to fall for her charms. Iron-
ically, that suspicion of danger may even add
to her allure like some complementary adorn-
ment. And casting caution to the wind we are
driven and motivated.

But attraction alone can be shallow, a tem-

porary infatuation with little substance. Such
an emotion not only lacks duration, but along
Attraction with brevity, it is also fraught with danger
and repercussions. But despite it all we cannot
Magnetism entirely reject her, we look once more, and yes
Infatuation she is still there, still alluring, still beckoning.

For every man there exists a bait

which he cannot resist swallowing.
–Friedrich Nietzsche

64 65
 – card 28 –

I n this life, we are spirit and we are flesh.

When we forget that we are both, we can suf-
fer unnecessarily. This card can indicate a need
to take time for meditation and to connect with
one’s Higher Self. This will in turn allow us to see
the spiritual aspect of others more clearly and be
able to reach out to them more easily.

A young man stands in a contemplative mood.

The mask before him indicates that he has
stepped away from his usual role in life. A flame
beside the mask signifies the eternity of our
nature and reminds us that all that we see in this
earthly realm is no more than a mask.

In his right hand he holds a bell jar that con-

tains the face of a woman. Maybe she is his spirit
Contact guide, or a love from a past life. She is reaching
Reaching Out out to him with much love and tenderness. In
his left hand he holds two batons indicating the
Spiritual Bonds duality of human nature. They might also indi-
Connections cate that he has more than enough will to move
forward in his life.
Each contact with a human being is so rare,
so precious, one should preserve it.
–AnaÏs Nin

66 67
 – card 29 –

W hat is it about that ingredient called ‘for-

bidden’ that whets the appetite? From the
innocent indulgence of one more piece of choco-
late to more significant forbidden fruits of social
behavior, we are often tempted. We indulge, even
at a risk to our health, our relationship with oth-
ers, and our general well-being. Our ability to see
through the illusion, to weigh the consequences
and resist the temptation is a measure of our per-
sonal willpower, character and strength. To suc-
cumb or to resist will be a choice that defines us.

A horned jester pulls apart the curtains revealing

an apple and serpent, symbols from temptation
and original sin. A Salome-styled performance
manifests as a vision from a flaming cauldron.

Temptation As we come to understand our weaknesses and

the reasons for them, they lose their power to
Resisting control us. The devil becomes simply a man in
Willpower a silly hat.

There is a charm about the forbidden

that makes it unspeakably desirable.
–Mark Twain

68 69
 – card 30 –

I n the darkness, our fears feed from us and

grow. Our imaginations nourish them and
give them form. In return, they can weaken us
further or trigger our defenses.

This scene, a clear take on Little Red Riding

Hood, reinforces the concept that danger may
not always be obvious; it may be hidden or
disguised. In some cases we are utterly fooled
or taken by surprise and will suffer the conse-
quences. But very often we have a sense that all
is not right, that something is out of place. Our
basic instincts are triggered and our senses are
alerted. Is this the time for caution or boldness?
Is all as it should be? Is he all that he claims to
be? Is the offer too good to be true?

Danger
Fear
Avoiding danger is no safer in the long run
than outright exposure. The fearful are
caught as often as the bold.
–Helen Keller

70 71
 – card 31 –

F rom the clandestine world of espionage to

the privacy of our personal inner thought, we
attempt to keep our own secrets, but seek those
of others. Any sharing of such confidentialities
requires a demonstration of trust whether it is
between nations, corporations or intimate fam-
ily and friends. In the context of human relation-
ships our curiosity or need to know may be for
self-interest or a desire to help others. To achieve
either will require a key, that in turn provides
access to the information we seek. It may be facts
and figures, or simply a better understanding
of the circumstances. Such information may be
provided freely by those who control it, or with-
held until we have proven ourselves. These keys
may take the form of the most complex cryptic
puzzle or password, but also a simple “you can
Secrecy trust me” gesture offered to a troubled friend.
Confidentiality In this card, the guardian is herself symbolically
an oracle. She possesses the answers you seek and
Every relationship between two individuals
can provide you with the keys to access them. But
or two groups will be characterized by
before doing so, you may have to prove that you
the ratio of secrecy that is involved in it.
are ready. Seeking greater truths, even those of
–Georg Simmel
self-discovery, often requires some demonstra-
tion of worthiness.
72 73
 – card 32 –

A woman closes her eyes as she con-

templates treasured memories from
the past. She releases to the world all the
details of her thoughts and feelings, suc-
cesses and failures, good times and bad.
Remembered moments fly about her as
pages from a diary swirl like falling leaves.
From an open locket a golden light streams
with images of loves lost but not forgotten.
Embracing a favorite doll that remains
with her still, she relives all that has been.

This card captures tender moments and

childhood joys.

Memories
Lessons Learned
Choices Made
Memory...is the diary that we
all carry about with us.
–Oscar Wilde, The Importance of Being Earnest

74 75
 – card 33 –

A ballerina casts a golden line and lure with

which to capture a desired goal or item. The
process is calm and planned, the pace leisurely.
There is no rush nor looming deadline. She will
know when the right time has come, and the
moment is appropriate. A kingfisher, a harbin-
ger of tranquility, accompanies her and together
they will wait.

Despite the desire for results, some occasions

or decisions simply should not be rushed. We
should approach either with caution or restraint,
waiting for the opportune moment.

We must also be wary of being too indulgent,

and devoting too much time waiting for some
imagined perfect moment, person or thing. Wor-
Patience thy opportunities may be lost if they are over-
looked in anticipation of some intangible better
Waiting for the Right Moment option to arrive.
Time is but the stream I go a-fishing in. I drink at it,
but while I drink I see the sandy bottom and detect
how shallow it is. Its thin current slides away,
but eternity remains.
–Henry David Thoreau

76 77
 – card 34 –

F inally breaking free, a real horse embodying

a true inner spirit escapes from the carnival
shell, which represented his existence up to this
point. The constant repetition finally ends as he
soars through his glass confinement. His escape
and transformation is witnessed with awe and
incredulity, but also with envy by those he leaves
behind.

This card represents the numbing routine of

daily life, for example, the mindless repetition
of the morning commute. What might be com-
forting familiarity to some, can become claustro-
phobic, choking of our inner spirit. We occasion-
ally escape through dreams of what might be,
but at some point we may act upon them to the
amazement of others.
Breaking Free
Chasing a Dream
A horse is the projection of peoples’ dreams
about themselves—strong, powerful, beautiful—
and it has the capability of giving us escape
from our mundane existence.
–Pam Brown

78 79
 – card 35 –

W e all need some “me” time. The family,

the job, the groceries, the world...they can
all wait. During these few precious moments of
escape, they do not exist. I am alone—my only
companions are my own thoughts.

A solitary figure sits beneath a golden domed

shelter, a raised island of solitude that is separate
and distant from others of its kind. Their forms
are mirrored in the silent waters below. Here, she
embraces her solitude, which provides her with
purity and clarity of thought. There are no dis-
tractions. Her book is empty, there is nothing to
read or enter. Only passing thoughts are present,
which are released to float gently in the breeze
and drift away.

Solitude While such moments can refresh and recharge

our spirits, be wary that by degree or frequency,
Loneliness solitude does not become uncontrolled isolation.
Isolation If the distance between us and others is extended
too far, it may become difficult to return.
Only in quiet waters do things mirror themselves
undistorted. Only in a quiet mind is
adequate perception of the world.
–Hans Margolius

80 81
 We have more ability than willpower, and it is
often an excuse to ourselves that we imagine that
things are impossible.
–François de la Rochefoucauld

– card 36 –

W e are entangled by obstacles, real or

imagined, that restrict our wishes and
actions. Whether by ignorance, self-doubt or a
paralyzing fear, we allow them to control, limit
or imprison us. If we could just summon the
strength of will and confront them, we might
face them down, and ultimately overcome
them. In doing so we are free to fly once more.

This is an angel without flight, her wings

entangled by troubles, obstacles and fear.
In her suicidal pose, red ribbons entwine her
Entrapment wrists like streaks of blood. But her entrapment

Limitations is a consequence of her own fear. Blinded by

anxiety, she is unaware that the nearby sword
Restrictions could be used to cut her ties and set her free to
fly once more.
Complications

82 83
 – card 37 –

O ur life is defined by relationships: family,

partners, friends and foes. Each enters and
passes through like a comet crossing through our
sky. Some shine briefly never to return again and
gradually fade from memory. Others settle in
and remain in our orbit.

A mechanical photography device displays those

who have played a part in our lives. The intricate
rotations create infinite combinations to repre-
sent the presence and partings. Mimicking the
steps of an imaginary cosmic dance, some will
remain as permanent participants, although
their closeness will oscillate and be relative to
each other. Additional frames will constantly be
added waiting to portray others who will enter
our lives in the future.
Relationships
Interaction with Others
When something seems to be missing in your life,
it usually turns out to be someone.
–Robert Brault

84 85
 – card 38 –

W e are lost in the moment, staring into a

void, utterly engrossed and transfixed on
some specific point or action in the distance. In
this state we are oblivious to time and reality.

A young woman seated on a columned platform

stares at a dragonfly settling on the lilies below.
Its movements become the focal point of her
concentration, transforming her into a calming
meditative state in which all other distractions
are removed. The numbers on the clock above
float away, the recording of passing time tempo-
rarily on hold. She is at one with her universe.
All worries, concerns and negativity fade. In this
captured moment of escape, there is only still-
ness and peace.

Inner Peace
An Instant in Time
It strikes! One, two, three, four, five, six. Enough,
enough, dear watch, Thy pulse hath beat enough.
Now sleep and rest; Would thou could’st make the
time to do so too; I’ll wind thee up no more.
–Ben Jonson

86 87
 – card 39 –

F or a broken wing or a broken spirit, the heal-

ing process begins with the bond of caring
and comfort. Let a kind word or gentle touch
offer assurance that you are there and the other
is not alone.

A pure white dove is held in a nurturing manner

by a caring woman dressed in deep, vibrant red.
The red of her clothing and headdress bring to
mind the color of the first chakra, muladhara, the
chakra associated with self-preservation.

This is a card about caring. Whether you have a

need to nurture your own soul with some quiet
time or recreation, or there is someone who needs
your help. This card shows that by doing every-
thing you can to be well grounded you can be a
Offering Comfort nurturing spirit.
Healing Hold the object of your ministrations lightly in
Caring your hand; lest, like a frightened bird, they fly
beyond your power to heal.
In the arms of the angel, fly away from here...
You are pulled from the wreckage of your silent
reverie. You’re in the arms of the angel,
may you find some comfort here.
–Sarah McLachlan
88 89
 – card 40 –

T ime, the ultimate thief, gradually takes from

us and never gives back.

A hooded priestess holds out her hand, offering

us a lifetime in the form of an hourglass. Its
shape suggests a cyclical nature that we might
simply rotate and start a fresh. In smaller issues
that may be true and indeed we often sense rep-
etition. But in the larger sense the hourglass is
simply an illusion. In truth, such perceived pat-
terns are merely detours along one’s journey.
Here we see that the golden sand does not merely
fall to be recollected, but escapes and eventually
the glass will be empty.

Time is a commodity that is never really ours,

but merely something we have use of for a given
Time period. The only way to ensure the balance in
our favor is for us to use our allotted time fully
Life before it is taken from us. Live every day, hour
and minute to its fullest.
Time is a figure eight,
at its center the city of Déjà Vu.
–Robert Brault

90 91
 – card 41 –

T his card presents an image of self-exam-

ination. The answer to who we are can
have multiple answers, and those answers
may change with time and circumstances.
We wear our various masks to falsely reflect or
truthfully portray the myriad versions of what
we are or can be.

In this scene we see a reflection of our many

selves. Like the Russian dolls below, we are per-
sonas within personas, any of which can be
the prominent or visible facsimile we choose
to outwardly project at any given moment.
By deliberate choice or emotional reaction
we reach out and choose from one of many
masks. In this scene a plain and a flamboyant
choice is available, but in truth there are so
Identity many others.
Self-Analysis The danger is that on some occasions we are
Knowing Oneself not in control. Outside influences can provoke
emotional states. It is then, at our vulnerable
One’s own self is well hidden from one’s own self; moments that the masks choose us.
of all mines of treasure, one’s own is the
last to be dug up.
–Friedrich Nietzsche

92 93
 – card 42 –

T his card is about setting a target, a goal,

something to strive for, a purpose. Motivated
by need or ambition, we now have something to
aim for—success in our chosen field.

A young performer lays on the floor in an almost

fetal position, possibly exhausted or at the point
of giving up. Despite the constant effort and rep-
etition she has put into her endeavors so far, she
is once again questioning herself. Can she ever
be good enough? Will she ever make it? Despair,
doubt and frustration cloud her progress. Pos-
sibly her efforts are hampered further by other
limitations, physical or mental, or possibly out-
side factors. Other commitments distract her or
compete for her time.

Ambition It’s easy enough to dream and establish goals.

The question now is whether that dream is realis-
Goals tically achievable, or a distracting oasis that will
Inspiration simply torment but never be reached.

If you want to make your dreams come true, the first

thing you have to do is wake up.
–J.M. Power

94 95
 – card 43 –

A stream of light penetrates a darkened

room revealing a solitary figure. Like
Miss Havisham from Great Expectations,
she sits in a world of her own isolation. Her
reflections are her only companions. She
preens herself, yet again, reassuring her-
self with false truths. The mirrors do not lie,
but her obsession does, indulging her only
with the images that she wants to see. Her
excesses represent an ever-increasing desire
to create an ideal that is never achieved or
in reality is not even required.

We should look in the mirror and see our

true reflection, as others would see us, and
strip away the psychological makeup of ego
and vanity.
Obsession
Delusion
Self-Interest
Nature never deceives;
it is we who deceive ourselves.
–Jean-Jacques Rousseau, Emile, 1762

96 97
 It is probably not love that makes the world go
around, but rather those mutually supportive
alliances through which partners recognize their
dependence on each other for the achievement of
shared and private goals.
–Fred Allen

– card 44 –

T his card shows us a sense of belonging. We

are at one with our surroundings and our
relationships with others. We can move together
with a common direction and purpose. Our pres-
ence is accepted and welcome.

A young girl glides effortlessly through a gated

lake, in the companionship of a group of swans.
Their speed and direction in unison, they become
of one mind. They symbolize finding new friends,
Unison or a group who share similar ideas. There is a

Common Goals strong affinity with other like-minded souls.

Shared Values Be wary of becoming just one of many, at some

point their actions, their direction, and their pace
At One With Others may not be yours. Where they are leading may
not be the best path for you.

98 99
 What good is sitting alone in your room?
Come hear the music play.
Life is a cabaret, old chum. Come to the cabaret.
–lyrics from the musical Cabaret

– card 45 –

L ife is a cabaret, a theatre, a performance.

We are acting out our roles as villains and
heroes. Like marionettes we are both manipu-
lated and manipulating, writing and following
the script. We share the stage with others for
some acts and perform solo in others.

In this parody, we can create artificial scenar-

ios or planned outcomes. We can transform into
something or someone that we are not. There
may be a creative benefit in that we are encour-
aged to fulfill our dreams and wishes. The dan-
Manipulation ger is in losing oneself in the role, and losing

Control touch with the reality beyond the stage doors.

Role Playing
Wishful Thinking

100 101
 – card 46 –

A young woman sits on a bridge, a physi-

cal and metaphysical connecting point
between here and there. Her identity is ini-
tially concealed not only to us but also to her-
self. She is, in essence, finding her true self. She
reaches out to gather pieces of a puzzle, and
with each one, finds clues and discovers more
about herself.

Each of us attempts to make sense of our place

as we search for connections and relation-
ships with others.

Gradually, despite failures and experimenta-

tion along the way, an image starts to take
form. Increasing clarity manifests itself from
the initial confusion. The process is self-rein-
Connections forcing and often becomes easier and acceler-
ates as more pieces are added, each finding
Putting the Pieces Together their corresponding place. Eventually a point
Coming to Conclusions is reached where everything comes into focus
and starts to make sense.
To the question of your life you are the answer, and
to the problems of your life you are the solution.
–Joe Cordare

102 103
 Throughout history, “tender loving care”
has uniformly been recognized as a
valuable element in healing.
–Larry Dossey

– card 47 –

I f healing is to make one whole, and love is a

path to healing, then the healing energy of
a loving friendship is a sacred act. This card is
an indication to either give or receive the heal-
ing energy of love.

A woman appears to rest or sleep in a circle of

healing light. If we could see Reiki energy as
though it were radiant light, it would perhaps
look like this. The flawless circle suggests per-
fection and completeness.

Healing Hands reach out to send help and heal. They

suggest that one of the main reasons we are
Caring here is to love and heal one another. A sim-
Friendships ple touch or caring gesture from a friend can
mean so much!
The power of love to change bodies is legendary, built
into folklore, common sense, and everyday experience.
Love moves the flesh, it pushes matter around.

104 105
 – card 48 –

W e may often be intrigued by a “what if”

scenario. This card depicts curiosity, temp-
tation and wanting to know. It’s natural to want
to know, or want to try, and the only way to find
out is to try. It’s through such processes that we
can grow and avoid stagnation. But there are
causes and effects.

Here, a regal queen opens a jeweled, egg-shaped

treasure, from which flies a column of faeries.
Glowing like fireflies, they are now free. What is
unclear is whether the outcome of their release
will be reflected on with fondness or regret.

Our acts invariably result in consequences, both

good or bad. So there is a balance to be struck.
Unless we try, we will never know and that in
Choices turn may be a lost opportunity that will gnaw
away if not acted upon. But equally so, are we
Risks fully appreciative of the possible repercussions
Consequences that may result?

Men anger the gods with their pride, and in order to

punish them, the gods looked on as Pandora opened
her box letting chaos loose.
–Unknown

106 107
 – card 49 –

W e have trained and we have studied. We

have fallen and picked ourselves up to try
yet again. Certainly, progress has been made
with each effort and each attempt. But some-
times despite it all we have to acknowledge the
reality that we can’t do it entirely on our own.

In this imagery, the white doves are visual met-

aphors for helping hands. The physical support
they provide here might take the form of emo-
tional encouragement, financial assistance, or
expert advice based on knowledge or previous
experience.

The challenge now is to achieve a balance, to

offer help but not reliance.

Assistance
Help
Support
I felt a tug.
You must be at the end of your rope.
–Unknown

108 109
 the horizon instead of enjoying the roses that are
blooming outside our windows today.
–Dale Carnegie

– card 50 –

W e are driven, at first by curiosity and then

by dissatisfaction, to consider alternatives
to our present circumstances. The grass appears
to be greener on the other side of the fence, or so
we believe. And so it is with this visual take on
the tale of the Little Mermaid. The glass sphere
provides her with a means of briefly experiencing
another world, and much like a vacation away
from home, or brief foray into a different life-
style, the experience can prove to be intoxicat-
ing. It may turn out to be something that leaves
us discontent, or it may provide the impetus to

Curiosity move on, and make such changes permanent.

Comparisons But we should be wary and consider carefully

Dissatisfaction
One of the most tragic things I know about human
nature is that all of us tend to put off living. We
are all dreaming of some magical rose garden over
whether we would truly belong in this new envi-
ronment. We should try to judge it for what it
would be in reality. The attraction and appeal of
those brief encounters may not survive a length-
ier commitment.

110 111
 – card 51 –

W aiting for a message to arrive can bring

anxiety, fear, hope, good news or bad
news, acceptance or rejection. A ticking clock
counts down the time remaining.

A young woman has been waiting anxiously,

and the sleeping dog suggests she has done so
for some time. The phone is silent, and the bou-
quet of roses suggest a previous response was
received, but from whom? The same sender
or someone else? Either way the anticipated
answer finally arrives, but by now the clock
indicates that the hour is passed. Just in time
or too late?

The process of waiting for a response isn’t

merely one of passing the time patiently. The
Messages immediacy or tardiness of the response may
also provide some insight beyond the message
Deadlines itself. A deadline imposed may be tied to a con-
Anticipation dition or ultimatum. Is there flexibility or has
the opportunity been lost?
Waiting, waiting, waiting. All my life, I’ve been wait-
ing for my life to begin, as if somehow my life was
ahead of me, and that someday I would arrive at it.
–Camryn Manheim

112 113
 If one advances confidently in the direction of his
dreams, and endeavors to live the life which he has
imagined, he will meet with a success unexpected
in common hours.
–henry david thoreau

– card 52 –

P urpose and direction, goals and plans for

the future; without these our life would
be stagnant and have little meaning. Having
something to aim for, to achieve, to look for-
ward to, no matter how small is the difference
between a day-to-day existence and living a
fuller life. Reading, learning, seeing, experi-
encing something new and setting goals is a
journey to tomorrow. Even the longest journey
starts with one first step.
Direction Consider the reasons why, the options, the cho-
Purpose sen direction and let your journey begin.

Objectives
Taking a First Step

114 115
 Interpretation

T he meaning of each image of the Oracle of

Visions is intended to be as flexible as possi-
ble. I have provided my personal descriptions, but
the intention is that you should feel free to come
up with your own interpretations. Furthermore,
your interpretations for any given card will also
vary from one reading to another depending on
the specific circumstance of each occasion.

As an example of this versatility, in addition to

my earlier description for this card, on the follow-
ing pages are two different additional interpreta-
tions of Card 1 provided by different readers.

– INTERPRETATION 1 –
A woman holds the robe of memories to her
heart. Her eyes are closed as she thinks back
to other times when she was prepared to take
a chance, just like The Fool in the tarot cards
at her feet. Before she opens her eyes to behold
what comes next, three doves of pure joy and
faith are released. They flutter encouragingly

116 117
above the box containing her unlimited, and
still yet untested, possibilities.
The moon looks on from behind. She breathes
and meditates a second more and then moves
into the moment.
In a defining moment, a decision is made. Per-
haps it is your choice, or the result of a choice by
another. You find yourself outside the gate, which
is now locked behind you. There is no turning
back. You are temporarily immobilized by the
significance of this moment. You must now gar-
ner the courage to move forward. You know that
taking the next step is necessary, albeit difficult
and stressful.
We are all ever poised on the brink of now, ever
prepared to look foolish in the pursuit of mys-
tical perfection. What is each moment in time
but another chance of now; the opportunity to
choose to be who we truly are? Close your eyes,
connect with your heart, and go within to say
a silent prayer for strength and appropriate tim-
ing. Can you remove your mask and drop the
security of your protective robe? Are you ready
to begin?
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– INTERPRETATION 2 –
Are you having trouble starting something? This
card shows three Fool cards on the ground, each
representing the number “zero.” Zero is that time
in the ethers before anything happens, before
we can get an idea up and running. It has no
numeric value so it hasn’t quite happened yet.
And because there are three of these Fool cards,
perhaps you have tried to consider something
more than once? There are also three doves, so
things may happen for you in threes.
The light shining out of the box shows the bright-
ness of your dream, your vision’s light, and it
wants to take flight like those doves. Doves rep-
resent peace, so the feeling of peace you’d feel in
realizing this dream is evident. Yet you hold your
cloak tightly in a protective manner over your
heart. What are you holding back? How does
this effect the expression of your heart and soul?
Why do you hold back?
The dove also represents a powerful time of
clear vision, and the ability to glimpse into the
future. The dove nurtures us with its care, and
it suggests letting go of worry and anxiety and
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finding peace. Don’t focus on doubt; instead see
the light of hope and manifestation. This may
involve passing an olive branch to someone, as
a sign of forgiveness, in order for you to be able
to move on.
When the doves take flight, what happens? Do
you see a lost opportunity as they fly away? Or
do you see freedom taking flight and the hope of
personal release through manifesting and move-
ment? Is there anything remaining in the box?
Will the box have something left inside if you
open it again later, or is time of the essence, a
one-shot deal?
The moon can carry much deception. It looks
like it casts light, but it is merely reflecting the
light of the sun. It is not all that it seems. It can
create illusions and can make us feel unsure.
Understand what parts of your subconscious
may be feeling alone and unsure, or acting out
of instinct or fear. The moon evolves from night
to night. Some nights it expands, other nights it
wanes. Where are you in your life now? Is oppor-
tunity growing or diminishing? When we see
by the light of the moon, we don’t see the full
picture, because even the silver light of a full
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moon casts long shadows of darkness. We have
to use context in order to fill in what we don’t
see. Take note of your subconscious thoughts and
the impact they have on your reality. Note how
you are personally filling in what you are unsure
about in order to fulfill or complete your vision.
Her mask keeps her true identity hidden. What
is under the mask that we don’t see? How would
this help identify her? How would it make her dif-
ferent? What does this say about you if you were
to remove the mask and show your true self?
The box is open and something has been let
out, even if it is just a vision of light. Note what
visions you see and what needs to be released. It
may take more than one time to fully manifest
as there are three doves and three cards, but they
show the progression of taking flight: speeding
up on the runway, leaving the ground, and then
soaring.
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 A b c d
–card 36– –card 34– –card 30–
Working with
card combinations
T he flexibility of the Oracle imagery grows
exponentially when working with combi-
nations of cards, where each image influences
its immediate neighbor, and then in turn as a
cohesive overall combination. Presented here is
an example of a six-card combination.
A. You feel trapped by your circumstances, pos-
sibly your job. Yet with sufficient effort and
desire the ties can be overcome.
B. You dream of breaking free and realizing your
true potential. In this sample scenario, that
might be working for yourself or starting your
own business.
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e f
–card 10– –card 5– –card 49–
C. 
Pursuing this dream is not free of risk or
danger. Should it not succeed, you may have
burned your bridges. Any repercussions may
effect both yourself and others.
D. To minimize the risks, do your research and
gather all relevant information that would
allow you be as well informed and prepared
in making your final decision.
E. You have weighed the various factors and con-
siderations. Now make the decision. Taking
that leap of faith begins the next stage of your
journey.
F. A ll is generally going in the right direction, but
there are often unforeseen obstacles along the
way. Don’t be adverse to asking for and accept-
ing help.
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BACKGROUND
and the Journey to Here
T he Oracle of Visions project is the direct result
of the learning curve that accompanied the
production of my previous three tarot decks. It
is also a product of some questions asked and
conclusions reached during that process. I con-
cluded that there is a certain paradox inherent
in creating a divinatory tool that is specifically a
tarot deck. On the one hand it’s a category that
is steeped in its own tradition. To change or devi-
ate from which can be a risk; it might confuse
and perhaps alienate many who prefer the tra-
ditional rendering of the images. It might also
124
detract from some of the mystique that is part
of tarot. On the other hand, much of that very
imagery is mired in symbolic meanings, the
meanings of which are questionable and might
be considered less applicable for today’s read-
ers. Many scenes depicted in earlier tarot decks
would have been more easily recognized and rel-
evant centuries ago but now require some study
and assimilation by those who seek to read with
them today. As I worked on the creation of my
three tarot decks, in each case I was challenged
by the notion of doing so in a way that honored
tradition without bowing to it and providing
imagery that could be read more intuitively. 
My relationship with the world of cards as a tool
for divination, specifically tarot cards, started a
little more than a decade ago; a brief number of
years by comparison to many in the tarot com-
munity. However, I qualify that by noting that
this relatively short period was one of almost full
time involvement, so in terms of accumulated
hours it represents a significant investment of
time. During this period I have engaged in a wide
range of related activities, from initial overviews
and research in preparation for my first deck, to
125
more detailed study and experimentation for the
projects that followed. The history and symbol-
ism behind tarot’s imagery became of increasing
interest to me, and as with so many things in our
lives, the more I learned, the clearer it became
how much more there was (and still is) to learn!
Ironically, the more progress I made, the more
doubts and confusion I had as to the relationship
between tarot’s history and the role of its imagery
from the past as a part of a “reading” in today’s
world. Even when considering those images from
the perspective of generalized archetypes for
the human experience presented in their tradi-
tional way, I wondered if those images still had
relevance to today’s world. If not, what changes
could be made to those images in order to make
them more reflective of current circumstances,
beliefs and values? 
There has been a deluge of attempts to break the
mold over the last thirty-odd years, with varia-
tions in style, content and format to add fresh
faces to tarot. Personally, I had no interest in
devoting the time involved simply to produce
a safe, close reworking of an existing deck. But
by the same token, I sympathized with the view
126
that part of tarot’s heart was its visual and con-
ceptual links to the past. 
However, judging any deck requires some refer-
ence point of comparison if that judgment is to
serve any purpose other than offering a simple
personal opinion. It requires a standard with
which one can measure the distance a new ver-
sion has deviated from a previous marker, and
therein lay my personal dilemma; namely, to
counterbalance my respect for tarot’s heritage
with my increasing belief that tarot’s past did
not provide any such definitive original. There
was no starting point that could be traced back
through the mists of time, ultimately arriving at
some sacrosanct and correct “first” to be either
defended at all costs or if deviated from, done
with a compelling rationale. Instead, it became
increasingly apparent that the creation of decks
of tarot had always been an evolutionary process;
an accumulation of various modifications and
tampering along the way. Changes also reflected
numerous nuances from country to country and
from printer to printer as well as more significant
ideological personal views of various key protag-
onists along the way. This realization provided
127
me some latitude with my own experimentation
to deviate from the norms. Tampering with tra-
dition in any field always tends to be received
with mixed responses ranging from complete
dismissal by traditionalists to more enthusiastic
acceptance by others whose views are less rigid.
In this sense tarot is certainly no exception;
indeed it has to contend with both symbolic attri-
butions and artistic style, both highly subjective
criteria.  recent tarot decks has been the subject of many
Some of my customers’ reviews sum up the feel-
ings of the former group. In several cases they
question my lack of accuracy or consistency rel-
ative to the Rider-Waite-Smith (RWS) system.
Whereas I personally felt that I had in fact kept a
very strong association to the basic Rider-Waite-
Smith. To have kept the symbolism even closer
by simply recreating the deck with minor varia-
tions as has been done by others so many times
before, albeit even using my own style, was of
no interest to me. Nevertheless, it seems that for
some I had veered too much from the accepted
norm. What is telling from this is the inference
that the RWS constitutes the correct version of
tarot and that any deviation from it by default is
128
incorrect. This is something with which any afi-
cionados of the Marseilles-styled decks that pre-
ceded the RWS would no doubt have strong issue.
However, via my interaction over the years with
the tarot community, I could see that it is clearly
a view that is shared by many. With recent tarot
decks, this adherence (or lack thereof) to classic
images and symbolism of the core pillars of the
tarot past—the Marseilles and RWS—by more
conversations I’ve enjoyed over the years.
Such comparisons go to the core question of what
constitutes a tarot deck, so let me return to that
point. As I mentioned, there is no single original
pure and correct deck. Tarot’s history is riddled
with changes and variations, based on nebu-
lous arguments and associations to religious and
mythological beliefs, which in turn are based on
even more esoteric historical references.
Tarot’s evolution from an initial existence as a
card game through various stages that embraced
religious, political, moral and philosophical mes-
sages, is now more or less universally accepted.
The images of early Italian decks reflected values
and understanding of the world by the thinkers
129
of their day. Tarot’s adoption and adaption over
time by such characters as Levi, Gebellin, Waite
and Crowley introduced twists and turns along
the way as each added their own variations of
rationale and esoteric interpretation. Despite the
intellectual credentials of such key players, their
contributions did not in themselves convince me
that their version of tarot’s historical meaning
and purpose was akin to some kind of irrefutable
law of physics such as the speed of light.
On the contrary, there is no evidence that I’m
aware of that was ever presented by these grand
figures of tarot to give substance to their views.
They appeared to be merely personal conclu-
sions; conclusions which readily tinkered with
others that had preceded them and with which
they publicly disagreed. Evidence of competing
theories merely added to my skepticism that
something was correct merely because it had a
quasi-official stamp of “historical authority”.
Crowley’s Thoth Tarot, which many consider to
be the third major pillar of tarot’s history, was
based in part on his claims of epiphany while
traveling in Egypt and studying its ancient his-
tory, specifically the Book of the Dead. As interest-
ing and convincing as they may have been at the
130
time, I cannot help but wonder how such claims
would be regarded today.
In Robert Place’s various books on tarot’s sym-
bolism (which I highly recommend) he explains
the various rationales behind the content, order
and combination of cards. To fully appreciate
tarot’s rich heritage, it would indeed be a sacri-
lege to not be aware of what was going on behind
those images from centuries past. However, one
should also consider their limitations and the
relevance of those images to today’s values and
circumstances. There are many examples but
one that serves particularly well in demonstrat-
ing the changing values from the earlier days
of tarot to the present is the myriad uses of the
number seven. Seven is a powerful number with
mystical associations in many cultures. In a cer-
tain card game that is still played today in Italy,
the Seven of Coins is the trump card of what is
also a trump suit. The Seven of Coins is the only
card in the deck that is worth a point on its own,
in addition to any trick won with it. This Sette
Bello, or “beautiful seven”, is such a commonly
understood token of positive connotations that
an express train was named after it, along with
numerous Italian restaurants. 
131
After reading Robert Place’s books, associations
like these made so much more sense to me, espe-
cially in the context of Plato’s astrological ratio-
nale of the heavens and its correlation to man’s
soul and its progress through the heavens. In
light of these associations, the numerological
significance of the Major Arcana makes perfect
sense. It also provides substance to the logic and
purpose behind the tarot cards’ transformation
from a game to a divinatory application. Despite
the convincing logic, one has to also consider
that the underlying structure of this “house of
cards” is based on knowledge and corresponding
beliefs of a different era. The compelling argu-
ments that were used to provide a comprehensive
logic, tying spiritual needs with physical facts
into a cohesive entity, was also limited and argu-
ably flawed by their proponent’s understanding
and beliefs. In this case specifically, the accuracy
of astronomical knowledge on which all these
configurations and correlations were based was
limited by awareness of only the seven planets
visible in those times.  fact, Hercules in the act of defeating the Nemean
Another example is inconsistency in symbolic
meaning. Take the case of the Major Arcana
132
card, Strength. It is commonly accepted today
as a metaphor for strength of will, not physical
strength. If so, then one can argue that this con-
cept seems to be poorly communicated in ear-
lier decks where a club-wielding man is seen to
be imposing his will onto poor Leo via physical
means. There are, of course, numerous inter-
pretations regarding exactly who and what is
being illustrated. Some suggest that it is Ludivico
Sforza, Duke of Milan, and that this card is an
early application of political propaganda visu-
ally proclaiming his strength (of will) and cour-
age in battling those troublesome Venetians,
whose city emblem was a lion. Others even argue
that the man is not in fact taking out his aggres-
sion on the poor beast, but rather that they are
both working together against some unseen
common enemy beyond the card’s border. This,
in my view, is truly pushing the argument. If
this indeed is the intended meaning, I think the
artist was particularly ineffective in conveying
it. The most likely interpretation is that it is, in
lion as one his twelve labors. Either way, the use
of Hercules really seems an obvious attempt to
symbolize strength through physical prowess—
133
qualities with which Hercules is associated— ics, the overall essence of tarot was lodged under
rather than the depiction of strength of will one all-encompassing tradition. This mystique of
for which the man/beast relationship has now the past was very much part of tarot’s value and
been commonly accepted.  character. Similar to a Hollywood movie with
the setting of its scenes and its accompanying
Many other inclusions of animals, birds, flow-
musical scores, traditional tarot images are emo-
ers and fruits in tarot imagery most certainly
tional triggers that subconsciously prepare us.
have their mythological and historical expla-
In the movies, beyond the actual dialogue and
nations, as do the use of specific colors and
action, our responses to the depicted scenes are
their elemental associations. Without question,
dependent on how it’s all delivered. Tarot history
a better understanding of them leads to a bet-
and visual tradition serves a similar purpose—
ter appreciation of their legacy and relevance
beyond the actual meaning of the images, they
to their times. However, to judge the merits of
provide a stage set that enhances the reading.
a contemporary deck based on its adherence to
these past norms, or conclude that their omis-
sion or substitution would constitute inaccu-
racy, is a questionable approach. Inaccuracies
notwithstanding, to simply dismiss the past
would be equally flawed or at the very least it
would undermine the value that comes from an
established system and format, the very essence
that defines it as tarot. So I had arrived at no
conclusion; my dilemma continued. 

For all its inconsistencies and variations over

the centuries and for all the doubts that may be
raised, accepted or disputed regarding specif-

134 135
 APPROACH
M any people are surprised to learn that I
am in fact not a tarot reader. The impor-
tance of that is subject to debate. Some may
well argue that tarot should be understood and
appreciated from the perspective of a reader to
do justice to creative process. Yet, I have grown
comfortable with my role as an outside observer
of the process. In fact, I consider that such a
viewpoint has proven to be advantageous as
it allowed me certain perspectives that might
otherwise have been overlooked by those too
intimately connected from the inside.
My approach has been to try to understand
what I felt readers and their querents really
required from their cards and from a reading,
and to provide imagery that enriched that expe-
rience. To that end I have actively sought the
opinion of numerous readers. Participating in
local tarot meet-up groups and larger tarot con-
ferences, both in the U.S. and UK, has allowed
me opportunities to interact with many hun-
dreds of tarot practitioners, from beginners to
the leading proponents of today’s tarot world. I
136
have shared numerous enlightening conversa-
tions, and received advice and direction from
the likes of Rachel Pollack, Mary Greer, Ruth
Ann and Wald Amberstone of the Tarot School,
to mention just a few. I have also shared opin-
ions and compared approaches with fellow
artists who have created a good percentage of
the contemporary decks produced over the last
decade. 
Furthermore, my relationship with major tarot
publishers, combined with my own self-pub-
lishing efforts, have provided me with an
extensive insight into the profile of the tarot
market. I have received valuable information
by means of direct communications and feed-
back received from customers and through
social networks. This multi-faceted interaction
with the tarot market provided comprehen-
sive insight and ultimately a clearer feel for
the pulse of what did and didn’t work and for
what any set of images in their collective tarot
form really represented to the greater majority
of tarot enthusiasts. These were all factors that
I took into consideration for each new project. 
Through the production of my previous three
137
decks, I always attempted to respect that tradi- Divine Tarot. It provided a platform and associ-
tion while looking for new approaches. I did this ation for the images; a world to which the scenes
not for the sake of novelty, but to experiment and characters could correspond to. Within the
with new approaches to telling the story of The fictional framework that I created, it ultimately
Fool’s Journey. I believe I broke new ground with provided a reason for tarot’s initial creation and
the introduction of interactive media, animated a corresponding relevance for its continued use. 
cards and videos to accompany those decks.
Nevertheless, with the completion of that project,
I also dabbled with the imagery itself, chang-
I also felt that I had reached a personal limit of
ing the color-suit associations and substituting
what I could do in terms of creating tarot decks.
“Faith” for the Hierophant in the Major Arcana
Still, I wished to experiment further in produc-
of the Tarot of Dreams and Legacy of the Divine
ing imagery for meditation and divinatory use,
Tarot decks, and generally trying to add stamps
but felt that I could no longer do so within the
of personal style and interpretation. 
structured format and system that defines it as a
The absence of any definitive origin for tarot that tarot. An oracle deck, on the other hand, offered
I noted earlier was also a creative opportunity. a broader canvas. Thus, we come full circle to the
I felt that its gradual morphing from a simple opening notes in this companion book. 
card game to its current role didn’t do roman-
It is my hope that the Oracle of Visions will pro-
tic justice to the inherent mystery associated
vide you with as many rich and interesting a
with it. I wondered how much more compelling
journey in your readings as it has for me in its
it would be had tarot’s history actually been
creation.
based on something tangible from the past. How
much more significant would it be if it truly had
a known original historical purpose. This was
the logic and purpose behind the “GateWay”
backstory that accompanied the Legacy of the

138 139
 acknowlegements
A grateful thanks to all those friends on Face-
book and other online social communities, who
followed the development of this project. Their
comments and observations have contributed
useful feedback and encouragement.

A special mention to Connie “Garnet” Schaeffer,

Christiana Gaudette and Mary Collins. Three
renowned and active members of the South
Florida Tarot community, who along with Don-
naleigh de LaRose of Beyond Worlds Tarot Tribe
Podcast, provided invaluable assistance in the
general direction of this book.

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