This was my first deck, and is still one I love. The art is mainly splendid, the interpretations are sometimes brilliant and nearly always interesting, and the round format makes for subtle shadings of meaning according to degree of tilt.  The stock is a little thin, but for large (over 5") round cards, that's important to make shuffling easy -- which, surprisingly, it is -- and my copy has held up well through ten years of regular use.

I have the older version in black and white. The color version came out two or three years after I got mine, and it's gorgeous -- very rich and vivid.  But I like good black and white decks, so I never bothered to save up and replace mine.  Siskel and Ebert were right: for people over about 45, there's something irreplaceably vivid and immediate about black and white, no matter how much one loves color; it's the language of the films and photos of our childhood, and thus on some deep level still the language of mystery, drama and magic to us.

The human images are nearly all of women, and the one clearly male image is... well, I'll get to that later.  The women and Goddesses are deliberately multicultural and of all sizes, shapes and ages; a few are disabled.  Many are naked, and none looks like Barbie. :) The card backs are simple and attractive: a white crescent moon on a cobalt-blue ground.

It's not a deck I now recommend to beginning students, because while it's both easy and deep to read, its structure is just different enough from "standard" decks to have made learning the more traditional structure kind of intimidating for me.  That said, though, I'm very glad these days for the insights I got from starting with Daughters of the Moon.
 
It is excellent for readings -- yes, I can use it successfully for males as long as they're not real shut-down macho-man types -- and it's phenomenal for spellwork:  a number of cards in my copy have minor wax stains, always a good sign. :)

The deck is by Ffiona Morgan and a group of notable Pagan artist friends, and comes with a rather good book. It is not available from US Games, so the easiest way to get it is via a Pagan-goods catalog with a large selection, or directly from the artist.

The Major Arcana:
~~~~~~~~~~~~~~~~
The Major Arcana are not numbered in this deck, and sometimes they seem to me to correspond to more than one and sometimes to none of traditional Majors.  So while I'll give you the correspondences and differences as I see them, I hope you will take these images on their own terms; the one real advantage of learning this deck first was that I was able to do that.

The Dreamer (in place of the Fool):
~~~~~~~~~~~~
A strong-featured Native American woman who is clearly a dreamer but equally clearly not a (or the) Fool is kneeling under trees by a stream as the sun rises over the hills beyond.  She touches the water and gazes calmly and judiciously into the resulting ripples.  Her horse grazes behind her; the frame of a travois on its back; the woman is seeking a vision before setting out on some nontrivial journey.

This is a whole other approach to the beginning of the Fool's/Dreamer's Journey, one in which not knowing what lies ahead doesn't imply any lack of a guiding vision or any ineptitude in going at it.

The Witch (in place of the Magician):
~~~~~~~~~
A card so beautiful I've long wanted its central figure as a tattoo (all those surrounding trees would hurt too much and cost a bundle.:)) Much more immediate and affecting for a Pagan woman, or at least for me, than the usual Magician.

It is night in a small clearing in the forest. In the center of a solo-ritual-sized ring of stones is a firepit in which a large cauldron simmers.  Stirring the cauldron is a beautiful and powerful young Witch.  She is robed, and wears a pentagram on her breast and an athame belted at her hip.  Her very long, lush hair flares out like flames from her head, as if blown by an invisible wind or crackling with electricity; tucked behind her ear and resting on one cheek is a full-blown rose.  A flame nearly the size of her body rises from her head.
 
Over her head she holds a crystal-tipped wand that gives off light. She and her cat, sitting calmly in the circle, and the owl in one of the trees all gaze at the viewer.  Her look is pure power: the Maiden in all her don't-mess-with-me glory.

Isis, the Priestess:
~~~~~~~~~~~~~~~~~~~~
Against the night sky, a beautiful and detailed rendering of the winged Isis in her horns-and-moon headdress. Her eyes are closed and she holds a crystal ball from which streams a pyramid of light.

Oddly, and this has always annoyed me, her nipples are drawn showing quite graphically through her otherwise opaque robe -- an oddly tacky bit of juvenilia in an otherwise lovely card.

Mawu (the Empress):
~~~~
A lovely and vivid image.  A rolling plain.  Foreground, in a thicket or bower of lush tropical flowers and ferns, the goddess Mawu, a naked black woman, hard at work but with delight in her eyes, gives birth sitting/lying on the back of an elephant; the baby has half emerged as we watch.  From a branch of the tree above, a snake curls down curiously to watch the process and greet the child.

As Royal Mother images go, this one beats the heck out of milky-faced girls with Victorian scepters and flowered nighties. :)

A choice of two cards, Coyotewoman or Pan:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Pan is intended as the deck's Emperor image, but for women who want a deck without this single piece of male imagery, the Coyotewoman card is provided as a Trickster image to substitute for it; a reader would generally keep one or the other in the deck, but not both.  I have no problem whatever with male imagery in Tarot, but I took out Pan for two other reasons: one, I dislike the card too much to retain it in the deck; two, an unequivocal Trickster image strikes me as a good thing to have in the major Arcana, better than the Trickster overtones that can be read into the Fool and the Devil if you stretch.

Pan: On fantasy-steep hills, Pan dances among his goats, hand-in-hand with a child, the other hand holding a flute. He is said by the accompanying book to be meant as an image of positive maleness, but he is drawn pretty much as a child, and a rather geeky one at that. As a feminist woman, I can understand the desire for a non-patriarchal image of masculinity, but this one sucks; to get rid of the patriarchal stuff, they threw out the god's masculinity, his sexuality (I defy you to find evidence of hairy goodies inside those silly pants) and even his
adulthood.

We feminists don't have to diminish men like this in order to find positive male images, and I'm sorry Morgan's group felt this was the best they could do.

Coyotewoman is more honest: if you're going to throw out the Emperor, really throw him out and substitute something different, don't just unman him.  In a saguaro-cactus desert in what looks like Monument Valley, with an eagle soaring overhead, a crouching Trickster Goddess prances; She has a coyote's head, body and tail and a woman's legs, bottom and feet.  (And is S/He also a gender-trickster? Is that shadow against H/er belly a fold of flesh or the suggestion of a penis? Maybe male sexuality can't be totally suppressed in this deck after all. :))

The Wise One:
~~~~~~~~~~~~
Here we depart considerably from the usual structure.  The Wise One combines the wisdom-from-the-inner-Divine side of the Hermit with a more positive and authentic image of spiritual authority than the usual Hierophant.  The retreating-within aspects of the Hermit then go to the Eight of Cups; the spiritual-accomplishment side of the Hierophant goes to the Three of Blades; the secure-social-order side of the Hermit is spread out over Cups and Pentacles; and there's no equivalent to the H.'s traditional-religious-authority side.

The picture is of a starry night. The bottom third of the card is a landscape with a stone circle, rather like a village henge would've looked when new and complete.  Above it, huge, an old woman with an intently purposeful face rides an equally huge horse, shadowy-looking, through the sky at a gallop.  She carries at her side a crystal-tipped wand that gives off light.  Listen to your inner Crone, it says: She has a tremendously important message for you, and it's bigger than any human-made religious structure.

The Lovers:
~~~~~~~~~~
This is the other place one has a choice of two cards:

The Lovers, original card: explicitly Lesbian, but beautiful to me as a heterosexual woman for its authentic passion and tenderness.

In the center of the card, a naked female couple, seated, are in lyrically passionate sexual embrace, one seated astraddle the other's lap, facing her.  Around them, a wheel of light-rays fans out to the card's edges. The flowerlike grotto or cave entry in which the lovers sit is a vulva, drawn somewhat as Georgia O'Keefe would have painted it.

The Lovers, optional substitute card:  a horrible wimp-out, and this is the other card I've taken the option of removing.  It is described by the creators as a "non-Lesbian alternative" to the original card, but that doesn't mean it has any genuine straight sexuality of its own.  Two androgynous and rather vapid-looking people (the book calls them "beings") frolic underwater amid waving seaweed and water creatures.  There is no clue to their gender at all, and the image is about as sexy as pancake batter.  C'mon, Ffiona, does anything involving a man or done in bed with a man have to be diminished or plain gelded like this?

I use the original card because I'd much rather see a sexuality with some integrity, guts and passion in a Lovers card, even if that sexuality doesn't happen to be my own, than a cop-out based on what certainly appears to be plain heterophobia and/or dislike of men.
 
The Amazon (the Chariot):
~~~~~~~~~~
A tough, Sudie-Rakusin-esque woman warrior in tunic and arm rings drives a Roman-style chariot.  She carries a doubleheaded ax of labrys shape.  Her studded, crescent-moon-shaped shield bears the reversing double spiral found in early Celtic art.  Her cape and wild black hair stream out behind and around her, and her expression is of absolute determination.  One fiery-looking horse
is black, the other white.

Strength:
~~~~~~~~
A rocky outcropping in an African savannah; hills in the background.  A slender, naked young African huntress walks, quiver slung on her back and longbow in hand.  She wears decorative arm-rings, and her shoulder-length hair is worn natural but hasn't yet dreadlocked.  At her side, clearly her companion and hunting-partner, walks a panther; she scratches its neck absently as she
walks, in the way of people with longtime animal friends.

Spider Woman, the Lifeweaver (in place of the Wheel of Fortune):
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
This is the deck's closest approach to the Wheel of Fortune, but it isn't at all the usual random-fate-kisses-some-and-kicks-others image.  This is fate seen as the plan of the Goddess or the universe.

Spider Woman Herself sits near the center of the card, an old, old Native American woman, wearing the long dress, bun-style hairdo, shawl and silver squash-blossom necklace of the Dineh.  Her face has the terrible calm of old, worn rocks, but shows traces of compassion and of the gleeful humor of poetic justice.  This lady definitely gets it about the complexity, pain and plain old hilarious weirdness of life.

From the carded wool in her hands, a strand of yarn spins out to a spinning wheel, and from there into the net of three orbicular spiderwebs covering the entire rest of the card, the fourth orb in whose pattern is the spinning wheel itself.  Spiders sit at the hubs of the nets, and the crescent moon peers through the net.

Ma'at (Justice):
~~~~~
Two thirds of the way up the card is the sun, its eyes the stylized Eyes of Horus; its rays fan out from it to the edges of the card. Filling the bottom half of the card and lapping over the lower third of the sun is a mandala.  Seated crosslegged in front of the mandala, elaborately dressed and holding an ankh and a pair of scales, Her feather on the ground beside her, is the Egyptian justice-goddess Ma'at, with a large jewel in Her headdress.  She is old, and her classically African features are calm and immensely knowing. This is your smarter grandma, the one you can't fool and shouldn't try.

Reversal (the Hanged Woman):
~~~~~~~~
A naked teenage girl hangs by her knees from a branch above a stream. Her fingers and long blonde hair trail into the water.  Her eyes are closed in relaxation and peaceful pleasure.  Her reflection in the water has its eyes open and is smiling.

I used to think "Reversal" was the wrong name for this card, preferring "Surrender" in the 12-Steppers' sense; it certainly does seem to be about the value of stripping down, loosening up and letting go.  But if you think about it, it also says this: let go, relax and trust in the midst of life's reversals and it'll be okay; the branch you're hanging from will become more a jungle-gym than a gibbet, and being naked (i.e., vulnerable) will feel more safe and natural than scary and weird.

Amusing detail: the only other hanged-woman card I've seen was drawn by a male artist, and in defiance of gravity, her breasts stayed perkily in Barbie-doll position as she hung upside down.  Being female, this artist knows how real ones respond to gravity. :)
 
The Phoenix (Death):
~~~~~~~~~~~
This is a great idea for a Death card, but drawn in a style I personally find offputting; I have done a little redrawing on my own copy to make it easier for me to relate to.

There is a particular style of feminist art that not only feminizes men but sharply masculinizes all female figures.  It doesn't just give women or Goddesses the short-haired, masculine-clothed style and body language of some real people who are lesbians, or even the big muscles of the more steroidal female bodybuilders; it male-shifts actual bone structure and body detail.  Huge caveman jawlines and big ol' Adam's apples show up, for instance, combined with clearly female breasts or in figures otherwise identified as female.  These figures aren't just strong and they aren't just butch, they're breasted men asking us to take them seriously as representatives of womanness or Goddesshood.

And I have simply never liked it.  It seems to me to be the obverse of the Pan card;  to be a committed feminist who honors differing sexual and gender styles and preferences, I believe, it isn't necessary to draw men as sexless children and women as Jack Palance.   Please don't misunderstand me: genderbending can be great fun, and I've counted a couple of wildassed drag queens and one very beautiful transgendered person among my best-loved friends.  But this seems to me to be different, and I simply don't care for it.

The Phoenix card is drawn in that style.  The splendidly robed Phoenix Woman, her flaming wings flaring out from her body, has a prizefighter's face and an Adam's apple that would do Slim Pickens credit.  And it just annoys me, so I've done a little shading to tone down the effect.

At a certain point, years after I redrew it, I realized that perhaps the gender-hybrid was deliberate: crossing gender lines as a metaphor for spiritual transfiguration.  And that's perfectly valid, but if that's the intent, this seems an awkward and rather unaesthetic way for a feminist deck to handle the issue.  And it also seems to me that the central  death/change/transfiguration card in the Tarot deck probably ought to be about more than that one kind of transformation. YMMV.

Temperance:
~~~~~~~~~~
A woman in artist/hippie clothes, her facial expression one of magickal determination and confidence, stands on a mountaintop, flanked by two even higher peaks; clouds swirl around her ankles. She holds two chalices above head level, pouring from them.  From one comes water; from the other, fire. They swirl and meld together around her into a big, radiating energy-halo.

I like this version of Temperance/Art very much; it's deeper than it first looks.  The Great Work has been undertaken by this woman in a very purposeful fashion, and with an artist's willingness to look at what's possible and not just what's customary.  It has taken her very high, but there is still further and higher balance to be achieved (the peaks).

She reminds me of Castaneda (I quote this from memory, so it may not be word-perfect): "A man goes to knowledge as he goes to war, wide awake, with respect, with fear, and with absolute assurance."  So does a woman.

Oppression (in place of the Devil):
~~~~~~~~~~~
One of the best cards in the deck. Yes, it's somewhat narrower in meaning than The Devil; it's also a lot more blunt about the nature of a good deal of the world's pain.  Either way, it is just very, very powerful.

A village street. The small houses of turf or stone and wood are on fire.  Their doors, each with a round window of pentagram design, hang open.  In the middle of the street is a pile of what at first appear to be stones but on closer examination are broken and torn bodies: a massacre of (literally and figuratively) the people of Earth. This could have been drawn in a gory or horror-movie-ish way, but it isn't; it's merely a sad and angering vision of the meaning (if not the literal details) of the Burning Times.

In the middle of the scene, a mongrel dog howls pitifully at the door of a house, watching h/er home and perhaps h/er people burn.

Kali, the Awakener (in place of The Tower):
~~~~~~~~~~~~~~~~~~
A gorgeous and powerful card.  On both sides of the lower two thirds of the card are ranks of rippling, sharp-looking cliffs like serrated knives; between them is a chasm that almost meets at the bottom of the card.  On one of the cliffs, small and in the background, is a tower.  Filling the center of the card is the Kali herself, standing astraddle the chasm, and oh my, is she splendid in her anger and power!

She is of mixed race; her beautiful features (finally, a Kali that isn't hideous and doesn't have her damn tongue hanging out!) are as African or Southeast Asian as they are Indian.  In effect, She's a compendium of everything that wouldn't get into the Junior League or the D.A.R.  She is naked to the hips, wearing only a dhoti with a flame-patterned front drape.  Her hair streams out in a huge aureole rayed with snakes.  More snakes spiral around two of Her four arms; the other two are decorated with arm-rings.  I am happy to say that neither set of armpits is politely shaved. :)

One pair of arms is raised above her head; the other pair flares out and down.  From all four hands, lightning shoots out.  One bolt strikes and destroys the tower on the cliff; another takes a chunk out of the rock in the opposite cliff.  Two bolts shoot forward and down -- to continue the rending apart of the two ranks of cliffs? To heal the rift?  Simply as part of Her nature and Her power?

Her face is Karma made visible.  This is what the established order doesn't get away with doing to women and people of color; it's also what you/we don't get away with in our own lives. It is both fury as a tool of justice and destruction as a rightful part of the cycle of life.
 
The Star:
~~~~~~~~~
Very pretty and fairly traditional. In a starry night sky with a crescent moon, a longhaired young woman in a long, flowing gown floats/flies, her hair streaming out. She pours water from an urn onto the planet (presumably Earth) below.

Yemaya (the Moon):
~~~~~~~~~~~~~~~~~
The loveliest card in the deck, simple and marvelous. (Ffiona Morgan apparently agrees; this is the card on the cover of the book.)  Another card I'd like as a tattoo.

Near the top of the card is the full moon, faceless, just a round brightness.  Its rays stream out, represented by (this is a bit hard for a non-artist to describe) circular ranks of fine penstrokes that make up concentric circles.  The lower two thirds of the card is the midnight ocean; the moon lays a broad track of light down the middle of the water.

Diving out over the water, apparently from a point just in front of the viewer/just below the bottom frame of the card (Her back is to us), Her fingertips seeming almost to reach the moon as She dives, is a slim naked black woman in perhaps her 40s.  She is the Yoruba ocean mother Goddess Yemaya, not yet having changed from Her human land form into her mermaid aspect, but about to do so.

Dive into the cycles of your life and the ocean of your consciousness nakedly and without holding back, this lovely card says, and it will be all right.  Ride your transformations with peace and without panic, and you will find a leaping, flying joy and immense grace.  This is my alltime favorite Moon card, and one of my favorite Tarot cards in any deck ever.

Amaterasu, the Sun:
~~~~~~~~~~~~~~~~~~
Beautiful and simple.  The top half of the card is a huge, serene sunface, Asian and female: the Goddess Amaterasu.  The curvy fanlike or chrysanthemum-like rays of the sun are gorgeous; this is one card that makes me wish for a copy of the color version.

The lower half is the meadow from which She rises; it is rimmed with sunflowers and other sun-loving flowers.  A little kid and a girl of maybe 12 run about naked on the grass, and a naked woman stands facing the sun; all three have their arms raised in joyous greeting and, at least in the woman's case, worship.
 
Judgment:
~~~~~~~~
There is no Judgment (or if you're British, Judgement:)) card in this deck; its functions spread out over the Awakener card in the Major Arcana and the Crone cards in the Minors.

Celebration (the World):
~~~~~~~~~~~
When I first saw this card, I liked it but thought it was just a circle of skyclad women of all ages, sizes, colors and builds dancing in a ring, with hills around them and the night sky and full moon beyond. I whooped with laughter when it hit me what they were actually dancing on: the ample belly of a large naked Mother Goddess, lying on Her back with her thighs spread.  Sure enough, the foreground hills are Her breasts, the background hills to left and right Her well-padded thighs, the little dip behind one of the dancers Her navel, and the grassy-looking knoll behind the dance, under the moon, Her fuzzy mons veneris!  The drawing's unsophisticated, but the card is still delightful.

Some interesting cards from The Minor Arcana:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The suits in this deck are Flames (in place of wands), Cups, Blades and Pentacles.  The court cards are Maiden, Mother and Crone rather than the usual royalty, and don't correspond at all to traditional court-card meanings.  Here are a few of the most interesting images:

Two of Flames, Mahuea:  I love this card!  Wrapped in bright cloth from the waist down, one shoulder draped in it, is the goddess Mahuea, a Polynesian woman of size, majestically drawn in the Hawaiian tradition of reverence for women of girth and strength.  Her hair streams out from her queenly face to become rays of power, and her hands stream with flames.

One of my favorite things about this deck is that it doesn't insist on giving the Goddess *or* human women only one kind, age or size of body.  This is surely one of the most gorgeous portrayals of a proud and beautiful fat woman since the figurines of Catal Huyuk, and in this deck, she's the archetype of *competence*.  What a relief from both Boris Vallejo's bikinied bimbo-goddesses and TV's insistence that every large actress but Camryn Mannheim must be cast as a gibbering twit, a constantly joky self-hater or some horrific/pathetic bitch.

Five of Flames, Pele: Wonderful and hard to describe.  We see a cutaway view of a mountain with a pool of lava at its heart, thick veins of lava running up and out from it.  The veins form the body and the shadows on the pool the hair of Madame Pele, envisioned as a striking old woman, naked, one hand raised, fire pouring through her.  All around is fire and lightning, as out her upraised hand comes the eruption.  A wonderful image of the power of long-held-down rage and long-oppressed integrity when it finally lets nothing get in its way.

Six of Flames, Bast, play: In the center, the cat-goddess Bast in an Egyptian queen's ceremonial collar; all around her, grinning women and girls playing with balls and streamers and pinwheels of flame.  I like having an image of pure play in the Tarot, and especially in a Six of Wands!  That's original as hell, and it feels really *right* to me.

Seven of Flames, Victory:  Under the moon and over moonlit, lightning-struck water, three naked women in perhaps their sixties, two white and one black, ride bareback on galloping horses.  They shout to each other, their faces exultant.  In their upraised hands are balls of flame.  The horses are rather amateurishly drawn, but if you are an aging woman with scant patience for the sweet-little-old-lady role as straitjacket, you can't help but like this card.

Eight of Flames, Burnout: The aftermath of a forest fire in the hills, the trees still smoking and one line of flame still spreading outward.

Maiden of Flames, Calafia: I think that should be spelled Califia, but wouldn't swear to it; California was named for Her, after all.

Anyway: on a palm-treed shore stand five young black warrior women, naked to the waist, their breasts drawn with the realistic sag of those who habitually go barebreasted.  They are young, tough, armed and not in the mood for nonsense.  The Goddess/chieftain Califia, in the center, is elaborately caped, skirted and adorned, and the women hold their torches in an arch above her head.  Here begins their territory and this is their extremely tough-minded leader, and you had damn well better not forget it.

This is intended as the deck's strongest direct image of activist/warrior women, and it's a pretty good one.

Crone of Flames, Cerridwen:  Cerridwen is shown in her shape-shifter aspect, stirring her cauldron.  She is an old woman; the artists of this deck mainly don't draw deeply wrinkled faces well at all, and this one's especially poor, but the rest of the image is strong.

She is decked in fur and feathers and a nebulous cloak of night and stars that fastens with a spiral pin.  Her hair streams out to become a hawk, and emerging from her cloak are a greyhound, an otter and a dove.  As her staff stirs the cauldron, it leaves a starry spiral trail in the broth.  On the cauldron's side is painted or incised the White Sow, with a spiral on her shoulder and a triskele on her haunch.

Five of Blades, the Hurricane: A hurricane or tornado -- anyway, it's a curving wall of wind -- approaches, sharply bending the trees it is trying to uproot.  In the wind whirl five butcher knives, the arc they form coming at the viewer like a scythe or circular saw.  A good image for being emotionally lacerated almost to craziness and trying to hold on.

Six of Blades, Sagaris, Manipulation: A grid of six crystal-tipped labryses, energy lines coming from the crystals, forms the skeleton of a pretty but rigidly formal design; it's handsome, but the axes can't swing and the crystals can only
move energy one way.  This is our power and energy trapped and wasted in the rigid family/mental/social/institutional structures we all live in at some time.  It's like the sparkplug setup of a rotary engine, which it somewhat resembles: each plug fires when it's supposed to, and the cycle goes around one more time.
 
One of Cups, Happiness: Simple and lovely.  In a ferny dell, a beautiful but realistically drawn, not comic-book-bimbo-ish, naked woman holding a chalice exults at the bottom of a waterfall, which pours down on her head and shoulders and into the chalice.  A crystal point hangs between her breasts, and her hand position suggests she is performing an act of worship.

Two of Cups, Whirlpool: A strange but oddly powerful card, and a radical departure from the romantic associations of the usual Two of Cups.  Two chalices are caught in a whirlpool, one on its edge and the other being sucked down.  From a lowering sky, rain falls in a slanting, deliberate column straight into the whirling hole in the water, as if the whirlpool is pulling it down from the sky.

The accompanying book says the artists see this as a card about the price of suppressed emotion: love (the cups) and energy and nourishment (rain) getting sucked down out of sight, and the feeling many of us have known of being trapped in that cycle of suppression.  A great card, but a damned odd choice for the Two of Cups.

Six of Cups, Compassion: A naked woman (this really is one of the nakedest decks there is:)) who has apparently been rescued from the water lies on a beach.  Five women give her Reiki or a similar kind of hands-on healing.  In the water nearby, five undines or mermaids swim up to the margin of the water, offering overflowing chalices.  The woman being healed, who seems semiconscious or simply exhausted, clutches a sixth chalice, this one empty; she has saved her heart from the storm by hanging onto it by pure determination, it seems, but now needs it filled and healed if she is to go on from here.

Eight of Cups, withdrawal: This is mainly where the rest of the Hermit's associations went when the Hermit was replaced with the Wise One.  It's night, and the moon is a thin nailparing.  A hooded old woman with a torch steps out of a rowboat onto an island or remote shore; a trail of chalices, some of them overturned, leads into a cave.  She is alone, but it's clear this is not the first woman to come here to think and be by herself.

Six of Pentacles, Success: The finish line of a disabled women's wheelchair race!

Seven of Pentacles, Assessment: A plain-faced, greyhaired, ponytailed woman in overalls leans on her shovel reflectively for a moment in a field of sunflowers, each of which bears a pentagram on its face. Her goat stands beside her.  This is my alltime favorite Seven of Pents, partly because it's just about stock-taking, not necessarily disappointment or lack of material achievement, and partly because as I enter my 50s, I have more and more hunger to be this woman in the picture, getting happily and unpretentiously grey on my own sunflowered
and goat-nibbled piece of land.
 
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