Publication Facts and Rating (0 to 5 stars) "At-a-Glance"

Publisher: Headless Press (Pittsburgh, PA)
Publication Year: 1988 (reprinted 1991, 1995, ??)
Number of cards: 22
Quality of artwork -- 2 1/2 stars
Usefulness for meditation/pathworking -- 2 1/2 stars
Readability (Divination) -- 1 star
Symbology -- 4 stars
Value to Collectors -- 3 stars

General Commentary
Reviews are, by nature and essentially by definition, subjective and biased. In examining Linda Falorio's "Shadow Tarot," it would be easy to present both a highly laudatory and an extremely scathing opinion. Speaking from my own biased point of view, I have to confess that this is far from one of the more beloved tarots in my collection. Nevertheless, in attempting to look at these cards from another point of view, I must also admit that they have their merits.

The inspiration for "The Shadow Tarot," according to Falorio, arises from a combination of Aleister Crowley's Liber XXCCCI and Kenneth Grant's Nightside of Eden. In her imagery, Falorio attempts to capture the essentials of "the 22 tunnels of Set" as described in these two works. Such concepts do not lend themselves to the creation of bright-and-cheery little tarot cards filled with cherubs and rainbows. The imagery is naturally more darkly oriented (as the name "Shadow Tarot" would suggest), a quality underscored by the fact that each symbol-collage is set upon a jet-black background -- although portions of the pictures themselves are often surprisingly colorful.

Given the heavy influence of "Crowleyian" philosophies found in the cards, it is tempting to compare them with Crowley's own Thoth tarot. But, in fact, there is little common ground in the actual imagery of the two decks; it would be much more appropriate to discuss the contrasts that exist. It is likely to be true, however, that persons who have negative reactions to the Thoth tarot will probably experience an even stronger dislike of Falorio's work. Yet in exploring the contrasts between the two tarots, I must admit my own bias in favor of Crowley's deck. I have never quite figured out why some folks consider the Thoth tarot to be so negative -- even "evil." In fact, on the rare occasions when I read the cards, I tend to prefer Crowley's deck over all others, even though Crowley's actual approach to magick and metaphysics is not particularly my "cup of tea." I find Lady Harris' renderings sweeping and breathtaking -- beautiful, complex yet elucidating, colorful and not at all "dark" or "evil," appealing and entirely approachable. The possibility occurs to me that some of the folks who criticize Crowley's tarot as being "disturbing" may be inadvertently allowing their perception the man's reputation to unfairly influence their view of the merits of the Thoth deck.

But if Crowley is deserving of the reproaches of his critics, then Falorio's "Shadow Tarot" is more correctly to be disparaged than Crowley's own Thoth deck. The concepts embodied in the "Shadow Tarot" are arguably more "Crowley than Crowley." For example, Falorio uses the Qabbalistic path number on the cards in place of the traditional major numbers (11 instead of 0 for Amprodias -- The Fool, 12 instead of 1 for Baratchial -- The Magician, etc.), and transposes the Emperor (Tzuflifu) and the Star (Hemethterith) cards (a la Crowley's proclamation that "Tzaddi is not the Star"). Thus, conversely, those who are partial to Crowley's philosophies may find Falorio's cards to be a welcome extension of his work. In anticipation of the inevitable criticisms, the book that accompanies the cards spends a fair amount of time trying to defend "dark" imagery as not being definitionally, inherently, or necessarily "evil." Yet such defenses, however valid they may be, may be unable to compete with our conditioned psychological responses to such symbols as grimacing skulls, spider webs, and snake-tentacled monsters lurking beneath the ground.

Other contrasts with the Thoth deck include Falorio's use of central "sigils" on each and every card, representing the "Qliphoth of each dayside Path" -- that is, the "dark side" of each of the paths connecting the Qabbalistic Sephiroth. Such symbolism, while it arguably exists in the Thoth tarot, is not brought so boldly to the "center stage." The remainder of the artwork on each card is markedly different in style from that of Lady Harris', although both could be broadly classified as "abstract." Falorio's images have a much more primitive feel than those found in Harris' work.

The companion book to the "Shadow Tarot" could also be praised or criticized with equal fervor. Some readers may find the writing style to be deep and poetic, while others would see it as being turgid and pretentious. For example, in the chapter entitled "Earthing the Tunnels of Set," wherein Falorio describes the process of exploring the concepts that were ultimately incorporated into her cards, she writes: "Thus we began our exploration / reification of the Sethian Tunnels, that dark repository of primordial instincts, of root primitive atavisms, of alien awarenesses, and strange adumbrations of far future selves. Filled with terror, filled with power, this is our fearful birth right. Unacknowledged and unclaimed, it is yet full of lethal fascination, for in backward turning ever lies the possibility of becoming 'other' -- more than human."

In any case, it is clear from Falorio's writings that the cards were conceived through dedicated ritual and meditation, and perhaps because of this, their biggest strength seems to lie in their use as tools for meditation and ritual. For fans of Crowley or other "darkside" philosophies, it might appear that these cards would make a good reading deck. However, despite what one might feel about the card imagery, the method used for producing these cards limits their use as a divination tool. Unless a change has been made in editions later than mine (I purchased my copy about five years ago), the cards are actually 4" x 6" photographic reproductions of the originals -- as in, the "backs" of my copies repeatedly read "Konica U.S.A." in light gray print across the back. Thus, the cards are a bit too large for a good overhand shuffle, and too fragile for "cutting and riffling." Despite being "mere photographs, however, the color and clarity of the photographs is admittedly good. The book itself was obviously "desktop published," and photocopied on a machine that probably could have used a bit more toner. It is bound using a plastic comb.

The method of reproduction may also reduce this deck's value as a collector's item, although it is not in wide distribution, nor is it even particularly well known. Nevertheless, it is not difficult to obtain a copy by contacting Headless Press directly at: PO Box 9011, Pittsburgh, PA 15224, e-mail anandazone@anandazone.nu. Current cost, excluding shipping, appears to be about $25. (NOTE: Amazon.com lists Falorio's "Shadow Tarot" at $19.95, but classifies it as a special order item, and does not indicate whether the cost includes the book and cards, or the book only). While I have provided Wicce with the usual sampling of card images, accessible by the link at the end of this article, images of the entire deck, plus most the accompanying text from Ms. Falorio's book, can be found at http://www.anandazone.nu/shadowtarot/tunnels_of_set.asp.

In the final analysis, I can neither recommend nor discommend this deck, as its appeal (or lack thereof) is highly dependent on an individual's perception of the "negativity" of its imagery. I can say with some confidence that it would not work well as a reading deck, although it is undeniably rich in interesting symbolism. But those who find themselves experiencing an adverse reaction to that symbolism would unlikely find it useful as the pathworking tool it so obviously aspires to be. And the style of the artwork would undoubtedly not suit everyone's tastes. And as for collectors, such as myself, who want "one of everything tarot," well... I'm happy I can say that I have a copy in my collection. But for the more selective collector, it would be best to carefully consider whether the subject matter is of interest, or if the production methods used are acceptable, before investing in this particular tarot.

Click here for pictures

or here to return

Please use your browser's back button to return from pictures

Guest review copyright 2000 by Jeannette Roth
Used by permission