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When I tell people I follow a Minoan spiritual path, one of the first things they ask about is the labyrinth. Often, all they know about the labyrinth is what they've heard from the Labyrinth-and-Minotaur story.

The thing is, the Greeks invented Theseus as a culture hero centuries after Minoan civilization had ceased to exist, so the Minoans never even knew about him. In the later Greek tale, the labyrinth is a deadly maze full of confusing twists and turns, impossible to escape without the help of Ariadne's thread.

I planned a beautiful ritual with my magic group for Samhain in the Blue Mountains; at night in the labyrinth, with a fire and masks and an underworld trance. But I wasn’t even there for it – instead I found myself in Northern New South Wales, the place where the Circle of Eight was birthed and I had lived for so long. It wasn’t a time I’d planned to travel, or to travel there in particular; a tenant in my house gave notice and I knew I couldn’t organise the number of things that had to happen from where I live, a thousand kilometres away. I asked my son to drive with me, amazingly he had already taken a week off work, though it wasn’t the week that suited me. It was the week over Samhain.

We stood in the labyrinth to cast our circle. It’s an intimate space, about six metres across with the paths made of brick and the curves between the paths mosaic. The mosaic is in rainbow bands of colour, the outermost circuit red, then orange, yellow, greens blues and purples with the centre piece mainly white, an ‘om’ symbol picked out in a small glittering pattern of colour. Set into the grass in the community gardens it’s where we do our public rituals and – on this occasion – where we were for our monthly meeting. We walked the labyrinth in, passing and passing each other as our circuits lapped and turned and threaded through the journeys of others; separate but companionable. It was cooling down; the day had been warm and the bricks and tiles retained that warmth, fed it back to us when we arrived in the centre and sat down, welcoming, sheltering us.

While the labrys is certainly iconic of Minoan civilization, so is another symbol-cum-ritual-object: the sacred horns.

Found on the rooftops of the temple complexes and peak sanctuaries of ancient Crete as well as in the frescoes and other art, this unique symbol was christened the Horns of Consecration by Sir Arthur Evans a century ago.

The world mourns the loss of one of its premium entertainers, the beloved singer, actor, and icon David Bowie. Join us today as we have a special Airy Monday in tribute to the man known as Ziggy Stardust, the Thin White Duke, Jareth the Goblin King, and so much more.

When I think of Nashville, I think of country music and the Parthenon. I probably never would have associated the spot with meditation and summer magic, even after I visited the town, if it weren’t for a lucky chance. I attended a writing conference in Nashville a few years ago, held at the gothicly beautiful Scarritt Bennett retreat and conference center.  That was the last year the conference was small enough for that particular venue, and if I’d attended a year later, I never would have discovered the peace and beauty of the labyrinth that waits in Tennessee.

I’d never walked a labyrinth before, and when I stepped out of my on-site dorm to discover the familiar pattern of the Chartres labyrinth laid in the grass in front of the building, I got incredibly excited. There’s already something magical about wandering around a facility that feels like a Southern Hogwarts in the purple gloaming of June, but then to spot that mystical shape, complete with dancing fireflies, completes the sensation of having stepped into another world.

I stepped into the labyrinth. It was midnight on new year’s eve. I walked its paths in the darkness, in the mist of low cloud, mist hovering in the air all around me. I could only see the paths of the labyrinth by default; they were completely dark, whereas the lines between the paths, picked out in a mosaic of coloured tiles, held and reflected what little light there was. So I trod the curves and turns of darkness, held between faintly shining edges. In daylight these mosaic pieces are a rainbow of colours, starting with red on the outermost one and following the rainbow’s strata as they get closer and closer to the centre, but at night none of that was discernable, only the gleam off their surface. Treading paths of darkness, inbetween the light, felt deeply significant to me as I walked out of the year in which my mother had died and into a completely altered and unknown future. I would be in darkness, though held and guided by the light.