Mugwort: Magical and Mundane

I love building lifelong connections with plants, in part because they offer me a pathway to experience joy and connection in unexpected places.

Mugwort (artemisia vulgaris) is used in Asia and Europe for both practical and magical purposes, and one thing that brings me a lot of joy about it is that I’m always learning new things about them. It’s like spending time with a friend you’ve had since childhood, and them suddenly revealing that they have a whole skill set or identity you knew nothing about. It offers you a chance to learn about, and fall in love with, them all over again.

Recently, I watched the documentary The Last of the Sea Women, about Haenyeo, women divers off Jeju Island in South Korea. The documentary itself is a compelling watch, and taught me about one aspect of the world I knew nothing about. But as I watched I also caught a few glimpses of an old friend: Mugwort. 

The divers put sprigs of fresh Mugwort in their masks before going into the water, though the documentary doesn’t touch on why, and mugwort’s appearance is fleeting at best. I was curious and, knowing mugwort’s long history as a protective charm, wondered if that might be part of it, but the reason is much more pragmatic: Divers rub Ssuk (Mugwort) on the insides of their masks before going in the water, which coats the mask and prevents it from fogging

The on-screen Mugwort encounter drew my mind back across our long friendship. 15 years ago, appearing in a dream, then later in life, offering me lessons and a chance to connect to ancestral places and to myself in ways I otherwise could not. 

Popping up in small places, between the cracks of the sidewalk just in one part of my garden, almost as a protective barrier between my home and the rest of the world. In my garden itself, Mugwort lives in one small area, without me even trying to contain or control their spread. Save for one single plant, which lives under my bedroom window. Like a protective sentinel there to guard my dreams (Mugwort, for those who’ve worked with the plant before, is often worked with for dreaming).

Mugwort is often in the corners of my awareness when moving through my days in this way. Both practical and magical, Mugwort flavors my food and drinks and the tincture supports my moon cycles and my dreams. In Ireland, I often wear a necklace my mom gave me with a piece of dried Mugwort from my Atlanta garden tucked inside. 

The latter leads me to my most recent Mugwort encounter, via the Moxa sticks used by my acupuncturist, on a day recently when I needed a lot of support and care. When I stepped into her studio in Cork, she burned the bundle of dried mugwort I made and brought to her the first time we met, a full circle moment of collective and individual care.

I work with Mugwort often and, no surprise, Mugwort ends up as a regular player in some of my newsletter writing + recipes. If you want to dive down into this particular rabbit hole, here are the newsletter issues that talk about Mugwort:

Medicinal and healing vinegars (also here)

fermentation and magic/spellcraft

the history + modern collaborative practice of mead making

Flowerkraut, tea krauts, and color-changing kraut

In this recipe for wound healing salve 

The foraging origins of booze

These bitters inspired by Stephen Crane’s poem, In The Desert

Mugwort as a bitter food

My experience cooking with synesthesia 

If you want to learn more about Mugwort, I highly recommend joining Herbaria, an online herbal community run by herbalist Sarah Bobodzhanov-Corbett who wrote a well-researched and comprehensive guide to Mugwort (among many other plants).

I also appreciate that she asks us English-speaking herbalists to look beyond Western herbalism: I learn so much from her!

You can join Herbaria here, if you feel so called (you can also watch the recording of my class on place-based fermentation with Sarah here).

Edited to add:

Occasionally, there’s discourse on social media about Mugwort being dangerous. Yesterday, another round of mugwort fear mongering reared its head online, and is a reminder that our relationships to plants is and should be nuanced and personal.

Mugwort is safe for many people but not everyone (e.g. folks who are pregnant and nursing). While Mugwort contains thujone, it would need to be ingested in pretty high levels to have an effect. As always, trust your own senses and body, ask your medical care team questions, and use common sense. But there’s no need to be afraid of Mugwort, who’s been safely worked with, particularly in Asia and in some parts of Europe, for millennia. If you’re worried, just work with Mugwort externally (e.g. in salves or smoke cleansing sticks).

One thing I loved about yesterday’s rounds of discussion were how many people jumped to Mugwort’s defense, and how many people shared their own nuanced relationships to the plant. One that stuck out to me was a Japanese woman who learned to eat Mugwort in Spring and make external preparations in Fall, when the thujone levels in the leaves are higher (I can’t seem to find her post now, if you do, please let me know so I can add it in here). There’s a beauty and intuitive connection evident across many people’s relationships with Mugwort. It’s a reminder to me that our relationships to plants are deeply personal, but many people often develop similar affinities with specific plants.

When the Excess is the Point: On Food Waste

In my article in the most recent issue of Eaten, on feasts, I talk about repurposing food waste in Early Modern English households. Repurposing waste was something done as a matter of course (and in many households and many places still is), utilizing simple techniques like making stock out of scraps. 

But there were other more ingenious, creative repurposing efforts happening too: A personal favorite (for its creativity, not necessarily the product itself) is lids made out of hog bladders. Essentially, hog bladders are stretched across containers while still soft, and they dry to become taut like a drum.

I talk about these in the Eaten article, and talk at length in Our Fermented Lives about my own experiments fermenting food in period-appropriate containers using hog bladders. Tl;dr: The flavor was…memorable.

But while I wrote about the excess being put to use, I also jumped down a rabbit hole wherein the excess itself is the central purpose of the feast. We see that in grand meals across time, where the food becomes a centerpiece for showing off one’s wealth and status via access to expensive ingredients and ability to hire skilled workers to make things like ornate sugar sculptures or towers of meat stacked like nesting dolls. 

Sometimes, the waste was the point, as noted by historian Anna Zeide: Who in one interview described the Gilded Age as “a very widespread celebration of overabundance.” Industrial robber barons hosted long tables of guests, with dozens of plates of food (and specialty silverware for each type of food, particularly in the US where social mobility was perceived to be higher and performing wealth was paramount). “For them, like that over consumption of food was a sign of wealth,” notes Zeide, “and of course, most Americans weren’t participating in it, but they were aspiring to it. And in some ways, not needing to use up every piece of food you had was a sign of having made it.”

Our modern sensibilities about food waste are interesting to me because we at once recognize the value of reducing waste not just for individual cost savings and food security, but for urgent and visible ecological reasons as well. And yet how much are we still influenced by food as status? In particular, in wasted elements that can’t be eaten, or are just added to the table for the sake of it.

This called to mind a recent evening where I was watching Downton Abbey in the background while cleaning, and was struck by a scene where two characters are decanting wine for the table, with a different wine for each course. One wonders at how the entire family isn’t falling down drunk by the end of dinner, but another reassures him that “they hardly drink any of it at all.”

These are fine wines, carefully selected by the head butler, decanted at the perfect interval before dinner to breathe properly, and poured with care and precision, to mostly languish in a glass before presumably being tossed down the drain (the show’s writers leave this last element a mystery).

Perhaps few of us engage in this exact kind of decadent waste, but as people in wealthy countries who, to varying extents, can afford a variety of foods, can we say that decadent waste is completely absent from our lives? 

It also makes me wonder at the subjectivity of what “decadence” means: The way I live now feels pretty simple and streamlined to me, but would be positively decadent to me 20 years ago. And both might be decadent to someone living in circumstances without, say, indoor plumbing. 

In terms of food waste, how can we use excess as a benchmark? I don’t have answers, but I wonder if thinking of “the excess is the point” versus waste as a by-product (and one we try to repurpose to varying extents), is a useful avenue for inquiry in our own lives and world. Not that we should never have big meals or show off our skills, but that those are placed within the context of our larger lives and worlds.

The Great Depression and World Wars by necessity, moderated some of these practices in the 20th century. But the aspiration to giant feasts remains, evidenced by everything from holiday feasts to dozen course menus: A desire to showcase our wealth and to prepare more than we need simply because we can, or because we want to experience luxury. Or want to share that experience with others. 

While our relationship to food has shifted and distanced us from our meals’ sources, and shifted the context in which we experience certain low waste foods (like pie) or removed some practices (like using bladders as lids) altogether, perhaps we’ll come up with our own, new, low waste practices, that historians will look at centuries from now, placing us in our lived context through the ways we stored and repurposed the bits and bobs of our daily meals.

Reading list: Small wonders and falling back in love with writing 

Joy and ease are the order of the day for me this month. It flies in the face of everything around us to proactively seek ways to feel either, but I feel we can’t get past the helplessness and stalemate of the moment without them.

Joy, and ease, invite in possibilities we might otherwise miss. They invite us to view and review ourselves and the world around us through a light that’s realistic, yet hopeful and optimistic too.

Where can we choose to focus our attention to build a future that’s more joyful? Where can we find small ways to invite in some ease, and some joy, now?

Here are some readings I’ve been enjoying in connection with joy and ease, in the kitchen and beyond:

Chandra Ram’s midwinter experiment using citrus to infuse joy into an otherwise bleak season

Meg (of Joy of Cooking fame) writes about cooking lasagne as an antidote to doomscrolling

I talk about digital boundaries often with my holistic creativity coaching clients and this approach, of replacing doomscrolling with something else that’s more joyful, is something that works well for a lot of folks (if you try it, let me know in the comments, will you?)

In my TBR pile: This report on early microbial lifeRebecca Solnit’s The Beginning Comes After the End (currently in preorder).

SPEAKING OF PREORDERS, my next book, all 493 pages of it, is available for you to preorder: Grab a copy at Bookshop.org (or Bookshop UK). It comes out mid-May (June 4 in Europe).

In my TBD pile: Continuing to apply for grants (I apply for 3-5 grants/month). I started this practice 4 months ago and, while the fruits of my labors haven’t paid off, yet, grant funding is in part a clarity of messaging game and in part a numbers game, so I know that my efforts will pay off. Even when I don’t get grants, the opportunity to put down what I’m doing in clear language, and to dreamweave about how I can continue to grow that work with additional resources, is priceless.

I apply for small business grants, since I’m a business owner, but also creative grants. Some grants ride the line between both, and I apply for those too, since being a professional writer is, in fact, a business. 

I find grants through government portals and local small business resources, and through grants newsletters (there are tons of newsletters out there with awards, grants, etc., and it can be useful to poke around and find ones specific to your interests (like this). 

And finally, the below was recently posted by chef Jacques Pepin on Facebook. I remember reading Levi-Strauss in undergrad in Psychology, and this inspires me to dive back in with the eyes of a food writer to see what new gems emerge:

“Brillat-Savarin said in one of his aphorisms, “You are what you eat. I believe that for many people “I am what I cook,” because I have been defined by my cooking most of my life. Claude Levi Strauss, a French anthropologist, describes the process of cooking in his seminal book, The Science of Mythology, as the process by which nature is transformed into culture. Well, going back as far as my memory can take me I see a kitchen in my vision of my mother, my aunts, my cousins, and I visualize that process in a specific dish for each of them.  

Be well. -JP”

Where I’ve appeared in the media recently:

This article on adding sauerkraut to your Thanksgiving menu

Late last year, my Culinary Curiosity School classes were featured in The Guardian. It’s great to see that aspect of my work both recognized and placed within the larger conversation of experiential gifts (rather than gifting people clutter they don’t want or need). 

As a reminder, paid subscribers get 30% off all those classes, always. Find the discount code in last week’s email or email me if you’d like a reminder. 

I was also recently interviewed by Food & Wine about (surprise!) pickles.

And, I’m pleased that my work here in Ireland is starting to take root, including mentions in local media for my recent fire cider class (co-taught with Aleesha Wiegandt) and the ‘Get Published!’ panel I was part of in January.

Things I’ve published recently and other news:

I wrote this roundup/guide for building simple, daily rituals into your 2026 for The Guardian

For Produce Parties, I wrote a piece on the last words my mother told me along with reflections on how being raised in a strict evangelical church shaped my relationship to food. You can order a copy here. 

I’m also in the next issue of Eaten, a longtime bucket list publication for me, with a piece on food waste and feasts. You can order the issue, on feasting, here. 

A reshare of this piece on gardening and climate change, written originally for Gravy and republished in Rough Draft Atlanta. 

Last year, I helped with the bibliography and some of the behind-the-scenes work on this book (yes, I do some book indexing, fact checking, formatting, etc. as I have space in my schedule), and it’s great to see it out in the world: The book is part memoir, part study on ableism in religious spaces, and blends both beautifully. It’s by far one of my favorite projects I’ve helped with in this way.

The book is: Healing Ableism: Stories about Disability and Religious Life by Darla Schumm

I rarely write poetry, and even more rarely share poetry I write…but I felt called to share this one about falling (back) in love with writing:

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