Undo Evil Acts: the twenty-second ring of the Black Pullet

What the Black Pullet rings are

The rings of the Black Pullet Grimoire are working tools, each carrying one named purpose, and the twenty-second ring is for undoing evil acts. That is a sober purpose, and it should be approached soberly. It is not a ring for grand gestures or for dramatic reversals announced in advance. It is a ring for work done after harm has already been done, when the question is no longer how to prevent something, but how to unpick what has happened and set a matter back toward right order.

Old grimoires give this kind of work its own place because undoing is different from protecting, and different again from striking back. Protection tries to stop harm before it lands. Undoing tries to loosen harm that has already taken hold, to break its hold on a person, a household, or a situation, and to clear the ground so that ordinary life can resume. A practitioner who confuses those three kinds of work will often do the wrong one at the wrong time, and then wonder why nothing settled.

The rings offered here are from the Black Pullet Grimoire, hand made with the proper materials. That matters here as much as anywhere in the series, because work aimed at undoing harm needs a tool that is itself made carefully and in order. A slapdash tool for careful unpicking work is a contradiction, and contradictions show up in workings sooner or later.

Undoing is not the same as retaliation

Undoing an evil act means working to reverse its effect, to break its grip, and to restore what was harmed as far as it can be restored. It does not mean doing a matching harm in return, and it does not mean keeping a ledger of injuries to be repaid one by one. A practitioner who sets out to undo and ends up retaliating has changed the working halfway through, whether they meant to or not, and the record they keep afterwards will show that change if they write it honestly.

That distinction is worth holding clearly, because harm invites strong feeling, and strong feeling invites escalation. The work of undoing asks for steadiness instead: name the act and its effect plainly, work to loosen that effect, and then stop when the work is done, rather than carrying it on into a second, unplanned working. Steadiness is not coldness. It is what allows the work to finish, instead of feeding on itself.

There is also a practical reason to keep undoing distinct. If the harm is still ongoing, if a person is still in danger, or if a situation still needs ordinary-world action, ritual work alone is not the right response. Undoing work sits alongside ordinary steps, not instead of them: speaking plainly to the people involved, getting help where help is needed, changing arrangements that allowed the harm, and taking care of the practical damage. A ring does not replace any of that, and an article that pretended otherwise would be doing its readers no favours.

Naming the act to be undone

Before any undoing work, name what is to be undone, in one clear sentence, in plain language. Not "bad energy" in general, not "everything that went wrong this year," but the particular act and its particular effect: this was done, this is what it broke or burdened, and this is what undoing would look like in ordinary life. If the sentence will not hold still, the working is not ready yet, and more time spent naming the matter is better spent than a working launched on a vague aim.

Naming also means being honest about what can and cannot be undone. Some harms can be loosened and cleared, and life can go on lighter for it. Some losses cannot be restored exactly as they were, and the honest aim of the work is then to free the person from the continuing grip of the harm, rather than to pretend the past can be rewritten word for word. A practitioner who promises themselves an exact reversal of an irreversible loss is setting up a working that cannot be judged honestly afterwards, because its aim was never reachable in the first place.

Reflection about being specific about what you want belongs here in particular. Be specific about which act, which effect, and which outcome you are working toward. Specificity is not a smaller aim. It is an aim that can be recognised when it is met, and learned from when it is not.

How these rings are made

The rings are made of pure steel, then bronzed, as is required. Steel first, then bronzing, in the manner the grimoire requires, is not decoration. It is the making itself, done in order, for work that is itself about restoring order.

The designs are hand engraved right into the wax used to create the rings. No engraving machine is used, because, in Athena's words, that would take away much of the magic. A machine can copy a line perfectly, and that is exactly the problem for a working tool: a copied line has no hand in it. A line engraved by hand into wax, and then carried through casting, keeps the maker's hand in the object from the first mark to the finished ring.

That hand work means no two rings are identical. A buyer who wants a factory-identical copy should know that before ordering. A buyer who wants a hand made working tool will understand that difference as the point, not as a flaw.

Preparing for undoing work

Preparation for undoing work starts with the naming described above, and continues with preparing the place and yourself. Clear the working space, set it aside for this purpose, and come to the work washed, settled, and with time set aside that will not be interrupted. Undoing work done in a hurry, between errands, with one eye on the clock, is not the same working as undoing work done with proper time given to it, and the difference shows in whether the practitioner can actually sit still long enough to follow the work through to its close.

It is also worth deciding, before you begin, how you will know the work is done. Undoing has a natural end: the grip loosens, the burden lifts, the situation can move again. If no end is named in advance, the work can drag on indefinitely, with the practitioner repeating it out of anxiety rather than out of need. Name the end in advance, in ordinary terms: what will be different in daily life when this is undone, and how will you recognise that difference?

Put the ring on deliberately, as part of beginning, if that is your practice, and take it off deliberately, as part of closing. That simple discipline marks the working off from ordinary time, and it gives the practitioner a physical signal that the work has started and that it has ended. Tools that are never put away tend to be worked with carelessly, and careless work is the last thing undoing work needs.

Working with the ring

During the working, keep the aim steady. Speak the matter and the purpose clearly, once, rather than repeating the working until it loses its shape, and then give it time to develop. Undoing is often slower than the harm was. Harm can land in a moment. Loosening its hold, clearing its traces, and letting a household or a person settle again, takes longer, and a practitioner who expects an instant reversal will often abandon the work just as it is beginning to take hold.

Afterwards, write down what you did, when you did it, what act and effect you named, and what you noticed over days and weeks, in plain language, not in the language of what you hoped would happen. Note whether the ring was worn, held, or set in place, and what you noticed on days when it was worked with compared with days when it was not. That record is what lets you tell, weeks later, whether anything actually loosened, and whether that loosening had anything to do with the work.

Do not repeat the same working endlessly in the hope that repetition alone will force a result. Do the work properly, once, observe, and then decide calmly whether a second working, a different approach, or no further working is the right next step. Repetition without reflection is not persistence. It is noise, and noise keeps a matter stirred up long after it could have settled.

After the working: repair in ordinary life

Undoing work, done well, usually points back toward ordinary repair. An apology that needs making, a debt that needs settling, an arrangement that needs changing, a conversation that needs having in plain words. Ritual can loosen a grip, but it does not make the apology, settle the debt, or change the arrangement by itself. The practitioner still has to do those things, in the ordinary world, with their own hands and voice.

That is not a limitation of the work. It is the work completing itself. A working that only happens in the ritual room, and never touches daily conduct, is unfinished, however impressive it felt at the time. The test of undoing is not how the working felt. It is whether daily life, afterwards, is freer, clearer, and more in order than it was before.

Keep the ring with your working tools between workings, not mixed in with everyday jewellery, keys, and loose change. A tool that is treated carelessly tends to be worked with carelessly. Setting it aside properly is a small discipline, and small disciplines are what hold a larger practice together over years rather than weeks.

Care for a hand made ring

Care for a hand made ring is practical. Keep it in a clean, dry place when you are not wearing it for a working, away from other metal objects that could scratch it. Clean it gently, with a soft cloth, and do not use harsh chemicals or abrasive cleaners on it unless you know, for the materials involved, that such a cleaner is safe. Bronzed steel will show wear over time, especially if it is worn every day, and that wear is normal for a working tool. It is a sign the ring has been carried, not a sign it has stopped being a tool.

If the ring loosens, tightens, or shows damage, stop wearing it for workings until it can be dealt with properly. A tool that is falling apart, or that you are worried about losing, is a distraction in a working, and undoing work needs attention, not distraction. That is a practical point, but it is also a working point, because focus is the working itself.

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