Conjure Powers: the third ring of the Black Pullet

What the Black Pullet rings are

The Black Pullet is a grimoire of rings and talismans, and its rings are not ornaments that happen to carry a design. Each ring in the series carries one named working, and the third ring in the series is for conjure powers: the power to call, to summon, and to bring a spirit or a force into working presence. That is a distinct skill in old magic, and it is worth treating as a skill rather than as a vague word for doing magic in general.

Conjuring, in the old sense, is not shouting, and it is not wishing loudly. It is the disciplined act of calling by name, with the proper forms, in a prepared place, at a prepared time, and then holding the working steady long enough for something to actually happen. A ring made for conjure powers belongs in that context. It is a working tool for a practitioner who already understands that calling is only the first part of the work, and that what follows the call matters just as much.

The rings offered here are from the Black Pullet Grimoire, hand made with the proper materials. The material and the making are part of the working, not packaging around it.

Why conjuring has its own ring

Most workings assume that conjuring has already happened. A petition assumes someone is listening. An offering assumes someone is present to receive it. A pact assumes a meeting has taken place. Conjuring is the work that makes those later steps possible, and when it is weak, everything built on it is weak too. That is why a grimoire would give conjuring its own ring, rather than folding it into every other working as an afterthought.

A practitioner who cannot call clearly will often blame the spirit, the timing, or the tools, when the real trouble was earlier in the chain. The call was muddled, the name was uncertain, the place was unprepared, or the practitioner was not actually ready for an answer. A ring for conjure powers does not excuse any of that. It marks the work as serious, and it gives the practitioner one fixed point to return to: this ring, this purpose, this working, done properly.

There is also a difference between calling in general and calling a particular power for a particular purpose. Conjure powers in the plural suggests range: not one spirit called once, but the standing ability to call when the work requires it. That is a larger claim than a single successful evocation, and it is one a practitioner should approach with respect. Range without discipline is how workings scatter, and how a practitioner ends up calling on forces they have not thought through.

The old story behind the Black Pullet

Whether a modern reader takes the story literally or as a teaching frame, the practical point survives intact. The rings are made by following instructions, not by improvising a prettier version.

That frame matters for conjure powers in particular. Conjuring is instruction work. The name, the form, the timing, and the manner of address are given, and the practitioner's job is to follow them carefully and then to observe what happens. A practitioner who rewrites every instruction before trying it has not tested the instruction at all. They have tested their own rewrite, and they cannot honestly say what the original would have done.

At the same time, following instructions does not mean switching off judgement. An old text can be followed faithfully and still be worked with care, with attention to what is actually being called, why it is being called, and what will be offered and asked in return. Conjuring without that thought is not traditional practice. It is noise with a grimoire cover on it.

How these rings are made

The rings are made of pure steel, then bronzed, as is required. Steel first, then bronzing, in the order and manner the grimoire requires, is part of what makes the ring a Black Pullet ring rather than a ring with a Black Pullet design on it.

The designs are hand engraved right into the wax used to create the rings. A machine can copy a line perfectly, and that is exactly the problem. 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 also means no two rings are identical. A buyer who wants a factory-identical copy will be disappointed, and 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 to work for conjure powers

Before working with a ring for conjure powers, be clear about what you intend to call, and why. Write it down in one sentence. If the sentence will not hold still, if it keeps changing into three different aims, the working is not ready yet. Conjuring rewards a clear call. It does not reward a call that tries to cover every possibility at once, in case one of them works.

Preparation also means 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. A call made in a hurry, between errands, with one eye on the clock, is not the same working as a call made with proper time given to it. The ring can be worn for the working, held, or set in the working place according to your own practice, but it should not be treated as a substitute for preparation.

It is also worth deciding, before you begin, what you will do if the call is answered. Conjuring is sometimes treated as if the hard part were getting attention, and everything after that would take care of itself. In practice, the opposite is often true. Know what you will ask, what you will offer, how you will close, and how you will record what happened. A practitioner who has not thought past the call is not ready to make it.

Working with the ring

Wear the ring for the working itself, not as everyday jewellery that happens to be present. Put it on deliberately, as part of beginning, and take it off deliberately, as part of closing, if that is your practice. 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 shows in the record afterwards.

During the working, keep the call steady. Speak the name and the purpose clearly, once, rather than repeating the call until it loses its shape. Then listen, and give the working time to develop, rather than filling every moment with more words. Conjuring is not a performance for an audience. It is a call made, and then attention paid to what follows.

Afterwards, write down what you did, when you did it, what you called, and what you noticed, 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 changed, and whether that change had anything to do with the work.

Being specific about what you call

Reflection about being specific is part of this work, not an extra added to it. Conjure powers can be aimed widely or narrowly, and the results of a wide call are often wider than the practitioner wanted. If you call for power in general, be ready for the question of power over what, for what purpose, and at what cost in attention and obligation. A specific call is not a smaller call. It is a call that knows what it is doing.

That specificity also protects the practitioner from their own vagueness. A call for "help" with no named matter, no named spirit or force, and no named outcome is hard to answer well, and hard to recognise as answered when it is. A call that names the matter, the purpose, and the form of answer sought can be judged honestly afterwards. It either bore fruit in that matter, or it did not, and the practitioner can learn from either result.

Do not repeat the same call 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 drowns out the very answer the call was made to hear.

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 a distraction is the opposite of what a conjuring ring is for. That is a practical point, but it is also a working point, because focus is the working itself.

Keep the ring with your working tools, 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, between workings, is a small discipline, and small disciplines are what hold a larger practice together over years rather than weeks.

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