100 That Witch

THE MAGIC IN THE MUNDANE Having defeated countless enemies, the girls are always on high alert...but when an attack finally does come, it’s from a surprising enemy—the Earth itself! From grappling with the elements to struggling with relationships, there’s never a quiet day for W.I.T.C.H.!

The witches who populate these 100 delightfully scary stories include practitioners of white witchcraft and devotees of black magic.

THE MAGIC IN THE MUNDANE Saving the world isn’t easy...but real life can be even harder! There’s no rest for the W.I.T.C.H. girls as they navigate van troubles, crushes, and the first day of school-all on top of keeping Kandrakar free from danger. But no matter how difficult things get, they’ve always got each other’s backs!

'Diane Purkiss ... insists on taking witches seriously. Her refusal to write witch-believers off as unenlightened has produced some richly intelligent meditations on their -- and our -- world.' - The Observer 'An invigorating and challenging book ... sets many hares running.' - The Times Higher Education Supplement

This is the first complete and accessible English translation of two major source texts—Tinctor’s Invectives and the anonymous Recollectio—that arose from the notorious Arras witch hunts and trials in the mid-fifteenth century in France. These writings, by the “Anonymous of Arras” (believed to be the trial judge Jacques du Bois) and the intellectual Johannes Tinctor, offer valuable eyewitness perspectives on one of the very first mass trials and persecutions of alleged witches in European history. More importantly, they provide a window onto the early development of witchcraft theory and demonology in western Europe during the late medieval period—an entire generation before the infamous Witches’ Hammer appeared. Perfect for the classroom, The Arras Witch Treatises includes a reader-friendly introduction situating the treatises and trials in their historical and intellectual contexts. Scholars, students, and others interested in the occult will find these translations invaluable.

Kara Keeling contends that cinema and cinematic processes had a profound significance for twentieth-century anticapitalist Black Liberation movements based in the United States. Drawing on Gilles Deleuze’s notion of “the cinematic”—not just as a phenomenon confined to moving-image media such as film and television but as a set of processes involved in the production and reproduction of social reality itself —Keeling describes how the cinematic structures racism, homophobia, and misogyny, and, in the process, denies viewers access to certain images and ways of knowing. She theorizes the black femme as a figure who, even when not explicitly represented within hegemonic cinematic formulations of raced and gendered subjectivities, nonetheless haunts those representations, threatening to disrupt them by making alternative social arrangements visible. Keeling draws on the thought of Frantz Fanon, Angela Davis, Karl Marx, Antonio Gramsci, and others in addition to Deleuze. She pursues the elusive figure of the black femme through Haile Gerima’s film Sankofa, images of women in the Black Panther Party, Pam Grier’s roles in the blaxploitation films of the early 1970s, F. Gary Gray’s film Set It Off, and Kasi Lemmons’s Eve’s Bayou.

Originally published in 1929, the author presents a formidable collection of facts, brought together in a scholarly manner. This is an examination of the general history of witchcraft, its changing laws and legal procedures, as well as methods of interrogation and punishment. This book must be considered an essential reference work for every student of witch lore.