Desperate Magic

In the courtrooms of seventeenth-century Russia, the great majority of those accused of witchcraft were male, in sharp contrast to the profile of accused witches across Catholic and Protestant Europe in the same period. While European courts targeted and executed overwhelmingly female suspects, often on charges of compacting with the devil, the tsars’ courts vigorously pursued men and some women accused of practicing more down-to-earth magic, using poetic spells and home-grown potions. Instead of Satanism or heresy, the primary concern in witchcraft testimony in Russia involved efforts to use magic to subvert, mitigate, or avenge the harsh conditions of patriarchy, serfdom, and social hierarchy. Broadly comparative and richly illustrated with color plates, Desperate Magic places the trials of witches in the context of early modern Russian law, religion, and society. Piecing together evidence from trial records to illuminate some of the central puzzles of Muscovite history, Kivelson explores the interplay among the testimony of accusers, the leading questions of the interrogators, and the confessions of the accused. Assembled, they create a picture of a shared moral vision of the world that crossed social divides. Because of the routine use of torture in extracting and shaping confessions, Kivelson addresses methodological and ideological questions about the Muscovite courts’ equation of pain and truth, questions with continuing resonance in the world today. Within a moral economy that paired unquestioned hierarchical inequities with expectations of reciprocity, magic and suspicions of magic emerged where those expectations were most egregiously violated. Witchcraft in Russia surfaces as one of the ways that oppression was contested by ordinary people scrambling to survive in a fiercely inequitable world. Masters and slaves, husbands and wives, and officers and soldiers alike believed there should be limits to exploitation and saw magic deployed at the junctures where hierarchical order veered into violent excess.

In the courtrooms of seventeenth-century Russia, the great majority of those accused of witchcraft were male, in sharp contrast to the profile of accused witches across Catholic and Protestant Europe in the same period. While European courts targeted and executed overwhelmingly female suspects, often on charges of compacting with the devil, the tsars' courts vigorously pursued men and some women accused of practicing more down-to-earth magic, using poetic spells and home-grown potions. Instead of Satanism or heresy, the primary concern in witchcraft testimony in Russia involved efforts to use magic to subvert, mitigate, or avenge the harsh conditions of patriarchy, serfdom, and social hierarchy. Broadly comparative and richly illustrated with color plates, Desperate Magic places the trials of witches in the context of early modern Russian law, religion, and society. Piecing together evidence from trial records to illuminate some of the central puzzles of Muscovite history, Kivelson explores the interplay among the testimony of accusers, the leading questions of the interrogators, and the confessions of the accused. Assembled, they create a picture of a shared moral vision of the world that crossed social divides. Because of the routine use of torture in extracting and shaping confessions, Kivelson addresses methodological and ideological questions about the Muscovite courts’ equation of pain and truth, questions with continuing resonance in the world today. Within a moral economy that paired unquestioned hierarchical inequities with expectations of reciprocity, magic and suspicions of magic emerged where those expectations were most egregiously violated. Witchcraft in Russia surfaces as one of the ways that oppression was contested by ordinary people scrambling to survive in a fiercely inequitable world. Masters and slaves, husbands and wives, and officers and soldiers alike believed there should be limits to exploitation and saw magic deployed at the junctures where hierarchical order veered into violent excess.

Ever since the loss of her best friend, strange things have started happening to Maddie. The stranger the things get, the more Maddie finds herself involved in a world she didn't know existed, quickly discovering that there are more to some people than what meets the eye and that somebody has been watching her every move. As fate throws her in an unseen direction, Maddie finds herself fighting for her life on more than one occasion. Desperate to find answers, Maddie dives into untouched waters, searching for the truth.

In the 1600s, Maria was abandoned in a snowy field in rural England as a baby. Under the care of Hannah Owens, who recognizes that Maria has a gift, she learns about the 'Unnamed Arts.' When Maria is abandoned by the man who has declared his love for her, she follows him to Salem, Massachusetts. She invokes a curse that will haunt her family for generations. And she learns the lesson that she will carry with her for the rest of her life: Love is the only thing that matters.

Foreword by Ismail Muhammad Tragic Magic is the story of Melvin Ellington, a.k.a. Mouth, a Black, twenty-something, ex-college radical who has just been released from a five-year prison stretch after being a conscientious objector to the Vietnam War. Brown structures this first-person tale around Ellington's first day on the outside. Although hungry for freedom and desperate for female companionship, Ellington is haunted by a past that drives him to make sense of those choices leading up to this day. Through a filmic series of flashbacks, the novel revisits Ellington's prison experiences, where he is forced to play the unwilling patsy to the predatory Chilly and the callow pupil of the not-so-predatory Hardknocks; then dips further back to Ellington's college days, where again he is led astray by the hypnotic militarism of the Black Pantheresque Theo, whose antiwar politics incite the impressionable narrator to oppose his parents and to choose imprisonment over conscription; and finally back to his earliest high school days, where we meet in Otis, the presumed archetype of Ellington's "tragic magic" relationships with magnetic but dangerous avatars of black masculinity in crisis. But the effect of the novel cannot be conveyed through plot recapitulation alone, for its style is perhaps even more provoking than its subject. Originally published in 1978, and edited by Toni Morrison during her time at Random House, this Of the Diaspora edition of Tragic Magic features a new introduction by author Wesley Brown. Tragic Magic is a tremendous affirmation. .One hell of a writer. - James Baldwin . . .wonderfully wry. - Donald Barthelme About Of the Diaspora: McSweeney's Of the Diaspora is a series of previously published works in Black literature whose themes, settings, characterizations, and conflicts evoke an experience, language, imagery and power born of the Middle Passage and the particular aesthetic which connects African-derived peoples to a shared artistic and ancestral past. Wesley Brown's Tragic Magic, the first novel in the series, was originally published in 1978 and championed by Toni Morrison during her tenure as an editor at Random House. This Of the Diaspora edition features a new introduction written by Brown for the series. Tragic Magic will be followed by Paule Marshall's novel of a Harlem widow claiming new life. Praisesong for the Widow was originally published in 1983 and was a recipient of the Before Columbus Foundation American Book Award. The series is edited by writer Erica Vital-Lazare, a professor of creative writing and Marginalized Voices in literature at the College of Southern Nevada. Published in collectible hardcover editions with original cover art by Sunra Thompson, the first three works hail from Black American voices defined by what Amiri Baraka described as strong feeling getting into new blues, from the old ones. Of the Diaspora-North America will be followed by series from the diasporic communities of Europe, the Caribbean and Brazil.

Forbidden magic, high-seas adventure and love . . . the perfect LGBTQ+ romantic fantasy from New York Times bestselling author F. T. Lukens is here! Perfect for fans of Rainbow Rowell, Daughter of the Pirate King and Adam Silvera. Prince Tal has waited a long time for his coming-of-age tour – a chance to explore his family’s kingdom. When his ship’s crew discovers a mysterious prisoner on a derelict vessel, Tal feels an intense connection with the roguish Athlen. So when Athlen leaps overboard and disappears, Tal is heartbroken. But it’s not long before Athlen turns up on dry land, very much alive, and as charming – and secretive – as ever. When Tal is kidnapped in a plot to reveal his powers and destroy his family, Athlen might be his only hope. But can Tal trust him? Funny, subversive, romantic fantasy from New York Times bestselling author F. T. Lukens. Look out for So This is Ever After and Spell Bound.

Rachel and her brother Eric are extraordinary. She is a spell-maker, able to fly, take any shape, see far and wide with her many-coloured eyes. He is a destroyer of spells. On the planet Ool, home of the Witches, the high Witch Heebra wants Rachel and Eric crushed, and her old adversaries the Wizards slayed. A party of Witches is dispatched to Earth to locate the thousands of children who have powers like Rachel's, and turn them into a ferocious army. Rachel, in search of the children, finds their magic at work across the world. In Africa she encounters the infant Yemi, whose gifts transcend all others. In Chile she meets the menacing Heiki, a girl who will perform any evil to win the approval of the Witches. And in the frozen wastes of the Arctic she and Eric engage in a desperate struggle for the hearts and minds of all children.

Glory is from a family of witches. She is desperate to develop the 'Fae' and become a witch herself. Lucas is the son of the Chief Prosecutor for the Inquisition and his privileged life is very different to the world of witches that he lives alongside - and is being trained to prosecute. And then one day, both Glory and Lucas develop the Fae. In one fell stroke, Glory and Lucas's lives are inextricably bound together, whether they like it or not . . .