Witches Words

A collection of poetry dealing with witches and their magic, including "The Witch's Song," "Hallowe'en Fright," "The Hag," "Frogday," and more.

This 1980 book examines witchcraft beliefs and experiences in the Bocage, a rural area of western France. It also introduced a powerful theoretical attitude towards the progress of the ethnographer's enquiries, suggesting that a full knowledge of witchcraft involves being 'caught up' in it oneself. In the Bocage, being bewitched is to be 'caught' in a sequence of misfortunes. According to those who are bewitched, the culprit is someone in the neighbourhood: the witch, who can cast a spell with a word, a touch or a look, and whose 'power' comes from a book of spells inherited from an ancestor. Only a professional magician, an 'unwitcher', has any chance of breaking the succession of misfortunes which befall those who have been bewitched. He undertakes a battle of magic with the suspected witch, a battle which is eventually fatal.

Dramatic and documentary narratives about aggressive and garrulous women often cast such women as reckless and ultimately unsuccessful usurpers of cultural authority. Contending narratives, however, sometimes within the same texts, point to the effective subversion and undoing of the normative restrictions of social and gender hierarchies. Words Like Daggers explores the scolding invectives, malevolent curses, and ecstatic prophesies of early modern women as attested to in legal documents, letters, self-narratives, popular pamphlets, ballads, and dramas of the era. Examining the framing and performance of violent female speech between the 1590s and the 1660s, Kirilka Stavreva dismantles the myth of the silent and obedient women who allegedly populated early modern England. Blending gender theory with detailed historical analysis, Words Like Daggers asserts the power of women's language--the power to subvert binaries and destabilize social hierarchies, particularly those of gender--in the early modern era. In the process Stavreva reconstructs the speech acts of individual contentious women, such as the scold Janet Dalton, the witch Alice Samuel, and the Quaker Elizabeth Stirredge. Because the dramatic potential of women's powerful rhetorical performances was recognized not only by victims and witnesses of individual violent speech acts but also by theater professionals, Stavreva also focuses on how the stage, arguably the most influential cultural institution of the Renaissance, orchestrated and aestheticized women's fighting words and, in so doing, showcased and augmented their cultural significance.

This book critiques historians’ assumptions about witch-hunting as well as their explanations for this complex and perplexing phenomenon. It shows that large numbers of men were accused of witchcraft in their own right, in some regions, more men were accused than women. The authors insist on the centrality of gender, tradition, and ideas about witches in the construction of the witch as a dangerous figure. They challenge the marginalization of male witches by feminist and other historians.

To mark the retirement of John F. A. Sawyer, Professor of Religious Studies in the University of Newcastle upon Tyne, colleagues and former students from around the world have contributed studies on his areas of interest: the study of Hebrew, the books of the Jewish Bible, and the culture and traditions of Judaism. The essayists consider not simply the origin of the meaning of word and text, but also the many and strange ways in which word and text become transposed, re-oriented and often enough traduced by later interests and purposes. The roll call of scholars reads: Philip Alexander, Francis Andersen, Graeme Auld, Calvin Carmichael, Robert Carroll, David Clines, Richard Coggins, Jon Davies, Philip Davies, James Dunn, John Elwolde, John Gibson, Graham Harvey, Peter Hayman, Dermot Killingley, Jonathan Magonet, Robert Morgan, Takamitsu Muraoka, Christopher Rowland, Deborah Sawyer, Clyde Curry Smith, Max Sussman, William Telford, Marc Vervenne, Wilfred Watson, Keith Whitelam and Isabel Wollaston.

This new book, The Witch in the Word Machine, is a collection that underpins Jenni Fagan's entire approach to words. Her spell poems are portraits of people, lovers and cities: Paris, New York, Edinburgh, Detroit, LA, and San Francisco. The excerpts of her Truth poem are a political response to great uncertainty in the world right now. This collection is an exploration of words as spells, incantations, curse and solace.

Crone's Book of Magical Words (previously published as The Crone's Book of Words) by Valerie Worth is the book you've been waiting for! In its pages are over 125 spells, incantations, and charms. If you can think of a purpose for a spell, it's probably in this book. Need a spell to summon a ghost? Or perhaps you want the opposite: a spell to free a house from being haunted. They're both in this book. Do you need something to help you lose weight or have longevity? You'll find them here. Or perhaps you want to pass through a locked door. It's all in this book. Even if you don't know a thing about magic, you can use this book. The spells are easy, poetic, and evocative. For example, to cure a wart the instructions are: "Stamp within a silver cup mullein and houseleek together. Stir them with a sparrow's feather. Let it draw the juices up; Twenty times upon one day, brush them over the excrescence; Under sunlight dry the essence--Soon the wart must shrink away." The range in this book is phenomenal. You'll find a simple fertility charm and a way to conjure with smoke. You'll read about how to bring rain and how to stop rain from falling. You'll learn how to tell fortunes with sand or with tea leaves. This is more than just a book about magic, it is a folklorist's bonanza. If you're ready to win another's love or to sweeten someone's disposition, if you want to turn hair long and golden or discover tree spirits, this is the book you must have. Whether you have been doing magic for a long time or are a beginner, this book is a must.