Diana Wynne Jones's Witch Week

Halloween is the time when many people's thoughts turn to witches.

I suddenly remembered reading Diana Wynne Jones's Witch Week (1982) many years ago; I decided to take another look to see if it contains any article-inspiring content.

This little book for children combines magic-related fantasy with boarding-school life. While there is little to say about the main story and there isn't much material suitable for direct quotation, there are still a few elements that inspire commentary.

The Witch Week of the title, a time of many strange incidents, begins a few days before Halloween, which makes the book very suitable for the occasion. 

The cover on this edition is just right for Halloween:

Keeping the balance

A previous article mentions the importance of balancing depressing books with reading material that lifts the spirits.

Witch Week contains both cruelty and humour; scenes that are very painful to read because they involve humiliation and bullying are balanced by witty dialogue and descriptions of amusing incidents.

The power of hate again
Witch Week provides supporting evidence for the proposition that hatred can sometimes be helpful. 

Charles Morgan is a loner and odd one out among the pupils. He lists in his journal everything that he hates, which includes the school buildings and at one point all the people in the school!

This hatred helps to keep him going.

Acting unprofessionally and out of character revisited

A few examples of people causing damage by acting unprofessionally and out of character have been given in the past; the time has now come to go into this phenomenon in a little more detail. 

The multi-level approach to finding explanations article mentions some of the influences that might cause people who are normally professional and efficient to behave uncharacteristically and make serious mistakes; this article revisits the issue, expands on these influences and includes some supporting material from previous articles.

The cases of interest here are those that occur at the third level down, the dimension where unseen influences such as energy vampires, people with witch-like personalities, psychic crime and psychological black magic operate.

There are questions to ask and possibilities to eliminate at each level before descending to the one below; there are also some points to be made before starting the exercise.

The definition of the problem
It is important to understand that examples of people doing something wrong are worth investigating only where two elements appear together i.e. when someone acts both unprofessionally and out of character. After all, some people will act unprofessionally because this is their usual mode of operation; not only that, a few of these incompetents might act out of character by doing a good, professional job for once! Neither of these groups is relevant here.

Acceptable margin of error
People are not machines; they sometimes have off days. Occasional errors will be made and should be allowed for, but an investigation into the cause is called for when so much damage has been done that the mistake cannot be overlooked, excused or explained away.

This is where the multi-level approach comes in.

Level 1: the person and the job
On this, the top, level, it is best to work systematically through a list of the most obvious and likely explanations for a damaging, out of character action. The possibilities fall into two groups: one is of factors in the life of the person who made the mistake and the other of common and typical problems with the job.

A few more words about witches and witchcraft

The article about a very good definition of a witch was created to highlight a short but spot-on passage from an otherwise irrelevant novel. 

This article contains a few more short quotations about witches. This time around they consist of yet more wise words from writers who have a lot to say about witches and witchcraft and whose books have inspired many articles.

A few thoughts from Robin Jarvis
Robin Jarvis's Witching Legacy series succeeds his Whitby Witches series. Although the Legacy books don't inspire long articles the way their predecessors did, they do contain a few good and thought-provoking statements about witches.

The Power of Dark, the first book in the new series, has this definition of a witch:

“...witches exist...people with special gifts, special powers, special responsibilities. They can see and do things that other folks can’t.”

The Devil's Paintbox, the second book, has this to say about what being a modern-day witch entails:

“It's part of being a witch...It’ll turn your life inside out and sometimes you lose those dearest to you. They can't handle what you really are, but if you try to stifle it, pretend you're somethin' you’re not, you’ll make yourself miserable.”

These extracts  sound like something that Terry Pratchett  might have written!

Two incidents at the equinox

The article about depression at the autumn equinox describes how Charlotte Brontë suffered badly for a month to six weeks at this time of year. 

I have been feeing under the weather for around two weeks myself. It is worse than it has been in recent years, but nothing like as bad as it got in the distant past. 

While it helps to know that certain unseen influences may be at work, this doesn't stop the feelings of malaise, stagnation, despondency and being unprotected; it doesn't stop approaches from strangers who make me feel uncomfortable either. 

I experienced two such incidents when I went out shopping recently.

The first one happened when I visited a shopping centre some way from where I live. I have been there many times in the past, but I felt confused when I came out of the station. I made a false start or two, then set off down what I soon realised was the wrong road. As I walked past some tables outside a café, a rather weird and witchy older woman with straggly grey hair who was sitting there called out loudly, eagerly and triumphantly, “Hello darling” as if she knew me! 

I am wondering whether I fell into her psychic trap or answered her call and was drawn to that place because my defences were low at the time. The shopping expedition was not a success: the store I planned to visit had closed down and I came home with nothing.

The second incident happened when I was standing in a queue at a big supermarket. Someone just behind me started to comment in an over-friendly manner on the items I had selected; I looked round cautiously and saw that it was a rather weird and witchy older woman with straggly grey hair! The woman on the till was very slow and there were several people waiting in front of me, so I was a captive audience. I just smiled vaguely while she kept talking.  She also said loudly, “Hello darling” to the woman on the till! It was definitely not the same person though.

I am wondering what drew her to my queue and not one of the others. 

Something about Nicholas Stuart Gray's Grimbold's Other World

I recently read Nicholas Stuart Gray's Grimbold's Other World (1963) for the first time. 

This little fantasy book is written in the style of fairy tales; each chapter is followed by a poem. 

I wish that I had encountered this book when I was very young and could read it just for the settings, the stories, the characters and the humour as I did with Nicholas Stuart Gray's Over the Hills to Fabylon: the references to not belonging and the dangers of being involved with magic and other worlds are the main interest now.

Grimbold and Muffler
Grimbold is a black cat who introduces a boy called Muffler, who was found in a hen's nest by some villagers and is 'different', to the night world and its inhabitants.

Muffler has a whole series of adventures in his world and the night world. He is involved with a variety of characters including a sorcerer, talking animals, birds and trees and mythological beings such as dwarves. 

Children will enjoy the stories for their own sake, but adults who are interested in unseen influences may notice some sad and alarming messages.

The quotations speak for themselves – and for the author and others who don't feel at home in this world.

The villagers say this about Muffler:

“We must be gentle, and not let him suffer for being different.”

The narrator makes this depressing – but true - comment:

“This, of course, was not possible. Everyone must suffer who is different.”

Grimbold's Other World contains many warnings about what happens to people who get involved with magic and the night world.

Lucy M. Boston's witch Melanie Powers and Green Knowe revisited

The children's writer Lucy M. Boston, author of the Green Knowe series, has been featured in an article about her birthday and her memoirs. There are brief references to her witch Dr. Melanie Powers in a few other places, and some elements that this evil woman has in common with fellow fictional modern-day witch Miss Heckatty are described in the article about Linwood Sleigh's witches. 

I re-read An Enemy at Green Knowe recently, and, just as happened when I took another look at Beverley Nichols's books about the witch Miss Smith, I found some more material to comment on.

Starting with some coincidences

The main story begins when the boy Ping asks old Mrs Oldknow if she knows anything about a 17th-century man called Piers Madely. She says that this is odd, because she had been thinking about Madely earlier that day!

She tells the disturbing story of the good vicar Piers Madely and the unprepossessing occult scholar, alchemist and necromancer Dr. Vogel, whose evil books and manuscripts were all burned, to Ping and his friend Tolly, who is her great-grandson. The very next day, a letter arrives from a Dr. Melanie D. Powers enquiring about Dr. Vogel's collection!

Before the letter comes:

“The queer thing about Grand's stories," Tolly explained to Ping, "is that bits of them keep coming true now, although they are all so old.“

After the letter comes:

"There you are, Ping!" Tolly exclaimed. "Didn't I tell you part of Grand's stories always come true? She no sooner mentions Dr. Wolfgang Vogel than Dr. Melanie D. Powers comes asking about him."

Perhaps Mrs Oldknow had been thinking about Dr. Vogel because she subconsciously sensed that the letter was coming.

Jean Rhys: is psychology enough to explain everything?

The previous two articles in the series inspired by Carole Angier's biography Jean Rhys: Life and Work were created to answer one big question and one small one. One article gave some good reasons for reading such a depressing book; the other looked into the possibility that Diana Wynne Jones had used material from the biography in her book Black Maria. 

The time has now come to attempt to answer the question of questions: does Carole Angier's psychological interpretation of Jean Rhys's personality, behaviour and experiences cover and provide an explanation for everything? 

The connections and familiar metaphysical features and elements covered in previous articles support the idea that certain unseen influences were at work in Jean Rhys's life, but it is good practice to start with the most obvious explanations and move on and widen the enquiry only if these are found to be unsatisfactory.

Just as Aunt Maria operates on three levels, Jean Rhys and her life can be looked at from three viewpoints: the psychological, what might be called the occult, and something in between the two.

Carole Angier's psychological viewpoint is the first to be considered.

Jean Rhys's infantile personality
Carole Angier makes many insightful remarks about Jean Rhys and provides much biographical material to support her ideas. 

She makes the point that Jean Rhys never grew up. This is very obvious: we do not need to be Sherlock Holmes to deduce that one! 

The mystery of Jean Rhys, Aunt Maria, and Diana Wynne Jones

The article about Carole Angier's doubly-depressing biography of the novelist Jean Rhys includes an attempt to answer a big question the book raises: if it has such a bad effect, why read it and why comment on it? 

I said something relevant to this question a long time ago in the first article about Diana Wynne Jones's witch Aunt Maria: I persevere with some infuriating and/or depressing books because there are lessons to be learned and points and connections to be made from them. 

This article attempts to answer a small question that arose recently when I noticed a few similarities between Jean Rhys as described in Carole Angier's biography and the fictional Aunt Maria: could Diana Wynne Jones have been influenced by Jean Rhys: Life and Work when she was writing Black Maria aka Aunt Maria? 

After dealing with some of the more significant topics connected with Jean Rhys, I decided to investigate the possibility that Diana Wynne Jones had read Carole Angier's biography and, consciously or unconsciously, copied a little of the material for her children's book. 

I started by re-reading Black Maria in the light of what I had recently learned about Jean Rhys; some of the common elements I found this time around seemed worth highlighting - and more than just coincidence.

Wheelchairs and walking
Both Jean Rhys and Aunt Maria pretended to be more disabled than they really were. 

The first article about Aunt Maria mentions a scene in which the horrible old witch, who is supposedly can barely walk and spends much of her time in a wheelchair, is quite able to get up and go to the window when she sees something that angers her. 

When I first read this, I was immediately reminded of something I had read many years earlier about Jean Rhys while looking into the Jane Eyre connection: when she became angry with her assistant, she left her wheelchair in a flash to run to the door and lock it. 

Another look at Beverley Nichols's witch Miss Smith

Miss Smith, the cruel and evil witch with a very deceptive appearance, is a character in Beverley Nichols's Woodland Trilogy and its sequel. She first appeared on here in the article about three fictional modern-day witches and has been referred to in a few other articles. 

I read the four books one last time before donating them, and I found some more material to comment on. 

The Tree That Sat Down (1945), The Stream That Stood Still (1948), The Mountain of Magic (1950) and The Wickedest Witch in the World (1971) are intended for readers of 9 years and upwards. The younger readers will concentrate on the story and enjoy reading about the talking animals and the adventures of the children; I am interested in the incidental references to evil and the characteristics of witches. 

I would not have noticed such things when I first read the stories as I was very young at the time, but now they are the main attraction. They provide yet more independent support for ideas mentioned in many other articles.

Good and evil
The Tree That Sat Down, the first book of the Woodland Trilogy, has something to say about good and evil:

“Evil is a very powerful force; there is only one force more powerful, which is Good. Evil is infectious; it spreads itself far and wide. If there is anything evil at large, all the other evil things know it by instinct; they rejoice and grow strong.”

“Miss Smith shivered and felt quite sick; real goodness always had that effect on her.”

Goodness and evil often do attract like and repel their opposite.

“Miss Smith...felt somebody coming, somebody very good, somebody so good that he might do her a lot of harm. She must go quickly, before it was too late.”

Miss Smith is very wary of anyone who isn't evil. 

Some characteristics of witches
Witches dislike  inquisitive people; they live in fear that their crimes and their deficiencies and differences from normal people will be exposed. They are always on the alert for threats. 

They can sometimes get themselves off the hook by improvising cover stories and casting spells to distract and silence people, but they are not always able to raise the necessary power and they just dig themselves in deeper in the long run.

Jean Rhys and her witchlike personality

Just as psychological black magic is a major topic in this blog, so are witches, fictional or otherwise, unconscious or otherwise.

Carole Angier's biography Jean Rhys: Life and Work, which is generating a whole string of articles, contains material that suggests that Jean Rhys was witchlike in many ways. This material includes the devastating effect that she had on people close to her and her attitude, behaviour and experiences throughout her life. 

It was interesting to learn that in later years she became completely bent over, like an old witch in a fairytale.

This picture makes her look rather sinister:

A witch for a neighbour
Jean Rhys said herself that her neighbours in Holt in Norfolk called her crazy and a witch, and that her neighbours in the Devon village of Cheriton Fitzpaine also called her a witch. She said that one of these neighbours was a witch herself, and that there was black magic in the village!

The evil witch in action
Carole Angier tells us that in later life Jean Rhys had dreadful moods in which she became sinister, witchlike and cruel. As mentioned in the article about Diana Wynne Jones's evil witch Aunt Maria, in one of these episodes Jean terrified her nurse/assistant by locking the door to prevent escape. Carole Angier uses an interesting expression when recounting this incident:

“Janet had 'never been so frightened', 'she'd never wanted to get out of anywhere more'. As though by black magic, Jean had transferred her own worst feelings of terror and entrapment to another person. She had made someone suffer like her.” 

More magic and witch wisdom from Terry Pratchett

Terry Pratchett’s comic fantasy novels about the Discworld are a goldmine when it comes to definitions of and ideas about magic and witches.

The points he makes and the warnings he gives have a much wider application than just to his imaginary world and characters. 

What he says is not always what some people expect or want to hear, but it is all worth considering and putting to the test. 

Material from his books has appeared in several articles, and I have found a few more wise words to quote. 

Using magic
Miss Tick gives more lessons to the young witch Tiffany Aching:

“’But can’t you use a keeping-warm spell?’ said Tiffany.

‘I could. But a witch doesn’t do that sort of thing. Once you use magic to keep yourself warm, then you’ll start using it for other things.’

‘But isn’t that what a witch is supposed to--‘ Tiffany began.

‘Once you learn about magic, I mean really learn about magic, learn everything you can learn about magic, then you’ve got the most important lesson still to learn,’ said Miss Tick.

‘What’s that?’

‘Not to use it. Witches don’t use magic unless they really have to. It’s hard work and difficult to control. We do other things.’”

This is not an easy lesson to learn. It may not at first make sense; it may not be acceptable. Despite that, a wise person will take it to heart. The senior witches in Terry Pratchett’s books know what they are talking about.

Terry Pratchett, L. M Montgomery and Fairyland

Terry Pratchett’s description of Fairyland in The Wee Free Men has reminded me of a passage I came across recently in one of L. M. Montgomery’s books. She too has something to say about the place.

Their views and descriptions are very different. Terry Pratchett is all negative while L. M. Montgomery is all positive.

Terry Pratchett describes a kind of hell universe that people are relieved to escape from while L. M. Montgomery describes a heavenly paradise that produces an unbearable sense of loss in people who have been banished from it forever.

Terry Pratchett’s Fairyland is an actual world than can be visited by a few select people while L. M. Montgomery’s, although not open to most people, is an inner world.

Terry Pratchett’s Fairyland drains real worlds and has nothing to give while L. M. Montgomery’s world is a wellspring of wonders that can be brought out into our world and shared.

L. M. Montgomery’s description of Fairyland leaves out something important that Terry Pratchett highlights.

Two home truths from Terry Pratchett

Lucy Maud Montgomery, Stella Benson and August Strindberg have inspired many articles to date, and there are still more to come - eventually.

Although it was very interesting to find more independent confirmation of some of my ideas and familiar features and scenarios in their lives and works, it was very depressing to read about the suffering they endured, self-imposed or otherwise.

I needed to take a break from these people as it was all getting too much. Terry Pratchett’s Discworld novels were one of the best antidotes that I could think of.

I decided to take a second look at the books featuring the young witch Tiffany Aching and her little friends the Nac Mac Feegle. In addition to distraction and entertainment, I hoped to find some more wise words about magic and witches.

I soon found some article-inspiring material in The Wee Free Men, the first book in the Tiffany Aching series. Terry Pratchett makes some good points here.

He says that doing is better than dreaming in that working, thinking and learning are more beneficial, productive and effective than just wishing for things and repeating vague motivational phrases about following our star.

He also says that getting what we need is usually better for us than getting what we want.

Doing is better than dreaming

There is a scene in The Wee Free Men where the senior witch Miss Tick gives the young witch Tiffany some very useful advice:

Miss Tick sniffed. “You could say this advice is priceless,” she said. 

“Are you listening?”

“Yes,” said Tiffany.

“Good. Now…if you trust in yourself…”

“Yes?”

“…and believe in your dreams…”

“Yes?”

“…and follow your star…” Miss Tick went on.

“Yes?”

“…you’ll still get beaten by people who spent their time working hard and learning things and weren’t so lazy.”

This is very true. I have seen it for myself.

Stella Benson’s Living Alone: Part VII

This is the final article in the series inspired by Stella Benson’s fantasy novella Living Alone. There is still more to say about Sarah Brown and the House of Living Alone and some related issues, and there is a very strange statement about the nature of reality that deserves to be highlighted.

Science fictional solipsism

The woman who holds the weekly gatherings where the occult is discussed is called Miss Meta Mostyn Ford. Miss Ford is the one who helps herself to a packet of magic powder in Angela’s absence and lets the magic loose, causing all sorts of damage.

She says something very strange while under the influence:

“No place and no person matters when I am not there. There are no places and no people existing where I am not. I have suspected it before, and now I am sure that everything is all a pretence, except me. Look how easy it was to dismiss that gross grocer from sight. He was just a bit of background. I have painted him out."

The ‘gross grocer’ is the Mayor, who was made invisible by her actions.

So while Sarah Brown believes that she is not real but most other people are, Miss Ford believes the opposite.

Such ideas remind me very much of themes such as constructed reality and pantheistic solipsism that are often found in science fiction.

Only the narrator or main character is real, everyone else is an actor or construct. The environment is all specially constructed too, like a stage set. The Truman Story is a good example of this. 

Robert A. Heinlein wrote a short story called They about a man who suffers from the delusion that he is one of the few ‘real’ entities in the universe, and that the other ‘real’ entities have created the rest of the universe in a conspiracy to deceive him.

I would not have expected to see similar ideas put forward as early as 1919. Where did Stella Benson’s inspiration come from?

Stella Benson’s Living Alone: Part VI

This article in the series inspired by Stella Benson’s fantasy novella Living Alone has more to say about Richard the Wizard and his mother. 

Richard is the son of Lady Arabel Higgins. He is an illiterate young soldier; he is also a powerful wizard.

His mother’s attitude towards him is strange: she both knows and doesn’t want to know that he is a magic person.

Lady Arabel’s denial and dissociation

Lady Arabel is very unhappy about Richard’s difference from other boys. Although she knows that he isn’t normal, she is in denial of what he really is. She refuses to accept that he has occult powers. She complains about her friend’s always bringing Richard’s name up whenever anything tiresome or out of the way happens:

“One would think you considered the poor boy a wizard.”

Lady Arabel pretends to notice nothing when Richard performs his magic:

“The wizard's mother obviously had great difficulty in not noticing the phenomena connected with her son, and she wore a striving smile and a look of glassy and well-bred unconsciousness whenever anything magic happened."

She talks a little nervously on very insipid subjects throughout the supper party at which Richard manifests his powers. When Richard does something so spectacular that she can’t possibly ignore it, she turns scarlet and murmurs that he is so merry and ingenious.

It is not only Richard’s magic that Lady Arabel refuses to see. When Sarah Brown tells her that Richard has gone to visit his ‘True Love’, Lady Arabel says, “You are quite mistaken, and I must beg of you to be careful how you repeat idle gossip about my son.”

It is the truth not idle gossip, but she just won’t accept it.

Stella Benson’s Living Alone: Part V

This article in the series inspired by Stella Benson’s Living Alone has more to say about the effect that Angela the Witch’s magic has on people.  

Sarah Brown is not the only person to be inadvertently given the wrong impression and led to disaster by Angela.

When Angela gives a demonstration of her magic to the charity committee, it has such a strong effect on some of them that they seek her out at her place of work. Each one, the Mayor in particular, thinks that she was speaking to them personally.

Angela and the Mayor

The Mayor, a grocer who is Chairman of the committee, makes the fourth person to visit the magic shop to see Angela again.

“And then the Mayor arrived. The witch saw at once that there was some secret understanding between him and her that she did not understand. Her magic escapades often left her in this position.”

He thinks that she is interested in him personally, but this is a mistake. It is wishful thinking, but he is not altogether to blame; she has inadvertently caught him in her net.

Stella Benson’s Living Alone: Part IV

The time has come to deal with the end of the relationship, such as it was, between Angela the Witch and Sarah Brown.

After coming under Angela’s influence, Sarah Brown is led by her to what will look like disaster to most people.

If anyone else had said and done to Sarah Brown what Angela did, I would expect them to be cruel, malevolent, a cult leader who makes people burn all their bridges behind them or even a front for something evil.

Angela is definitely not evil or even malicious: she is just lacking in understanding and empathy and she has no feelings of responsibility for the effect that she and her magic have on people and their lives. It means nothing to her; it is their problem not hers. She is bored or baffled by it all.

After all, she is not completely human; she is a magic person.

First, some details of the context in which the disaster happens.

Angela lays the trail

Angela makes her first appearance when she bursts in on the charity committee. She gives them a small demonstration of her powers.

Angela has a strange effect on some of the people at the committee meeting, Sarah Brown in particular. Perhaps because they have fallen slightly under her spell, some of the members feel an inclination to see her again. She leaves her broomstick - whose name is Harold - behind. Was this deliberate, or was it an accident? 

Her address is on Harold’s collar, which makes it easy for them to find her.

Four visitors for Angela

The four people who seek Angela out at the magic shop want more from her than just the taste of her magic that she gave them. They sense her powers and think that she can help them.  

Stella Benson’s Living Alone: Part III

We now come to Sarah Brown and the House of Living Alone.

Sarah Brown’s initials are the same as Stella Benson’s; she is an autobiographical character: much of what is said in Living Alone by and about Sarah and her life applies to Stella Benson herself, as can be confirmed by reading her biography.

The same applies to the House of Living Alone where Sarah Brown goes to live; Stella Benson knew it well.

Sarah Brown

Sarah Brown is the third main character of interest in Living Alone. 

She is a young woman who lives in London and is a member of the charity committee.

Her health is not good and her life is not satisfactory. Just like the witch Angela, she often goes short of food for lack of money and has to settle for scratch meals.

Sarah Brown is not very good at dealing with the real world; she says this about herself:

“You don't happen to know of a suitable job. I can't cook, and if I sew a button on it comes off quicker than if I hadn't.“

She has written a little poetry and means to write a book some day...some people have a creative temperament without having much creative ability. This does not apply to Stella Benson!

Sarah Brown accepts that magic exists. She can see it in action but cannot practise it herself. She has always wished to be friends with a witch. People who can’t operate very well in the real world or deal very well with real people often look for magical - or other - alternatives:

 “She was not really used to being alive at all, and that is what made her take to magic so kindly.”

This turning to the world of magic can be dangerous. People who seek salvation may be lured to destruction.

Angela the Witch supplies Sarah with sandwiches that, judging by the effects, were enchanted:

 “Sarah Brown would have been very susceptible to such a drug; her mind was always on the brink of innocent intoxication… Therefore, I think, she was a predestined victim of magic, and it seems unlikely that the witch should have missed such an opportunity to dispense spells.”

Sarah accepts Angela’s invitation to come and live in the House of Living Alone. This could be the best thing she has ever done, or it could be the worst.

Stella Benson’s Living Alone: Part II

Stella Benson’s fantasy novel Living Alone contains an assortment of characters.

There isn’t much to say about the purely supernatural element, which includes fairies, a magical white horse and a small dragon.

The ‘real people’ in the book include a policeman, a grocer who is also Mayor and some ladies from a charity committee. They are mainly caricatures or stereotypes, and most of them don’t inspire much in the way of commentary either.

The characters who are of particular interest are a witch, a wizard and someone who is neither magical nor a completely real person.

This article covers the two practitioners of magic, Richard the Wizard and Angela the Witch.

Richard the Wizard

We first learn about Richard from what his mother says about him. She says that he isn’t like other women’s boys. He cannot read or write; he disappears without explanation. The servants are all gone because they can’t stand him and his ways.

Living Alone was first published in 1919; one hundred years later, some of the things that we are told about Richard could be taken as a description of someone with mild autism or something similar.

Richard’s mother tells Angela the Witch:

“Do you know, I have only once seen him with other boys, doing the same as other boys, and that was when I saw him marching with hundreds of real boys ... in 1914.... It was the happiest day I ever had, I thought after all that I had borne a real boy... He deserted twice—pure absence of mind—it was always the same from a child—'I wanted to see further,' he'd say...“

We are told that Richard seems to have none of the small skill in details that comes to most people before they grow up. He does everything as if he were doing it for the first time.

Stella Benson’s Living Alone: Part I

I recently re-read Stella Benson’s fantasy novel Living Alone to see what she has to say about witches. As with many other books featured on here, I first read it many years ago and just for entertainment. 

At the time, I overlooked things that now seem very significant indeed; I now see that there is enough material about witches, wizards and magic to generate more than one article.

There are also some autobiographical elements in the book; they will be included in an article about Stella Benson herself.

Part I starts with an overview of Living Alone and continues with some material from the book about magic and its practitioners.

About Living Alone

Living Alone consists of just ten chapters, so it is sometimes called a novella.

Living Alone has been described as a comedy, but it mentions desolation and has a horrible ending.

It is a very strange and unusual book, yet there are some familiar elements:

There are whimsical descriptions in Living Alone that make me think of J. M. Barrie’s Peter Pan.

The witches and their broomsticks in the book remind me of Terry Pratchett's witches.

There are a few scenes that remind me of the use of magic in Diana Wynne Jones’s Charmed Life.

London has a magic of its own. There are many references to locations in London, places that I know well and enjoy reading about. Stella Benson was writing from experience: she too knew London well.

Anyone who wants to read Living Alone will find it on Project Gutenberg.