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.

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. 

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.

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.

Two birthdays for two Stellas

Stella Gibbons and her books have been mentioned many times on here. One article compares her and her life with Georgette Heyer and her life; they were both born in 1902.

Stella Gibbons was born on January 5th. A much less well-known writer called Stella Benson was born 10 years earlier on January 6th.

As in previous comparisons, there are some common elements and some large differences in the lives of the two Stellas.

Stella Benson came from a much higher social class than Stella Gibbons. 

Stella Benson suffered from ill-health for much of her life whereas Stella Gibbons was fairly robust. 

Both writers had alcoholic fathers. Stella Gibbons was 24 years old when her father died; Stella Benson was 19 at the time of her father’s death,

Stella Gibbons was sent to school for the first time when she was 13; Stella Benson was 14 when she first attended school.

Stella Gibbons was brought up an atheist. She converted to Christianity after meeting the man who would become her husband. Stella Benson was brought up in a church-going family, but she came to reject Christianity - and other religions.

Cults and John Masefield’s Box of Delights

I have recently been re-reading John Masefield's children’s fantasy novel The Box of Delights.

I wanted to have another look at the references to Christmas Eve. I was also hoping to find some previously overlooked material about witches, but instead I noticed for the first time that a conversation between two of the characters has relevance to what I now know about cults.

This dialogue was written in 1935. It is uncanny how relevant and significant it is when we look at the methods cults use to recruit their victims and what constitutes an effective resistance to these techniques. I missed all this in past readings of the book but can see it now.

Maria Jones and the evil witch

One of the characters in the book is a girl called Maria Jones. She is a friend of Kay Harker, the young hero.

She is just a small child; she is known to everyone as ‘little Maria’. She is blunt, tough and fearless, rather like Joan Aiken’s Dido Twite in The Cuckoo Tree. She loves guns and has gangsters on the brain.

Maria shows that she has more sense than many adults who are manipulated into joining cults or other unethical organisations when the witch Sylvia Daisy Pouncer and her villainous husband Abner Brown decide that Maria shows promise and would be a good acquisition for their gang.

They kidnap and imprison her. Sylvia Daisy tries to persuade her to join them. Maria is not fooled; she is defiant and not at all daunted and she stands up for herself very well.

Lucy M. Boston, her birthday and her memoirs

The English novelist Lucy M. Boston, who is often known as L. M. Boston, was born on December 10th 1892. She was over 60 when her first book was published, and she lived to the age of 97.

She is of interest to me mainly because of her book An Enemy at Green Knowe. The enemy in the title is the scholar, black magician and demon-possessed witch Dr. Melanie Powers, who has been mentioned in passing in a few articles. This is the only book in which Lucy M. Boston writes at length about the battle between good and evil.

There is little in Lucy M. Boston’s life to explain where Melanie Powers and her very familiar characteristics and behaviour came from; unlike Nicholas Stuart Gray’s and Diana Wynne Jones’s witches, she was not based on the author’s mother: Lucy M. Boston’s mother was unhappy and neglectful, but not cruel and evil.

However, the magical house Green Knowe, whose name appears in the titles of her series of children’s fantasy books, is taken directly from Manor House, which was built by the Normans around the year 1130 and was her home for almost 50 years.

Manor House is still in the Boston family and is now open to the public. Maybe I will go to see it some time.

Sinister and significant elements and scenarios

Previous articles contain many examples of elements, features, games, syndromes and scenarios that I am particularly interested in. Cases and references come from my own or someone else’s personal experience and from fiction or biographical works.

I see them as red flags, warning signs that unseen influences may be at work.

I thought it might be useful to compile a list of some of the most sinister and significant of these elements:  

-People benefitting from convenient and/or suspicious deaths;

-People getting things at other people’s expense;

-People inflicting terrible injuries of various kinds and carrying on as if nothing has happened, adding insult to injury by expecting their victims to play the ‘business as usual’ game too;

-People behaving unprofessionally and out of character;

- People playing the reversal game that is characteristic of evil. For example, behaving as if they were the victim when they are the victimiser and presenting black as white;

-The backfiring scenario, where people do not get what they wanted, planned for and expected because it all goes horribly wrong. They may even get the exact opposite of what they wanted; sometimes they lose what they already had;

-The fifth-rate travesty scenario, when what people get seems to them to be a very cheap copy of what they actually wanted;

-The time when jubilant people think that they are in at the start of something big and exciting, only for a time to come when they look back sadly, realising that that was as good as it got;

-The ‘all avenues closed’ scenario when people are forced onto what seems like the only path available, the only way out. This path often leads to something worse or even to destruction;

-The attack-dog syndrome;

-The sole supplier syndrome;

People of interest with big anomalies in their lives, the ‘good idea’ that results in suffering and the ‘as if’ game deserve a mention too.

When I see these elements in operation, I suspect that there is an energy vampire, a cult, a black occultist or a witch in the case; where relevant, I suspect that psychological black magic is at work.

Elizabeth Goudge’s Linnets and Valerians: Part IV

This final article in the series contains some miscellaneous thoughts about Elizabeth Goudge’s Linnets and Valerians (aka The Runaways) and her witch Emma Cobley.

We begin with the J. K. Rowling connection and some accusations of paganism.

Elizabeth Goudge and J. K. Rowling

In 2001, J. K. Rowling gave an interview in which she said that Elizabeth Goudge’s The Little White Horse was one of her favourite childhood books and it was an inspiration for the Harry Potter series.

I am guessing that J. K. Rowling at some point investigated other books by Elizabeth Goudge. Her account of the witch Merope Gaunt, who came from a humble background and who probably bewitched the handsome and wealthy Tom Riddle Senior with a love potion, reminds me very much of the story of Emma Cobley and Hugo Valerian.

Christianity and paganism

J. K. Rowling’s recommendation of Elizabeth Goudge probably revived interest in an author who was no longer well known.

Some new readers may not have been too pleased with what they found.

Elizabeth Goudge’s books have been criticised for being sickly sweet and sentimental. I can see that they, or at least parts of some of them, may not be much to the taste of the modern reader.

Another drawback may be the religion: Elizabeth Goudge’s books are Christian in outlook, containing such themes as sacrifice, conversion, discipline, healing, and growth through suffering. This too might put some people off.

It is much the same with Madeleine L’Engle’s books: some people enjoy reading them despite the sweetness and religious references.