{"id":14145,"date":"2013-10-30T10:29:50","date_gmt":"2013-10-30T10:29:50","guid":{"rendered":"http:\/\/badreputation.org.uk\/?p=14145"},"modified":"2013-12-01T19:46:59","modified_gmt":"2013-12-01T19:46:59","slug":"guest-post-five-witches-from-childrens-literature","status":"publish","type":"post","link":"https:\/\/badreputation.org.uk\/2013\/10\/30\/guest-post-five-witches-from-childrens-literature\/","title":{"rendered":"[Guest Post] Five Witches from Children’s Literature"},"content":{"rendered":"
Representations of witches and witchcraft in literature and in popular culture generally are incredibly useful to us, providing a way of critiquing the situation of women under patriarchy that is both effective and accessible.<\/p>\n
Children\u2019s literature is particularly rife with such representations. From the wicked women of Grimm and Perrault and folkloric creations like Baba Yaga and Ceridwen, through C.S. Lewis\u2019 Jadis and the maleficent creations of Mary de Morgan to 20th century inventions like TH White\u2019s Madam Mim and the female students of Hogwarts school of Witchcraft and Wizardry, lady sorcerers – both good and evil – have never been far from the pages of the books we have used to educate and entertain our children.<\/p>\n
The witches of the classic fairytales and of the stories of the Victorian era are usually monstrous and spiteful, using their magic in service of the Devil – or worse, their own self-interest. They taunt because they can and have few, if any, redeeming characteristics.<\/p>\n
In recent decades the image of the image of the witch in popular culture has undergone a transformation, in no small part due to the witches that have appeared in juvenile literature. Since the 1970s, the stories our children have read have overwhelmingly featured good witches (though the frequency with which they are presented as inept deserves some attention). These are my favourites of the modern circle.<\/p>\n
<\/a>Created when
Jill Murphy was a teenager, The Worst Witch<\/strong><\/a> series follows the adventures of
Mildred Hubble as she navigates the social and academic challenges
of Miss Cackle\u2019s Academy, a draughty old castle that perches
atop a thickly forested mountain and \u2018looks more like a prison
than a school\u2019.<\/p>\n
It\u2019s an uncomfortable enough environment for a youngster to
be in, but Mildred has an added disadvantage, being marked as an
outsider by her unkempt appearance and her tabby cat (given to her
when the rest of the girls receive sleek black kitties).<\/p>\n
She was one of those people who always seem to be in trouble.
She didn\u2019t exactly mean to break rules and annoy the
teachers, but things just seemed to happen when Mildred was
around.<\/p>\n
–
The Worst Witch<\/strong><\/p><\/blockquote>\n
The young witch is thoroughly well-meaning and a little too
clever for her own good, but she\u2019s also bumbling and
frequently wrangling with authority figures. Despite her
perceived inadequacies, there\u2019s an air of serendipity
that follows her around; her failures and misdeeds
inevitably lead to a positive outcome of much greater
consequence than the proceeding mishap.<\/p>\n
Perhaps this is why she is so well-loved by young readers
and so fondly remembered by adults. Often we can see a
little of ourselves in Mildred – from her practical
incompetence to her trailing shoe laces, she\u2019s a
reminder that you don\u2019t have to be perfect to be
wonderful.<\/p>\n
<\/a>The only work of historical fiction on my list,
Celia Rees\u2019 Witch Child<\/strong><\/a> is an overtly feminist text.
The protagonist of the book (and its sequel, Sorceress<\/strong><\/a>) is Mary Newbury, an
adolescent witch forced to flee to the New World
following the violent death of her grandmother at the
hands of
Caught between a desire to be true to herself and
the hypocrisy of Puritanism, Mary is headstrong,
smart, empathetic and brave. She exhibits a
tolerance that is unusual for her era and generally
makes herself an excellent role model for young
readers.<\/p>\n
For Mary, independence poses a threat – she
lives in a time that fears capable women, and her
agency and determination could lead her to the same
fate as her grandmother. But still she forges
onwards, using her wit and her alacrity to light the
way and finding friendship and love among another
marginalised group.<\/p>\n
I should flee, get away. They will turn on me next
unless I go. But where to? What am I to do? Lose
myself. Die in the forest. I look around. Eyes,
hard with hatred, slide from mine. Mouths twitch
between leering and sneering. I will not run away
into the forest, because that is what they want me
to do.<\/p>\n
–
Witch Child<\/strong><\/p><\/blockquote>\n
<\/a>
Terry Pratchett\u2019s Discworld<\/strong><\/a> series is often
lauded as feminist; he ridicules misogyny
and satirises stereotypes, he writes
Strong Female Characters. But there is an
incongruency to Pratchett\u2019s feminism
which undermines his intended message and
ultimately,
Discworld<\/strong> is, whisper it,
not that feminist<\/em>.<\/p>\n
Tiffany Aching is, to paraphrase her
creator, the most feminist of the
feminists that he does not have. A
child savant, she begins her
witching career at nine years old
when she embarks upon a quest to
save her brother from a sinister
fairyland
a la<\/em>
Labyrinth<\/strong>. She\u2019s
got common sense and amazing
chutzpah. While remaining a
completely believable pre-teen,
she\u2019s shrewd, smart and she
will not be condescended
to.<\/p>\n
\u2018Zoology, eh?
That\u2019s a big word,
isn\u2019t it?\u2019
–
The Wee Free
Men<\/strong><\/p><\/blockquote>\n
As Tiffany grows up (she
is approaching 16 at the
time of I Shall Wear
Midnight<\/strong><\/a>)
It becomes clear that
she is the natural
successor to Granny
Weatherwax, the number
one witch of the
Discworld<\/strong>
series, as she
begins to display
magical abilities
rare in people of
her age as well as
exhibiting
characteristics she
shares with her
mentor –
gravitas, knowledge,
a tendency towards
literalism and the
belief that a witch
should remain
single. Tiffany will
ultimately become a
better witch than
Granny, and it is a
pleasure to watch
her get
there.<\/p>\n
McGonagall cares
for her charges
deeply, but not
blindly. She is
fair and ethical
and has gained
great respect
within the
Hogwarts
hierarchy.
She\u2019s often
sharp with
students and
teachers alike,
she\u2019s a
keen believer in
rules –
without being
mindlessly bound
to them –
and she\u2019s a
fan of order in
her
classroom.<\/p>\n
With a witty
remark or
condescending
quip never far
from her thin
lips, Minerva
McGonagall is a
force to be
reckoned
with.<\/p>\n
‘Oh, I
can’t
wait to see
McGonagall
inspected,’
said Ron
happily.
‘Umbridge
won’t
know
what’s
hit
her.’<\/p>\n
–
Harry
Potter and
the Order of
the
Phoenix<\/strong><\/p><\/blockquote>\n
Though she
is a
slight
woman in
her
seventies,
McGonagall
is a
fearless
combatant
in the
battle
that rages
at the
close of
the
series,
directing
the action
and
engaging
directly
with
Voldemort
in defence
of the
institution
and the
people
that she
loves.<\/p>\n
There are
many women
in JK
Rowling’s
Harry
Potter<\/strong>
series
that
display
fine
qualities
–
caring
and
protective
Mrs
Weasley;
book-smart
Hermione;
fearless
Tonks;
even
Delores
Umbridge
can be
admired
for her
sheer
bloodymindedness
and
determination.
But
McGonagall
seems to
embody
all
these
qualities
and then
some.<\/p>\n
Winnie
the
Witch
lived
in
a
black
house
in
the
forest.
The
house
was
black
on
the
outside
and
black
on
the
inside.
The
carpets
were
black.
The
chairs
were
black.
The
bed
was
black
and
it
had
black
sheets
and
black
blankets.
Even
the
bath
was
black.<\/p>\n
Winnie
lived
in
her
black
house
with
her
cat,
Wilbur.
He
was
black
too.
And
that
is
how
the
trouble
began.<\/p>\n
–
Winnie
the
Witch<\/em><\/p><\/blockquote>\n
<\/a>Winnie
the
Witch<\/a>
–
not
to
be
confused
with
the
1970s
Charlton
Comics
character<\/a>
of
the
same
name
–
made
her
first
appearance
in
1987.<\/p>\n
Created
by
Valerie
Thomas
and
illustrated
by
Korky
Paul,
she\u2019s
a
comical
character
by
design,
gangly
and
tall
with
an
unruly
mane
of
black
hair
and
a
reddened
nose
that
I
like
to
imagine
comes
from
a
fondness
for
gin.
When
we
first
meet
her,
she
is
the
only
colourful
thing
in
a
very
dark
world.
A
series
of
books
for
middle
grade
readers
featuring
Winnie
is
also
available<\/a>,
written
by
Laura
Owen.<\/p>\n
But
Winnie
has
no
qualms
over
using
her
magic
to
amend
the
world
around
her
to
suit
her
own
purposes
without
considering
the
consequences.
Winnie
is
heedless
and
impulsive,
with
a
catch-all
cry
of
‘ABRACADABRA’
that,
predictably,
gets
her
into
scrapes.<\/p>\n
She
learns
from
her
blunders,
though,
and
she
puts
things
right
with
grace
and
unerrring
joy.
Winnie
the
Witch
lives
a
hedonistic
life
and
she
makes
mistakes,
but
she\u2019s
always
got
a
genuine
smile
on
her
face
and
that\u2019s
what
makes
her
so
refreshing.<\/p>\n
Bonus
Material:<\/strong>
HERE
IS
THE
ACTUAL
MASTER
READING
WINNIE
THE
WITCH<\/a>.<\/p>\n
Mary Newbury<\/h2>\n
\nwitch-hunters.<\/p>\n
Tiffany Aching<\/h2>\n
\n\u2018No, actually it
isn\u2019t,\u2019 said
Tiffany. \u2018Patronising
is a big word. Zoology is
quite short.\u2019<\/p>\n
Minerva
McGonagall<\/h2>\n
Winnie
the
Witch<\/h2>\n
\n