In
this third post about witches, I’m considering some children’s books in which the characters are recognisably witches, but good
rather than evil.
All of these examples are modern. I’m not sure I know of
any good witches in older fiction except for Glinda in ‘The
Wizard of Oz’,and incidentally, I
don’t know how I forgot to mention the Wicked Witch of the West, in my
first witchy post, as a fine example of an American witch – and her
recent reinvention by Gregory Maguire in ‘Wicked’ exemplifies the
changes in attitude which have been taking place over the decades, changes which have to
be set down to the feminist movement. The very title of Maguire’s book
is a gauntlet thrown down. If anyone is wicked in ‘Wicked’, it’s not the
witch. And it’s a lot more difficult these days than it used to be, to
think powerful female = witch = evil.
Let’s start with the
great Terry Pratchett. The very first book of his I ever read was ‘Wyrd
Sisters’. I’d been put off the Discworld novels by their covers, which
looked too hysterical for me. But I picked up ‘Wyrd Sisters’ in the
library one day and read the opening page:
The wind howled. Lightning stabbed at the earth erratically, like an inefficient assassin...
…In
the middle of this elemental storm a fire gleamed among the dripping
furze bushes, like the madness in a weasel’s eye. It illuminated three
hunched figures. As the cauldron bubbled an eldritch voice shrieked:
“When shall we three meet again?”
There was a pause.
Finally another voice said, in far more ordinary tones: “Well, I can do next Tuesday.”
On this comic anticlimax
we meet Granny Weatherwax, Nanny Ogg and Magrat ('Margaret', only her
mother couldn’t spell). And what these three witches do is what women
down the years have always done. They help bring babies into the world,
they do their best to cure the sick, they lay out the dead, and they
dispense commonsense advice with a bit of magical flimmery-flammery to
help it along. On top of that, Granny Weatherwax in particular is
skilled in what she calls ‘headology’ – a fine-tuned sympathy with the
minds and beings of others. In ‘Wyrd Sisters’ the three witches prevent
soldiers from killing a baby on the moor at night, and on discovering a
crown in the bundle of wrappings, realise they have to hide the child.
And the crown? Can it be hidden too?
“Oh, that’s easy,” said Magrat. “I mean, you just hide it under a stone or something…”
“It ain’t,” said Granny. “The reason being, the country’s full of
babies and they all look the same, but I don’t reckon there’s many
crowns. They have this way of being found, anyway. They kind of call
out to people’s minds. If you bunged it under a stone up here, in a
week’s time it’d get itself discovered by accident. You mark my words.”
“It’s true, is that,” said Nanny Ogg earnestly. “How many times have
you thrown a magic ring into the deepest depths of the ocean and then,
when you get home and have a nice bit of turbot for your tea, there it
is?”
They considered this in silence.
“Never,” said Granny irritably.
The Discworld novels are
written for adults, but are YA in their appeal, and Terry Pratchett has
also written several children’s books set in the same world, featuring
the young apprentice witch Tiffany Aching – a girl of great grit,
determination and courage. The first in the series is ‘The Wee
Free Men’, and begins with yet another witch (Miss Perspicacia Tick)
sitting under a hedge in the rain, making a device to ‘explore the
universe’:
The exploring of the
universe was being done with a couple of twigs tied together with
string, a stone with a hole in it, an egg, one of Miss Tick’s stockings
which also had a hole in it, a pin, a piece of paper, and a tiny stub of
pencil. Unlike wizards, witches learn to make do with very little.
Terry Pratchett, you
feel, actually likes women. He seems comfortable around them in a way
the male authors of my last week’s post – C.S. Lewis, T.H. White and
even Alan Garner – do not.
In Philip Pullman’s ‘The
Golden Compass’, the first book of ‘His Dark Materials’, we meet a race
of witches of a very different type. They are far wilder and more
romantic than Terry Pratchett’s – a reversion to the witch queen type,
in fact, but as ever-youthful as the fairies and as warlike as the
Amazons. They come to the rescue of Lyra and her friends during the
attack on the Bolvangar experiment station, shooting their arrows with
deadly effect:
“Witches!” said Pantalaimon.
And so they were: ragged elegant black shapes sweeping past high above,
with a hiss and swish of air through the needles of the cloud-pine
branches they rode on. As Lyra watched, one swooped low and loosed an
arrow: another man fell.
A few pages later, Lyra meets one of them: clan queen Serafina Pekkala:
She was young –
younger than Mrs Coulter; and fair, with bright green eyes; and clad
like all the witches in strips of black silk, but wearing no furs, hoods
of mittens. She seemed to feel no cold at all. Around her brow was a
simple chain of little red flowers. She sat on her cloud-pine branch as
if it were a steed…
Lyra could see why Farder Coram loved her, and why it was breaking his
heart… He was growing old: he was an old broken man, and she would be
young for generations.
They aren’t central
characters, and you could argue that Mrs Coulter wears the pointed hat
in this story, but the courageous, nearly immortal witches, with their
necessarily brief liaisons with human men and women, lend an exotic
touch of wildness and tragedy to Pullman’s world.
A witch who didn't make it into the last couple of posts is the Russian BabaYaga, with her hut
on chicken legs. She's pretty scary but ambiguous - she can actually be helpful if propitiated in the right way. Susan Price’s Carnegie Medal winning
‘The Ghost Drum’ is drawn from the Russian tradition. With its sequels ‘Ghost Dance’ and ‘Ghost Song’ (now all available as e-books) it is set
in “a far-away Czardom, where the winter is a cold half-year of darkness.”
Here we meet the
witch-girl Chingis, daughter of a slave, rescued and raised to be a
Woman of Power by a shaman woman, who exchanges the child for a snow
baby and takes her away.
Out in the night, in
the snow, stood another house. It stood on two giant chicken-legs. It
was a little house – a hut – but it had its double windows and its
double doors to keep in the warmth of the stove, and it had good thick
walls and a roof of pine shingles. The witch came running over the
snow, and the house bent its chicken-legs and lowered its door to the
ground…
…Then the legs took a few quick, jerky steps, sprang, and began to run.
Away over the snow ran the little house… Its windows were suddenly lit
by a glow of candlelight. The hopping candlelight could be seen for a
long time, shining warmly in the cold, glimmering twilight, but then the
light was so distant and small that it seemed to go out. All that was
left of the little house was its footprints.
Raised by the
witch-shaman, Chingis becomes her successor, and eventually goes to
rescue young Safa, the son of the mad Czar, whose father has kept him
shut up in a single room for his entire life.
Every moment, day and night, waking and dreaming, his spirit cried; and circled and circled the dome room, seeking a way out.
And Chingis heard.
She heard it first as she slept; a strange and eerily disturbing
crying. Stepping from her body, her spirit grasped the thread of the
cry and flew on it, like a kite on a line, to the Imperial Palace, to the highest tower, to the enamelled dome.
Armed with her wits, her spells, and her grandmother’s proverb: “Whenever you poke your nose out of doors, pack courage and leave fear at home,”
Chingis sets off on a mission that will take her all the way to Iron
Wood and the Ghost World. This is one of those books I just wish I had
written myself, although I know I never could have done it half so
well. It inverts the terror and evil of Baba Yaga, reinventing her as a
shaman with powers allied to nature, stronger and more merciful than
the cruelties of Czars. It’s beautiful. Please read it!
I have written a witch
of my own – Astrid, the girl with ‘troll blood’ in the book of that
name, 'Troll Blood', the third part of my Viking trilogy 'West of the Moon'. Is she really a witch, though? That’s what the
viking sailors call her, because they fear and dislike her, and it’s
true she practises seidr – the old northern magic (pronounced roughly saythoor).
But Astrid – haughty, proud, thin-skinned, damaged and vulnerable –
hasn’t had much of a chance in life, and uses her powers to command what
respect and fear she can, since she doesn’t expect love. Whether or not
any of her spells really work is left open. I don’t know myself. But I
do know that I have a lot of sympathy for difficult, prickly, deceitful
Astrid, and I hope the reader will too.
Lastly, what about the Harry Potter books? And why on earth didn’t I begin with them?
Well, to my mind, the
Harry Potter books are hardly about witches at all. They’re about
school-children masquerading as witches. Yes – they go to Hogwarts,
which is billed as a school for witches and wizards. Yes, they learn
spells. Yes, there are plenty of the trappings of witchery about:
pointed black hats, robes, wands (wands? witches don't need
wands, those are for wizards), cauldrons, etc. And yes, Harry and his
friends are pitted against a Dark Lord of impeccable credentials,
Voldemort, who undoubtedly goes to the same club as Sauron and Lucifer.
But does anyone really believe Hermione Granger is a witch? Top of the
class in spells she may be, but seriously? Are Harry and Ron really wizards? Try mentally lining them up with Gandalf, Ged, and even Dumbledore, and see what I mean.
Wizards may go to
school, wizards may study things: wizards are expected to be forever
poring over old curling scrolls while the stuffed crocodile dangles
overhead. But as soon as you make witchcraft into something taught in a
classroom, for me the magic runs right out of it like water from a
bath. I do like the first three Harry Potter books (with reservations
about the rest concerning editing, mainly) – I love the energy and fun
and sheer inventiveness of Rowling’s writing. But, along with other
witch school series such as Jill Murphy’s ‘The Worst Witch’ and some of
Diana Wynne Jones’ Chrestomanci titles, the witchery seems to me to be
there to lend colour and flavour to what is basically an old-fashioned
school story. And none the worse for that. However, and it’s an
important point, in these modern books the traditional image of the
witch has lost its power. Dress up Hermione in robes and black hat as
much as you like, she’ll always look more like a college girl on
graduation day than a minion of Satan.
When
I started these posts, I wasn’t sure where they would lead me. But it
seems to me that over the past seventy years, the image of the witch in
children’s fiction has changed considerably to have reached the point
where a set of books about a whole school full of children training to be witches fighting against evil can
be received by the mainstream with perfect aplomb. And I end on this thought – those earnest people who do worry about the Harry
Potter books and the treatment of witches in children’s fiction, need to
learn to look past the shadow to the substance.
© Katherine Langrish September 2010
