REVIEW: The Spell Book for New Witches: Essential Spells to Change Your Life

I should preface this review with the universal acknowledgement that just like the weird side of YouTube that many quarantined individuals may find themselves stumbling into, there exists an equally bizarre side of Amazon – and this book hardly scratches its surface. While on a similar downwards trajectory across Amazon’s vast niche book collection, I came across a plethora of modern witchcraft guides, including Ambrosia Hawthorn’s The Spell Book for New Witches: Essential Spells to Change Your Life.

For someone with no prior witchcraft knowledge besides having happened across a handful of Vox witch documentaries, this book managed to clear up any confusing spellcasting terminology. A good quarter of the book is dedicated to understanding the art of spellcasting and educating the reader on spellcasting preparation, which rings true to its intended audience of ‘new witches’, or beginner practitioners. In Part I, Hawthorn clarifies commonly confused magic terminology, such as witchcraft versus Wicca, and even briefly delves into its ethical obligations, warning beginners of the Law of Threefold Return and knowing one’s place within cosmic law. Though I personally have no plans to sew poppets or charge clear quartz under the next full moon, I’m grateful for the author’s emphasis on exercising reason, caution, and stable-mindedness under all spellcasting circumstances.

Hawthorn divvies Part II of the spell book, the spells and their recipes, into seven categories of use: ‘Romantic Love’, ‘Money Matters and Prosperity’, ‘Work and Career’, ‘Friends and Family’, ‘Health and Healing’, ‘Protection and Forgiveness’, and ‘Well-being, Success, and Abundance’. Though I expected witchcraft to require a number of obscure ingredients and esoteric performing instructions, Hawthorn’s spells stress the ‘practical’ in practical magic, with most spells requiring 10 or less ingredients and tools combined. While describing the core principles of witchcraft, which include celebrating your life and sexuality, Hawthorn explains that spellwork should be fueled mainly by “a respect for nature and the mystery of the universe”. She characterizes magic as existing all around us, therefore crystals and herbs should be drawn upon as secondary sources to harnessing our personal power and energies.

Hawthorn’s book promises a wide range of spells designed to suit your every need – whether that be finding a lost item, curing heartbreak, or designing a custom healing sigil. The performance rituals range from simply harnessing crystal energies to boiling herbs; many of the spells can double as quarantine-induced-boredom cures, as Hawthorn makes a point to include cookie recipes, soap, and other self-care spells. Some spells that might be particularly useful to unmotivated students such as myself include: ‘Money Manifestation Crystal Grid’, ‘Wealth Manifestation Rice’, ‘Acceptance Talisman Spell’, and ‘Anti-Procrastination Oil’.

 

REVIEW: Witch Exhibition in the UMMA

Got a minute? Gather a few of your friends together and then tell them to each draw a picture of a unicorn. Chances are they will all include a horse with a mane and a horn sticking out of its forehead – plus or minus a few stars and rainbows. Next, tell your friends to draw a picture of a witch. Suddenly, we have a whole spectrum of possibilities. Is she old or young? Wrinkly skin with craggily nose and warts? Is she wearing a hat? Is she a peasant in Salem, Massachusetts? Does she ride a broom or stay on the ground with her cat and her cauldron? Does she look like Hermione or Luna? Really, the only constant is that she’s a she. It is quite remarkable that the witch, like the unicorn, is an imaginative construct. And yet, we have no collective idea of what she looks like!

I’m in the course here at U-M called “The History of Witchcraft.” One of our assignments was to visit the U-M Museum of Art and check out their limited-time collection of “Witch” art. The small collection of only 15 pieces is located down the stairs in the basement of the modern Frankel Family Wing. The collection mostly displays printed etchings by Francisco de Goya. These etchings are a part of his larger work, “Los Caprichos,” which mostly serve as a satirical medium for Goya’s criticism of 18th century Spanish society. (This video by the San Jose Museum of Art describes wonderfully Goya’s Caprices in more detail. You can even click on each individual etchings to learn more about the hidden meanings.)

I can’t show pictures here because of copyright issues; all the more reason to go see them yourself! But I can describe to you a few that really caught my attention: either because they were so disturbing or because they simply confounded me. The collection ranges from Goya’s Early Modern prints to 20th-century abstract drawings and photography. One of my absolute favorites was “The Witch with the Comb” by Paul Klee. I loved how it was not obvious that the drawing was of a witch.

To me, the woman immediately struck me as an abstract 1920’s flapper rendition of the Queen of Hearts. Her hair was cut in an asymmetrical bob, she wore a shawl and jewelry, and her cocktail dress even had a fringe trim. She definitely looked like an upper-class woman, or at least, like a middle-class woman attempting to look like an aristocrat. Her face was stern with a straight across eyebrow and a pinched little chin. The strange thing about the woman was that her arms were drawn to look like arrows, pointing downward (“towards HELL!” I joked). Why did Paul Klee choose to disfigure this noble woman? The lack of hands dehumanized her, while drawing your attention down to the bottom of the picture. Now you notice her shoes – prototypical ‘witch’ shoes with a curled tip.  Is this woman secretly a witch? Klee reminds us again of the idea that anyone can be a witch. All you have to do is call her one, which he has done in the title. We read in class that many witches could transform themselves into more attractive, humanistic women. I guess even witches can make mistakes sometimes and leave their identities exposed to those who notice the small details.

You could easily spend an hour staring at these 15 pieces, which seem to have more significance when brought together in one glass case. You can contrast and compare, noticing witchy details that are marked in this print and not that. Why did he choose to obscure her leg here? What is he trying to hide? Take a friend and ask each other questions. Start with a simple: what is going on here? I promise you – that will be enough to keep your mind active.

I believe that UMMA will keep this Witch Exhibition up for another week or two. Don’t miss this rare opportunity to see how real artists have attempted to portray witches in their work.  Maybe your witch drawing will be more similar than you ever expected.

Review: Kiki’s Delivery Service

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Released in Japan in 1989, ‘Kiki’s Delivery Service’ was written, produced and directed by Hayao Miyazaki as an adaptation of the novel of the same name by Eiko Kadono. The film was brought to the US in 1997 by The Walt Disney Corporation.

The story follows Kiki, a young witch, who goes to town with her black cat, Jiji, to make a living on her mandatory year away from her family to train. Kiki makes friends with the villagers as she delivers packages around town. A young by named Tombo follows her around. He is an inventor of flying machines and admires her flying abilities.

Kiki has a crisis of identity as she momentarily loses an the ability to fly and has a harder time understanding her feline companion. Kiki regains self confidence after she saves Tombo and others from an airship accident. She remains in the town and resumes her delivery service in contentment.

 

The film is very much about coming of age, moving away from home and the familiar to grow from a child into a young adult.

There are noticeable differences in plot between the Japanese and American versions of this film. In the American version, Kiki reunites with Jiji which does not occur in the original Japanese. Cultural references are also changed to become more timeless and thus more relatable over time.

 

The next film in The State Theater Ghibli Series will show on Wednesday 5 November at 7pm, ‘Grave of the Fireflies.’