Break Up Spells That Really Work – Are you a witch Do you associate with witches? Have you sought advice from a witch (romantic, financial, professional or otherwise)? Do you like to communicate with the devil, kill cows and spoil crops with a curse? Do you wear hats? Have you installed the Tarot app on your phone? Have you cracked open an egg, found the yolk doubled in size and soaked in blood, and still made an omelette? do you have a cat Do you want to get a cat? Do you cast spells? Do you like poetry? Do you agree that spells are poetry? Do you agree that poems are spells?
Maybe you’re not a witch yourself. But you should know one thing. By now, at least, you’ve noticed how cleverly new types of witches are occupying the public space. You may have seen him at a protest where he cursed the local government. Or online, sharing independent candle shop details with reasonable shipping. Or you saw him reading poetry during a spell.
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The witch is old and the witch is new. The witch appears to be about twenty-five years old, but she calls herself the eternal daughter of Hecate, daughter, mother, and old woman all at once. He’s been doing something since at least 2016. You’ve seen him at events with a big bag that looks like someone tried to burn his mom once and failed. You think you remember her from the fancy dress shop in your childhood town that also had rows of crystals and swaying watercolors of fairies. But it’s not really
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Witch look, you noticed. This witch dresses like an architect and goes to therapy. This witch hates the Tories and Trump, talks about the apocalyptic cruelty of the neoliberal agenda. He may be a political witch, a witch, but does he really not believe in magic?
Although she may have been hidden from view for centuries, the witch re-entered the Western cultural consciousness in 2016 following the Trump campaign and election. Thanks to Trump’s victory and the #MeToo movement the following year, the concept of patriarchy regained its popularity. had lost ground in the 90s and 2000s, and the new feminist movement settled on the witch as its icon – malevolent, silent and vengeful. Socially liberal, anti-racist, her feminism informed by queer theory and her craft informed by a legacy of pre-colonial mysteries, the new witch has become a symbol of #resistance.
However, modern witchcraft is not just a metaphor for a new coalition of activist interests. Over the past decade, a significant (or at least culturally prominent) group of young women have begun devoting time, money, and energy to participating in ritualistic practices that emphasize a combination of nature worship, self-care, and rebellion. Journalists covering this trend have developed a popular explanation for recent occult activity: in moments of political instability, people turn to mystical tools to help explain phenomena beyond personal control. In addition to the legislative and explanatory power of the American president, a mix of social and economic changes in Ireland, Britain and other European countries since 2008 may help explain the appeal of the occult. Austerity, falling work standards, stagnant wages and a protracted housing crisis have created a sense of helplessness and disenfranchisement among a generation of young people, among whom a select few have turned to witchcraft, tarot and astrology for advice. After reading the many articles published on the subject over the past four years, it seems that witchcraft is to millennial women what populism is to modern liberal democracies – a response to the political and economic excesses of late capitalism.
This group of new witches includes the authors and publishers of several anthologies, pamphlets, and poetry collections that address contemporary secular phenomena (renting, dating, parliamentary politics, climate change) through arcane language and symbolism. Although these books clearly share aesthetic, rhetorical, and sometimes spiritual starting points with the wider witch subculture, they deserve attention as literary phenomena in their own right. Published by small or independent presses (although mainstream publishing is also well established), their authors play with sacred imagery and language, foregrounding the obscene, and often claim that their work is a form of magic: it is poetry. spells
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, a collection of contemporary witch poetry by thirty-six leading names in the genre, published by Ignota’s new independent imprint in 2018. Ignota herself is best understood at the intersection of occult interests and digital art practices that characterize contemporary Western witchcraft subculture. Journalism “publishes at the intersection of technology, mythmaking, and magic” and seeks to “develop a language that allows us to reimagine and refascinate the world around us.” can (re)enchant and change the texture of our reality – the calling card of the collection’s poems. Indeed, the attribution of sublime power to written language is so common among poems
All seek to create another world through the power of their poetic language of presentation. As So Mayer writes in the introduction:
We are not talking about God creating the world with the Word. It is about witches who have remade the world and cleaned up the mess it has made since its difficult birth.
These witches live in a cosmos ruled by the twin star of Mischief and Wrath. They follow God when he turns nothing into creation, taking his work out of divine order and back into more charming chaos. Words are the tools witches choose to dissect God’s tapestry, as Mayer explains: “To be a witch is to know words.” Mayer warns us of what this magical power means in literary style: “Witchcraft—like the violence it opposes—works in the folds, twists, loops, and loops of thread.” Through
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Threads of images, words, symbols endlessly spin, creating their own magic. Here’s one I jotted down when these terms came up again and again in thirty-six poems:
Hair teeth stones murders gifts cotton trees birth hymns sea cuts rabbits/hares rivers of milk (Thames) tea butter autumn god clay intestines kitchens knives mothers cats mathematics screaming birds leaves sex glass knots water moon throat songs night wombs …
The push to classify the key terms of literary occultism must also have inspired David Keenan. He
, is one of four new booklets, an author-artist collaboration, produced by Rough Trade Books in association with the Cornwall Museum of Witchcraft and Wizardry (MWM).
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It’s a useful introduction to the time-travel aesthetic, where “witch lights” take on pop culture with a keen eye for glitter (Lana del Rey) and kitsch (Carl Sagan) and, appropriately, eye-popping disdain. the random results of the context of history. Cultural references raised to the level of magical language lose their temporal specificity: Blake is no longer a romantic poet who reacts to the cataclysms of the French Revolution, but rather an eternal mystical spirit whose poetic presence can be invoked by a lost modern witch. Sometimes the banality (frozen margherita pizza) seems like a fact of life, just like a piece of bread in a witch story.
, reminding the reader that even witches sometimes need ready meals. Capitalization allows us to recognize when a word like consequences became a concept, and it seems unproblematic that this typological move places proper nouns (Gary Snyder) on the same level as symbolic constructs (death). Keenan’s entries work best when read as individual prose poems rather than sequentially, as the magic of mystical ambiguity wears off after too many repetitions. At his best, as in the introduction to “Forgiveness,” Keenan humanizes his conceptual subject with such infectious affection that the definition is a story where the devil becomes a scared, lost boy who loses his father:
…can you imagine God bringing him down on one knee, his most faithful son, whom he never doubted even when he despaired of him, and tenderly caressing his terrible blistered head, blistered from falling from heaven, you can imagine, when all along he could have taken an easier path, like any other angel, God brought him to his knees and said to him, pointing gently, you, just like me…
At other times, the erasure of the sacred and the profane seems exhausted by its extension, as in The Golem: A Disney Film. It just got out of hand.” Still, Keenan’s ability to balance the perverse and vulgar with the sweet and sacred, throwing one image at the other and back again. Keenan’s booklet also introduces us to another principle.
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