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Content Warning: This section of the guide contains discussion of graphic violence, rape, death, sexual content, sexual harassment, death by suicide, suicidal ideation and/or self-harm, substance use, antigay bias, religious persecution, and gender discrimination.
In Maine for the summer, Ava attempts to forget Jamie Mather with a magical forgetting spell, but it only works during the day, leaving her to dream of him at night. Her research into the history of her town, Genesis, and her increasingly nonconformist behavior lead her parents to threaten to keep her from returning to school. Fearing this, Ava flees before dawn and returns to Cambridge. Meanwhile, in Wyoming, a self-loathing Jamie engages in a series of one-night stands and makes several attempts to drown himself, but his magical nature always prevents him from drowning. Back in Cambridge, Ava’s dog, Jack, leads her to a bar where Jamie is drinking. They argue over their missed meeting from the previous spring, with each feeling abandoned by the other. Jamie insists he left a note for Ava with Lauren Bell, and though Ava is certain that Lauren would never fail to give her such a note, she resolves to confront Lauren about it. When she does so, Lauren admits she intentionally destroyed the note to “protect” Ava, as no Mather can be trusted. Feeling betrayed, Ava ends their friendship. She then performs a “red magic” spell, tying ribbons from her dress and her keys to the magnolia tree outside Lilith House. The chiming keys summon Jamie, and the two reconcile in the tree’s branches.
Amid the increasing paranoia of the McCarthy era, which the students liken to a modern witch hunt, the Lilith Society begins meeting in secret. Now isolated from her friends, Lauren sees a painting of herself by Carrick in the window of the Grolier Poetry Book Shop and, not wanting to risk falling in love, works a forgetting spell so it will be as if she had never walked past. Deciding to pursue a man she cannot love, she performs a black magic love spell on her anthropology professor, Eugene Sharpe. Sharpe promptly dismisses his current research assistant, Emily Bright, and offers the position to Lauren, beginning an affair. Lauren spends her afternoons cataloging magical artifacts in the storerooms of the Peabody Museum. In a brief kitchen encounter, Emily tells Lauren that Sharpe did not care for her and doubts he will care for Lauren either. During their affair, Sharpe ties Lauren’s wrists ritualistically, but she easily escapes using a spell, which impresses him. After another spell reveals Carrick as her true love in a dream, Lauren visits his studio to have her new grimoire decorated. He stamps the word “Magic” in gold on the cover. Carrick notices marks on her throat and tells her not to return unless she can tell him the word he is looking for.
Ava finds Emily Bright sobbing in a bathroom. Emily reveals she had been involved with Professor Sharpe and that Lauren is his new partner. Shortly after, Emily disappears from Lilith House without a trace. Her distraught family blames the house, calling it cursed and convincing the incoming initiates to withdraw. Meanwhile, Lauren’s brother, Lionel Bell, finds her at the museum covered in red ocher—a powder used in funeral rites—and grows deeply concerned she is involved with someone dangerous. Detective Billy Healy begins staking out Lilith House as part of his investigation into the disappearances—though also hoping to get closer to Lionel through his sister, Lauren. Lauren confronts him in his car, suggesting that he must be in love with her since he seems to be following her, a claim he denies. He tells her that he wants to help her find her missing friends and that she can trust him because he knows what she is. Billy follows Lauren to a café, where she meets Lionel. It is revealed that Lionel and Billy know each other from Lionel’s past arrests at secret gay bars, where Billy acted sympathetically. Lionel reads tarot cards for the case, telling Billy he must choose the right path to find what he is looking for. Lauren realizes Lionel is in love with Billy and warns him of the danger of a relationship with a police officer. Later, Billy and Lionel go to the Bell family home on Brattle Street and begin a secret romance.
Professor Sharpe reveals to Lauren that he knows she is a witch and that he too has magical abilities like hers “three times over” (265). To prove he is one of them, he cuts his hand, showing her his black blood. In his room, Lauren discovers spite dolls resembling them and realizes he has been using magic to control her. She flees and performs a spell to break his influence, which inadvertently causes women all over Cambridge to find the strength to leave their own toxic relationships. Sharpe later confronts Lauren on the lawn of Lilith House. When she rejects him, he threatens to ruin her academic career by falsely accusing her of cheating. As he grabs her, Ava and her dog, Jack, intervene, and Jack attacks Sharpe. Ava forces Sharpe to retreat by threatening him with the legal power of Jamie’s father, Paul Mather. In the aftermath, Ava comforts a distraught Lauren in her room, and the two friends reconcile.
This section is a letter from Rose Bridewell, the first witch of Cambridge, recounting the tragic history of the Bell sisters. In 1695, a witch-hunter named Tom Boyle—who rode a horse from the Mathers’ stable and appeared to have been hired and bailed out of prison by Cotton Mather—attacked the two sisters on the Common. He seized 13-year-old Amelia and assaulted her; 15-year-old Cora struck him with a rock so Amelia could flee, but once Amelia had escaped, Boyle raped Cora and then hanged her from a tree. Cora’s devoted crow then attacked Boyle, plucking out his eye. Rose later encounters Boyle and, using her skills as a former pickpocket, steals the tin containing his preserved eye, thus stripping him of his power and luck. Overcome with grief, the girls’ mother, Suzanne Bell, drowned herself in the Charles River. The orphaned and traumatized Amelia builds a rustic shed of hazel wood and black stones that everyone calls Lilith House, and dedicates her life to the “Crooked Path” of left-handed magic.
Ava finds and reads the letter detailing the Bell family’s tragic history but decides to hide it from Lauren to protect her from the painful knowledge, though this also means denying Lauren the knowledge that her ancestor, Amelia Bell, was the original founder of Lilith House. However, Lauren is magically drawn to the letters, finds them under Ava’s bed, and learns that a Mather-backed witch-hunter was responsible for her ancestors’ suffering. Fueled by a desire for vengeance and a twisted sense of protection, Lauren resolves to permanently end Ava’s relationship with Jamie. She arranges a meeting with Paul Mather and urges him to break Jamie and Ava apart—warning that Ava will ruin Jamie’s life—while implicitly confirming what Ava is. The Mather family stages an intervention, threatening to disinherit Jamie if he stays with Ava. When Jamie refuses, Paul threatens to use his influence to destroy Ava’s scholarship and academic future. Jamie’s mother privately appeals to him to let Ava go and protect her from that fate; Jamie does not formally agree but acts unilaterally to shield Ava. With Paul watching from his car, Jamie goes to Lilith House and cruelly ends things with Ava. As the car pulls away, Ava locks eyes with Paul Mather, and both understand that their families’ centuries-old conflict is far from over.
Rose Bridewell’s letter, recounting the Mather-sponsored witch-hunter Tom Boyle’s assault on the Bell sisters in 1695, explicitly connects the novel’s 1950s conflict to its 17th-century roots, highlighting The Ongoing Struggle Against Oppression. Boyle enacts his brutality on behalf of Cotton Mather, establishing a direct lineage of patriarchal violence that culminates in Paul Mather orchestrating Jamie’s breakup with Ava. By placing this raw account of misogynistic violence directly between chapters set in the present, the narrative collapses time, making clear that the past is an active force in the characters’ present lives. This framing draws a clear parallel between the Salem-era witch hunts and the contemporary paranoia of McCarthyism, reinforcing the idea that the methods and targets of persecution may change, but the underlying impulse to root out and punish difference remains the same. The historical trauma becomes the catalyst for Lauren’s climactic actions; upon reading the letter, her desire to protect Ava merges with a centuries-old thirst for vengeance, showing how inherited pain motivates present-day choices.
The fractured and repaired relationship between Ava and Lauren explores the fraught but essential nature of female solidarity. The conflict begins with Lauren’s betrayal—destroying Jamie’s note in a misguided attempt at protection—which temporarily shatters their bond and isolates both women. This act highlights a central tension in their friendship: Lauren’s protective instincts often manifest as a controlling impulse that violates Ava’s agency. However, their deep connection reasserts itself when Ava and her dog Jack intervene to save Lauren from Professor Sharpe’s assault. In this moment of shared vulnerability, their personal grievances are subsumed by the greater threat of male violence, suggesting that The Power of Sisterhood transcends interpersonal conflicts. Their reconciliation is not a simple return to their previous friendship but the forging of a more tested and mature bond. Ava’s threat to use Paul Mather’s legal power against Sharpe shows a newfound strategic acumen, turning a tool of patriarchy back on itself in an act of mutual defense.
The parallel storylines of Jamie Mather and Professor Sharpe illustrate the corrosive effects of patriarchal expectations on men, exploring The Dangers of Assimilation and Appeasement. Jamie’s self-loathing and repeated attempts to drown stem from his inability to reconcile his authentic, compassionate personality with the brutal legacy of his family name. He is haunted by the historical weight of being a Mather, a name synonymous with persecution. The family “intervention” is a formal ritual of patriarchal control, demanding he sever his connection to Ava and assimilate back into their world of power and prejudice. His eventual, cruel breakup with Ava is a tragic sacrifice, an act of appeasement meant to protect her from his family’s destructive influence, but one that costs him his own happiness and identity. Eugene Sharpe shows a dark alternative to Jamie’s struggle. Instead of fighting his place within the patriarchy, he embraces it, appropriating the very magic he studies to dominate others. When he reveals his black blood and declares, “I’m something more. Something I’ve created” (265), he exposes his power as artificial and predatory, a hollow imitation of the witches’ inherited magic, used not for connection but for control.
The motif of books and grimoires emphasizes the central conflict over who controls knowledge and historical narratives. Ava’s research into her town’s history at the Genesis Public Library empowers her to defy her parents, while Lauren’s obsession with her grimoire—both the one torn apart by Ava and the new one decorated by Carrick—highlights her reliance on textual, ancient magic. This reverence for the written word is contrasted with her decision to destroy Jamie’s note, usurping narrative control to “protect” Ava. The discovery of Rose Bridewell’s letters under Ava’s bed is the section’s key event, as this hidden text reveals the suppressed history that reshapes the present. In this context, the Peabody Museum, where Lauren catalogues artifacts, becomes a repository of plundered knowledge. Sharpe’s academic authority is built on this appropriated power, treating magic as a subject to be dissected and owned rather than a living tradition. His attempt to control Lauren by trapping her as a “research project” is the ultimate expression of this patriarchal impulse to define and contain female power through academic language.
Magic in these chapters is a direct extension of each character’s unique inner life. Ava’s power is innate and emotional, as seen when she summons Jamie with a love spell that “needs no incantations and no words spoken aloud” (235). Her “red magic” is a force of connection, arising directly from her heart. In contrast, Lauren’s magic is often intellectual and strategic, drawn from research and the Peabody’s artifacts, which she wields for protection and, later, vengeance. Sharpe’s use of magic—from love potions to the spite dolls Lauren discovers—represents its ultimate perversion. He treats magic as a tool for manipulation, stripping it of its cultural significance to serve his own ego. He shows Lauren his black blood to prove he is a witch like her, but this blood is later revealed to have been stolen. His literal theft of the witches’ black blood symbolizes his appropriation of their cultural heritage; through violence, he claims for himself a power that they have earned by surviving centuries of persecution.



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