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Content Warning: This section of the guide contains discussion of graphic violence, death, pregnancy termination, gender discrimination, and religious persecution.
The prologue, written as a letter to the reader, establishes a historical context of Puritan persecution where women were drowned on suspicion of witchcraft. The narrator, speaking for a group of women, explains that to survive this era, they kept themselves and their emotions hidden, conducting all their affairs in secret. The letter concludes by stating that this long period of secrecy has now come to an end.
Ava Abbot grows up isolated on a remote apple orchard in Genesis, Maine, with her strict parents. Born with an 11th finger that was surgically removed, she bears a scar that marks her as different. Neighbors whisper that she is a fairy child, and her parents repress her unusual abilities, which include attracting crows and floating slightly off the ground. They burn any library books she brings home and tie her down when she attempts to fly. Though Ava’s parents constantly remind her that she is not special in any way, she shows a remarkable aptitude for learning, receiving straight A’s in and teaching herself Italian in a single year. When a family heirloom, a silver necklace, turns black against her skin, it confirms she has failed some unspoken test. Desperate to escape her confined life, Ava secretly applies to Radcliffe College—a women’s college established as a sister school to Harvard University—with the help of her science teacher. When she is accepted with a scholarship, her parents reluctantly agree to let her go, warning her to work hard, keep her head down, and stay out of trouble. She arrives alone in Cambridge in the fall of 1950, finally feeling a sense of freedom and possibility.
Lauren Bell, another incoming Radcliffe student, comes from a long line of Cambridge witches living in a magically concealed house on Brattle Street. She intends to join the Lilith Society, a secret organization for women of her kind. The women in her family are born with markers like sharp teeth and an 11th finger. After her archaeologist parents died in an accident in Greece, Lauren and her older brother, Lionel, were raised by their grandmother, Lillian. The trauma of her parents’ death pushed Lauren toward dark magic, known as the “Crooked Path.” The narrative connects the historical persecution of witches by figures like the Mathers to the contemporary political witch hunts of the McCarthy era, noting that anyone who openly breaks social norms risks persecution, whether in the 17th century or the 20th. Before her death, Lillian encourages her grandchildren to repair the world’s heartbreak. Lionel, a Harvard medical student with the gift of sight—an ability to see the future, though not precisely but in vague outlines—remains optimistic and believes in love. Because he is gay, he must seek love in secret, for instance, dancing in secret clubs that are frequently raided by police. In contrast, Lauren, who studies dangerous grimoires—some with poison-laced covers—believes witches should avoid love because they have more important things to do. Lionel’s magical sight tells him that despite her intentions, his sister will not be able to avoid love forever.
In a defiant gesture before leaving for Radcliffe, Lauren cuts off her long hair. At the dorm, she meets her roommate, Ava, and is immediately dismissive, claiming the more desirable bed for herself. Lauren explains that they have been placed together as pledges for a secret organization, the Lilith Society. To herself, she confirms Ava’s magical lineage by noticing the scar on Ava’s hand where an 11th finger was removed. She notes that Ava talks to the crows that have followed her from Maine, though Ava herself does not know what this means. That evening, both find invitations under their pillows for a midnight initiation on the Cambridge Common. That night, both Lauren and Ava climb down a rope ladder from their window together. Ava remains reluctant to follow, remembering her mother’s warnings. When she declares that there is nothing special about her, Lauren asks her what color her blood is when she menstruates. Ava doesn’t know, as she has never looked, which Lauren interprets as another sign that Ava is afraid to know herself. She pricks Ava’s arm with a penknife, showing her that her blood is black. When a drop of Ava’s blood hits the ground, a hyacinth immediately sprouts and blooms. When Ava still refuses to join the Lilith society, Lauren angrily tells her to go back to the dorms. Just as Lauren is about to cross the road, Ava has a vision in which she sees Lauren’s crumpled wounded body lying in the road, with hyacinths blooming all around her. She grabs Lauren’s arm and pulls her back just before a motorcycle speeds by. Breathless and shaking, Lauren declares that Ava has saved her life, but Ava states that if Lauren hadn’t told her to go back, she herself would have been the one hit by the motorcycle. In this way they decide that each has saved the other’s life, making them blood sisters forever.
The Lilith Society is a secret group founded long before Radcliffe College existed, shortly after the first witch of Cambridge came to settle in the marshlands in 1693. Though superficially similar to the secret societies for men at Harvard—organizations intended to preserve the privileges of the elite while shielding their membership from outsiders—it is antithetical to these groups in that it exists to protect the marginalized. Its motto is Simul fugimus (“We fly together” (48)). The society operates from Lilith House, offering members a place to live and study magic away from Radcliffe’s paternalistic rules. As the ceremony concludes, Ava realizes she knows nothing about her true identity. Unseen in the shadows, a descendant of Cotton Mather, who presided over the cruel witch trials of the 17th century, watches her, recognizing her from his dreams and vowing to avoid her even as he knows he will fall in love with her.
Ava and Lauren move into Lilith House. Ava takes a waitressing job at Eliot House, a Harvard residential hall, where she befriends Maureen Healy, another witch. There, she meets Jamie Mather, the boy who was watching her from a tree on the morning of her initiation, a handsome and arrogant student from the lineage of the infamous Salem witch-hunters. Jamie rudely sweeps silverware to the floor for Ava to collect; the silverware turns black at her touch—a sign of her magic—though she quickly wipes it clean before anyone notices. As other students mock her, a flock of twelve crows flies into the dining hall, creating chaos and protecting Ava. She quits her job in frustration. On her way home, she rescues a mistreated dog, whom she names Jack. Motivated by her encounter with Jamie, Ava goes to the Divinity School library to research the Mather family’s history. Sitting on the floor sifting through sermons in late October, she discovers an uncatalogued envelope containing a manuscript that begins “Speak and you shall create. Abra kadabra” (78).
The narrator, a young woman with inherent magic, recounts her story from 1692. She is a servant in a wealthy household until her master assaults her; she curses him, and when his wife kills him by poisoning, the authorities blame the narrator rather than the wife. Incarcerated in London’s notorious Bridewell Prison, she keeps her magical abilities a secret to avoid the worse fate of being tried for witchcraft. Her opportunity for a new life arrives when Maria “May” Mather, the wife of Reverend and Harvard President Increase Mather, tours the prison. The narrator successfully pleads to be taken as an indentured servant, a decision solidified after she saves her new mistress from an attack by another inmate. Though Increase is displeased, he allows his wife to take the narrator into their service. The narrator soon discovers that mistress is also a witch, revealed when she pricks her finger and her blood is black, the same as the narrator’s. The narrator travels with the Mathers back to the American colonies, feeling gratitude and a bond with her mistress but also recognizing their philosophical divide: While the mistress hides her true nature, the narrator is resolved to trust herself above all else.
On Halloween, known to witches as Samhain, the local magical community gathers at Mount Auburn Cemetery. Lionel Bell attends, privately distraught after witnessing the death of a young woman from a botched illegal abortion. Ava arrives to meet Jamie, whom she had invited. She confronts him with what she has learned about Increase Mather’s wife, Maria, suggesting that Jamie too may have magical abilities. She points out the scar on his hand, which he has always been told was from a childhood injury, but which she suspects is the same as hers: the place where an 11th finger was removed. She reveals her own magical nature by showing him her black blood. Jamie reacts with angry denial. Later, at his family’s home in Sudbury, he stabs himself with a penknife and is shocked to confirm that his blood is also black. Ava spends the Christmas holiday with the Bells, studying love spells while thinking of Jamie. At Sudbury, Jamie gets into a fight with his father and his older brother, Brent. During the break, Lionel liberates a group of beagles from a hospital research lab. On New Year’s Eve, a drunken Jamie is drawn to the Bells’ house. He sees Ava through a window but flees before she can reach him.
The school year ends amid the political tension of Julius and Ethel Rosenberg’s trial and conviction as Soviet spies. At the Lilith House farewell dinner, a graduating senior named Claire is discovered to be missing; a locator spell and a truth finder’s spell are attempted, but both fail, and her parents blame Lilith House. Lauren leaves for her family’s summer home in Provincetown, while Ava puts off returning to Maine. Both Ava and Jamie linger in Cambridge and independently find their way to the Charles River. While there, Ava’s dog, Jack, chases geese into the water and becomes trapped in underwater weeds. Despite never having swum before due to a doctor’s warning that the water would harm his lungs, Jamie wades in and swims to Jack. Ava follows, and they discover that neither can dive below the surface—a known trait of witches. They work together to pull the struggling dog to safety. As they stand drenched on the riverbank, their animosity dissolves, replaced by the undeniable reality of their shared nature and powerful connection.
With Lillian Bell’s grandchildren realizing that “witch hunts still persisted” (23), now with judges who wore “gray suits and sat in the halls of Congress” (23), the novel explicitly frames the 1950s setting as a direct continuation of 17th-century Puritan persecution. This connection establishes the theme of The Ongoing Struggle Against Oppression, arguing that the mechanisms of subjugation adapt over time but the targets—those who deviate from established norms—remain the same. The narrative directly links the McCarthy-era search for Communists to the Salem trials, noting the use of “spectral evidence[…,] nothing more than gossip and hearsay” in both eras (24). This historical parallel gives immediate, real-world stakes to the characters’ magical identities. Their power is not merely fantastical but a marker of the kind of otherness that has historically been, and continues to be, violently suppressed by the state. The introduction of Jamie Mather, a descendant of the infamous witch-hunting family, further solidifies this theme, embodying the inherited guilt and historical trauma that haunt the present. The dangers faced by witches in the 1950s are thus presented as part of an unbroken lineage of American intolerance.
The narrative immediately explores conflicting responses to this oppressive history through the characters’ relationships with their own identities. Ava Abbot’s upbringing on an isolated apple orchard in rural Maine is a case study in The Dangers of Assimilation and Appeasement, as her parents systematically try to erase her innate magic by burning her books and physically tying her down when she begins to levitate. Their actions stem from a fear that her true nature will invite persecution. This forced conformity is mirrored historically in the Interlude, whose narrator is initially identified only as “The First Witch of Cambridge” (79), a designation that signals her position as the founder of a lineage that will long outlast her. Imprisoned for a theft she did not commit, the young first witch (who later takes the name Rose Bridewell) observes that her new mistress, Maria “May” Mather, has chosen to hide her own witch identity to survive in her husband’s Puritan world. Subsequent chapters will reveal how much Maria has lost in this compromise, but Rose never forgets that it is only because Maria chose to give up her magic that she gained the social power to free Rose from prison and fund what would become the Lilith Society. Maria’s life illustrates both the cost of hiding one’s identity and the reasons one might choose to do so. In stark contrast to Maria and the young Ava, Lauren Bell and Rose Bridewell embody defiance. Lauren defiantly cuts her hair and embraces dark grimoires, while Rose vows to “trust myself above all others” (84), rejecting the path of concealment. Ava’s arrival in Cambridge places her at a crossroads between these two paths, forcing her to confront a self her parents tried to destroy. The crows that follow her from Maine and roost outside her Radcliffe window are a symbol of the magical identity she can neither escape nor fully suppress.
On the Cambridge Common, Lauren’s act of pricking both her own and Ava’s palms with a penknife creates a key moment of revelation and connection. The discovery of their shared black blood, immediately followed by Ava’s vision that saves Lauren’s life, transforms their initial antagonism into a deep bond, illustrating The Power of Sisterhood. This ritualistic exchange of blood and the subsequent shared moment of peril make them “blood sisters” (42), their fates literally and magically intertwined. This personal bond is then formalized through their induction into the Lilith Society, an organization built on the principle of collective female strength and mutual protection, encapsulated in its motto, Simul fugimus (“We fly together” (48)). In a world designed to isolate and punish powerful women, the Lilith Society and the core relationship between Ava and Lauren present sisterhood not merely as an emotional support but as a necessary strategy for survival and the most potent form of magic in The Ongoing Struggle Against Oppression.
Throughout these opening chapters, physical markings serve as symbols of an inescapable, inherited magical identity. The scar on Ava’s left hand, where her 11th finger was removed, is the first and most prominent of these. Though the finger itself is gone—proof of her parents’ attempt to force her assimilation—the scar remains, a permanent reminder of her true nature that “still stung on damp, rainy days” (5). Lauren immediately recognizes the scar’s meaning, linking Ava to a hidden lineage. The discovery of black blood, a biological trait that is unchangeable and shared not only by Ava and Lauren but, shockingly, by Jamie Mather as well, solidifies Ava’s sense of herself as different from most of society but closely bonded to those who share her magical heritage. Jamie’s own black blood shatters his denial and forces him to confront a heritage that directly contradicts his family’s witch-hunting legacy. These physical markers—the scar, the extra finger, the black blood—function as external proof of an internal truth that cannot be surgically removed, denied, or suppressed, connecting disparate characters through a shared, secret heritage.
Books and grimoires emerge as a motif emphasizing the conflict over knowledge as a source of power and liberation. Ava’s parents’ act of burning her library books is a direct attempt to control her mind and sever her connection to the outside world, framing unsanctioned knowledge as a dangerous contagion. For Ava, these forbidden books represent the very freedom she craves. Conversely, Lauren’s study of rare and even poisonous grimoires shows a deliberate pursuit of forbidden knowledge as a means of empowerment, especially the dark magic of the “left-handed path.” The narrative structure reinforces this motif when Ava discovers the uncatalogued letter from the first witch of Cambridge. This found document transforms the library from a place of general learning into a repository of specific, suppressed history. The letter itself posits that “writing is the antidote to sorrow, and the first step of magic” (79), positioning the act of recording and recovering women’s stories as a fundamental form of magical practice and resistance against patriarchal efforts to erase their history.



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