53 pages • 1-hour read
Alexis HendersonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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The Year of the Witching grounds its fantasy narrative in the historical realities of theocratic societies, particularly the Puritan colonies of 17th-century New England. The fictional land of Bethel mirrors early American theocracies like those established in colonial Massachusetts, the site of the infamous Salem witch trials. Colonial Massachusetts was dominated by conservative Puritan leaders like Nathaniel Ward, whose prominence in the church granted them immense power. Women in the Massachusetts Bay Colony were considered spiritually and socially subordinate to men, and were not allowed to vote. Henderson’s novel dramatizes this patriarchal structure through the dominance of the Prophet and the Apostles, who dictate every aspect of life in Bethel. Bethel’s “Holy Protocol” (9), which curtails women’s education and autonomy and culminates in the ritualistic “cutting” that marks them as property of their husbands, may find its inspiration in the Massachusetts Body of Liberty, written by Nathaniel Ward.
From 1691-1692, a moral panic spread across colonial Massachusetts as more than 200 people, mostly women, were accused of witchcraft. As a result of the panic, nineteen people were executed by hanging, while another six died while being tortured or held imprisoned. The trials targeted people on the margins of colonial society, in particular older widows without family support. The fact that the victims included midwives, and women with visible mental health issues suggests that the victims may have not conformed to colonial expectations. Although Immanuelle is younger than most of the victims of the Salem witch trials, her heritage as an Outsider puts her on the margins of society. For Henderson, witchcraft is not a sign of damnation but a source of rebellion. Immanuelle’s journey to reclaim this power serves as a direct subversion of the historical forces that have used religion to oppress marginalized people.
The Year of the Witching belongs to the growing genre of socially conscious horror, a combination of literary subgenres that aims to explore questions of agency and identity through a socially conscious lens. The novel’s most prominent influence is Margaret Atwood’s The Handmaid’s Tale (1985), an early feminist dystopia which depicts the patriarchal theocracy of Gilead. Like Henderson’s Bethel, Gilead is a society that uses religious scripture to strip women of their rights and reduce them to their reproductive capacity. Like Bethel’s polygamous, child-abusing Prophet, the leaders of Gilead insist on sexual purity for others while committing their own sexual crimes. Both authors also use fictional texts to contextualize the action of their novels. Each chapter of The Year of the Witching begins with an excerpt from the fictional Holy Scriptures, testimony from trials, letters, or personal diaries. These excerpts offer outside context illuminating the social world of Bethel. The Handmaid’s Tale similarly ends with a transcript from a fictional future conference, offering context for the world after the action of her novel.
The novel’s theocratic society also recalls Arthur Miller’s 1953 play The Crucible, which used the Salem witch trials as an allegory for McCarthy-era political persecution. For Miller, the Salem trials reflected contemporary anti-Communist prejudices and fears about social change. The addition of race in The Year of the Witching expands this context to reflect modern anxieties about race and religious fundamentalism. Although Miller’s original text featured a black character, Tituba, her perspective is sidelined, and Miller does not fully explore the impact of her race. Immanuelle’s acceptance of her role as an outsider is essential to Henderson’s modern take on the literature of witch trials.



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