56 pages 1-hour read

Witchcraft for Wayward Girls

Fiction | Novel | Adult | Published in 2025

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Background

Authorial Context: Grady Hendrix

Grady Hendrix is a best-selling author whose novels combine elements of horror, fantasy, and supernatural fiction. An avid reader himself, Hendrix credits his many hours in public libraries as the source of his lifelong interest in literature. Hendrix spent a portion of his career working in libraries, at the American Society for Psychical Research. The work he did there catalyzed his decision to try his hand at writing, and he began his literary career in journalism. Hendrix has written for The New York Post, Playboy, The New York Sun, and various other publications. After attending the Clarion workshop at UC San Diego in 2009, Hendrix turned his eye toward fiction. 


His breakout, best-selling hit, Horrorstör (2014), focuses on a group of people who are investigating a series of eerie occurrences at an Ikea-like store. Like Witchcraft for Wayward Girls, the novel features supernatural activity in a real-life setting and focuses on group dynamics amongst a small cast of characters. His next hit, the YA novel My Best Friend’s Exorcism (2016), is set in South Carolina and explores the nuances of friendship between adolescent girls, using elements of horror to interrogate the choices and experiences that shape identity during adolescence. The Southern Book Club’s Guide to Slaying Vampires (2020), also set in the American South, engages with the popularity of true crime to depict a women’s book club, subtly interrogating social conventions around race, gender, and class. 


These themes continue in The Final Girl Support Group (2021), which focuses on a group of women who have all survived moments of intense violence; their experiences evoke many of the tropes common to 1970s and 1980s-era horror stories. As such, the novel offers a metacommentary on how the horror genre depicts female characters. How to Sell a Haunted House (2023) features a female protagonist returning to her small Southern hometown in the wake of her parents’ death to sell the family home. The plot examines issues of secrecy, fraught family dynamics, and the complexities of parent-child relationships, combining realistic characters and settings with fantastical elements in order to explore “everyday” themes.

Historical Context: Homes for Unwed Mothers

Homes for unwed mothers, often called maternity homes, were common not only in the United States and Canada but also in Europe during the first half of the 20th century. The most famous of these homes, Ireland’s Magdalene Laundries, were notorious for their harsh living conditions and the cruelty with which young women were treated. Operated by the Catholic Church between the 18th and late 20th centuries, the Magdalene laundries were so brutal that women were known to die while institutionalized. In 1993, a mass grave was unearthed on the grounds of one of the laundries, leading to a massive public outcry and—decades later—an official state apology.


While the Magdalene Laundries are the most notorious of the many homes for unwed mothers that operated in North America and Europe, there were many similar institutions in the United States, and with Witchcraft for Wayward Girls, Grady Hendrix seeks to draw attention to this lost history. Before the sexual liberation movement of the 1960s had a chance to reshape society’s gender and sexuality norms, unmarried pregnant women (particularly adolescents) were harshly stigmatized. Young women who became pregnant before graduating high school were summarily expelled. Lacking the graduation equivalency programs that are widespread today, they were often unable to finish high school. Considered to be undesirable workers, unwed mothers struggled to obtain work and were ostracized by both family and community. Practices such as quietly passing babies born outside of marriage to older, married family members became common, as did the practice of dangerous, illegal abortions.


Maternity homes offered families the opportunity to send their girls away for the duration of their pregnancies and find homes for the girls’ babies. The adoption industry was not always as well-regulated and documented as it is today, and quasi-legal, unregistered adoptions were common. Because life was so difficult for young, unwed mothers, the vast majority of girls who entered maternity homes were forced to give up their children. Like Rose, Fern, and Zinnia, many girls would have preferred to keep their children, and these forced adoptions became a source of secret emotional pain for countless young girls.


In 1973, Roe v. Wade guaranteed women in the United States access to safe, legal abortions. With this option in place, the number of unwanted pregnancies decreased dramatically. Because Roe v. Wade came on the tail end of the women’s and sexual liberation movements of the 1960s, societal attitudes toward sex, gender roles, parenting, and a host of other women’s issues also began to change. It was no longer as taboo for women to have sex or children outside of marriage, and public health efforts were put in place to support and educate young mothers. Access to both abortion and prenatal education transformed life for women, and maternity homes began to close.

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