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The Modern Craft: Powerful Voices on Witchcraft Ethics
The Modern Craft is an eclectic and radical collection of essays on witchcraft practice and the ethics of magic, which gives that much-needed modern context to timeless wisdom. It offers a fascinating snapshot of contemporary occult practice viewed through an intersectional lens.
Essay topics include:
- The ethics of decolonization
- Meditations on what it means to honour Mother Earth during the Anthropocene
- The reclamation of agency for working-class and queer witches through practical spellwork
- A gender-fluid perspective on breaking down traditional hierarchies in magical symbolism
- A day in the life of a disabled Pagan Irish practitioner
- Inspiring and electrifying glimpses from the brink of the contemporary Craft, these essays show how anyone, no matter who they are, can find positivity and the force for change in the subversive unknown.
Contributors include: Claire Askew, Lisa Marie Basile, Stella Hervey Birrell, Jane Claire Bradley, Madelyn Burnhope, Lilith Dorsey, AW Earl, Harry Josephine Giles, Simone Kotva, Iona Lee, Briana Pegado, Megan Rudden, Sabrina Scott, Em Still and Alice Tarbuck.
Essay topics include:
- The ethics of decolonization
- Meditations on what it means to honour Mother Earth during the Anthropocene
- The reclamation of agency for working-class and queer witches through practical spellwork
- A gender-fluid perspective on breaking down traditional hierarchies in magical symbolism
- A day in the life of a disabled Pagan Irish practitioner
- Inspiring and electrifying glimpses from the brink of the contemporary Craft, these essays show how anyone, no matter who they are, can find positivity and the force for change in the subversive unknown.
Contributors include: Claire Askew, Lisa Marie Basile, Stella Hervey Birrell, Jane Claire Bradley, Madelyn Burnhope, Lilith Dorsey, AW Earl, Harry Josephine Giles, Simone Kotva, Iona Lee, Briana Pegado, Megan Rudden, Sabrina Scott, Em Still and Alice Tarbuck.
240 pages, Paperback
First published June 14, 2022
20 people are currently reading
312 people want to read
About the author
Claire Askew
28 books124 followersClaire Askew is a poet, novelist and the current Writer in Residence at the University of Edinburgh. Her debut novel, All the Hidden Truths, was the winner of the 2016 Lucy Cavendish Fiction Prize, and longlisted for the 2014 Peggy Chapman-Andrews (Bridport) Novel Award. Claire holds a PhD in Creative Writing from the University of Edinburgh and has won a variety of accolades for her work, including the Jessie Kesson Fellowship and a Scottish Book Trust New Writers Award.
Her debut poetry collection, This changes things, was published by Bloodaxe in 2016 and shortlisted for the Edwin Morgan Poetry Award and a Saltire First Book Award. In 2016 Claire was selected as a Scottish Book Trust Reading Champion, and she works as the Scotland tutor for women's writing initiatives Write Like A Grrrl! and #GrrrlCon.
Claire Askew was born in 1986 and grew up in the Scottish Borders. She has lived in Edinburgh since 2004. Her poems have appeared in numerous publications, including The Guardian, Poetry Scotland, PANK, Edinburgh Review and Be The First To Like This: New Scottish Poetry (Vagabond Voices, 2014), and have been selected twice for the Scottish Poetry Library's Best Scottish Poems of the Year. In 2013 she won the International Salt Prize for Poetry, and in 2014 was runner-up for the inaugural Edwin Morgan Poetry Award for Scottish poets under 30. She runs the One Night Stanza blog, and collects old typewriters (she currently has around 30).
Her debut poetry collection, This changes things, was published by Bloodaxe in 2016 and shortlisted for the Edwin Morgan Poetry Award and a Saltire First Book Award. In 2016 Claire was selected as a Scottish Book Trust Reading Champion, and she works as the Scotland tutor for women's writing initiatives Write Like A Grrrl! and #GrrrlCon.
Claire Askew was born in 1986 and grew up in the Scottish Borders. She has lived in Edinburgh since 2004. Her poems have appeared in numerous publications, including The Guardian, Poetry Scotland, PANK, Edinburgh Review and Be The First To Like This: New Scottish Poetry (Vagabond Voices, 2014), and have been selected twice for the Scottish Poetry Library's Best Scottish Poems of the Year. In 2013 she won the International Salt Prize for Poetry, and in 2014 was runner-up for the inaugural Edwin Morgan Poetry Award for Scottish poets under 30. She runs the One Night Stanza blog, and collects old typewriters (she currently has around 30).
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Displaying 1 - 28 of 28 reviews
April 27, 2022
This has the potential to be a really good book. It is a series of articles on modern witchcraft focusing on marginalised voices: women, indigenous, working class, disabled, black, trans and non binary. It sounded right up my street and there was a lot I enjoyed.
There is a good discussion to be had about cultural appropriation and colonialism in witchcraft and this book addressed that from several viewpoints. However, there was not much depth and a whole discussion on the appropriation of shamanism is then followed by a chapter on American shamanism, but with no analysis of this. I feel that sometimes the articles were a little too short and lacking rigour: who uses Wikipedia as an academic source?
As with other books of short articles, some are much better than others. I found the article on the ethics of crystal mining and the problems of witchcraft in late capitalism was fascinating. On the other hand, as someone interested in disability I found the article from this perspective didn't really have much to say on the specific issues disabled practitioners may have.
Unfortunately the weaker chapters have pulled down the star rating of a book that is a really interesting concept with some interesting articles.
There is a good discussion to be had about cultural appropriation and colonialism in witchcraft and this book addressed that from several viewpoints. However, there was not much depth and a whole discussion on the appropriation of shamanism is then followed by a chapter on American shamanism, but with no analysis of this. I feel that sometimes the articles were a little too short and lacking rigour: who uses Wikipedia as an academic source?
As with other books of short articles, some are much better than others. I found the article on the ethics of crystal mining and the problems of witchcraft in late capitalism was fascinating. On the other hand, as someone interested in disability I found the article from this perspective didn't really have much to say on the specific issues disabled practitioners may have.
Unfortunately the weaker chapters have pulled down the star rating of a book that is a really interesting concept with some interesting articles.
October 13, 2024
This is a fascinating series of essays. I’ll note that many of these essays are not on ethics specifically, if you’re looking for works strictly on this topic. However, this didn’t take away from my enjoyment of this book.
All of this essays were well written and largely enjoyable to read. I appreciate the research and perspectives each writer offered to the series. There is a number of great jumping off point for continued research and discussion. Totally worth the read!
All of this essays were well written and largely enjoyable to read. I appreciate the research and perspectives each writer offered to the series. There is a number of great jumping off point for continued research and discussion. Totally worth the read!
June 12, 2022
Book Review: 'The Modern Craft - Powerful Voice on Witchcraft Ethics'
Editors: Claire Askew and Alice Tarbuck
Publisher: Watkins
Release Date: 14th June, 2022
I am really excited about this book review, because I truly believe it’s quite unique; there are not many books out there, if any, that focus on Witchcraft ethics.
As soon as I found out about it I knew I had to read it. Not only is it a really important topic, but I find this kind of stuff super interesting!
ABOUT THE EDITORS
Dr Claire Askew is from the UK and lives in Cumbria. She has a PhD in Creative Writing from the University of Edinburgh, where she is also their Writer in Residence. Claire has written four novels: 'All the Hidden Truths', 'What You Pay For', 'Cover Your Tracks' and 'A Matter of Time'. She also has two poetry collections, 'This Changes Things' and 'How to Burn A Woman.
Dr Alice Tarbuck is based in Edinburgh. She is an academic specialising in Witchcraft and Environmental Humanities. Her work has been featured in 'Nasty Woman' and 'The Dangerous Women Project'. Her debut book is called, 'A Spell in the Wild', which has been on my reading list for a while!
ABOUT THE BOOK
The blurb:
“An eclectic and radical collection of essays on witchcraft practice and the ethics of magic - a must read for anyone engaged with the occult, witchcraft or magics of any kind.”
I was also sent an information/promo sheet which captures what the book is about;
“It offers a fascinating snapshot of contemporary occult practice viewed through an intersectional lens. Touching on a number of timely conversations, essay topics include:
- the ethics of decolonisation
- meditations on what it means to honour Mother Earth during the Anthropocene
- the reclamation of agency for working-class and queer witches through spellwork
- a gender-fluid perspective on breaking down hierarchies and magical symbolism
- a day in the life of a disabled Pagan Irish practitioner
As well as the editors Claire Askew and Alice Tarbuck it also features essays and contributions by;
- Lisa Marie Basile
- Stella Hervey Birrell
- Jane Claire Bradley
- Madelyn Burnhope
- Lilith Dorsey
- AW Earl
- Henry Josephine Giles
- Simone Kotva
- Iona Lee
- Briana Pegado
- Megan Sudden
- Sabrina Scott
- Em Still
MY THOUGHTS
Opening with a powerful message; ultimately asking, how the ‘old ways’ and traditions fit into today’s society and Witchcraft community. There is a lot to break down, even in Witchcraft and the Occult practices, to ensure we are being inclusive and that we do not perpetuate harmful beliefs or practices. The topics covered in the book are at the forefront of social movements and discourse generally so I think it’s great to have a book that focuses on important topics in relation to the Craft.
Witches are forever learning and adapting. It’s important that we know where our traditions and elements of our practice come from. For example, when I first started out I didn’t fully understand smudging. I know this is the same for a lot of people. I thought the simple act of cleansing my space with a bundle of sage was the thing to do. It wasn’t until later that I learned of the cultural appropriation attached to this. Smudging is a ritual that is a lot more complex than I first realised and one that I have no right to. As soon as I was aware of this I stopped, and it was no longer a part of my practice. It’s important for us as witches, and humans, to own our mistakes and learn from them, but also to ensure we have a full understanding of what it is we are doing within our practice.
The point of the book is not to make you feel bad or chastise you but to help you grow, learn and ensure your Craft is authentic to you. As I said, we are always learning and the point is to change and better yourself; acknowledge when you have done wrong, or harm, and make appropriate changes
The first essay, 'Witches and Wordsmiths, Sorcerers and Storytellers' was slightly disappointing. It was a brief glance at women as witches and their persecution during the Witch hunts and oppression throughout history. However, I feel like it offered nothing new to the topic. It was well written, but I felt like I was waiting for a point, some new ideas or a 'what’s next; take. It was too brief to have any real depth to it and it felt like the repetition of ideas I’ve read countless times before.
However, the second essay definitely redeemed it. It was called, 'Brass Knuckles, Broken Mirrors, Binders and Glitter Bombs'. It explored Witchcraft on a very personal level from a queer, working class Witch. They explored Witchcraft in poverty, when access to books, tools and other paraphernalia is just not possible. It was really interesting because it showed how having to adjust and tailor your craft, because of personal circumstances, means that it becomes something else - something totally personal and unique.
By the third essay I realised the that this book was not at all what I expected and in most ways that was a good thing. It’s not going to spell out to you the ethics of Witchcraft; what’s right and what’s wrong. It’s more personal than that. These are real people. People of colour, queer people, trans-people and they are telling their very personal stories and sharing their Witchcraft practices that mostly are not what may be seen as mainstream. It’s about what the Craft means to them.
At this point I would usually give an example of someone’s story to explain what I mean, but by the third essay, by trans woman Harry Josephine Giles, I realised it’s not up to me to sum up or summarise these stories. I feel like I have no right to shorten or alter their words. We should all read the words as they were written and how they were intended to be read. I should not pick and choose what I think is important from their story.
I realised that the book allows us to explore our own ethics through the stories and personal experiences of others. It’s up to us, as the reader, to listen to their stories and establish our own ethics. For me, having all of these different perspectives from marginalised voices, that are different to mine, allowed me to understand my privilege and I can appreciate other experiences that are not like mine. That’s important for everyone.
I won’t talk about every single essay but I did take something away from all of them and they are all so different and diverse. Here are a few that stood out to me.
I particularly enjoyed Lisa Marie Basile’s chapter about magic and mental health. It was probably the aspect or area that I identified with the most on a personal level. It was during my own struggles with mental health that I got deep into my magic.
One of the most interesting chapters was, 'Witchcraft, Indigenous Religion and the Ethics of Decolonisation'. A HUGE topic and this essay only skimmed the surface of it; looking at one aspect of decolonisation. It focused on the term ‘Shamanism’ and how early Witchcraft books (think - Cunningham, Gardner, Valiente) referred to Witchcraft and Wicca as Shamanism or as a type of Shamanism. I remember when I was doing my early reading, particularly Scott Cunningham, he referred to Shamanism and it did confuse me. I never saw Shamanism and Witchcraft or Wicca as being the same thing. They were separate things and I unconsciously chose to keep Shamanism elements out of my practice because it just didn’t feel right. I wasn’t sure why at the time, but looking back I knew that those practices didn’t belong to me. Saying that some aspects of Shamanism have been blended with Witchcraft practices and we may not have even realised it. For me, it’s about decolonising my own Craft, by learning and unlearning. I think that’s why reading and research and listening to other voices is so important.
As a whole the most interesting essays for me centered around gender identity. Witchcraft is littered with masculine and feminine references. In the tarot, when working with deities and in astrology to name a few examples. I’ve always been of the mind that these energies were universal and applied to anyone no matter how they identified. However it’s more complicated than that. We can’t ignore the fact that the binary is there, so how do we work with this to make it more inclusive? I’m really interested in this developing area of the Craft, especially from the trans and non-binary community.
FINAL THOUGHTS
One of the great things about the book is that it is so diverse and covers a range of topics. There will be something for everyone, and something for everyone to learn from or relate to.
It’s one of those books that is useful for beginners and seasoned practitioners. Things such a cultural appropriation and the effect your Craft has on the environment should be fundamental considerations for all Witches.
It would have been nice to have some closing words or a little bit of a summary from the editors at the end, but it’s not a necessity. It would have just been a nice way to end the book.
I enjoyed the book and I would definitely recommend it.
*Book was gifted by the publisher, Watkins, in exchange for a review. [Note: I read an advanced reader's / uncorrected proof copy of the book therefore their may be some differences in the finalised published copy.]
Editors: Claire Askew and Alice Tarbuck
Publisher: Watkins
Release Date: 14th June, 2022
I am really excited about this book review, because I truly believe it’s quite unique; there are not many books out there, if any, that focus on Witchcraft ethics.
As soon as I found out about it I knew I had to read it. Not only is it a really important topic, but I find this kind of stuff super interesting!
ABOUT THE EDITORS
Dr Claire Askew is from the UK and lives in Cumbria. She has a PhD in Creative Writing from the University of Edinburgh, where she is also their Writer in Residence. Claire has written four novels: 'All the Hidden Truths', 'What You Pay For', 'Cover Your Tracks' and 'A Matter of Time'. She also has two poetry collections, 'This Changes Things' and 'How to Burn A Woman.
Dr Alice Tarbuck is based in Edinburgh. She is an academic specialising in Witchcraft and Environmental Humanities. Her work has been featured in 'Nasty Woman' and 'The Dangerous Women Project'. Her debut book is called, 'A Spell in the Wild', which has been on my reading list for a while!
ABOUT THE BOOK
The blurb:
“An eclectic and radical collection of essays on witchcraft practice and the ethics of magic - a must read for anyone engaged with the occult, witchcraft or magics of any kind.”
I was also sent an information/promo sheet which captures what the book is about;
“It offers a fascinating snapshot of contemporary occult practice viewed through an intersectional lens. Touching on a number of timely conversations, essay topics include:
- the ethics of decolonisation
- meditations on what it means to honour Mother Earth during the Anthropocene
- the reclamation of agency for working-class and queer witches through spellwork
- a gender-fluid perspective on breaking down hierarchies and magical symbolism
- a day in the life of a disabled Pagan Irish practitioner
As well as the editors Claire Askew and Alice Tarbuck it also features essays and contributions by;
- Lisa Marie Basile
- Stella Hervey Birrell
- Jane Claire Bradley
- Madelyn Burnhope
- Lilith Dorsey
- AW Earl
- Henry Josephine Giles
- Simone Kotva
- Iona Lee
- Briana Pegado
- Megan Sudden
- Sabrina Scott
- Em Still
MY THOUGHTS
Opening with a powerful message; ultimately asking, how the ‘old ways’ and traditions fit into today’s society and Witchcraft community. There is a lot to break down, even in Witchcraft and the Occult practices, to ensure we are being inclusive and that we do not perpetuate harmful beliefs or practices. The topics covered in the book are at the forefront of social movements and discourse generally so I think it’s great to have a book that focuses on important topics in relation to the Craft.
Witches are forever learning and adapting. It’s important that we know where our traditions and elements of our practice come from. For example, when I first started out I didn’t fully understand smudging. I know this is the same for a lot of people. I thought the simple act of cleansing my space with a bundle of sage was the thing to do. It wasn’t until later that I learned of the cultural appropriation attached to this. Smudging is a ritual that is a lot more complex than I first realised and one that I have no right to. As soon as I was aware of this I stopped, and it was no longer a part of my practice. It’s important for us as witches, and humans, to own our mistakes and learn from them, but also to ensure we have a full understanding of what it is we are doing within our practice.
The point of the book is not to make you feel bad or chastise you but to help you grow, learn and ensure your Craft is authentic to you. As I said, we are always learning and the point is to change and better yourself; acknowledge when you have done wrong, or harm, and make appropriate changes
The first essay, 'Witches and Wordsmiths, Sorcerers and Storytellers' was slightly disappointing. It was a brief glance at women as witches and their persecution during the Witch hunts and oppression throughout history. However, I feel like it offered nothing new to the topic. It was well written, but I felt like I was waiting for a point, some new ideas or a 'what’s next; take. It was too brief to have any real depth to it and it felt like the repetition of ideas I’ve read countless times before.
However, the second essay definitely redeemed it. It was called, 'Brass Knuckles, Broken Mirrors, Binders and Glitter Bombs'. It explored Witchcraft on a very personal level from a queer, working class Witch. They explored Witchcraft in poverty, when access to books, tools and other paraphernalia is just not possible. It was really interesting because it showed how having to adjust and tailor your craft, because of personal circumstances, means that it becomes something else - something totally personal and unique.
By the third essay I realised the that this book was not at all what I expected and in most ways that was a good thing. It’s not going to spell out to you the ethics of Witchcraft; what’s right and what’s wrong. It’s more personal than that. These are real people. People of colour, queer people, trans-people and they are telling their very personal stories and sharing their Witchcraft practices that mostly are not what may be seen as mainstream. It’s about what the Craft means to them.
At this point I would usually give an example of someone’s story to explain what I mean, but by the third essay, by trans woman Harry Josephine Giles, I realised it’s not up to me to sum up or summarise these stories. I feel like I have no right to shorten or alter their words. We should all read the words as they were written and how they were intended to be read. I should not pick and choose what I think is important from their story.
I realised that the book allows us to explore our own ethics through the stories and personal experiences of others. It’s up to us, as the reader, to listen to their stories and establish our own ethics. For me, having all of these different perspectives from marginalised voices, that are different to mine, allowed me to understand my privilege and I can appreciate other experiences that are not like mine. That’s important for everyone.
I won’t talk about every single essay but I did take something away from all of them and they are all so different and diverse. Here are a few that stood out to me.
I particularly enjoyed Lisa Marie Basile’s chapter about magic and mental health. It was probably the aspect or area that I identified with the most on a personal level. It was during my own struggles with mental health that I got deep into my magic.
One of the most interesting chapters was, 'Witchcraft, Indigenous Religion and the Ethics of Decolonisation'. A HUGE topic and this essay only skimmed the surface of it; looking at one aspect of decolonisation. It focused on the term ‘Shamanism’ and how early Witchcraft books (think - Cunningham, Gardner, Valiente) referred to Witchcraft and Wicca as Shamanism or as a type of Shamanism. I remember when I was doing my early reading, particularly Scott Cunningham, he referred to Shamanism and it did confuse me. I never saw Shamanism and Witchcraft or Wicca as being the same thing. They were separate things and I unconsciously chose to keep Shamanism elements out of my practice because it just didn’t feel right. I wasn’t sure why at the time, but looking back I knew that those practices didn’t belong to me. Saying that some aspects of Shamanism have been blended with Witchcraft practices and we may not have even realised it. For me, it’s about decolonising my own Craft, by learning and unlearning. I think that’s why reading and research and listening to other voices is so important.
As a whole the most interesting essays for me centered around gender identity. Witchcraft is littered with masculine and feminine references. In the tarot, when working with deities and in astrology to name a few examples. I’ve always been of the mind that these energies were universal and applied to anyone no matter how they identified. However it’s more complicated than that. We can’t ignore the fact that the binary is there, so how do we work with this to make it more inclusive? I’m really interested in this developing area of the Craft, especially from the trans and non-binary community.
FINAL THOUGHTS
One of the great things about the book is that it is so diverse and covers a range of topics. There will be something for everyone, and something for everyone to learn from or relate to.
It’s one of those books that is useful for beginners and seasoned practitioners. Things such a cultural appropriation and the effect your Craft has on the environment should be fundamental considerations for all Witches.
It would have been nice to have some closing words or a little bit of a summary from the editors at the end, but it’s not a necessity. It would have just been a nice way to end the book.
I enjoyed the book and I would definitely recommend it.
*Book was gifted by the publisher, Watkins, in exchange for a review. [Note: I read an advanced reader's / uncorrected proof copy of the book therefore their may be some differences in the finalised published copy.]
June 17, 2022
“As witches who grew up in the late 1990s and early 2000s - raised by Hocus Pocus, Buffy and The Craft, proficient in social media, dabbling from a young age in social justice - we both found ourselves longing, at times, for a handy manual on the ethics of setting up a witchcraft practice.”
I love The Modern Craft! It offered such an interesting take on intersectional witchcraft, whilst still being accessible to read.
It covered topics such as:
- Witchcraft and language
- Witchcraft and gender (from the POV of trans witches)
- Witchcraft and disability
- Witchcraft and the ethics of decolonisation
- Witchcraft and consumerism
- Modern day witch hunts (the cry of TERFs like JKR)
I found the topics it covered fascinating. They were things I wouldn’t consider on my own, but I’m glad that it made me think about them.
I love The Modern Craft! It offered such an interesting take on intersectional witchcraft, whilst still being accessible to read.
It covered topics such as:
- Witchcraft and language
- Witchcraft and gender (from the POV of trans witches)
- Witchcraft and disability
- Witchcraft and the ethics of decolonisation
- Witchcraft and consumerism
- Modern day witch hunts (the cry of TERFs like JKR)
I found the topics it covered fascinating. They were things I wouldn’t consider on my own, but I’m glad that it made me think about them.
May 13, 2022
I enjoyed this book, and I definitely learnt a lot.
There were some chapters that I enjoyed more than others. Some chapters really intrigued me, while others just felt so loosely connected to witchcraft it was like clutching at straws.
Overall the book was very dense and I found myself having to re-read some parts that didn't 'go in' straight away.
I liked the book, but as a whole it just didn't excite and intrigue me as much as i was hoping. Each chapter was a bit hit or miss.
There were some chapters that I enjoyed more than others. Some chapters really intrigued me, while others just felt so loosely connected to witchcraft it was like clutching at straws.
Overall the book was very dense and I found myself having to re-read some parts that didn't 'go in' straight away.
I liked the book, but as a whole it just didn't excite and intrigue me as much as i was hoping. Each chapter was a bit hit or miss.
June 12, 2022
Book Review: 'The Modern Craft - Powerful Voice on Witchcraft Ethics'
Editors: Claire Askew and Alice Tarbuck
Publisher: Watkins
Release Date: 14th June, 2022
I am really excited about this book review, because I truly believe it’s quite unique; there are not many books out there, if any, that focus on Witchcraft ethics.
As soon as I found out about it I knew I had to read it. Not only is it a really important topic, but I find this kind of stuff super interesting!
ABOUT THE EDITORS
Dr Claire Askew is from the UK and lives in Cumbria. She has a PhD in Creative Writing from the University of Edinburgh, where she is also their Writer in Residence. Claire has written four novels: 'All the Hidden Truths', 'What You Pay For', 'Cover Your Tracks' and 'A Matter of Time'. She also has two poetry collections, 'This Changes Things' and 'How to Burn A Woman.
Dr Alice Tarbuck is based in Edinburgh. She is an academic specialising in Witchcraft and Environmental Humanities. Her work has been featured in 'Nasty Woman' and 'The Dangerous Women Project'. Her debut book is called, 'A Spell in the Wild', which has been on my reading list for a while!
ABOUT THE BOOK
The blurb:
“An eclectic and radical collection of essays on witchcraft practice and the ethics of magic - a must read for anyone engaged with the occult, witchcraft or magics of any kind.”
I was also sent an information/promo sheet which captures what the book is about;
“It offers a fascinating snapshot of contemporary occult practice viewed through an intersectional lens. Touching on a number of timely conversations, essay topics include:
- the ethics of decolonisation
- meditations on what it means to honour Mother Earth during the Anthropocene
- the reclamation of agency for working-class and queer witches through spellwork
- a gender-fluid perspective on breaking down hierarchies and magical symbolism
- a day in the life of a disabled Pagan Irish practitioner
As well as the editors Claire Askew and Alice Tarbuck it also features essays and contributions by;
- Lisa Marie Basile
- Stella Hervey Birrell
- Jane Claire Bradley
- Madelyn Burnhope
- Lilith Dorsey
- AW Earl
- Henry Josephine Giles
- Simone Kotva
- Iona Lee
- Briana Pegado
- Megan Sudden
- Sabrina Scott
- Em Still
MY THOUGHTS
Opening with a powerful message; ultimately asking, how the ‘old ways’ and traditions fit into today’s society and Witchcraft community. There is a lot to break down, even in Witchcraft and the Occult practices, to ensure we are being inclusive and that we do not perpetuate harmful beliefs or practices. The topics covered in the book are at the forefront of social movements and discourse generally so I think it’s great to have a book that focuses on important topics in relation to the Craft.
Witches are forever learning and adapting. It’s important that we know where our traditions and elements of our practice come from. For example, when I first started out I didn’t fully understand smudging. I know this is the same for a lot of people. I thought the simple act of cleansing my space with a bundle of sage was the thing to do. It wasn’t until later that I learned of the cultural appropriation attached to this. Smudging is a ritual that is a lot more complex than I first realised and one that I have no right to. As soon as I was aware of this I stopped, and it was no longer a part of my practice. It’s important for us as witches, and humans, to own our mistakes and learn from them, but also to ensure we have a full understanding of what it is we are doing within our practice.
The point of the book is not to make you feel bad or chastise you but to help you grow, learn and ensure your Craft is authentic to you. As I said, we are always learning and the point is to change and better yourself; acknowledge when you have done wrong, or harm, and make appropriate changes
The first essay, 'Witches and Wordsmiths, Sorcerers and Storytellers' was slightly disappointing. It was a brief glance at women as witches and their persecution during the Witch hunts and oppression throughout history. However, I feel like it offered nothing new to the topic. It was well written, but I felt like I was waiting for a point, some new ideas or a 'what’s next; take. It was too brief to have any real depth to it and it felt like the repetition of ideas I’ve read countless times before.
However, the second essay definitely redeemed it. It was called, 'Brass Knuckles, Broken Mirrors, Binders and Glitter Bombs'. It explored Witchcraft on a very personal level from a queer, working class Witch. They explored Witchcraft in poverty, when access to books, tools and other paraphernalia is just not possible. It was really interesting because it showed how having to adjust and tailor your craft, because of personal circumstances, means that it becomes something else - something totally personal and unique.
By the third essay I realised the that this book was not at all what I expected and in most ways that was a good thing. It’s not going to spell out to you the ethics of Witchcraft; what’s right and what’s wrong. It’s more personal than that. These are real people. People of colour, queer people, trans-people and they are telling their very personal stories and sharing their Witchcraft practices that mostly are not what may be seen as mainstream. It’s about what the Craft means to them.
At this point I would usually give an example of someone’s story to explain what I mean, but by the third essay, by trans woman Harry Josephine Giles, I realised it’s not up to me to sum up or summarise these stories. I feel like I have no right to shorten or alter their words. We should all read the words as they were written and how they were intended to be read. I should not pick and choose what I think is important from their story.
I realised that the book allows us to explore our own ethics through the stories and personal experiences of others. It’s up to us, as the reader, to listen to their stories and establish our own ethics. For me, having all of these different perspectives from marginalised voices, that are different to mine, allowed me to understand my privilege and I can appreciate other experiences that are not like mine. That’s important for everyone.
I won’t talk about every single essay but I did take something away from all of them and they are all so different and diverse. Here are a few that stood out to me.
I particularly enjoyed Lisa Marie Basile’s chapter about magic and mental health. It was probably the aspect or area that I identified with the most on a personal level. It was during my own struggles with mental health that I got deep into my magic.
One of the most interesting chapters was, 'Witchcraft, Indigenous Religion and the Ethics of Decolonisation'. A HUGE topic and this essay only skimmed the surface of it; looking at one aspect of decolonisation. It focused on the term ‘Shamanism’ and how early Witchcraft books (think - Cunningham, Gardner, Valiente) referred to Witchcraft and Wicca as Shamanism or as a type of Shamanism. I remember when I was doing my early reading, particularly Scott Cunningham, he referred to Shamanism and it did confuse me. I never saw Shamanism and Witchcraft or Wicca as being the same thing. They were separate things and I unconsciously chose to keep Shamanism elements out of my practice because it just didn’t feel right. I wasn’t sure why at the time, but looking back I knew that those practices didn’t belong to me. Saying that some aspects of Shamanism have been blended with Witchcraft practices and we may not have even realised it. For me, it’s about decolonising my own Craft, by learning and unlearning. I think that’s why reading and research and listening to other voices is so important.
As a whole the most interesting essays for me centered around gender identity. Witchcraft is littered with masculine and feminine references. In the tarot, when working with deities and in astrology to name a few examples. I’ve always been of the mind that these energies were universal and applied to anyone no matter how they identified. However it’s more complicated than that. We can’t ignore the fact that the binary is there, so how do we work with this to make it more inclusive? I’m really interested in this developing area of the Craft, especially from the trans and non-binary community.
FINAL THOUGHTS
One of the great things about the book is that it is so diverse and covers a range of topics. There will be something for everyone, and something for everyone to learn from or relate to.
It’s one of those books that is useful for beginners and seasoned practitioners. Things such a cultural appropriation and the effect your Craft has on the environment should be fundamental considerations for all Witches.
It would have been nice to have some closing words or a little bit of a summary from the editors at the end, but it’s not a necessity. It would have just been a nice way to end the book.
I enjoyed the book and I would definitely recommend it.
*Book was gifted by the publisher, Watkins, in exchange for a review. [Note: I read an advanced reader's / uncorrected proof copy of the book therefore their may be some differences in the finalised published copy.]
Editors: Claire Askew and Alice Tarbuck
Publisher: Watkins
Release Date: 14th June, 2022
I am really excited about this book review, because I truly believe it’s quite unique; there are not many books out there, if any, that focus on Witchcraft ethics.
As soon as I found out about it I knew I had to read it. Not only is it a really important topic, but I find this kind of stuff super interesting!
ABOUT THE EDITORS
Dr Claire Askew is from the UK and lives in Cumbria. She has a PhD in Creative Writing from the University of Edinburgh, where she is also their Writer in Residence. Claire has written four novels: 'All the Hidden Truths', 'What You Pay For', 'Cover Your Tracks' and 'A Matter of Time'. She also has two poetry collections, 'This Changes Things' and 'How to Burn A Woman.
Dr Alice Tarbuck is based in Edinburgh. She is an academic specialising in Witchcraft and Environmental Humanities. Her work has been featured in 'Nasty Woman' and 'The Dangerous Women Project'. Her debut book is called, 'A Spell in the Wild', which has been on my reading list for a while!
ABOUT THE BOOK
The blurb:
“An eclectic and radical collection of essays on witchcraft practice and the ethics of magic - a must read for anyone engaged with the occult, witchcraft or magics of any kind.”
I was also sent an information/promo sheet which captures what the book is about;
“It offers a fascinating snapshot of contemporary occult practice viewed through an intersectional lens. Touching on a number of timely conversations, essay topics include:
- the ethics of decolonisation
- meditations on what it means to honour Mother Earth during the Anthropocene
- the reclamation of agency for working-class and queer witches through spellwork
- a gender-fluid perspective on breaking down hierarchies and magical symbolism
- a day in the life of a disabled Pagan Irish practitioner
As well as the editors Claire Askew and Alice Tarbuck it also features essays and contributions by;
- Lisa Marie Basile
- Stella Hervey Birrell
- Jane Claire Bradley
- Madelyn Burnhope
- Lilith Dorsey
- AW Earl
- Henry Josephine Giles
- Simone Kotva
- Iona Lee
- Briana Pegado
- Megan Sudden
- Sabrina Scott
- Em Still
MY THOUGHTS
Opening with a powerful message; ultimately asking, how the ‘old ways’ and traditions fit into today’s society and Witchcraft community. There is a lot to break down, even in Witchcraft and the Occult practices, to ensure we are being inclusive and that we do not perpetuate harmful beliefs or practices. The topics covered in the book are at the forefront of social movements and discourse generally so I think it’s great to have a book that focuses on important topics in relation to the Craft.
Witches are forever learning and adapting. It’s important that we know where our traditions and elements of our practice come from. For example, when I first started out I didn’t fully understand smudging. I know this is the same for a lot of people. I thought the simple act of cleansing my space with a bundle of sage was the thing to do. It wasn’t until later that I learned of the cultural appropriation attached to this. Smudging is a ritual that is a lot more complex than I first realised and one that I have no right to. As soon as I was aware of this I stopped, and it was no longer a part of my practice. It’s important for us as witches, and humans, to own our mistakes and learn from them, but also to ensure we have a full understanding of what it is we are doing within our practice.
The point of the book is not to make you feel bad or chastise you but to help you grow, learn and ensure your Craft is authentic to you. As I said, we are always learning and the point is to change and better yourself; acknowledge when you have done wrong, or harm, and make appropriate changes
The first essay, 'Witches and Wordsmiths, Sorcerers and Storytellers' was slightly disappointing. It was a brief glance at women as witches and their persecution during the Witch hunts and oppression throughout history. However, I feel like it offered nothing new to the topic. It was well written, but I felt like I was waiting for a point, some new ideas or a 'what’s next; take. It was too brief to have any real depth to it and it felt like the repetition of ideas I’ve read countless times before.
However, the second essay definitely redeemed it. It was called, 'Brass Knuckles, Broken Mirrors, Binders and Glitter Bombs'. It explored Witchcraft on a very personal level from a queer, working class Witch. They explored Witchcraft in poverty, when access to books, tools and other paraphernalia is just not possible. It was really interesting because it showed how having to adjust and tailor your craft, because of personal circumstances, means that it becomes something else - something totally personal and unique.
By the third essay I realised the that this book was not at all what I expected and in most ways that was a good thing. It’s not going to spell out to you the ethics of Witchcraft; what’s right and what’s wrong. It’s more personal than that. These are real people. People of colour, queer people, trans-people and they are telling their very personal stories and sharing their Witchcraft practices that mostly are not what may be seen as mainstream. It’s about what the Craft means to them.
At this point I would usually give an example of someone’s story to explain what I mean, but by the third essay, by trans woman Harry Josephine Giles, I realised it’s not up to me to sum up or summarise these stories. I feel like I have no right to shorten or alter their words. We should all read the words as they were written and how they were intended to be read. I should not pick and choose what I think is important from their story.
I realised that the book allows us to explore our own ethics through the stories and personal experiences of others. It’s up to us, as the reader, to listen to their stories and establish our own ethics. For me, having all of these different perspectives from marginalised voices, that are different to mine, allowed me to understand my privilege and I can appreciate other experiences that are not like mine. That’s important for everyone.
I won’t talk about every single essay but I did take something away from all of them and they are all so different and diverse. Here are a few that stood out to me.
I particularly enjoyed Lisa Marie Basile’s chapter about magic and mental health. It was probably the aspect or area that I identified with the most on a personal level. It was during my own struggles with mental health that I got deep into my magic.
One of the most interesting chapters was, 'Witchcraft, Indigenous Religion and the Ethics of Decolonisation'. A HUGE topic and this essay only skimmed the surface of it; looking at one aspect of decolonisation. It focused on the term ‘Shamanism’ and how early Witchcraft books (think - Cunningham, Gardner, Valiente) referred to Witchcraft and Wicca as Shamanism or as a type of Shamanism. I remember when I was doing my early reading, particularly Scott Cunningham, he referred to Shamanism and it did confuse me. I never saw Shamanism and Witchcraft or Wicca as being the same thing. They were separate things and I unconsciously chose to keep Shamanism elements out of my practice because it just didn’t feel right. I wasn’t sure why at the time, but looking back I knew that those practices didn’t belong to me. Saying that some aspects of Shamanism have been blended with Witchcraft practices and we may not have even realised it. For me, it’s about decolonising my own Craft, by learning and unlearning. I think that’s why reading and research and listening to other voices is so important.
As a whole the most interesting essays for me centered around gender identity. Witchcraft is littered with masculine and feminine references. In the tarot, when working with deities and in astrology to name a few examples. I’ve always been of the mind that these energies were universal and applied to anyone no matter how they identified. However it’s more complicated than that. We can’t ignore the fact that the binary is there, so how do we work with this to make it more inclusive? I’m really interested in this developing area of the Craft, especially from the trans and non-binary community.
FINAL THOUGHTS
One of the great things about the book is that it is so diverse and covers a range of topics. There will be something for everyone, and something for everyone to learn from or relate to.
It’s one of those books that is useful for beginners and seasoned practitioners. Things such a cultural appropriation and the effect your Craft has on the environment should be fundamental considerations for all Witches.
It would have been nice to have some closing words or a little bit of a summary from the editors at the end, but it’s not a necessity. It would have just been a nice way to end the book.
I enjoyed the book and I would definitely recommend it.
*Book was gifted by the publisher, Watkins, in exchange for a review. [Note: I read an advanced reader's / uncorrected proof copy of the book therefore their may be some differences in the finalised published copy.]
August 11, 2022
My thanks to the Charlotte at Lovereading for the chance to read and review 'The Modern Craft' which is available now from publishers Watkins Wisdom.
I will be honest, I did not fully read all the essays in this volume, Several I found to have taken self reflection to the point of such indulgence, and pushing of a narrative that I personally do not ascribe to, that I felt repelled out of and away from the writing. In an effort to be so inclusive, I, ironically, felt excluded from the discussion which I feel often aimed to re-write the history of feminism, persecution for practicing and what witchcraft means, which to me are intrinsically entwined with both the path and life experiences of women.
Therefore I cannot honestly say I have read and reviewed this collection, however I admire and appreciate the initiative which created it. It is timely in that the resurgence of an interest in witchcraft has led to many looking into it, for example, I would never have imagined that our town would have a local apothecary and tarot card reader. And that is 100% a good thing, I felt this real connect with the essay on poverty and witchcraft by Jane Claire Bradley. She talks about the baby witch who does not know where to start and what equipment to begin with, and as the mother of a daughter whose altar is made from cardboard boxes, makes spell jars with household herbs and glass jars from The Works, I can appreciate that necessity is the mother of invention. For me , this was the most powerful essay in the book because it gives the freedom to those just burgeoning their craft to explore it in their own way.
Can't afford a tarot pack? Make your own!
An altar can be anywhere!
You can worship goddesses in the form that you choose, the altar is a manifestation of the things which you hold dear and by which you conduit your forces and ideas. The intention behind it is more important than a price tag.
''Witches today have a deep responsibility to ourselves and to each other;we often do the heavy work of caring and acknowledging when the world does not care or see'' Lisa Marie Basile
I felt that I learnt a lot about the way cultural appropriation is employed within the craft, how cultural stereotypes are reinforced, the way that social media whilst being a force for good, can also create a sense of ownership, or belonging to a club that, by its very nature, excludes and ignores. As well as this, modern culture can create a sense that you need this and that, or to belong on this platform, in order to be seen or heard, and by employing a multi-directional approach to this topic, the editors have created a broad approach to a heartfelt subject that beckons newbies in, and seeks to inform.
Who are we to bemoan a 'witchcraft aesthetic'? After all, from Primark to exclusive boutiques, there is witchy gear galore, available to those who want to dip a toe into historically murky waters. It opens a conversation about the way that those who were in touch with nature and natural processes-women, by their nature were closer to the world around them, the sacraments of birth and death as well as healing-were maligned and persecuted when things went wrong, were convenient scapegoats and even institutionalised for daring to say out loud the words that can be so easily overheard today.
''The lack of power historically afforded to women has tended to make them be seen as one-dimensional,and this has been reflected in our narratives, stories and media.'' Iona Lee
Discussions over various tarot spreads, the powerful nature of crystals and home grown herbs, are all things which would have had girls like me marginalised as a teen for being 'weird'. Now, with growing opportunities to explore what the concept of being a witch means to the individual, here is a book which can introduce readers to some key concepts, some authentic experiences and guided research into 21st century witchery.
What I enjoyed , I enjoyed a lot, but I did not find it powerful, particularly ethical or 'vital reading' as a whole.
I will be honest, I did not fully read all the essays in this volume, Several I found to have taken self reflection to the point of such indulgence, and pushing of a narrative that I personally do not ascribe to, that I felt repelled out of and away from the writing. In an effort to be so inclusive, I, ironically, felt excluded from the discussion which I feel often aimed to re-write the history of feminism, persecution for practicing and what witchcraft means, which to me are intrinsically entwined with both the path and life experiences of women.
Therefore I cannot honestly say I have read and reviewed this collection, however I admire and appreciate the initiative which created it. It is timely in that the resurgence of an interest in witchcraft has led to many looking into it, for example, I would never have imagined that our town would have a local apothecary and tarot card reader. And that is 100% a good thing, I felt this real connect with the essay on poverty and witchcraft by Jane Claire Bradley. She talks about the baby witch who does not know where to start and what equipment to begin with, and as the mother of a daughter whose altar is made from cardboard boxes, makes spell jars with household herbs and glass jars from The Works, I can appreciate that necessity is the mother of invention. For me , this was the most powerful essay in the book because it gives the freedom to those just burgeoning their craft to explore it in their own way.
Can't afford a tarot pack? Make your own!
An altar can be anywhere!
You can worship goddesses in the form that you choose, the altar is a manifestation of the things which you hold dear and by which you conduit your forces and ideas. The intention behind it is more important than a price tag.
''Witches today have a deep responsibility to ourselves and to each other;we often do the heavy work of caring and acknowledging when the world does not care or see'' Lisa Marie Basile
I felt that I learnt a lot about the way cultural appropriation is employed within the craft, how cultural stereotypes are reinforced, the way that social media whilst being a force for good, can also create a sense of ownership, or belonging to a club that, by its very nature, excludes and ignores. As well as this, modern culture can create a sense that you need this and that, or to belong on this platform, in order to be seen or heard, and by employing a multi-directional approach to this topic, the editors have created a broad approach to a heartfelt subject that beckons newbies in, and seeks to inform.
Who are we to bemoan a 'witchcraft aesthetic'? After all, from Primark to exclusive boutiques, there is witchy gear galore, available to those who want to dip a toe into historically murky waters. It opens a conversation about the way that those who were in touch with nature and natural processes-women, by their nature were closer to the world around them, the sacraments of birth and death as well as healing-were maligned and persecuted when things went wrong, were convenient scapegoats and even institutionalised for daring to say out loud the words that can be so easily overheard today.
''The lack of power historically afforded to women has tended to make them be seen as one-dimensional,and this has been reflected in our narratives, stories and media.'' Iona Lee
Discussions over various tarot spreads, the powerful nature of crystals and home grown herbs, are all things which would have had girls like me marginalised as a teen for being 'weird'. Now, with growing opportunities to explore what the concept of being a witch means to the individual, here is a book which can introduce readers to some key concepts, some authentic experiences and guided research into 21st century witchery.
What I enjoyed , I enjoyed a lot, but I did not find it powerful, particularly ethical or 'vital reading' as a whole.
August 4, 2022
This intersectional journey into contemporary occultism and witchcraft gives a wealth of insight into what modern witchcraft really is, and how it can be used for change and empowerment Delving into the true scope of people who are connected all across the globe, and across time through their craft, this collection turns back the clock to watch the earlier roots of witchcraft as it grows into modern day witches in all their beauty and strength.
Each essay has a strikingly unique voice, from discussions on how witchcraft can break down social hierarchy, the relation of witchhunts and persecution, to perspectives of gender queer or disabled practitioners, to the ethics and philosophy of the craft, the power of words, colonialism and capitalism usage of witchcraft, and self-love - this collection features an array of powerful voices, talking about important subjects and promoting meaningful discussion. One of the things you can't help but take away from this is the theme of radical love and acceptance - whether you believe in the craft or not, that intersection love binds us all. That everything i secondary compared to the simple magic of human connection and love.
One of my personal favourites was "Brass Knuckles, Broken Mirrors, Binders and Glitter Bombs" - a stunning call to arms for the empowerment of queer, working-class witches, exploring the fear and hatred imposed upon witches because of the disruption they are considered to be by the patriarchy.
The essays are short, easily readable and so accessible - it'd be very easy to put down and pick right back but I didn't actually manage to put it down until I ran out of pages. There was plenty research and sourcing for each essay, and the entire book was stunningly illustrated and visually compelling.
A powerfully authentic and affirming collection that will make you reflect on your responsibilities to others, to yourself, and to the world.
[I was gifted a reviewers copy of this title as part of the love reading ambassadors buzz]
Each essay has a strikingly unique voice, from discussions on how witchcraft can break down social hierarchy, the relation of witchhunts and persecution, to perspectives of gender queer or disabled practitioners, to the ethics and philosophy of the craft, the power of words, colonialism and capitalism usage of witchcraft, and self-love - this collection features an array of powerful voices, talking about important subjects and promoting meaningful discussion. One of the things you can't help but take away from this is the theme of radical love and acceptance - whether you believe in the craft or not, that intersection love binds us all. That everything i secondary compared to the simple magic of human connection and love.
One of my personal favourites was "Brass Knuckles, Broken Mirrors, Binders and Glitter Bombs" - a stunning call to arms for the empowerment of queer, working-class witches, exploring the fear and hatred imposed upon witches because of the disruption they are considered to be by the patriarchy.
The essays are short, easily readable and so accessible - it'd be very easy to put down and pick right back but I didn't actually manage to put it down until I ran out of pages. There was plenty research and sourcing for each essay, and the entire book was stunningly illustrated and visually compelling.
A powerfully authentic and affirming collection that will make you reflect on your responsibilities to others, to yourself, and to the world.
[I was gifted a reviewers copy of this title as part of the love reading ambassadors buzz]
March 17, 2025
There were some essays in this that were thought-invoking and quite a few others that weren’t.
The ones that worked for me added a new voice or a fresh idea to the conversation around witchcraft. “Ethics and the World of African Traditional Religions” by Lilith Dorsey and “Mental Health and Magic” by Lisa Marie Basile were standout entries for me.
I found that some were a bit drawn out or repetitious, while others were on topics that simply didn’t interest me at all.
I think I’ve only come away with one additional book that I want to read, which is telling that I didn’t connect to lots of these.
The ones that worked for me added a new voice or a fresh idea to the conversation around witchcraft. “Ethics and the World of African Traditional Religions” by Lilith Dorsey and “Mental Health and Magic” by Lisa Marie Basile were standout entries for me.
I found that some were a bit drawn out or repetitious, while others were on topics that simply didn’t interest me at all.
I think I’ve only come away with one additional book that I want to read, which is telling that I didn’t connect to lots of these.
June 16, 2022
The format of this book really appealed to me. It was done in essay format, featuring different minority voices. I liked getting different points of view and how certain aspects have affected people. But like with all books featuring a collection of essays, there were some that did not have my attention at all, and I found myself skipping to the next. It was a good read, that made me stop, think and consider the world around me.
September 15, 2022
This is a really interesting and diverse series of essays on witchcraft. Picked it up after thoroughly enjoying Tarbuck’s A Spell in the Wild and looking forward to her essay, but without any particular expectations about the rest of the contributors. Yet, this transpires to be an incredible collection of writing. Brilliant, insightful and accessible both for those who practice witchcraft and people with more of a casual interest.
August 9, 2022
The Modern Craft is an elusive yet empirical essay anthology collection that questions the modern day ethics of Western witchcraft practise. These essays form a robust roadmap for both new and seasoned practitioners alike to ensure that their use of witchery is ethical, environmentally friendly and inclusive to all.
September 9, 2022
This book sets out with great intentions and includes some excellent subject matter, but really could have used some more fact-checking (white sage and palo santo are not the same thing), editing ('elude' and 'allude' are definitely not the same thing), and for goodness sakes if you're going to talk about decolonizing witchcraft, capitalize the I in Indigenous, writers.
August 21, 2023
3.5 stars. There isn't much consistency to these essays - some are personal essays, some are academic essays, and some fall somewhere in between. I actually like the variety, and I think any practitioner will find at least a couple of essays that resonate with them. But they vary in quality a lot, and some have much more polish than others.
December 31, 2024
One of the best books i’ve read in a while, it’s a beautiful collection of essays about navigating witchcraft whilst decolonising, opening and improving your craft. I loved hearing the perspectives of trans, queer, disabled witches and witches of colour and strongly identified with their voices, its full of interesting points and important conversations to be considered when practicing.
January 14, 2023
A nice collection of essays covering witchcraft as it pertains to gender, capitalism, intersectionality, and all subjects in-between. Felt a bit put off by the one that felt like it was trying to sell me a spiritual healing course, but otherwise there's a lot of good here.
March 12, 2023
Most of the articles were really compelling and gave great insight into the real life practices or the modern witch and gave great critique of some of the modern plagues of the craft- capitalism, consumerism, ableism - to name a few
October 24, 2023
The only thing I didn't enjoy was the essay where the writer promoted ThetaHealing which is a type of wellness meditation thing where they make you pay hundreds of dollars per session and claim its so powerful it can reduce HIV. This is super problematic.
This entire review has been hidden because of spoilers.
June 12, 2022
Fantastic book filled with some truly thought provoking and often challenging new thinking about witchcraft and much more besides.
June 17, 2022
A vital work exploring all the difficult questions surrounding Witchcraft and Magic. A must for any witch's library.
January 5, 2023
Some good essays in here, and also some less good essays
November 8, 2023
Read for a book club - great insight into the history of witchcraft practices and ethics regarding those practices in today's world. LGBTQ+ voice and perspective.
November 29, 2024
Uneven
January 2, 2025
A fabulous collection of stories. The different perspectives, inclusive angels, and wide lens is something I really enjoyed.
May 4, 2022
The Modern Craft is an excellent collection of thoughts on the topic of witchcraft as it is practiced in our multicultural world.
What I liked
The nature of this book as a collection of essays lends its self well to providing multiple view points on complex or controversial topics within the witchcraft community. The Essay writers while remaining respectful of differing opinions flesh out well their perspectives and did not stray away from potentially making other practitioners uncomfortable.
What didn't work for me as well
There was an instance of using wikapedia as a source in one of the essays. The information as far as I could find is correct but it sat ill with me from an academic standpoint. There was also a strange discordant moment were cultural appropriation and the harm it does is discussed almost immediately before a very positive essay on American shamanism in which the potentially appropriation portions of the practice are basically ignored.
Who I would recommend this book for
This book is a good fit for more seasoned witches wanting to step outside of their own potential echo chambers as well as for novice practitioners looking to have a starting point in understanding some of the more commonly controversial topics within witchcraft spaces.
What I liked
The nature of this book as a collection of essays lends its self well to providing multiple view points on complex or controversial topics within the witchcraft community. The Essay writers while remaining respectful of differing opinions flesh out well their perspectives and did not stray away from potentially making other practitioners uncomfortable.
What didn't work for me as well
There was an instance of using wikapedia as a source in one of the essays. The information as far as I could find is correct but it sat ill with me from an academic standpoint. There was also a strange discordant moment were cultural appropriation and the harm it does is discussed almost immediately before a very positive essay on American shamanism in which the potentially appropriation portions of the practice are basically ignored.
Who I would recommend this book for
This book is a good fit for more seasoned witches wanting to step outside of their own potential echo chambers as well as for novice practitioners looking to have a starting point in understanding some of the more commonly controversial topics within witchcraft spaces.
October 13, 2022
I loved that this book made me sit and think after each essay, and yes it took so much longer to read(i received this book before publication so I really have been slow to review) but I think that it was better to take the time and thought than just skim read and review in a rush for publication.
Not only did I come away from this book having, I feel, learned a lot I came away with a huge reading list! Some of the authors mention other authors or books that I've ended up putting on my tbr pile.
It's defiantly a book id recommend to others in the community because we lack books on the subject of witchcraft ethics and this is defiantly a good one to start that section off with.
Not only did I come away from this book having, I feel, learned a lot I came away with a huge reading list! Some of the authors mention other authors or books that I've ended up putting on my tbr pile.
It's defiantly a book id recommend to others in the community because we lack books on the subject of witchcraft ethics and this is defiantly a good one to start that section off with.
June 14, 2022
It's an interesting book, a collection of essays, and it's full o food for thought.
Not all the essay are related to witchcraft but I found them all interesting.
I discovered some new to me authors that I will follow.
Recommended.
Many thanks to the publisher and Netgalley for this ARC, all opinions are mine
Not all the essay are related to witchcraft but I found them all interesting.
I discovered some new to me authors that I will follow.
Recommended.
Many thanks to the publisher and Netgalley for this ARC, all opinions are mine
January 21, 2023
A good book for different views or things not really thought about. A collection of essays from different authors. A nice addition if wanting something like this.
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