The Witch Child

In 1659, fourteen-year-old Mary Newbury keeps a journal of her voyage from England to the New World and her experiences living as a witch in a community of Puritans near Salem, Massachusetts.

After being alone for a long time, that witch learns about kindness, what truly matters, and she has a bit of magical fun with her new, spooky friends along the way.

As Witch Child ends so Sorceress begins. Alison Ellman is still searching for information about Mary Newbury; she has a diary and some scattered information about other people in Mary's life, but Mary has disappeared into the forests and Alison has no way of following her. But when she meets Agnes Herne, Alison encounters the person who is going to tell her all about Mary's life after she leaves Beulah. Agnes is a descendant of Mary's and has a special skill which allows her to be in touch with Mary in the spirit world. And Mary has a story to tell. A story of love and friendship, sadness and loss. A story that takes her across the New World in an epic search for a home. We fell under the spell of Mary in Witch Child and now at last we find out what happened to her after her ill-fated time in Beulah. Just as Mary's story has to be told to Agnes, it has to be read by us for it is passionate, compelling and utterly wonderful.

This book discusses the role of children in the Salem witch trials through a close reading of the many and varied narratives of the trials, including court records, contemporary and historical documents, fiction, drama, and poetry. Taking a critical theory approach to explore both what we might understand as a child in 1692 New England and to consider our adult investment in reading the child, Kristina West explores narratives of the afflicted girls and the many accused children whom are often absent or overlooked in histories, and considers how the trial structure is continually repeated in attempts to establish the respective guilt and innocence of these and other groups. This book also analyses later manuscripts and fictional rewritings of the trials to question the basis on which assumptions about the child in history are made, and to consider why such narratives of Salem’s children are still relevant now.

A young boy and his Norwegian grandmother, who is an expert on witches, together foil a witches' plot to destroy the world's children by turning them into mice.

Desiring a child of her own, Rosina the witch fashions one out of straw and scraps, but when she cannot bring the rag child to life she becomes enraged and turns the village children into shrubs, where they stay until a kind girl discovers the discarded doll and saves her.

A wizard's daughter discovers the best kind of witchcraft is not worked by magic spells or potions but by the kindness of the heart.

After witnessing the hanging of Goody Glover, young Rachel Gray believes that the old witch has taken possession of her

“This spellbinding fantasy begs for a cozy chair and several hours of uninterrupted reading time.” —The Washington Post When Ned and his identical twin brother tumble from their raft into a raging river, only Ned survives. Villagers are convinced the wrong boy lived. Across the forest that borders Ned’s village, Áine, the daughter of the Bandit King, is haunted by her mother’s last words: “The wrong boy will save your life, and you will save his.” When the Bandit King comes to steal the magic Ned’s mother, a witch, is meant to protect, Áine and Ned meet. Can they trust each other long enough to cross a dangerous enchanted forest and stop the war about to boil over between their two kingdoms? “Barnhill is a fantasist on the order of Neil Gaiman.” —Minneapolis Star Tribune “[The Witch’s Boy] should open young readers’ eyes to something that is all around them in the very world we live in: the magic of words.” —The New York Times “This is a book to treasure.” —Nerdy Book Club A Washington Post Best Book of 2014 A Publishers Weekly Best Book of 2014 A Kirkus Reviews Best Children’s Book of 2014 A Chicago Public Library “Best of the Best” 2014