Witches and cows

In the Malleus Maleficarum, there seems to be a lot of discussion of witchcraft vis a vis cows. Probably not surprising, given how important cows were to daily life in the middle ages: milk to drink and render into cheese, meat at slaughtertime, heat for those who kept them indoors with them.

Here's a passage about how cows inform on witches:

For sometimes when a cow has been injured in this way, and they wish to discover who has bewitched it, they drive it out into the fields with a man's trousers, or some unclean thing, upon its head or back. And this they do chiefly on Feast Days and Holy Days, and possibly with some sort of invocation of the devil; and they beat the cow with a stick and drive it away. Then the cow runs straight to the house of the witch, and beats vehemently upon the door with its horns, lowing loudly all the while; and the devil causes the cow to go on doing this until it is pacified by some other witchcraft.

A frightening image, the cow battering the door with its horns. And god save you if it was your door the cow chose.

Did the Malleus Maleficarum really exist?

Emphatically and unfortunately, yes.

You can buy a copy of the Malleus Maleficarum today on Amazon. At my website, www.erikamailman.com, in the right hand column there is a running display of some particularly egregious quotes from the book (each time you refresh, a new one appears).

The authors, Heinrich Kramer and Jacob Sprenger, wrote it to guide courts in their prosecution of witches. The book reads like a pseudo (and psycho) legal text, including questions to be put to these witches, and how to proceed based on what they report.

Freud would have a field day with the recurring sections on how women can make the male genitals either shrink or completely disappear.

The book is threaded through with anecdotes that break your heart. I’ll be writing about some of those, so please check back later (but not too soon. Blogging with a newborn is a tenuous undertaking!)

The second painting of "Mary Bliss Parsons"

This doesn't depict Mary Bliss Parsons; see discussion in previous post.

I had saved the image on my hard drive so I'm able to post it, although I can't refind where a google image search led to information on the artist, sitter and provenance. The yellow garment is the tip-off, somehow an extraordinary choice for a painting of this time period.


UPDATE THANKS TO MY MOTHER:

My mom was able to locate the painting; it's in the collection of the Worcester Art Museum. It's a painting of Mrs. Elizabeth Clarke Freake and her daughter Mary. View the info on provenance here (you will then click on the painting on the upper left--for some reason, the specific page isn't clickable). Thank you, Mom!


. . . . .

Mary Bliss Parsons, is that you?

Yipes!

I was looking through my archives and realized I never corrected a major error. In this post, I attached an image that I identified as a painting of my ancestor Mary Bliss Parsons. It’s not! (and one of the commenters references another painting of her with a child, which also cannot be the case.) The image was posted at the UMass website with no caption. Because the site is about MBP and because (I must say it) the woman looks VERY MUCH like members of my family, I made the hopefully-understandable assumption that it depicts her.

I got in touch with the UMass webmistress to request permission to possibly use the image in The Witch’s Trinity, which has an extensive afterword about Mary Bliss Parsons. She informed me that there are no images of MBP. The UMass people had simply noticed the website was devoid of images and cast about to find some. The painting is of the same era, illustrating “Colonial America,” so they used it. They ran out of time and funding to properly caption the image.

(But I hasten to say the website is in all other regards completely amazing. Where else would I have been able to see—handwriting and all—the testimony in Mary Bliss Parsons’ witchcraft cases, without traveling all the way to Massachusetts? It also has a very in-depth analysis of my ancestor’s circumstances versus her accuser’s.)

The funny thing is, the woman in the image is basically a dead-ringer for my mom dressed as a Colonial woman. I’m blown away that this doesn’t depict our ancestor! (By the same token, it initially amazed me that after eleven generations, faces could still be so similar).

Interesting crinkle #1:

There was a second painting on the website (the one I think the commenter on my original post was referring to). I have to give my mother credit for questioning it. She said that she had seen it somewhere before (no, not in our attic!). With a strong interest in Colonial painting/furniture/antiques, she recalled that this portrait was unusual for that era in its use of yellow for the woman’s garment. I googled while she pulled out her books. And I was able to locate the painting, which identified the sitter as the wife of someone—not a Parsons. I just now tried to again locate the image; why didn’t I bookmark it? Can’t find it now.

Interesting crinkle #2:

I just went back to the Umass website and am unable to locate either painting. Looks like they took them down. And added some new content: nice work, guys!

Calling Down the Rain

This image from De Lamiis shows witches bringing down the rain. It looks like they are feeding the cauldron with a snake and a rooster.

Witches were feared for their ability to affect natural phenomena. For people whose lives were staked upon whether crops would fail or succeed, the elements were a fearsome unknown. A cold snap could kill the harvest, or too much or too little rain. If power to affect these elements was in the hands of malevolent neighbors, who were assisted by the devil, well, they were to be hated. And executed.

In The Witch's Trinity, townspeople whose village has been famine-struck look about themselves wildly to find who has kept the fields barren. And thus the witch hunt begins.

***
Image is from Witchcraft in Europe 1100-1700 by Alan C. Kors and Peter Edwards

Names

Going through some old paperwork tonight, I found a draft copy of my first novel with a completely different title on it—a name I had forgotten. You see, various attempts to position it as more of a mystery or less of a mystery had me and a former agent trying on different names. I don’t believe it ever went to an editor under the title “The Blood-Soaked Bonnet” (the title page I just unearthed), but it was submitted under “The China Silk Murders.” The book at that point had plot points surrounding a scrap of silk found clenched in one of the murdered women’s hands. My original title for the novel had been “Ill Fame,” and it was published earlier this year under the much-better expansion, “Woman of Ill Fame.”

Similarly, The Witch’s Trinity was named Hexe (the German word for witch). I loved this title and thought it could really lend itself to some gorgeous cover art. I was ultimately won over by arguments against this title (hard to pronounce! confusing!) and am pleased with what went to press. I’ve seen online reviews poke fun at it and say it is not a serious-enough title, but I like the fact that it makes more sense once you’ve read the book.

And let’s not even talk about my unpublished young adult novel that has had five titles…

Hodder & Stoughton

Today The Witch's Trinity launches in England from the publisher Hodder & Stoughton--perfect timing, being the 13th of the month!

Welcome to any of you coming to this blog from across the big pond. My intent here is to continue to post witchcraft-related content for those who are interested in learning more. It's tough, though, during the holiday season, which for us stateside began in November with Thanksgiving.

During readings, people often ask me how the witch craze finally drew to a close. After all, why stop after four hundred years of persecution? That's got a lot of momentum.

There are many, interconnected and complex reasons for the witch craze coming to an end. One, that I'll quickly explore here, is the fact that they simply ran out of women. Literally, in a few cases: there were two German towns that were left with one woman each.

Can you imagine being that one woman?

In a more general sense, though, the villages and cities ran out of women who were stereotypically able to fulfill the role of witch. These would be women outside of society somehow: whether poverty-stricken, displaying mental health issues, or perhaps just outside the bounds of what was "normal" for a woman at this time--marrying and producing offspring. These women were easy to capture, interrogate and execute.

But when all those women are gone and the roving accusatorial eye then rested on women who were not the typical witchlike woman... women important to their society, who were married, linked with upright men of the community... well, then it became a little more unsettling. Instead of a self-righteous certainty that your village has executed a witch, you begin to be a little worried that she was actually innocent.

In Salem, Massachusetts, the witch hunts came to a fairly abrupt halt when the governor's own wife was accused.

There were of course many other facets to the closure of witchcraft (which actually is not a solidly-closed door--please see my previous post about the agonizing tragedy of young children in Africa facing accusations of witchcraft today) and I will touch on those in later posts.

Thanks for checking in!

Nausea

Two friends sent me a link to this New York Times story ("In Africa, Accusation of Witchcraft Leads to Abuse") on children accused of witchcraft. I read it with a growing sense of nausea.

In my novel The Witch’s Trinity, a family member has possibly accused her mother-in-law of witchcraft because there is not enough food, and she wants one less mouth around the table. And that’s exactly what is happening today in Angola, Congo and the Congo Republic. Except instead of happening to grownups, it’s happening to children.

The article reports:

Officials attribute the surge in persecutions of children to war — 27 years in Angola, ending in 2002, and near constant strife in Congo. The conflicts orphaned many children, while leaving other families intact but too destitute to feed themselves.

“The witches situation started when fathers became unable to care for the children,” said Ana Silva, who is in charge of child protection for the children’s institute. “So they started seeking any justification to expel them from the family.”

This picture is of a six-year-old boy Afonso Garcia, pushed out of his family home because of accusations of witchcraft. He now lives in a shelter with other boys who were accused. Children are being beaten, abandoned and even killed for being witches.

Although my novel describes a horrifying situation, I appreciated the buffer of its being long ago and far away (and fictional, although it certainly could be any woman’s story from medieval Germany). This New York Times story just makes my heart ache… it is happening now.

Talk of the Bay with Rick Kleffel

I'm excited to report that an interview with Rick Kleffel will broadcast on Halloween, Oct. 31, between 10 am and 11 am on KUSP's Talk of the Bay program. This is 88.9 fm or for those not in earshot, it streams at kusp.org/live. I'll be talking about The Witch's Trinity with Rick.

Read it and eat

Instead of "read it and weep," Towne Center Books has come up with a monthly event called Read it and Eat. It's a luncheon where the author answers questions, reads a passage or two... a low-key, fun thing to do.

For my book, this is quite ironic, since the characters in The Witch's Trinity are starving... but I'll be participating Nov. 30.

Towne Center Books is an absolutely lovely indie bookstore in Pleasanton, California, at 555 Main Street. Please call 925-846-8826 for more information and to register. Hope to see you there.

Death of the Stablehand

First of all, two bloggers were generous enough to post interviews with me: please see Michelle Moran's History Buff and Kelly Hewitt's Loaded Questions.

And here's an image titled Death of the Stablehand by Hans Baldung Grien. Although it appears more modern than the Compendium Maleficarum images I've been posting lately, this is actually older, from the early 1500s. As you can see, the witch in the upper right, wielding what looks like an upside-down broom, has either killed or stupefied the poor stablehand, as the horse looks on bewildered.

Trampling the Cross

Much of witchcraft is a reversal of Christanity. For instance, witches say the Catholic Mass backwards, and it becomes the Black Mass. They accept the Eucharist but underneath their tongue instead of on top--and then spit it out into the privy. In The Witch's Trinity, they pray with their hands pressed together and facing downwards rather than towards heaven. I'm actually not sure if I made up that detail or if I saw it somewhere in my research.

Old witchcraft woodcuts illustrate these reversals. Here is a new witch trampling upon the cross rather than venerating it. And please note--the witch is a male! The image comes from the Compendium Maleficarum, a book that explained everything about witches (borrowing some information from the earlier Malleus Maleficarum, another witch hunting Bible). This woodcut is from a 1610 edition, reproduced in Brian Levack's The Witch Hunt in Early Modern Europe. The Compendium Maleficarum was written by a Milanese monk named Francesco Maria Guazzo.

Is the pebble trial real or invented?

People ask me whether The Witch's Trinity is based on a particular case of witchcraft I found in my research. It's not--it's an amalgam of all the different things I read, as well as some invention.

The pebble trial is a good example of this. In The Witch's Trinity, a character must endure a test of her innocence. A kettle of water is boiled, and three pebbles are thrown into the steaming, rupturing water. The character is asked to retrieve the pebbles--if she can get them, and if she remains unburned, she is innocent.

In my reading, I learned about the pebble trial. It did exist. But I altered it slightly to suit my story--rather than one pebble, the character must collect three, a reference to the Holy Trinity. Like many of the witchcraft tests, this one is impossible to pass successfully.

If you have read The Witch's Trinity (or even if you haven't!) and would like to ask me any questions, please feel free to do so either by writing a comment on any post--the comments automatically go to my in-box, so I always see them--or by sending me an email to (my first name) (the AT symbol) (erikamailman.com). I would love to hear from you.

Witch's Trinity on the radio

I will be on KPFA this Monday the 15th from 3-3:30 p.m. as part of Denny Smithson's Word for Word program, 94.1 FM, discussing The Witch’s Trinity. I don't know if KPFA has live streaming, but the website KPFA.org does indeed post the recordings after the fact

Precursor to the broom

In this image from De Lamiis et Phitonicis Mulieribus--a very old tome on witchcraft--shapeshifted witches ride the air on a stick, a more ancient concept than that of women riding brooms.

De Lamiis was written by German Ulrich Molitor in 1493. He was a law professor, and his book went into several editions, illustrated by woodcuts that were updated so it is possible to find different versions of the same image. I'll post two of those next time for comparison purposes.

Here's what Wikipedia has to say about Molitor:

Ulrich Molitor (15th century) was a Professor of Law at the University of Konstanz, Germany.

He wrote one of the first books on witchcraft, De Lamiis et Pythonicis Mulieribus (The Witches and Diviner Women), published in 1489.

Although Molitor supported the death sentence for heretics and practitioners of witchcraft, from a moderate point of view for his time he considered that the Sabbaths were an illusion caused by the Devil and not a reality.

This image located in Alan C. Kors and Peter Edwards: Witchcraft in Europe 1100-1700.

Shapeshifters

This image is from a 1610 edition of the book Compendium Maleficarum (found in Brian Levack's The Witch Hunt in Early Modern Europe). It shows witches who have taken the form of creatures--including a slow but very evil snail--to work their maleficence.

Shapeshifting plays a role in The Witch's Trinity, as an owl and a cat are possibly imbued with human souls.

It is ON SALE!

My local bookstore (only bookstore in my new "hometown") had not received The Witch's Trinity by the on-sale date of Sept. 25. I had to check back three different times to see this stunning vision: a pile of my books! I knew the store had ordered five copies, so I was thrilled to see only four. That means one got bought! Heady stuff. ;)

Litquake update

Here's the word on the Litquake panel I'm so happy to be part of:

Monday, October 8, 5:30-7:30 pm
The Journey to Being Discovered:
First-Time Authors Reveal All
Foundation Center, 312 Sutter St., Second Floor Conference Room. FREE

Learn from a panel of newly published, first time writers at this panel discussion, a co-production with The Foundation Center. Three novelists and one nonfiction author will talk about all that was involved in making their dream of writing a reality. We’ll cover finding the time and discipline to write regularly, identifying potential publishers, getting noticed by literary professionals, dealing with rejection, and publicizing your book. In Litquake festival fashion, the writers will also be reading from their newly published works. Bring your questions. Space is limited and advance registration required. Please visit http://foundationcenter.org/sanfrancisco/wksjourneyOct_8.html to register.

Participants include: Anita Amirrezvani, Bridget Kinsella, Erika Mailman, and Kemble Scott

The next Witch's Trinity reading is 7 p.m. this Thursday the 4th, at A Great Good Place for Books in Oakland's Montclair District, 6120 La

San Francisco Chronicle

A really nice review ran in the Chronicle for The Witch's Trinity, which you can read here. I really like the reviewer's writing style; she must be a writer herself.

I have four more events scheduled before I lapse into quietude:

* Oct. 4: A Great Good Place for Books, Oakland , at 7 p.m. (6120 LaSalle Ave.)

* Oct. 8: Litquake, San Francisco’s Foundation Center near Union Square, at 5:30 p.m. (312 Sutter St.)

* Oct. 13: Book Passage, Corte Madera, at 4 p.m. (51 Tamal Vista Blvd.)

* Oct. 17: Rickshaw Stop, San Francisco, at 7 p.m. (155 Fell St., at Van Ness)

Witches offer children to the devil

This image was included in a pamphlet for the witchcraft trial of a Scottish woman, Agnes Sampson, in 1591.

Here's what Wikipedia has to say about her trial:

(b.unknown- executed 28 January 1591) Agnes Sampson was a Scottish healer and purported witch. Also known as the "Wise Wife of Keith", Sampson is most famous for her part in the North Berwick Witch trials in the later part of the sixteenth century.

Sampson lived at Nether Keith, a part of the Barony of Keith, East Lothian, Scotland. She was considered to have healing powers and acted as a midwife for a large section of local society.

In the spring of 1590, James VI returned from Oslo after marrying Anne, daughter of the King of Denmark-Norway. The Danish court at that time was greatly perplexed by witchcraft and the black arts, and this must have impressed on the young King James. The regal voyage back from Denmark was beset by storms. "In the summer of 1590 a great witch hunt was instituted in Copenhagen. One of the first victims was Anna Koldings, who under pressure divulged the names of five other women, one of whom was Mail the wife of the burgomaster of Copenhagen. They all confessed that they had been guilty of sorcery in raising storms which menaced Queen Anne's voyage and that they had sent devils to climb up the keel of her ship. In September two women were burnt as witches at Kronborg" ^[1] James heard news from Denmark regarding this and decided to set up his own tribunal.

By the autumn of 1590, Scotland was aflame with witch hunts and many of those sent to trial were questioned by the King himself.

Agnes Sampson was arrested along "sundrie" [sic] others, questioned regarding her role in the storm raising, and that of others. She was put to the torture which she resisted at first but:

"This aforeaside Agnis Sampson which was the elder Witch, was taken and brought to Haliruid house before the Kings Maiestie and sundry other of the nobility of Scotland, where she was straitly examined, but all the perswasions which the Kings maiestie vsed to her with ye rest of his counsell, might not prouoke or induce her to confesse any thing, but stood stiffely in the deniall of all that was laide to her charge: whervpon they caused her to be conueied awaye to prison, there to receiue such torture as hath been lately prouided for witches in that country: and forasmuch as by due examination of witchcraft and witches in Scotland, it hath latelye beene found that the Deuill dooth generallye marke them with a priuie marke, by reason the Witches haue confessed themselues, that the Diuell dooth lick them with his tung in some priuy part of their bodie, before hee dooth receiue them to be his seruants, which marke commonly is giuen them vnder the haire in some part of their bodye, wherby it may not easily be found out or seene, although they be searched: and generally so long as the marke is not seene to those which search them, so long the parties that hath the marke will neuer confesse any thing. Therfore by special commaundement this Agnis Sampson had all her haire shauen of, in each parte of her bodie, and her head thrawen with a rope according to the custome of that Countrye, beeing a paine most greeuous, which she continued almost an hower, during which time she would not confesse any thing vntill the Diuels marke was found vpon her priuities, then she immediatlye confessed whatsoeuer was demaunded of her, and iustifying those persons aforesaid to be notorious witches."

also:

"Item, the saide Agnis Sampson confessed before the Kings Maiestie sundrye thinges which were so miraculous and strange, as that his Maiestie saide they were all extreame lyars, wherat she answered, she would not wishe his Maiestie to suppose her woords to be false, but rather to beleeue them, in that she would discouer such matter vnto him as his maiestie should not any way doubt off. And therupon taking his Maiestie a little aside, she declared vnto him the verye woordes which passed betweene the Kings Maiestie and his Queene at Vpslo in Norway the first night of their mariage, with their answere eache to other: whereat the Kinges Maiestie wondered greatlye, and swore by the liuing God, that he beleeued that all the Diuels in hell could not haue discouered the same: acknowledging her woords to be most true, and therefore gaue the more credit to the rest which is before declared."(Newes from Scotland)^[2]

Prior to this last confession James had not been convinced of Sampson's guilt, but afterwards he was convinced. Sampson was taken to the Scaffold on Castlehill, garotted then burnt to ashes.

Edinburgh Burgh Treasurer's accounts itemise the cost of Agnes Sampson's execution, giving the date as the 16 day of January 1590 [OS] 'quha wes burnt' as £6 8s 10d.

This image is from Alan C. Kors and Peter Edwards: Witchcraft in Europe 1100-1700