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The Witch and the Priest The Dennis Wheatley Library of the Occult Vol 29 Hilda Lewis 9780722155196 Books

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The Witch and the Priest The Dennis Wheatley Library of the Occult Vol 29 Hilda Lewis 9780722155196 Books

Father Samuel Fleming, "feeble" and sick, is plagued with doubt. Having presided along with two others over a witchcraft trial of a mother and two daughters who he helps condemn to death; having seen the mother, Joan Flower die in captivity before she can be hanged as are her daughters Margaret and Philippa, Fleming is tormented by the fact that he might have been wrong: "Witch. The word had haunted him this twelvemonth, a burden upon his heart, ever since the women had gone to their death..." He had known Flower as a good woman until her husband died and she turned to prostitution to feed herself and her daughters--the very same girls Fleming baptized. They confess to the crime of witchcraft, but so have others--some out of hope that in so doing they could avoid the gallows; some out of pride; some out of the actual belief that they could "alter the laws of Nature;" some out of hopelessness. Fleming wonders if some "had their tongues... loosed by the cruelty of man to man? Had they said anything--anything at all--for a little sleep, a little respite from the continual questions?" and "how many, many times had evidence been found to be false? More than one witch--so-called--has been hanged by the lying tongue of a spiteful child that knew not what it did." Does Father Fleming have blood on his hands?

Struggling for answers, Fleming wanders into the woods near what remains of the Flower's home and calls Joan Flower's name. He cries aloud, "Did we wrong you bitterly, you and your two daughters? Or were you rightly judged? Tell me. Tell me, Joan Flower... Were you a witch, Joan Flower? Were you a witch?" And suddenly Joan Flower is standing before him.

The Witch and the Priest (1956; Valancourt reissue, 2013) is one of Hilda Lewis' many successful historical novels, and is based upon a real witchcraft trial in 1618 in Leicestershire, England.

In a Foreword to the novel Lewis writes that the "casting of the spells" in the novel follows the confessions of the Flower women "and the celebrations of the Witches' Sabbath are described in the confessions of witches throughout Christendom. Whether the casting of these spells actually brought them the desired end; whether the witches actually flew or drugs lent them the illusion of flying, does not matter. What matters is that the witches themselves believed in their supernatural powers." Lewis also provides fascinating witchcraft lore on familiars (pets kept by witches to aid in their bidding--and the very real, common sense reason why so many women were accused of such infernal companions), the folly of believing in "the Devil's Marks" upon a witch's body, and some of the many so-called tests that proved a woman is a witch. She also ends the novel listing two pages of books, tracts, and pamphlets consulted in creating the novel.

In addition to the research that Lewis did to produce her novel, the novel is all the more fascinating due to the points of view that Lewis adopts for the telling of her novel. Not only do three women die (as well as others), condemned as witches, leaving Father Fleming conflicted about their guilt or innocence and the role he has played in their demise, but Joan Flower appears to Fleming as a ghost--trapped between Heaven and Hell and unable to move to either by both God and Satan. The novel is made up of a series of conversations, debates, and discussions between "a living Priest of God and the ghost of a witch" as she slowly unveils the truth of what happens in her and her daughters' lives. She unveils their entire, lengthy history--their modest roots, their descent into poverty, and their adoption of witchcraft. Never does she deny the fact that she and her daughters are witches and deserve their fate, but she does steadfastly argue that innocent others have been falsely condemned to death. She details in her many appearances to Fleming of the growing gap between her two daughters--one a true believer of Satan, the other more hesitant. Frequently she tells Fleming things about her family and other members of the village that Fleming wishes he could go without hearing which recurrently has him beating upon his own breast, convinced he has performed his duties as a priest and a judge badly and has been an equally inferior human being.

Flower repeatedly assures Fleming, "Ghosts cannot lie," and as she tells her tale and answers Fleming's questions it becomes increasingly clear that not only is there a battle between God and Satan for Joan Flower's soul, but if Father Fleming has failed in his duty to the Flower women and to justice and has caused innocents to die, he will be condemned by the very God he has spent his life representing on earth or he will be claimed by Satan himself.

Another enticing aspect of The Witch and the Priest is that the discourse between Fleming and Flower in many ways becomes a deliberation on theology and the belief or disbelief in God--his existence and his powers. Their conversations frequently become debates with point and counter-point and sometimes counter, counter-point.

More important than the theological debates between the priest and the witch are the evils of mankind, especially toward women, that Flower reveals in her tale. Her descriptions of how her daughters and others are treated during their two-month ordeal "in the dark and stinking cell" of their prison is as terrifying (if not more so) than the satanic rituals that Lewis describes. Flower (and is not the name ironic?) reminds Fleming that some of the populace lament the fact that in Britain at the time they only hanged witches whereas in other, more "zealous" countries witches were burned alive. "...cruelty is a madness in the heart, and neither rhyme nor reason can set its bounds," Flower comments. At another point Flower states something that should still resonate with readers today, "Let us hope your god keeps his account of what is done in his name."
The Witch and the Priest answers the question: when is a novel about witchcraft, black magic, satanic rituals, bloodshed, and ghosts not a horror novel? Well-written and engaging from beginning to end with only a little repetition which would be true of any on-going conversation between two people, Lewis' novel is an amazingly humane and provocative story and as Joan Flower ends the telling of her tale which also signals her final departure from the priest's life, the novel concludes on a surprisingly loving and unforgettable note. This most unusual novel is not one to be missed. [NOTE: Writer Allison Weir provides a fascinating oversight of the work of Hilda Lewis in the Introduction to the Valancourt edition.]


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The Witch and the Priest The Dennis Wheatley Library of the Occult Vol 29 Hilda Lewis 9780722155196 Books Reviews

"Very original study in seventeenth-century witchcraft in England; not to be confused with New England & 1692...The armosphere of hatred, fear and bestial excitement is evoked with a horrible fascination." Birmingham Post, "Out of the ruck...A sexy tour de force, this!!" The Sunday Times, "Strange terror fills this tale of 17th-century witchcraft...Horrific and written with much skill." Daily Telegraph. A real page turner that you cannot seem to put down and a truly enjoyable, interesting and fun read!
So so story. Not memorable. Fifteen more words required to say very little about a book that barely deserved any.
The Witch and the Priest is far more than a horror novel. While Lewis does shock the reader with graphic details of sorcery and infanticide, she also paints a damning picture of a society festering with injustice and misogeny. Lewis points an accusing finger at the corruption of the legal system and the hypocrisies of religion. Both heartbreaking and horrifying, The Witch and the Priest is impossible to put down.
I remember reading this book in the 70s. Now as an adult I thoroughly enjoyed the moral ethical and legal arguments presented by each side. Very unique tale. Suspenseful. Original. Captivating. Highly recommend.
Interesting book, well written.
It was interesting. A little hard to get started. Got more engrossing about half way through. Ending was a little anti climatic.
I first read this book in the 70's and was very glad to see it available for . It grabs your imagination and keeps it throughout the book. It made me want to learn more about the subject of witchcraft in England at the time the book was set in. I would recommend this book to anyone interested in the subject.
Father Samuel Fleming, "feeble" and sick, is plagued with doubt. Having presided along with two others over a witchcraft trial of a mother and two daughters who he helps condemn to death; having seen the mother, Joan Flower die in captivity before she can be hanged as are her daughters Margaret and Philippa, Fleming is tormented by the fact that he might have been wrong "Witch. The word had haunted him this twelvemonth, a burden upon his heart, ever since the women had gone to their death..." He had known Flower as a good woman until her husband died and she turned to prostitution to feed herself and her daughters--the very same girls Fleming baptized. They confess to the crime of witchcraft, but so have others--some out of hope that in so doing they could avoid the gallows; some out of pride; some out of the actual belief that they could "alter the laws of Nature;" some out of hopelessness. Fleming wonders if some "had their tongues... loosed by the cruelty of man to man? Had they said anything--anything at all--for a little sleep, a little respite from the continual questions?" and "how many, many times had evidence been found to be false? More than one witch--so-called--has been hanged by the lying tongue of a spiteful child that knew not what it did." Does Father Fleming have blood on his hands?

Struggling for answers, Fleming wanders into the woods near what remains of the Flower's home and calls Joan Flower's name. He cries aloud, "Did we wrong you bitterly, you and your two daughters? Or were you rightly judged? Tell me. Tell me, Joan Flower... Were you a witch, Joan Flower? Were you a witch?" And suddenly Joan Flower is standing before him.

The Witch and the Priest (1956; Valancourt reissue, 2013) is one of Hilda Lewis' many successful historical novels, and is based upon a real witchcraft trial in 1618 in Leicestershire, England.

In a Foreword to the novel Lewis writes that the "casting of the spells" in the novel follows the confessions of the Flower women "and the celebrations of the Witches' Sabbath are described in the confessions of witches throughout Christendom. Whether the casting of these spells actually brought them the desired end; whether the witches actually flew or drugs lent them the illusion of flying, does not matter. What matters is that the witches themselves believed in their supernatural powers." Lewis also provides fascinating witchcraft lore on familiars (pets kept by witches to aid in their bidding--and the very real, common sense reason why so many women were accused of such infernal companions), the folly of believing in "the Devil's Marks" upon a witch's body, and some of the many so-called tests that proved a woman is a witch. She also ends the novel listing two pages of books, tracts, and pamphlets consulted in creating the novel.

In addition to the research that Lewis did to produce her novel, the novel is all the more fascinating due to the points of view that Lewis adopts for the telling of her novel. Not only do three women die (as well as others), condemned as witches, leaving Father Fleming conflicted about their guilt or innocence and the role he has played in their demise, but Joan Flower appears to Fleming as a ghost--trapped between Heaven and Hell and unable to move to either by both God and Satan. The novel is made up of a series of conversations, debates, and discussions between "a living Priest of God and the ghost of a witch" as she slowly unveils the truth of what happens in her and her daughters' lives. She unveils their entire, lengthy history--their modest roots, their descent into poverty, and their adoption of witchcraft. Never does she deny the fact that she and her daughters are witches and deserve their fate, but she does steadfastly argue that innocent others have been falsely condemned to death. She details in her many appearances to Fleming of the growing gap between her two daughters--one a true believer of Satan, the other more hesitant. Frequently she tells Fleming things about her family and other members of the village that Fleming wishes he could go without hearing which recurrently has him beating upon his own breast, convinced he has performed his duties as a priest and a judge badly and has been an equally inferior human being.

Flower repeatedly assures Fleming, "Ghosts cannot lie," and as she tells her tale and answers Fleming's questions it becomes increasingly clear that not only is there a battle between God and Satan for Joan Flower's soul, but if Father Fleming has failed in his duty to the Flower women and to justice and has caused innocents to die, he will be condemned by the very God he has spent his life representing on earth or he will be claimed by Satan himself.

Another enticing aspect of The Witch and the Priest is that the discourse between Fleming and Flower in many ways becomes a deliberation on theology and the belief or disbelief in God--his existence and his powers. Their conversations frequently become debates with point and counter-point and sometimes counter, counter-point.

More important than the theological debates between the priest and the witch are the evils of mankind, especially toward women, that Flower reveals in her tale. Her descriptions of how her daughters and others are treated during their two-month ordeal "in the dark and stinking cell" of their prison is as terrifying (if not more so) than the satanic rituals that Lewis describes. Flower (and is not the name ironic?) reminds Fleming that some of the populace lament the fact that in Britain at the time they only hanged witches whereas in other, more "zealous" countries witches were burned alive. "...cruelty is a madness in the heart, and neither rhyme nor reason can set its bounds," Flower comments. At another point Flower states something that should still resonate with readers today, "Let us hope your god keeps his account of what is done in his name."
The Witch and the Priest answers the question when is a novel about witchcraft, black magic, satanic rituals, bloodshed, and ghosts not a horror novel? Well-written and engaging from beginning to end with only a little repetition which would be true of any on-going conversation between two people, Lewis' novel is an amazingly humane and provocative story and as Joan Flower ends the telling of her tale which also signals her final departure from the priest's life, the novel concludes on a surprisingly loving and unforgettable note. This most unusual novel is not one to be missed. [NOTE Writer Allison Weir provides a fascinating oversight of the work of Hilda Lewis in the Introduction to the Valancourt edition.]