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With very few exceptions, the men of the novel are abusive and power-hungry. The two characters who embody this theme most vividly are the Eastwood sisters’ unnamed father and Gideon Hill. Both are intent on maintaining control at all costs. They are jealous of the privileges that their society accords them and refuse to share these with women, or even other men. Although elements of their behavior suggest a social dynamic in which men are utterly confident of their control of women, Harrow examines their despicable, socially-enabled behavior in another light. It isn’t the intoxication of total power that drives these men, but fear. Harrow depict patriarchy as emotionally destructive for men as well: Both men are deeply afraid that the women they oppress might someday overpower them, and this damages their ability to empathize with others, causing further harm.
Juniper recalls her father locking her in the basement to reinforce her insignificance: “Her daddy would say: Don’t forget what you are, girl. Then he would toss her down in the worm-eaten dark and hiss the answer: Nothing” (9). The Eastwood father wages a psychologically abuses his daughters, indoctrinating them with the notion of their own powerlessness. While this systematic degradation has an effect, the male head of the family lives in constant fear of his control unraveling. Agnes recalls, “Her daddy was never more dangerous than when he was afraid, and he was always afraid: that they might wriggle out of his grasp, that he was weak, that someone somewhere was laughing at him” (384). It isn’t simply the male fear of being bested by a weaker female. The Eastwood girls possess enough magic to be formidable in their own way. Magic in the novel is a metaphor for female power in its most elemental form. Mr. Eastwood’s fear of being laughed at suggests that under patriarchy, humiliation—a feeling dependent on a sense of powerlessness—is the worst possible fate for a man.
Mr. Eastwood’s attempts to destroy his daughters’ spirits in only partially successful; all three daughters escape his home, retaining both psychological and physical scars. However, the sisters escape his grasp only to be confronted by an even more abusive man who does know how to perform magic, making him a dangerous enemy both socially and supernaturally. Like Mr. Eastwood, Gideon allowed himself to become corrupted by his immense power, and he practices both politics and magic to oppress others. Power is dual-natured, as Mama Mags points out: “She said witching was power and any power could be perverted, if you were willing to pay the price. You can tell the wickedness of a witch by the wickedness of her ways” (92-93). Despite Hill’s formidable power, in the end, his fear is the same as Mr. Eastwood’s. Both know that they are wielding abusive illegitimate power over women and that a day of reckoning must come. As the Last Three tell the Eastwood sisters, Gideon fears “The day the truth comes out […] The day he gets what’s coming [and] Us” (413). Gideon fears that someday, he will be oppressed by the same people he previously exploited. Although the Eastwood sisters defeat Gideon, Harrow resists simply inverting the hierarchy. Rather than Juniper enacting violent retribution, she feels compassion, and ultimately destroys Gideon to protect others, rather than out of vengeance.
In the world of the novel, there are two avenues by which women can combat male domination: politics and magic. Harrow places these forces in juxtaposition, as the historical female suffrage movement develops side-by-side with the return of magic to the world. Unfortunately, the two don’t mesh well in Harrow’s world. Juniper’s suggestion that the suffragettes of New Salem should join the Sisters of Avalon is greeted with derision. The suffragettes want to be taken seriously by the political powers that be, ultimately participating in rather than totally subverting the existing power dynamic. However, their concern also bears merit since the men in the novel have already launched a bloody legal, religious, and political war against witchcraft and burned Old Salem to the ground. Revolution is risky.
This leaves the witches with few options as the traditional avenues to power under patriarchy have all been closed to them. Further, the appearance of a real witch would precipitate another effort to eradicate them. Much like the resistance fighters and revolutionaries throughout history, the witches of the novel find that they must operate under the radar of the authorities. Covert behavior and secret meetings are the only way they can advance their cause. The witches become ever more resourceful as their options dwindle. Once the tower is burned and magical lore is destroyed, they resort to scraps of paper and charmed objects passed from hand to hand. They carry on whispered conversations in alleys and tunnels, and they use cloaking charms that allow their actions to go undetected.
Perhaps the greatest weapon in their arsenal is the words that hide in plain sight. Male authorities are arrogant enough to believe that nothing said to babies and children can hold the slightest importance. Thus, witches are able to pass on their knowledge under the very noses of those who seek to eradicate this lore from the world. Ironically, the lack of credibility that the authorities give to such nonsense is the very reason that Bella is initially unwilling to believe it herself. She debates with Quinn about the value of her own research:
‘But our theories are so tenuous […]Children’s stories! Nursery rhymes! Nothing respectable, nothing verifiable!’
‘Must a thing be bound and shelved in order to matter? Some stories were never written down. Some stories were passed by whisper and song, mother to daughter to sister. Bits and pieces were lost over the centuries, I’m sure, details shifted, but not all of them’ (219).
Quinn’s insistence on the hidden messages of fairytale’s proves to be correct. By linking ancient women’s storytelling traditions and radical knowledge, Harrow suggests that hidden codes among women have always existed and have always been powerful.
Aside from the problem of abusive males holding positions of authority, the biggest obstacle to power confronting the women in the novel is their lack of solidarity with one another. Much of the time, they are divided into camps promoting a single agenda over the common good. This theme is played out not only at a societal level but also in the relationship among the three Eastwood sisters. Their father uses a divide-and-conquer strategy to keep them from overpowering him: “When they were little he was forever playing them one against the other […] finding the cracks between them and wedging them wider” (265-66). This strategy results in a seven-year estrangement among the siblings, which they fortunately overcome as they simultaneously attempt to in create or repair similar bonds with other groups.
With their renewed sense of sisterhood, Juniper is ready to broaden this bond by combining suffrage with witchcraft, declaring that “‘it’s time for the women’s movement to become the witches’ movement’” (120). However, at this point Juniper has not yet built strong relationships with the other suffragettes, and her appeal for solidarity is unsuccessful as the other women are not convinced of Juniper’s revelation. A similar disconnect occurs later in the story when the Daughters of Tituba attend the first Sisters of Avalon meeting. When asked if they will sign the membership rolls, the Daughters decline. Their leader says:
‘I’m afraid we are not interested in’—she makes a gesture at the chattering women, the packed room—‘publicity.’
‘What are you interested in, then?’
A flash of teeth behind the veil.
‘Power, Miss Eastwood.’ She nods regally and her companions stand
beside her. ‘Please do let us know if you find any’ (148).
Through the Daughters of Tituba, Harrow explores how feminism sometimes fails to be intersectional, failing to consider the different needs and perspectives of women of different races, abilities, and identities. A similar factionalism extends to August Lee when Agnes tries to recruit him to help the Sisters. He is prejudiced both because he doesn’t believe women can handle male magic but also because he sees the cause of unionization as more important than fighting for the rights of women. All of these special interest groups finally unite during the pivotal scene when the Eastwood sisters are burning at the stake. Black and white witches join together to save them, as does Lee. Even the conservative faction represented by Grace Wiggin falls by the wayside when she gets her free will back. Repossessed of her free will, the archconservative, anti-feminist Grace chokes Gideon Hill to death. Through this total solidarity, Harrow proposes that the cause of a woman’s right to self-determination is inextricable from racial justice, labor rights, and other progressive reforms.
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