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Book Review: That Very Witch: Fear, Feminism, and the American Witch Film by Payton McCarty-Simas

cover art for That Very Witch by Payton McCarty-Simas

 

That Very Witch: Fear, Feminism, and the American Witch Film by Payton McCarty-Simas

Luna Press Publishing, 2025

ISBN-13: 9781915556608

Available: Paperback, Kindle edition

Buy: Bookshop.org | Amazon.com

 

Payton McCarty-Simas’ That Very Witch: Fear, Feminism, and the American Witch Movie analyzes the cinematic witch’s evolution and relationship to feminist movements from the 1960s to the 2020s. Using historical, social, and feminist models for basis of analysis, they examine how the witch became viewed as both the feminist representation of empowerment and fear. McCarty-Simas’ analysis of the witch film reveals how the witch has been portrayed over time, reflecting significant changes in American culture and politics.

 

A brief history of early European witches, and their associated witch hunts, or “crazes,” driven by bigotry, misogyny, and racism, creates the basis for the contents of the book, as these are central to the concept of the witch. The author addresses the concept of the witch as a symbol in feminist circles, what can be learned from various witch cycles through history, whether witches through time can be considered feminist figures, and more, in their analysis of witch films.

 

In Part 1, “Season of the Witch: The Countercultural Witch Films of the Long Sixties,” the author explores witch films from 1960 through 1973, including the birth and death of the witchsploitation film in the context of the sociopolitical climate of the era. Part 2, “Unpleasant Dreams: Feminism, Satanic Panic and the Witch Films of the 1980s,” takes the reader through the rise and decline of the Satanic Panic. McCarty-Simas expands on how this era’s witch films responded to the earlier witch cycle film, the Panic’s effect on the figure and evolution of the witch and Satan, and antifeminist rhetoric pushed by conservatives that the role of working women, as well as the innovation of home video technology and the VHS, were to blame for Satanic cults lurking around every corner. Particularly interesting in this section is that McCarty-Simas highlights the “Satanic Panic specials,” framing them as horror comedies. For readers who have seen clips or the full version of such shows, you know why the author includes these as horror comedies. Over-the-top “reporting,” alleged experts on Satanic Ritual Abuse who spread disinformation, and decrying explicit material in horror movies while in the same show describing in great detail what happened to alleged victims, are just a few of the reasons the author correctly includes them here.


“Interlude: Notes on the Postfeminist Witch Film (1990-2013)” focuses on the witch film in terms of Third Wave feminism, Riot Grrrls, girl power, the commodification of witches to teenagers, and the bitchification of the witch. The author presents an insightful analysis of
The Craft and its overall failure at intersectionality, and discusses girl and women witches in the Harry Potter franchise. The author includes some television series from this time period as examples of dark fairy tales, highlighting American Horror Story: Coven and its successful portrayal of feminism, race, and intersectionality.

 

Part 3, “Gender, Genre, Psychedelics, and Abjection in the 2010s ‘Witch’ Horror Cycle,” examines 2010s witch films, tying the “demonic woman” to the cycles in previous chapters. A major visual the author uses as a tool for analysis is the smile of the heroine or final girl at the end of horror films, comparing them to how the meaning of this expression can be interpreted on the face of a witch at the end of her film.

 

I would be remiss if I did not address a significant issue with the text, that being the “Works Cited” section. There are links that point the reader to academic library databases where an account is needed to access the articles or books, Google Books links, and broken links, rather than using DOIs (digital object identifiers) or stable URLs. Correct citations bolster the text and provide readers with further information. This includes directing readers to the resource itself.

 

Regardless of the problems with the citations, That Very Witch would be a good resource for readers interested in the history of the American witch film in terms of particular political climates, social movements, and historical context. It provides an extensive film and mediography that has increased my watch list. Recommended.

 

Reviewed by Lizzy Walker

Posted on November 4, 2025 by , Reply

Knight of Gaelgara: War of Souls Apocrypha Book 1 by Gary J. Martin

Cover art for Knight of Gaelgara by Gary Martin

Knight of Gaelgara: War of Souls Apocrypha Book 1, by Gary J. Martin

Temple Dark Publishing, 2024

ISBN: ‎ 9781738467617

Available: Paperback, audiobook, audio CD

Buy: Amazon.com | Bookshop.org

 

 

Knight of Gaelgara is yet another stunning debut to a series published by Temple Dark Publishing. It’s firmly set in the realm of medieval fantasy and contains some of the elements that made the Game of Thrones series so enjoyable. With a layered narrative, numerous characters, and a feeling true to life of the medieval period, this is one the Thrones fans will not want to miss.

 

A simple synopsis of a complex plot is that Sir Rosalind Radsvinn, newly anointed knight, returns to her home, the portside city of Akkson. The city is ruled by her father, Baron Feylan Radsvinn, on the continent of Gaelgara. In a torrid 48 hours, the city is torn apart by the combined assault of invaders from the outside, and the internal strife and rebellion of the people of Akkson.

 

There is a LOT going on in the book, but I don’t want to give it away. The story is written in third person, but told from the perspective of multiple narrators, each with their own agenda for the city of Akkson. That’s where the plot complexity comes in: few of the characters are united in how they view things, and that keeps the narrative engrossing. There are loyalists, flat-out traitors, and those on the fence, and the author makes sure to provide reasons for each. The main turncoat out to destroy the Baron’s family may be a bad guy, but he certainly has some justification for what he does, even if you don’t agree with it. Many of the characters are written in shades of gray, and it’s what keeps the story so interesting. The Baron’s family alone is a study in dysfunction. Rosalind remains loyal to her father, Baron Radsvinn, although he hasn’t done a good job of running the city, while her brother, Ulrik, is an opportunist who may swing to either side, depending on how it benefits him. From the top-level characters to the basic foot soldiers, all the characters are complex and feel true to life. Thankfully, there is a character appendix at the beginning of the book for readers who start to feel overwhelmed by the scope of it all.

 

As far as the writing, this is seriously immersive stuff that will make you think the author must have lived through the period. It feels real, from the trebuchets and ballistae being used to destroy the city walls, to the hard, messy, and ugly battles. These are not glamorous battles like in movies: people get stabbed through the armpits or under the chin through the skull, the kind of places a warrior would actually target, since they are unprotected. It’s the same with the characters that use war-hammers: they go for the joints, and crush them. It’s a good reminder that medieval warfare was hardly honorable. It was unpleasant and a bloody mess. Interesting note: poison gas is actually used as a siege weapon in the book, a very creative touch. There are also some well-written naval battles in the book, something medieval fantasy writers rarely include. Truth be told, these might have been my favorite battle scenes of the book.

 

What also sets this one apart from the others are the original touches in terms of humanoids. The character Thorn is a cougari, a cat-man humanoid, and the Whale Riders are water-breathing humanoids who live in the ocean and ride into battle on whales decked out in armor. Those races add an interesting new element to the medieval style. Let’s hope the Whale Riders keep playing a role, as they were one of the best parts of the book

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Bottom line: for the readers that felt a void in their lives when it became apparent that the Game of Thrones series will probably never be finished, fear not. Gary J. Martin is here, and continues the genre in his own spectacular, original, fashion. This one makes my list of “can’t miss” titles for the year, alongside Ishmael Soledad’s Diathesis, Christopher Micklos’s Tick Town, and J.R. Konkol’s The Guardian’s Gambit. Now, let’s hope we don’t have to wait ten years for the next installment in this series! Beyond highly recommended.

 

 

Reviewed by Murray Samuelson

 

 

Posted on October 16, 2025 by , Reply

Book Review: Samhain Screams edited by Greg Chapman and Cameron Trost

cover art for Samhain Screams edited by Greg Chapman and Cameron Trost

Samhain Screams edited by Greg Chapman and Cameron Trost

Black Beacon Books, 2025

ISBN: 978-0-9756118-2-1

Available: Kindle edition (pre-order release October 17, 2025)

Buy: Amazon.com

 

Samhain Screams is an anthology of Halloween and Samhain-inspired stories, focusing on the creepy and terrifying rather than the superficial aspects of this spooky time of year. Editor Greg Chapman, an Australian, brings a perspective distinct from the typical American experience of the season. It’s a strong collection, with plenty of hits and very few misses. Many of the authors have created atmosphere and suspense that will hook the reader and keep them on the line.

 

Favorite stories include Mia Dalia’s “The Last Pumpkin”, in which a horror writer encounters his biggest fan; DJ Tyrer’s “The Knock”, in which a mystery knocking in the narrator’s apartment building leads to disappearances; Matthew R. Davis’ “Hauntology”, which reveals the secrets of a shopping mall; Hannah Baxter’s outstanding ” The October Shadows”, in which a film studies student is taken over by an obsession with a 1922 horror movie that caused a disturbing riot at its only showing; Kevin M. Folliard’s “Vengeance of Halloween”, an entertaining nightmare about monsters going corporate and planning to take over the world in an ‘eternal October’;  Brian Moreland’s “Sweet Tooth”, in which Helen’s obsession with candy saves her from a serial killer; and C.E. O’ Conaing’s “The Hollows”, where three kids trick-or-treating in a newly-built development have a terrifying experience. The point of view character in this story was in a wheelchair, and her character development was great. The last story in the collection, S.B. Watson’s “The Day You Die’, won me over. I was glad I hadn’t skipped through to the end– it was a perfect “last bite”. Recommended.

 

 

Reviewed by Kirsten Kowalewski

Posted on October 8, 2025 by , Reply
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