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The Witch and the Priest
"Her books are among the finest historical novels ever written." - Alison Weir
"[O]rgies, spells, and rites . . . a tasty brew!" - Library Journal
"This novel by Hilda Lewis is one of the best I have ever read about witchcraft." - Dennis Wheatley
"All-out weirdness ... The ghost of a witch and the parson who sent her up for trial and is now tormenting himself ... crimes, orgies, and the Devil in person." - Illustrated London News
Samuel Fleming, an aging priest, is tormented by doubts on the case of Joan Flower and her daughters Margaret and Philippa, whom he helped condemn to death as witches in 1618. Were they guilty? Was justice done? Did he do all he could to save their souls? The spirit of Joan Flower appears to him and tells him that she has been rejected by both Heaven and Hell and is condemned to wander the earth. She unfolds a story of horror, telling how she and her daughters became witches, participated in orgies at the witches' sabbath with the Devil himself, cast spells to kill and torment their enemies, and eventually faced trial and execution. As Samuel listens, he tries desperately to find some way to save the witch's soul. And the stakes are for as the witch tells her horrifying tale, Samuel realizes that hers is not the only soul in jeopardy, and if he fails, he may be joining her in Hell!
Hilda Lewis (1896-1974), a prolific author of historical fiction, ranked The Witch and the Priest (1956), based on the real-life case of the Witches of Belvoir, as her own favourite among her many novels. In creating this masterpiece of historical fiction, Lewis conducted extensive research on the case and on early works of witchcraft and demonology, resulting in a novel that is both compulsively readable and historically accurate. This new edition is the first in more than 40 years and includes an introduction by bestselling historian and novelist Alison Weir, and the original jacket art by Evelyn Gibbs.
"[O]rgies, spells, and rites . . . a tasty brew!" - Library Journal
"This novel by Hilda Lewis is one of the best I have ever read about witchcraft." - Dennis Wheatley
"All-out weirdness ... The ghost of a witch and the parson who sent her up for trial and is now tormenting himself ... crimes, orgies, and the Devil in person." - Illustrated London News
Samuel Fleming, an aging priest, is tormented by doubts on the case of Joan Flower and her daughters Margaret and Philippa, whom he helped condemn to death as witches in 1618. Were they guilty? Was justice done? Did he do all he could to save their souls? The spirit of Joan Flower appears to him and tells him that she has been rejected by both Heaven and Hell and is condemned to wander the earth. She unfolds a story of horror, telling how she and her daughters became witches, participated in orgies at the witches' sabbath with the Devil himself, cast spells to kill and torment their enemies, and eventually faced trial and execution. As Samuel listens, he tries desperately to find some way to save the witch's soul. And the stakes are for as the witch tells her horrifying tale, Samuel realizes that hers is not the only soul in jeopardy, and if he fails, he may be joining her in Hell!
Hilda Lewis (1896-1974), a prolific author of historical fiction, ranked The Witch and the Priest (1956), based on the real-life case of the Witches of Belvoir, as her own favourite among her many novels. In creating this masterpiece of historical fiction, Lewis conducted extensive research on the case and on early works of witchcraft and demonology, resulting in a novel that is both compulsively readable and historically accurate. This new edition is the first in more than 40 years and includes an introduction by bestselling historian and novelist Alison Weir, and the original jacket art by Evelyn Gibbs.
336 pages, Paperback
First published January 1, 1956
36 people are currently reading
1774 people want to read
About the author
Hilda Lewis
48 books40 followersHilda Winifred Lewis (née Maizels, 1896-1974) was a British writer.
She wrote a noted children's book, The Ship that Flew (1939) which concerns Norse mythology and time travel. It was republished in the Oxford Children's Modern Classics series in 1998. Her three YA books, including the well-received The Gentle Falcon, are available for Kindle and iBooks.
Several of her historical novels, e.g. I am Mary Tudor (1972), received attention. Most of her work is now out of print. Wife to Charles II and I, Jacqueline are available in The Book People's historical fiction paperback collection. The Witch and the Priest (1956) about the seventeenth century Lincolnshire witch trials is well worth reading, even second hand in the freely available but lurid Dennis Wheatley paperback Library of the Occult format.
She wrote a noted children's book, The Ship that Flew (1939) which concerns Norse mythology and time travel. It was republished in the Oxford Children's Modern Classics series in 1998. Her three YA books, including the well-received The Gentle Falcon, are available for Kindle and iBooks.
Several of her historical novels, e.g. I am Mary Tudor (1972), received attention. Most of her work is now out of print. Wife to Charles II and I, Jacqueline are available in The Book People's historical fiction paperback collection. The Witch and the Priest (1956) about the seventeenth century Lincolnshire witch trials is well worth reading, even second hand in the freely available but lurid Dennis Wheatley paperback Library of the Occult format.
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Displaying 1 - 26 of 26 reviews
October 14, 2015
This book is possibly one of the most intelligent novels out there written about witchcraft in England in the 17th century, and it's just downright excellent.
Based on the very real case of the Witches of Belvoir of the 17th century, Lewis has fashioned a very well-crafted story about what really lies beneath the persecution of these women, Joan, Philippa and Margaret Flower. It is also a story about justice, compassion and mercy and the often dual-sided nature of both good and evil.
It is Joan whose story drives the narrative in this novel; the entire book is an ongoing conversation between Joan and the Reverend Samuel Fleming, one of the examining judges in the original case. Fleming, it seems, has been carrying a heavy burden for a "twelvemonth," wondering if these three women were really witches or whether the
"poor hanged creatures were nothing but desperately unhappy; a little crazy, maybe with their miseries? Or -- how if they were poor, merely; and ugly and ignorant and uncouth? That -- and nothing more?"
He also wonders whether or not he was a "righteous judge or a credulous old man," -- indeed, he worries so much that in a moment of agony he calls out to the now-dead Joan Flower, asking the question that had been tormenting him for over a year:
"Did we wrong you bitterly, you and your two daughters? Or were you rightly judged?"
She appears before him to answer in person, and once Fleming agrees to listen, she begins her long story, explaining how and why she became a witch and how she got her daughters involved with her Master.
I think I'll leave it there, but I will say that this novel has it all. You have your Sabbats, esbats and frenzied orgies; there are drugs that offer the feeling of flying, witches' familiars, curses, etc. At the same time Lewis applies astute reasoning to why women (in this case anyway) were often branded as witches.Lewis gets into the socioeconomic reasons, the class/caste differences between the regular folk and the nobility -- the mutual mistrust between the two groups, the double standard benefiting the latter among other things -- and even more relevant in today's world, the failure to take into consideration that some people are just not as mentally acute as others, calling for a justice tempered with mercy and compassion in their cases.
The Witch and the Priest is definitely what I'd call a page turner, but it is also well written and intelligent, making this a novel very much worth reading.
Based on the very real case of the Witches of Belvoir of the 17th century, Lewis has fashioned a very well-crafted story about what really lies beneath the persecution of these women, Joan, Philippa and Margaret Flower. It is also a story about justice, compassion and mercy and the often dual-sided nature of both good and evil.
It is Joan whose story drives the narrative in this novel; the entire book is an ongoing conversation between Joan and the Reverend Samuel Fleming, one of the examining judges in the original case. Fleming, it seems, has been carrying a heavy burden for a "twelvemonth," wondering if these three women were really witches or whether the
"poor hanged creatures were nothing but desperately unhappy; a little crazy, maybe with their miseries? Or -- how if they were poor, merely; and ugly and ignorant and uncouth? That -- and nothing more?"
He also wonders whether or not he was a "righteous judge or a credulous old man," -- indeed, he worries so much that in a moment of agony he calls out to the now-dead Joan Flower, asking the question that had been tormenting him for over a year:
"Did we wrong you bitterly, you and your two daughters? Or were you rightly judged?"
She appears before him to answer in person, and once Fleming agrees to listen, she begins her long story, explaining how and why she became a witch and how she got her daughters involved with her Master.
I think I'll leave it there, but I will say that this novel has it all. You have your Sabbats, esbats and frenzied orgies; there are drugs that offer the feeling of flying, witches' familiars, curses, etc. At the same time Lewis applies astute reasoning to why women (in this case anyway) were often branded as witches.Lewis gets into the socioeconomic reasons, the class/caste differences between the regular folk and the nobility -- the mutual mistrust between the two groups, the double standard benefiting the latter among other things -- and even more relevant in today's world, the failure to take into consideration that some people are just not as mentally acute as others, calling for a justice tempered with mercy and compassion in their cases.
The Witch and the Priest is definitely what I'd call a page turner, but it is also well written and intelligent, making this a novel very much worth reading.
December 6, 2015
A different and alluring book, told as a dialogue between the trapped soul/ghost of Margaret Flower, condemned and executed witch and the priest, Samuel Fleming, who is tormented by his conscience and even doubts that the process against Margaret and her daughters were just and true. Beautiful language and great atmosphere, reads very much like a theater play and the surreality of the narrative and story is almost hypnotic at times. The story wears a bit thin, though and at 2/3 all seems said more or less, therefore the dropped star from an otherwise clear 4. recommended, but condition yourself to an old-fashioned language and also narrative style; low-key, detailed and slow. The language is often beautiful of course, just unfamiliar - have a look at the use of inter-punctuation of this sentence: "Dear Samuel, will you not walk abroad a little this fine day?" she asked, knowing that, as always, his sad heart must lead him to his church; and God would, for a little, take away his loneliness.
Other things I learned from this book: Poison is green and witches cannot produce tears. Oh, and I learned a boatload of words also (a good one to be reading on an eReader). Just as an example, I know now that "Assize" has nothing to do with how much fabric you need to make a pair of pants.
Other things I learned from this book: Poison is green and witches cannot produce tears. Oh, and I learned a boatload of words also (a good one to be reading on an eReader). Just as an example, I know now that "Assize" has nothing to do with how much fabric you need to make a pair of pants.
January 21, 2016
Beautifully written book. It would've earned four stars from me if it were shorter.
Read
September 6, 2015I was in the mood for something scary and this classic book of horror based on actual events doesn't disappoint.
"In 1618, Margaret and Philippa Flower were tried at Lincoln for witchcraft. On their own confession they were found guilty and hanged"
I can't help but wonder HOW their confession was obtained.
"In 1618, Margaret and Philippa Flower were tried at Lincoln for witchcraft. On their own confession they were found guilty and hanged"
I can't help but wonder HOW their confession was obtained.
November 7, 2025
With her only horror novel Lewis produces an excellent classic ghost and witch horror story, that should have much more credit, praise, and influence that it knowingly has. A very modern and surprisingly dark book, that was well ahead of its time, and I can’t believe it was published in the 1950s.
Lewis has a beautiful way with words which adds history, elegance, and profoundness to the prose whilst also conjuring a beautiful image of the scenes. A compelling an satisfying story which both highlights the temptations of the devil, but also his fickle and untrustworthy nature, as well as the evil within “good men”.
Overall this is an excellent witch story which provides depth, darkness, and horror to the traditional myths of witches. A must read for anyone interested in classical witch stories.
Lewis has a beautiful way with words which adds history, elegance, and profoundness to the prose whilst also conjuring a beautiful image of the scenes. A compelling an satisfying story which both highlights the temptations of the devil, but also his fickle and untrustworthy nature, as well as the evil within “good men”.
Overall this is an excellent witch story which provides depth, darkness, and horror to the traditional myths of witches. A must read for anyone interested in classical witch stories.
July 3, 2013
This has recently been republished by Valancourt Books after a long time out of print. I was drawn by the lurid description of the book at least somewhat, but ultimately impressed by the fine writing of Hilda Lewis. The titular witch and priest have a book-long debate about goodness and justice that initially seemed less important than the action, but gradually gained weight and importance and made for a subtle and very moving conclusion. I highly recommend this novel.
May 26, 2015
Different novel from Hilda Lewis concerning the dialogues between the ghost of a witch during the time of King James and the Church of england priest who presided over her hanging. As with all her historical novels, the sense of time and place is impecable.
October 26, 2015
Holy cow, that was a good read. Thanks, Nancy, for bringing my attention to this!
December 9, 2025
I would've enjoyed this more and raced through it quicker if I actually sat down and gave it a proper chance.
The writing was stunning and the gradual changing of perspective and ideology of each character was artfully done.
I thought I'd be haunted by the "witchcraft" in the earlier parts of the novel however I found myself most affected by the priest's crumbling sense of self and sense of justice.
Will most definitely be looking for another of these Penguin Horror books.
The writing was stunning and the gradual changing of perspective and ideology of each character was artfully done.
I thought I'd be haunted by the "witchcraft" in the earlier parts of the novel however I found myself most affected by the priest's crumbling sense of self and sense of justice.
Will most definitely be looking for another of these Penguin Horror books.
January 27, 2026
beautiful
January 16, 2024
If you like “authentic” representations of the occult in fiction and film, then you’ll appreciate Hilda Lewis’ The Witch and the Priest (1956). The novel falters with a clumsy framing device and a writing style that’s too minimalist for the time and subject. Still, these missteps are more than balanced by a careful attention to historical detail and a shape-shifting devil, who is at once seductive and unnerving.
The elderly Reverend Samuel Fleming can’t stop thinking about Joan Flower and her two daughters, Margaret and Philippa. As magistrate, Fleming played a pivotal role in their terrible fate–Joan was mysteriously struck dead while answering to charges of witchcraft, while Meg and Philippa were hanged for their dalliances with the Devil. Now he is haunted by the possibility that they were innocent; and if they were guilty, then why didn’t he, as their Priest and spiritual shephard, guard them from Satan’s snares? The insistence of his questioning calls forth the ghost of Joan Flower, who, rejected by both God and the Devil, exists in a state of limbo between heaven and hell. She has come to tell her story and to offer Fleming another chance to save her soul. If he doesn’t succeed this time, his own salvation may be in danger.
Lewis has done her research on the witchcraft trials of the sixteenth and seventeenth centuries; and her characters bring the dusty details of archival testimony to life. Fictionalized from real historical records, Joan’s confession to Fleming foregrounds the utter strangeness of contemporary beliefs about witchcraft, illuminating the fantasies and anxieties of the time. In her discussion with the Priest, we learn the stages of spellcasting, the order of meetings, and the recipe for flying ointment, an awful unguent made with the fat of infants. She describes the elements of the Sabbath, expanding in particular on a ritual called “The Kiss of Adoration,” during which acolytes pay homage to the devil by pressing their lips to his ass. This isn’t as crude as it sounds because, in a convenient perversion of goat anatomy, the Horned God has a second face below his tail. The novel is full of outlandish anecdotes like this, and my time as a reader was amply rewarded with the endless rich and curious particulars of occult lore.
While many of Joan’s accounts (like the one above) are humorous, others remind us of why people feared the Devil; and these dark yarns shift what would otherwise be straightforward historical fiction into the realm of horror. Lewis’ first description of the Devil is masterful and chilling: Manifesting in Joan’s tiny cabin, he is an impossibly large figure, who must bend and tilt to fit beneath her ceiling. The fluidity of his form is disturbing. Depending on the context, the Devil appears as a handsome man with horns, a boy dressed in green, or a magnificent ram. He may speak smoothly like a flirtatious gentleman or use a child’s voice to condemn the unfaithful. What’s most unsettling about Lewis’ Satan is that he collapses the comforting space between the domestic and the transcendent: He’s a God in a dirty kitchen at mid-day. And the only thing standing between him and the outside world–concealing him from neighboring gossips–is a rag of homespun hastily hung over the window. In Joan’s world, the Devil is as close as the house next door and might be hidden by a threadbare dishcloth. Deftly presenting these precarious situations, Lewis explores the delicate nature of safety and upsets the reader’s sense of security.
The Witch and the Priest is at its best when Joan describes her encounters with Satan and the coven. Unfortunately, her stories are repeatedly interrupted by the novel’s framing device: God is giving Fleming one more chance to save Joan’s soul; In order for the Priest to be victorious, he must understand the circumstances and motivations that led her to the Devil. Thus we have her account. More appropriate for a child’s lesson, this silly conceit of a spiritual contest is too weak to support the weight of Joan’s accusations as she charges the pious community with misogyny, hypocrisy, and cruelty. And lest you forget about the framing device, there are reminders at least once per chapter. Why, the Priest asks, is he suffering through lurid tales of sex and infanticide? Ah, yes, it’s because he’s in the midst of a battle for redemption.
These repeated explanations diminished my enjoyment of the novel and so too did its language. Lewis writes in a clear and concise style. And while this style isn’t appropriate for 17th-century characters, it does make their thoughts and feelings readily accessible to a modern audience. In general, I agree with this aesthetic approach because the primary goal of a novel like this is to entertain. Still, I think that some linguistic opacity is worthwhile, not because it gestures toward “authenticity”--this isn’t an academic exercise–but because it foregrounds the essential foreignness of the past. And that irreducible difference is a little scary. If you’ve seen Robert Eggers The Witch (2015), then you know what I’m talking about. For the first 5 minutes of that film, I struggled to find meaning in the characters’ dialogue and wondered if they were even speaking English. Of course, they are; but the resistance of their speech to modern understanding intensifies the unassimilable particularity and weird atmosphere of the represented historical moment. It creates dark weeds of psychological dread, the kind that can’t creep and twist in the clear space of Lewis’ sentences.
Despite these shortcomings in style and structure, The Witch and The Priest is worth reading for its granular focus on occult practices and memorable representations of the Devil. For an especially witchy weekend, pair it with Eggers’ masterpiece, settle in with your favorite familiar, and enjoy!
The elderly Reverend Samuel Fleming can’t stop thinking about Joan Flower and her two daughters, Margaret and Philippa. As magistrate, Fleming played a pivotal role in their terrible fate–Joan was mysteriously struck dead while answering to charges of witchcraft, while Meg and Philippa were hanged for their dalliances with the Devil. Now he is haunted by the possibility that they were innocent; and if they were guilty, then why didn’t he, as their Priest and spiritual shephard, guard them from Satan’s snares? The insistence of his questioning calls forth the ghost of Joan Flower, who, rejected by both God and the Devil, exists in a state of limbo between heaven and hell. She has come to tell her story and to offer Fleming another chance to save her soul. If he doesn’t succeed this time, his own salvation may be in danger.
Lewis has done her research on the witchcraft trials of the sixteenth and seventeenth centuries; and her characters bring the dusty details of archival testimony to life. Fictionalized from real historical records, Joan’s confession to Fleming foregrounds the utter strangeness of contemporary beliefs about witchcraft, illuminating the fantasies and anxieties of the time. In her discussion with the Priest, we learn the stages of spellcasting, the order of meetings, and the recipe for flying ointment, an awful unguent made with the fat of infants. She describes the elements of the Sabbath, expanding in particular on a ritual called “The Kiss of Adoration,” during which acolytes pay homage to the devil by pressing their lips to his ass. This isn’t as crude as it sounds because, in a convenient perversion of goat anatomy, the Horned God has a second face below his tail. The novel is full of outlandish anecdotes like this, and my time as a reader was amply rewarded with the endless rich and curious particulars of occult lore.
While many of Joan’s accounts (like the one above) are humorous, others remind us of why people feared the Devil; and these dark yarns shift what would otherwise be straightforward historical fiction into the realm of horror. Lewis’ first description of the Devil is masterful and chilling: Manifesting in Joan’s tiny cabin, he is an impossibly large figure, who must bend and tilt to fit beneath her ceiling. The fluidity of his form is disturbing. Depending on the context, the Devil appears as a handsome man with horns, a boy dressed in green, or a magnificent ram. He may speak smoothly like a flirtatious gentleman or use a child’s voice to condemn the unfaithful. What’s most unsettling about Lewis’ Satan is that he collapses the comforting space between the domestic and the transcendent: He’s a God in a dirty kitchen at mid-day. And the only thing standing between him and the outside world–concealing him from neighboring gossips–is a rag of homespun hastily hung over the window. In Joan’s world, the Devil is as close as the house next door and might be hidden by a threadbare dishcloth. Deftly presenting these precarious situations, Lewis explores the delicate nature of safety and upsets the reader’s sense of security.
The Witch and the Priest is at its best when Joan describes her encounters with Satan and the coven. Unfortunately, her stories are repeatedly interrupted by the novel’s framing device: God is giving Fleming one more chance to save Joan’s soul; In order for the Priest to be victorious, he must understand the circumstances and motivations that led her to the Devil. Thus we have her account. More appropriate for a child’s lesson, this silly conceit of a spiritual contest is too weak to support the weight of Joan’s accusations as she charges the pious community with misogyny, hypocrisy, and cruelty. And lest you forget about the framing device, there are reminders at least once per chapter. Why, the Priest asks, is he suffering through lurid tales of sex and infanticide? Ah, yes, it’s because he’s in the midst of a battle for redemption.
These repeated explanations diminished my enjoyment of the novel and so too did its language. Lewis writes in a clear and concise style. And while this style isn’t appropriate for 17th-century characters, it does make their thoughts and feelings readily accessible to a modern audience. In general, I agree with this aesthetic approach because the primary goal of a novel like this is to entertain. Still, I think that some linguistic opacity is worthwhile, not because it gestures toward “authenticity”--this isn’t an academic exercise–but because it foregrounds the essential foreignness of the past. And that irreducible difference is a little scary. If you’ve seen Robert Eggers The Witch (2015), then you know what I’m talking about. For the first 5 minutes of that film, I struggled to find meaning in the characters’ dialogue and wondered if they were even speaking English. Of course, they are; but the resistance of their speech to modern understanding intensifies the unassimilable particularity and weird atmosphere of the represented historical moment. It creates dark weeds of psychological dread, the kind that can’t creep and twist in the clear space of Lewis’ sentences.
Despite these shortcomings in style and structure, The Witch and The Priest is worth reading for its granular focus on occult practices and memorable representations of the Devil. For an especially witchy weekend, pair it with Eggers’ masterpiece, settle in with your favorite familiar, and enjoy!
February 2, 2022
Would have made a good short story, or even novella. This feels watered down, and a bit dated.
January 9, 2026
Ughhh this book was so hard to get through. I would have dnf'd if it wasn't my bookclub's pick for this month.
1. This was wayyy more theologically dense than I was expecting. I don't mean dense as in complex or difficult, unfortunately the actual meat of the discussions was pretty rudimentary if you're even remotely aware of religious discourse, I mean dense as in fuck there was a lot of it. I guess maybe it's my fault for not expecting a book about a priest battling for a witches soul to be so heavy on the theological debates, but I did not enjoy this at all as someone with an interest in theology (particularly from a feminist lense).
2. The motivations of the characters made no sense. The entire book centers around the priest, Samuel, attempting to redeem the soul of the witch, Joan, so she can reject the devil and go on to heaven. The main point of conflict in this is that Joan remains loyal to the devil even in death. That part is completely nonsensical! She admitted several times she was forsaken by the devil before she died, denied her relation to the devil until she died, and her only way out of ghostly purgatory is to somehow get to heaven. Why does she try to remain loyal to the devil after death when she knows he'll never accept her??? And she already turned against him while alive???
Samuel's internal conflict starts as 'what if Joan and co weren't actually witches' and he's tormented over that. But she shows up to him in ghostly form and confirms that they were witches and he did the right thing in condemning them. The rest of the book his conflict isn't specific. It's partly he wants to save her soul because that's the right thing to do (it's implied his soul may also hang in the balance if he doesn't save her, but he isn't particularly hung up (no pun intended) on this facet), partly he wonders if he judged them fairly while alive (he did and this point is hammered into us), and partly some other bullshit so insignificant I don't remember it. His only real motivation is 'it's the right thing to do', which isn't at all compelling imo.
3. The thing is, she tells the entire story of all the terrible, inhuman things she did while serving Satan. So why is there a like thirty-page tirade about the injustices of their justice system?? SHE IS GUILTY AND WE KNOW THIS FROM THE START. It's hammered into us that Samuel was more than fair, that he demanded they have a fair trial when the town was trying to lynch them, that he was kind, that he believed them until there was irrefutable evidence. There's literally a section where she's like, 'a few towns over (so nothing to do with Samuel) there was a case where a totally innocent girl was brought to trial. She was found innocent, but imagine if she hadn't been! See, your justice system is fucked up' WHAT IS EVEN THE POINT OF BRINGING THAT UP???? WHY IS THIS TREATED AS A VALID POINT?? And no, it isn't 'she's a witch and we're not meant to believe her', Samuel treats this as valid and it's explicitly said that witches can't lie, used to mean that she's a reliable narrator. There is technically an example of a girl who wrongly was hung, but the evidence was so stacked against her I don't get why we're supposed to treat it as a failure of the justice system. 'yes, she hung out with witches, went to our devil orgies, and confessed to being a witch, but only because she's simple and didn't know what was going on!'
Yes, it was wrong, but they 100% did their due diligence so?? This book so closely approaches themes of how the witch hunts were misogynistic and cruel, but this is unfortunately undermined by the fact that WITCHES ARE REAL AND THE NARRATOR WAS A SUPER DUPER GUILTY DEVIL-WORSHIPPING WITCH!!! AND THE PERSON SHE'S TRYING TO HOLD ACCOUNTABLE IS ARGUABLY THE ONLY ONE WHO DID TREAT THEM COMPLETELY FAIRLY AND WAS BIASED *AGAINST* THEM BEING WITCHES!!!
Genuinely the stakes would have been so much better if this took place from Samuel's perspective during the trial, so we don't know if they're guilty or not. Then we could see the injustices taking place instead of Joan recounting them nonsensically after we already know she's guilty. Or, if Samuel *hadn't* done his due diligence and he had to grapple with letting these women go to the gallows, whether they deserved it or not, because of him and his influence. And if he'd been the sole judge instead of one among many. As it was, none of this bullshit made any amount of sense.
4. The theological debates/all of the dialogue were/was so lame. Here's 80% of the book:
Joan: I worshipped the devil and did inarguably evil things.
Samuel: Those evil things you did disturb me. Don't you feel bad worshipping the devil, who is evil?
Joan: No you. Anyway, as I was saying...
This book was 290 pages of complete bullshit. Apparently it was almost out of print but a famous historian lobbied to get it reprinted. Curse her and her bloodline for that.
1. This was wayyy more theologically dense than I was expecting. I don't mean dense as in complex or difficult, unfortunately the actual meat of the discussions was pretty rudimentary if you're even remotely aware of religious discourse, I mean dense as in fuck there was a lot of it. I guess maybe it's my fault for not expecting a book about a priest battling for a witches soul to be so heavy on the theological debates, but I did not enjoy this at all as someone with an interest in theology (particularly from a feminist lense).
2. The motivations of the characters made no sense. The entire book centers around the priest, Samuel, attempting to redeem the soul of the witch, Joan, so she can reject the devil and go on to heaven. The main point of conflict in this is that Joan remains loyal to the devil even in death. That part is completely nonsensical! She admitted several times she was forsaken by the devil before she died, denied her relation to the devil until she died, and her only way out of ghostly purgatory is to somehow get to heaven. Why does she try to remain loyal to the devil after death when she knows he'll never accept her??? And she already turned against him while alive???
Samuel's internal conflict starts as 'what if Joan and co weren't actually witches' and he's tormented over that. But she shows up to him in ghostly form and confirms that they were witches and he did the right thing in condemning them. The rest of the book his conflict isn't specific. It's partly he wants to save her soul because that's the right thing to do (it's implied his soul may also hang in the balance if he doesn't save her, but he isn't particularly hung up (no pun intended) on this facet), partly he wonders if he judged them fairly while alive (he did and this point is hammered into us), and partly some other bullshit so insignificant I don't remember it. His only real motivation is 'it's the right thing to do', which isn't at all compelling imo.
3. The thing is, she tells the entire story of all the terrible, inhuman things she did while serving Satan. So why is there a like thirty-page tirade about the injustices of their justice system?? SHE IS GUILTY AND WE KNOW THIS FROM THE START. It's hammered into us that Samuel was more than fair, that he demanded they have a fair trial when the town was trying to lynch them, that he was kind, that he believed them until there was irrefutable evidence. There's literally a section where she's like, 'a few towns over (so nothing to do with Samuel) there was a case where a totally innocent girl was brought to trial. She was found innocent, but imagine if she hadn't been! See, your justice system is fucked up' WHAT IS EVEN THE POINT OF BRINGING THAT UP???? WHY IS THIS TREATED AS A VALID POINT?? And no, it isn't 'she's a witch and we're not meant to believe her', Samuel treats this as valid and it's explicitly said that witches can't lie, used to mean that she's a reliable narrator. There is technically an example of a girl who wrongly was hung, but the evidence was so stacked against her I don't get why we're supposed to treat it as a failure of the justice system. 'yes, she hung out with witches, went to our devil orgies, and confessed to being a witch, but only because she's simple and didn't know what was going on!'
Yes, it was wrong, but they 100% did their due diligence so?? This book so closely approaches themes of how the witch hunts were misogynistic and cruel, but this is unfortunately undermined by the fact that WITCHES ARE REAL AND THE NARRATOR WAS A SUPER DUPER GUILTY DEVIL-WORSHIPPING WITCH!!! AND THE PERSON SHE'S TRYING TO HOLD ACCOUNTABLE IS ARGUABLY THE ONLY ONE WHO DID TREAT THEM COMPLETELY FAIRLY AND WAS BIASED *AGAINST* THEM BEING WITCHES!!!
Genuinely the stakes would have been so much better if this took place from Samuel's perspective during the trial, so we don't know if they're guilty or not. Then we could see the injustices taking place instead of Joan recounting them nonsensically after we already know she's guilty. Or, if Samuel *hadn't* done his due diligence and he had to grapple with letting these women go to the gallows, whether they deserved it or not, because of him and his influence. And if he'd been the sole judge instead of one among many. As it was, none of this bullshit made any amount of sense.
4. The theological debates/all of the dialogue were/was so lame. Here's 80% of the book:
Joan: I worshipped the devil and did inarguably evil things.
Samuel: Those evil things you did disturb me. Don't you feel bad worshipping the devil, who is evil?
Joan: No you. Anyway, as I was saying...
This book was 290 pages of complete bullshit. Apparently it was almost out of print but a famous historian lobbied to get it reprinted. Curse her and her bloodline for that.
This entire review has been hidden because of spoilers.
January 9, 2026
I absolutely loved the arc this book regarding the Priests moral dilemma over his role in the death of the three village witches. First his constant ruminating on whether they were judged accurately and really were witches led to the appearance of Joan Flower, mother witch, who confirmed the accuracy of the sentencing by describing in grotesque detail the tales of worshiping her master Satan and how she brought her scruple-less daughters to this path. Nevertheless, the Priest is not allowed to feel justified in his participation of their execution as she is insistent that his willing ignorance of the horrendous conditions of England’s jails, torture, questioning leading to false confessions and executions of the innocent means he is still complicit in taking lives he and his fellow men have no right in taking.
Despite the excellent no-nonsense writing, I grew wearisome of the repetitive framing device employed by way of the retrospective narration. I began to lose some of my appetite for the book as the entire novel is written in the same format: priest heads to new location - Joan Flowers appears and regals him of how she and her daughters bewitched/brewed/were shun by others - she disappears when he can take it no longer.
Another repetitive aspect I found a bit tiresome was the constant accusations by Joan Flowers against the Priest and his faith to which the Priest always had a response. Maybe that was the whole point of the novel but for 300 something pages you can’t blame one for growing bored of the same rhythm between the two.
All that to say, I definitely enjoyed this book as a lover of Occult literature and fascination by all witch trials but would I reread? Probably not.
Despite the excellent no-nonsense writing, I grew wearisome of the repetitive framing device employed by way of the retrospective narration. I began to lose some of my appetite for the book as the entire novel is written in the same format: priest heads to new location - Joan Flowers appears and regals him of how she and her daughters bewitched/brewed/were shun by others - she disappears when he can take it no longer.
Another repetitive aspect I found a bit tiresome was the constant accusations by Joan Flowers against the Priest and his faith to which the Priest always had a response. Maybe that was the whole point of the novel but for 300 something pages you can’t blame one for growing bored of the same rhythm between the two.
All that to say, I definitely enjoyed this book as a lover of Occult literature and fascination by all witch trials but would I reread? Probably not.
This entire review has been hidden because of spoilers.
January 24, 2026
Set in the first quarter of the XVII century in the England ruled by James I, the book follows a priest and the ghost of a witch whose death he contributed to. Plagued by remorse, he tries to understand - through her words - whether he truly did is duty as a man of God and of the Law or sent to death an innocent woman.
The interaction between the main characters pushes the reader to go beyond the Christianity-influenced dualism between Good and Evil by trying to justify and make the choices and deeds of the witch look plausible. And - truth be told - there were some parts where I couldn't help but agree with her and completely understand the reason why she acted in a certain way. Thus, the book exposes the conventions - especially the ones begotten by religion (of any sort) - that regulate our life and determine if a deed is good or not.
Secondly, Hilda Lewis gave birth to some of the greatest characters ever. On one hand, Joan who acts as the grieving mother who caused the trial and hanging of her own daughters. On the other, Philippa, one of the girls, who is so in love with Satan to sacrifice her own family. Let's not forget Father Fleming, whose doubts and anguish become the reader's and whole humankind's, as well.
Even though "The Witch and the Priest" was written in the 50s, it is not moralistic nor pretentious and succeeds in entertaining the reader with fast-paced dialogues, thorny questions and a style that helps characters shine and lodge themselves in the mind of the reader.
The interaction between the main characters pushes the reader to go beyond the Christianity-influenced dualism between Good and Evil by trying to justify and make the choices and deeds of the witch look plausible. And - truth be told - there were some parts where I couldn't help but agree with her and completely understand the reason why she acted in a certain way. Thus, the book exposes the conventions - especially the ones begotten by religion (of any sort) - that regulate our life and determine if a deed is good or not.
Secondly, Hilda Lewis gave birth to some of the greatest characters ever. On one hand, Joan who acts as the grieving mother who caused the trial and hanging of her own daughters. On the other, Philippa, one of the girls, who is so in love with Satan to sacrifice her own family. Let's not forget Father Fleming, whose doubts and anguish become the reader's and whole humankind's, as well.
Even though "The Witch and the Priest" was written in the 50s, it is not moralistic nor pretentious and succeeds in entertaining the reader with fast-paced dialogues, thorny questions and a style that helps characters shine and lodge themselves in the mind of the reader.
November 9, 2025
classic spooky book - perfect for Autumn/winter. Surprised I hadn't heard of it until now!
based on a REAL STORY, and it’s historically accurate!!! As Lewis did so much research for the novel on witchcraft and demonology. This book was basically made for me as I’m obsessed with this history. It was great writing and made for an entertaining read. Initially published in 1956 this penguin classic still holds up and I would recommend it to anyone obsessed with witchcraft and the time of witch trials - albeit pretty grotesque at times!!
based on a REAL STORY, and it’s historically accurate!!! As Lewis did so much research for the novel on witchcraft and demonology. This book was basically made for me as I’m obsessed with this history. It was great writing and made for an entertaining read. Initially published in 1956 this penguin classic still holds up and I would recommend it to anyone obsessed with witchcraft and the time of witch trials - albeit pretty grotesque at times!!
May 27, 2022
Brilliantly considered, this dialogue between the spirit of a witch and an aged priest covers a period in which the punishment of witchcraft was rife. Theologically intelligent and superbly reasoned, Lewis reveals the torments suffered by women at the hand of the Crown and the Church.
December 16, 2025
sättet boken genomgående brottas med moral, etik och religion är så intressant. den behandlar kvinnoperspektiv och skillnaden mellan präster och fattiga. språket var lite svårt att komma in i men när jag väl kommit in i boken var den så fin och jag gillade hur den var skriven
January 13, 2024
A really well written novel. Probably the best book dealing with witchcraft that I have read.
April 17, 2024
This book was well written. Good interaction between the characters.
January 2, 2026
ily <3
January 17, 2026
Biggest sloggg of my life but actually very good, cried at work
December 3, 2025
I thought this was a brilliant book, so detailed and nuanced in its exploration of witchcraft. The plot mostly happens through conversation between the two central characters and I didn't know what to expect from this, but it works so well. It's funny in places, but also pretty chilling in others, or smart and reflective - overall, it is a true slow burn and just so interesting. It really dives deep into themes like women's rights, poverty, class and status, religion, and justice. I also think it would make a pretty compelling stage play.
January 3, 2026
Intelligent and poignant, and a lot of fun. I’d have given it 4.5 if how important and well written this book really is hadn’t had outweighed the slight repetition of conversations between Joan Flowers and the Priest in the first third.
I believe this should be read by anyone entering the judicial system as a profession, it’s as relevant today as it was in the 1600s and 1950s. A fantastic read and it will have a long lasting impression on me, I hope I take it all with me and remember it as often as I can.
Aside from this, the depictions of witchcraft are accurate and the occult is understood by the author. It’s great, and I can’t believe how obscure this book is considering how good it is.
Slow start but gripping once you’re a quarter of the way in. I think it could be one of my favourite books.
I believe this should be read by anyone entering the judicial system as a profession, it’s as relevant today as it was in the 1600s and 1950s. A fantastic read and it will have a long lasting impression on me, I hope I take it all with me and remember it as often as I can.
Aside from this, the depictions of witchcraft are accurate and the occult is understood by the author. It’s great, and I can’t believe how obscure this book is considering how good it is.
Slow start but gripping once you’re a quarter of the way in. I think it could be one of my favourite books.
April 22, 2017
This was a good read. Slight spoiler- I do caution before you read it and you are a HP fan. This book was written in the 70s I believe and witches in this book are associated with the devil. So don't go into it thinking it will be like HP cause it's not at all.
A good interesting read I felt.
A good interesting read I felt.
This entire review has been hidden because of spoilers.
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