From Publishers Weekly
This neat little collection is an interesting and sometimes stimulating hodgepodge that features stunning art by some top comics artists. Reflecting the shifting opinion of witches in both folklore and real life, the volume includes the idea of witches as agents of evil, trying to seduce ordinary people away from righteousness, and an interview with a Wiccan priestess. "Mother of Toads," a 1937 short story by Clark Ashton Smith, describes a young man's sexual initiation by a witch who wreaks vengeance when he insults her later. It emphasizes the loathsomeness of the sex act, especially with a fat old toad-woman; however, the young man certainly has sex on his mind and doesn't try too hard to resist. Mike Mignola's demonic psychic investigator Hellboy makes an appearance in the moody and atmospheric piece "The Troll Witch." Tony Millionaire's eccentric line art makes the familiar chant of the witches from
Macbeth newly eerie. Other superior pieces by Scott Morse and by Evan Dorkin and Jill Thompson further stretch our understanding of who witches are and how they should be combated. This is an anthology in which the parts actually support each other, so that even weaker items look good in context and may even cause a few chills.
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From School Library Journal
Grade 10 Up–This anthology, featuring such top artists as Tony Millionaire, Mike Mignola, and Jill Thompson, has predictable appeal. However, the images chosen for the cover and the book design, which evoke the Dark Ages, belie the range, depth, complexity, originality, and ambition of this remarkably modern compendium. The eight substantial horror tales include cartoon witches from
Macbeth, a "Hellboy" story, and one set in Salem. Illustrated mostly in color and in widely different styles, each one draws readers into another perspective on witchcraft and the place it holds in the Western cultural imagination. A "rare, unexpurgated" version of Clark Ashton Smith's "Mother of Toads" is a disturbingly clear and explicit expression of the imagined and real misogyny that underlies many stories on the subject. At the other end of the psychological scale, in "The Truth about Witchcraft," High Priestess Phyllis Curott speaks personably as a scholar and insider, providing a reality check that amplifies the dark fantasy of folklore and lends the collection another dimension and still greater depth. That–and the concluding animal fable, "The Unfamiliar," a heartbreaking morality tale–will challenge some readers with much more than they bargained for.
–Christine C. Menefee, Fairfax County Public Library, VA