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In 1659, fourteen-year-old Mary Newbury keeps a journal of her voyage from England to the New World and her experiences living as a witch in a community of Puritans near Salem, Massachusetts.
After witnessing the hanging of Goody Glover, young Rachel Gray believes that the old witch has taken possession of her
After being alone for a long time, that witch learns about kindness, what truly matters, and she has a bit of magical fun with her new, spooky friends along the way.
From the illustrator of the web comic Strong Female Protagonist comes a debut middle-grade graphic novel about family, identity, courage -- and magic. In thirteen-year-old Aster's family, all the girls are raised to be witches, while boys grow up to be shapeshifters. Anyone who dares cross those lines is exiled. Unfortunately for Aster, he still hasn't shifted . . . and he's still fascinated by witchery, no matter how forbidden it might be.When a mysterious danger threatens the other boys, Aster knows he can help -- as a witch. It will take the encouragement of a new friend, the non-magical and non-conforming Charlie, to convince Aster to try practicing his skills. And it will require even more courage to save his family . . . and be truly himself.
Desiring a child of her own, Rosina the witch fashions one out of straw and scraps, but when she cannot bring the rag child to life she becomes enraged and turns the village children into shrubs, where they stay until a kind girl discovers the discarded doll and saves her.
This book discusses the role of children in the Salem witch trials through a close reading of the many and varied narratives of the trials, including court records, contemporary and historical documents, fiction, drama, and poetry. Taking a critical theory approach to explore both what we might understand as a child in 1692 New England and to consider our adult investment in reading the child, Kristina West explores narratives of the afflicted girls and the many accused children whom are often absent or overlooked in histories, and considers how the trial structure is continually repeated in attempts to establish the respective guilt and innocence of these and other groups. This book also analyses later manuscripts and fictional rewritings of the trials to question the basis on which assumptions about the child in history are made, and to consider why such narratives of Salem’s children are still relevant now.
As Witch Child ends so Sorceress begins. Alison Ellman is still searching for information about Mary Newbury; she has a diary and some scattered information about other people in Mary's life, but Mary has disappeared into the forests and Alison has no way of following her. But when she meets Agnes Herne, Alison encounters the person who is going to tell her all about Mary's life after she leaves Beulah. Agnes is a descendant of Mary's and has a special skill which allows her to be in touch with Mary in the spirit world. And Mary has a story to tell. A story of love and friendship, sadness and loss. A story that takes her across the New World in an epic search for a home. We fell under the spell of Mary in Witch Child and now at last we find out what happened to her after her ill-fated time in Beulah. Just as Mary's story has to be told to Agnes, it has to be read by us for it is passionate, compelling and utterly wonderful.
In the 1980s, a series of child sex abuse cases rocked the United States. The most famous case was the 1984 McMartin preschool case, but there were a number of others as well. By the latter part of the decade, the assumption was widespread that child sex abuse had become a serious problem in America. Yet within a few years, the concern about it died down considerably. The failure to convict anyone in the McMartin case and a widely publicized appellate decision in New Jersey that freed an accused molester had turned the dominant narrative on its head. In the early 1990s, a new narrative with remarkable staying power emerged: the child sex abuse cases were symptomatic of a 'moral panic' that had produced a witch hunt. A central claim in this new witch hunt narrative was that the children who testified were not reliable and easily swayed by prosecutorial suggestion. In time, the notion that child sex abuse was a product of sensationalized over-reporting and far less endemic than originally thought became the new common sense. But did the new witch hunt narrative accurately represent reality? As Ross Cheit demonstrates in his exhaustive account of child sex abuse cases in the past two and a half decades, purveyors of the witch hunt narrative never did the hard work of examining court records in the many cases that reached the courts throughout the nation. Instead, they treated a couple of cases as representative and concluded that the issue was blown far out of proportion. Drawing on years of research into cases in a number of states, Cheit shows that the issue had not been blown out of proportion at all. In fact, child sex abuse convictions were regular occurrences, and the crime occurred far more frequently than conventional wisdom would have us believe. Cheit's aim is not to simply prove the narrative wrong, however. He also shows how a narrative based on empirically thin evidence became a theory with real social force, and how that theory stood at odds with a far more grim reality. The belief that the charge of child sex abuse was typically a hoax also left us unprepared to deal with the far greater scandal of child sex abuse in the Catholic Church, which, incidentally, has served to substantiate Cheit's thesis about the pervasiveness of the problem. In sum, The Witch-Hunt Narrative is a magisterial and empirically powerful account of the social dynamics that led to the denial of widespread human tragedy.
A young boy and his Norwegian grandmother, who is an expert on witches, together foil a witches' plot to destroy the world's children by turning them into mice.
Back in print! Norman Bridwell's funny and charming story about appreciating individual differences. Someone new has moved into the neighborhood--and she's a witch! Her two young neighbors delight in how she does everything a bit differently from them. She paints her house black, walks her pet dragon around the block, and uses magic to do her shopping and send soup over to people that are sick. However, some of the older townspeople people are not happy about their new neighbor. What kind of magical surprise does the witch have in store for them?