Witchcraft for Wayward Girls by Grady Hendrix has spent weeks on the Publishers Weekly Hardcover Fiction Top Ten list, but like much of today’s contemporary fiction, it’s heavy on plot and light on depth.
The novel lacks beautiful language, layered themes, or compelling figures of speech. Characters are stereotypes or clichés, and even the setting—ripe with potential—is handled in the most basic manner.
Hendrix tells the story of Wellwood, a home for unwed mothers where girls are sent to erase their past “sins.” The protagonist, Fern, and her peers realize their only escape is through witchcraft. However, this isn’t a subtle exploration of spiritual insight—it’s full-blown occultism, presented as an overly simplistic solution to their predicament.
Wellwood and those involved in its operation (except for the trope of the magical black cook) are portrayed as entirely evil. There’s no doubt that homes like Wellwood are apt for abuse and, explored well, create a backdrop for amazing storytelling. But having personally known two people born in a similar home, these institutions were far more complex and deserve a more nuanced portrayal.
Given the title and subject matter, it’s hard not to compare this novel to Weyward. While Weyward had more obvious flaws, its ambition and complexity made it far more interesting.
If Witchcraft for Wayward Girls caught your attention, do yourself a favor—skip it and move on to something better from your TBR list.
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