In the haunting and enchanting world of Brom’s “Slewfoot: A Tale of Bewitchery,” readers are transported to Colonial New England, circa 1666. This historical horror novel intricately weaves themes of misogyny, magic, and the struggle for autonomy in a society steeped in rigid moral codes. At the heart of the story is Abitha, a resilient widow grappling with her newfound independence, who finds herself at odds with the vengeful forces that seek to control her.
As she forges an unlikely alliance with an ancient spirit known as Slewfoot, the tale unfolds into a captivating battle between the old ways of nature and the oppressive grip of Puritanical beliefs. In this review, we will explore the rich narrative tapestry that Brom creates, highlighting the poignant struggles faced by its characters against the backdrop of a beautifully illustrated and immersive setting.
Slewfoot: a tale of bewitchery by Brom
The story is set in America in the 1600s. Abitha has been sold as a bride to Edward, a tenant farmer who is frequently manipulated by his older brother, Wallace. Abitha is a strong and likeable character, and there is deep respect and love between her and Edward, which makes it all the more poignant when she loses him.
As a widow, Abitha is entitled to certain rights that married and unmarried women do not have, but because these rights inconvenience Edward’s older brother, she becomes the target of Wallace’s ire. Wallace’s determination makes him stupid, and there are times when his villainy borders on slapstick, but that doesn’t make him any less dangerous.
Abitha’s journey towards self-discovery and self-reliance is mirrored by that of her strange friend – a horned beast able to harness natural magic or tear its enemies limb from limb. We want her to succeed but the antagonists are legion. Wallace, driven by greed and belief in his own God-given entitlement, is the greatest threat to her. Mary Shelley is quoted as saying: “No man chooses evil because it is evil; he only mistakes it for happiness, the good he seeks.”
This describes Wallace and others in Brom’s story perfectly. They believe that what they are doing is right. Wallace sees himself as protecting the family fortune from a woman who would squander it. For him, the end more than justifies the means, and as the authority and respect he enjoys slips away, his ferocity and violence increase.
This is a tale of misogyny – the fear and hatred of women and the desire to control them – a thread that directly links the Puritan villagers in Slewfoot to the modern-day religious right in America, and the main motivation behind the witch trials. Brom’s depictions of Abitha’s many trials and struggles are harrowing, especially as we can see similar dramas still being played out. The story delves into the fantastic, pitting old gods against pious Christians, while cleverly revealing the good and bad in both.
Slewfoot is a rich, multi-layered and immersive novel with a very satisfying ending, although personally I could have done without the epilogue – it’s too on the nose without the delicious nuance of the main story.
The paperback copy is a generous 7 x 9 inches with eight colour plates at the centre and gorgeous black and white images throughout – a book to be treasured.
Slewfoot: A Tale of Bewitchery by Brom
Set in Colonial New England, Slewfoot is a tale of magic and mystery, of triumph and terror as only dark fantasist Brom can tell it. Connecticut, 1666: An ancient spirit awakens in a dark wood. The wildfolk call him Father, slayer, protector. The colonists call him Slewfoot, demon, devil.
To Abitha, a recently widowed outcast, alone and vulnerable in her pious village, he is the only one she can turn to for help. Together, they ignite a battle between pagan and Puritan – one that threatens to destroy the entire village, leaving nothing but ashes and bloodshed in their wake. This terrifying tale of bewitchery features more than two dozen of Brom’s haunting full-colour paintings and brilliant endpapers, fully immersing readers in this wild and unforgiving world.
Further Reading
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