Undeniably, evil exists in our world; we ourselves commit evil acts. How can one account for evil's ageless presence, its attraction, and its fruits? The question is one that Jeffrey Burton Russell addresses in his history of the concept of the Devil—the personification of evil itself. In the predecessor to this book, The Devil: Perceptions of Evil from Antiquity to Primitive Christianity, Russell traced the idea of the Devil in comparative religions and examined its development in Western thought through ancient Hebrew religion and the New Testament. This volume follows its course over the first five centuries of the Christian era. Like most theological problems, the question of evil was largely ignored by the primitive Christian community. The later Christian thinkers who wrestled with it for many centuries were faced with a seemingly irreconcilable paradox: if God is benevolent and omnipotent, why does He permit evil? How, on the other hand, can God be all-powerful if one adopts a dualist stance, and posits two divine forces, one good and one evil? Drawing upon a rich variety of literary sources as well as upon the visual arts, Russell discusses the apostolic fathers, the apologetic fathers, and the Gnostics. He goes on to treat the thought of Irenaeus and Tertullian, and to describe the diabology of the Alexandrian fathers, Clement and Origen, as well as the dualist tendencies in Lactantius and in the monastic fathers. Finally he addresses the syntheses of the fifth century, especially that of Augustine, whose view of the Devil has been widely accepted in the entire Christian community ever since. Satan is both a revealing study of the compelling figure of the Devil and an imaginative and persuasive inquiry into the forces that shape a concept and ensure its survival.

Witchcraft and a Life in the New South Africa reconstructs the biography of an ordinary South African, Jimmy Mohale. Born in 1964, Jimmy came of age in rural South Africa during apartheid, then studied at university and worked as a teacher during the anti-apartheid struggle. In 2005, Jimmy died from an undiagnosed sickness, probably related to AIDS. Jimmy gradually came to see the unanticipated misfortune he experienced as a result of his father's witchcraft and sought remedies from diviners rather than from biomedical doctors. This study casts new light on scholarly understandings of the connections between South African politics, witchcraft and the AIDS pandemic.

"There are forces better recognized as belonging to human society than repressed or left to waste away or growl about upon its fringes." So writes Valerie Flint in this powerful work on magic in early medieval Europe. Flint shows how many of the more discerning leaders of the early medieval Church decided to promote non-Christian practices originally condemned as magical--rather than repressing them or leaving them to waste away or "growl." These wise leaders actively and enthusiastically incorporated specific kinds of "magic" into the dominant culture not only to appease the contemporary non-Christian opposition but also to enhance Christianity itself.

In her analysis of the cultural construction of gender in early America, Elizabeth Reis explores the intersection of Puritan theology, Puritan evaluations of womanhood, and the Salem witchcraft episodes. She finds in those intersections the basis for understanding why women were accused of witchcraft more often than men, why they confessed more often, and why they frequently accused other women of being witches. In negotiating their beliefs about the devil's powers, both women and men embedded womanhood in the discourse of depravity.Puritan ministers insisted that women and men were equal in the sight of God, with both sexes equally capable of cleaving to Christ or to the devil. Nevertheless, Reis explains, womanhood and evil were inextricably linked in the minds and hearts of seventeenth-century New England Puritans. Women and men feared hell equally but Puritan culture encouraged women to believe it was their vile natures that would take them there rather than the particular sins they might have committed.Following the Salem witchcraft trials, Reis argues, Puritans' understanding of sin and the devil changed. Ministers and laity conceived of a Satan who tempted sinners and presided physically over hell, rather than one who possessed souls in the living world. Women and men became increasingly confident of their redemption, although women more than men continued to imagine themselves as essentially corrupt, even after the Great Awakening.

An array of original stories from around the world bring a new and exciting twist to one of the most beloved figures in fiction: witches. Witches! Whether you know them from Shakespeare or from WICKED, there is no staple more beloved in folklore, fairy tale, or fantasy than these magical beings. Witches are everywhere, and at the heart of stories that resonate with many people around the world. This dazzling, otherworldly collection gathers new stories of witches from all walks of life. Whether they be maiden, mother, crone, or other; funny, fierce, light and airy, or dark and disturbing; witches are a vital part of some of the greatest stories we have, and new ones start here! Bringing together twenty-nine stories and poems from some of the greatest science fiction and fantasy writers working today, including three tales from a BIPOC-only open submission period, THE BOOK OF WITCHES features Linda Addison, C.L. Clark, P Djeli Clark, Indrapramit Das, Amal El Mohtar, Andrea Hairston, Millie Ho, Saad Hossain, Kathleen Jennings, Alaya Dawn Johnson, Cassandra Khaw, Fonda Lee, Darcie Little Badger, Ken Liu, Usman T. Malik, Maureen F. McHugh, Premee Mohammed, Garth Nix, Tobi Ogundiran, Tochi Onyebuchi, Miyuki Jane Pinckard, Kelly Robson, Angela Slatter, Andrea Stewart, Emily Teng, Sheree Renée Thomas, Tade Thompson, and E. Lily Yu—and contains illustrations from three-time Hugo award-nominated artist Alyssa Winans throughout. This extraordinary anthology vividly breathes life into one of the most captivating and feared magical sorceresses and will become a treasured keepsake for fans of fantasy, science fiction, and fairy tales everywhere.

In Obeah, Race and Racism, Eugenia O'Neal vividly discusses the tradition of African magic and witchcraft, traces its voyage across the Atlantic and its subsequent evolution on the plantations of the New World, and provides a detailed map of how English writers, poets and dramatists interpreted it for English audiences. The triangular trade in guns and baubles, enslaved Africans and gold, sugar and cotton was mirrored by a similar intellectual trade borne in the reports, accounts and stories that fed the perceptions and prejudices of everyone involved in the slave trade and no subject was more fascinating and disconcerting to Europeans than the religious beliefs of the people they had enslaved. Indeed, African magic made its own triangular voyage; starting from Africa, Obeah crossed the Atlantic to the Caribbean, then journeyed back across the ocean, in the form of traveller's narratives and plantation reports, to Great Britain where it was incorporated into the plots of scores of books and stories which went on to shape and form the world view of explorers and colonial officials in Britain's far-flung empire. O'Neal examines what British writers knew or thought they knew about Obeah and discusses how their perceptions of black people were shaped by their perceptions of Obeah. Translated or interpreted by racist writers as a devil-worshipping religion, Obeah came to symbolize the brutality, savagery and superstition in which blacks were thought to be immured by their very race. For many writers, black belief in Obeah proved black inferiority and justified both slavery and white colonial domination. The English reading public became generally convinced that Obeah was evil and that blacks were, at worst, devil worshippers or, at best, extremely stupid and credulous. And because books and stories on Obeah continued to promulgate either of the two prevailing perspectives, and sometimes both together until at least the 1950s, theories of black inferiority continue to hold sway in Great Britain today.

This is the second, and extensively revised, edition of the first full-scale scholarly study of what is arguably the only fully-formed religion that England has ever given the world: that of modern pagan witchcraft, which has now spread from English shores across four continents. Ronald Hutton examines the nature of that religion and its development, and offers a history of attitudes to witchcraft, paganism and magic in British society since 1800. Its pages reveal village cunning folk, Victorian ritual magicians, classicists and archaeologists, leaders of woodcraft and scouting movements, Freemasons, and members of rural secret societies. We also find some of the leading figures of English literature, from the Romantic poets to W. B. Yeats, D. H. Lawrence and Robert Graves, as well as the main personalities who have represented pagan witchcraft to the public world since 1950. Thriller writers like Dennis Wheatley, and films and television programmes, get similar coverage, as does tabloid journalism. The material is by its very nature often sensational, and care is taken throughout to distinguish fact from fantasy, in a manner not hitherto applied to most of the stories involved. Consistently densely researched, Triumph of the Moon presents an authoritative insight into an aspect of modern cultural history which has attracted sensational publicity but has hitherto been little understood. This edition incorporates all of the new research carried out into the subject by the author, and by others who have often been inspired by this book, during the twenty years since it was first published.

Defining 'magic' is a maddening task. Over the last century numerous philosophers, anthropologists, historians, and theologians have attempted to pin down its essential meaning, sometimes analysing it in such complex and abstruse depth that it all but loses its sense altogether. For this reason, many people often shy away from providing a detailed definition, assuming it is generally understood as the human control of supernatural forces. 'Magic' continues to pervade the popular imagination and idiom. People feel comfortable with its contemporary multiple meanings, unaware of the controversy, conflict, and debate its definition has caused over two and a half millennia. In common usage today 'magic' is uttered in reference to the supernatural, superstition, illusion, trickery, religious miracles, fantasies, and as a simple superlative. The literary confection known as 'magical realism' has considerable appeal and many modern scientists have ironically incorporated the word into their vocabulary, with their 'magic acid', 'magic bullets' and 'magic angles'. Since the so-called European Enlightenment magic has often been seen as a marker of primitivism, of a benighted earlier stage of human development. Yet across the modern globalized world hundreds of millions continue to resort to magic - and also to fear it. Magic provides explanations and remedies for those living in extreme poverty and without access to alternatives. In the industrial West, with its state welfare systems, religious fundamentalists decry the continued moral threat posed by magic. Under the guise of neo-Paganism, its practice has become a religion in itself. Magic continues to be a truly global issue. This Very Short Introduction does not attempt to provide a concluding definition of magic: it is beyond simple definition. Instead it explores the many ways in which magic, as an idea and a practice, has been understood and employed over the millennia. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.