When I first heard about The Possession of Barbe Hallay: Diabolical Arts and Daily Life in Early Canada by Mairi Cowan on my beloved "Not Just the Tudors" podcast, I was absolutely stunned... Until that moment, I had no idea that there had been a case of witchcraft resulting in an execution right here in my province in 1660-1661! (Stuff you missed in history class, indeed!) My ancestors left France for New France just a few years later, settling near where the events described in this book occurred. As a descendent of people who also went through the colonial experience of indentured labour, and lived in similar circumstances in this general area, I would have found this story compelling even without the possession aspect, since it gave me a peek into their life situations, beliefs, and attitudes. In telling the story of young Barbe Hallay, a domestic worker afflicted by terrifying demons and spectres apparently sent to torment her by a Protestant miller she'd refused to marry, the author deftly calls on abundant, varied documentation (among which the correspondence of Marie de l'Incarnation, into which I'm now eager to delve) to illustrate the broader complex political, social and religious elements at play at that time in Europe and colonies in the so-called "New World." It was truly fascinating to see how the course, outcome and consequences of this particular case of witchcraft present a marked contrast to the famous outbreaks that took place in Scotland or New England, for example, proving that each was molded by specific circumstances of place and time. And how moving to see a reproduction of Barbe Hallay's mark on her eventual marriage contract, this symbol that said: "I exist, here is proof"!
A few months ago, I happened on Lady Molly of Scotland Yard, a collection of short stories by Baroness Emma Orczy (of Scarlet Pimpernel fame) on the Project Gutenberg site and thought it sounded interesting. Well. Imagine a feminine Sherlock Holmes and you won't be too far from the truth — that influence cannot be denied. These compact narratives, told in a thoroughly modern abrupt style by a close associate, feature the improbably respected head of Scotland Yard's Female Department, a woman with mysterious origins, an incisive understanding of psychology, remarkable intuition, and a fondness for disguise. Alas, some of the pleasure I took in the satisfying plots and clever writing was dimmed by the author's regrettable imperialist, racist, classist views and language. Some works simply don't age well.
I recently expressed my hope that the final season of "Penny Dreadful" would be aired soon, and last week I got my wish! I've only watched the first episode thus far and, while I did enjoy it, it seemed a bit confusing to introduce so many new characters at once... Eva Green continues to dazzle, as does Rory Kinnear as the cruel-yet-affecting "Monster."