Timeless, universal, and surprising, this magical and poetic Halloween tale is a gentle reminder that in order to reach for the stars, you must follow your heart.

This story of two girls trying to banish a witch is “full of wonderful fun, excitement, and humor” (Library Journal). Old Witch likes nothing better than to fly around on her broomstick, crying “Heh-heh!” and casting abracadabras. But now she has been sent away . . . by two young girls. Amy and Clarissa have decided that Old Witch is just too mean and wicked. So, drawing a rickety old house upon a barren glass hill, they exile Old Witch there with a warning: She better be good, or else no Halloween! But to give Old Witch some company, they draw her a Little Witch Girl and a Weeny Witch Baby . . . Old Witch tries to be good, but anyone would get up to no good in a place as lonely as the glass hill. And Amy and Clarissa are about to find that out, when Old Witch magics them into her world of make-believe-made-real, in “a very special book that is certain to give boundless pleasure—at any time of the year” (The Horn Book). “A classic for Halloween.” —Library Journal

Roald Dahl meets Eva Ibbotson in this hilarious middle grade debut * "Fifth-grader Rupert Campbell lives in a world that combines Roald Dahl’s Witches and Louis Sachar’s Wayside School. Readers will banish themselves from the ordinary world to finish this book in a flash." --Kirkus Reviews, starred review Rupert Campbell is fascinated by the witches who live nearby. He dreams of broomstick tours and souvenir potions, but the closest he can get to a witchy experience is sitting in class with his awful teacher Mrs. Frabbleknacker, who smells like bellybutton lint and forbids Rupert’s classmates from talking to each other before, during, and after class. So when he sees an ad to become a witch’s apprentice, Rupert simply can’t resist applying. But Witchling Two isn’t exactly what Rupert expected. With a hankering for lollipops and the magical aptitude of a toad, she needs all the help she can get to pass her exams and become a full-fledged witch. She’s determined to help Rupert stand up to dreadful Mrs. Frabbleknacker too, but the witchling's magic will be as useful as a clump of seaweed unless Rupert can figure out a way to help her improve her spellcasting—and fast!

Have you not always wondered as a child if witches really flew during the night on their brooms? And what was their destination? "How Do Witches Fly?" is an answer to these questions. It shows that witches anointed themselves with the "flying" ointment before they flew to their gatherings on special nights of the year. The book scientifically dissects the ointment and reveals its herebal and animal ingredients and biochemical components. It is a popular science treatise on alkaloids and their action, spiced with curious stories about Mediaeval witchcraft rituals. It offers recipes of the ointment and advances a biochemical theory on the mechanisms of the ointment action on human senses and perception. The book features the art of the world-renowned artist Barbara Broughel, which bridges the history of New England witchcraft trials and contemporary American society. "How Do Witches Fly?" is a charming reference book for students of herbalism, biochemistry, Mediaeval history and occultism of various ages and education. What a great Halloween reading! But Halloween is every night according to the author.

Reminiscent of the works of Margaret Atwood, Shirley Jackson, and Octavia Butler, a biting social commentary from the acclaimed author of Lakewood that speaks to our times—a piercing dystopian novel about the unbreakable bond between a young woman and her mysterious mother, set in a world in which witches are real and single women are closely monitored. Josephine Thomas has heard every conceivable theory about her mother's disappearance. That she was kidnapped. Murdered. That she took on a new identity to start a new family. That she was a witch. This is the most worrying charge because in a world where witches are real, peculiar behavior raises suspicions and a woman—especially a Black woman—can find herself on trial for witchcraft. But fourteen years have passed since her mother’s disappearance, and now Jo is finally ready to let go of the past. Yet her future is in doubt. The State mandates that all women marry by the age of 30—or enroll in a registry that allows them to be monitored, effectively forfeiting their autonomy. At 28, Jo is ambivalent about marriage. With her ability to control her life on the line, she feels as if she has her never understood her mother more. When she’s offered the opportunity to honor one last request from her mother's will, Jo leaves her regular life to feel connected to her one last time. In this powerful and timely novel, Megan Giddings explores the limits women face—and the powers they have to transgress and transcend them.