The confessions of Isobel Gowdie are widely recognised as the most extraordinary on record in Britain. Using historical, psychological, comparative religious and anthropological perspectives, this book sets out to separate the voice of Isobel Gowdie from that of her interrogators.

sobel Gowdie has been unfairly labelled "The Witch Queen of Scotland" largely due to her confessions to witchcraft being a matter of historical record. Michael McGrinder tells Isobel's story on a grand canvas spanning a period of seventeen years. This full-length play is not for the prudish nor is it for the faint-hearted, but neither is it for those without a sense of humor or deep compassion. It is for those who like a good story well-told and for those especially who enjoy a love story. It is definitely for all who appreciate great theatre!

This book brings together twelve studies that collectively provide an overview of the main issues of live interest in Scottish witchcraft. As well as fresh studies of the well-established topic of witch-hunting, the book also launches an exploration of some of the more esoteric aspects of magical belief and practice.

Sir James MacMillan first burst into prominence in 1990 with The Confessions of Isobel Gowdie. A steady stream of works has followed, with commissions from many of the world's major orchestras. A prominent part of his work is his religious composition, which includes settings of both the John and Luke passions, Tu Es Petrus (for the 2010 papal visit to Britain) and numerous smaller choral pieces. His works are heard all around the world – Seven Last Words from the Cross has been performed in 24 countries since its premiere in 1994, and his Stabat Mater received a private performance at the Sistine Chapel in 2018. He is a trenchant commentator on a wide range of political, social and theological issues, many of which spring from his commitment to the cultural life of Scotland. He is a passionate advocacy of community involvement in music and set up the burgeoning music festival The Cumnock Tryst in 2013. Much of his music reflects his strong Scottish roots and interest in all aspects of musical tradition.

This collection of trial records, laws, treatises, sermons, speeches, woodcuttings, paintings and literary texts illustrates how contemporaries from various periods have perceived alleged witches and their activities.

In the hundreds of confessions relating to witchcraft and sorcery trials from early modern Britain we frequently find detailed descriptions of intimate working relationships between popular magical practitioners and familiar spirits of either human or animal form. Until recently historians often dismissed these descriptions as elaborate fictions created by judicial interrogators eager to find evidence of stereotypical pacts with the Devil. Although this paradigm is now routinely questioned, and most historians acknowledge that there was a folkloric component to familiar lore in the period, these beliefs and the experiences reportedly associated with them, remain substantially unexamined. Cunning-Folk and Familiar Spirits examines the folkloric roots of familiar lore from historical, anthropological and comparative religious perspectives. It argues that beliefs about witches' familiars were rooted in beliefs surrounding the use of fairy familiars by beneficent magical practitioners or 'cunning folk', and corroborates this through a comparative analysis of familiar beliefs found in traditional native American and Siberian shamanism. The author explores the experiential dimension of familiar lore by drawing parallels between early modern familiar encounters and visionary mysticism as it appears in both tribal shamanism and medieval European contemplative traditions. These perspectives challenge the reductionist view of popular magic in early modern British often presented by historians.

A chance encounter leads teenaged Margaret into the circle of Isobel Gowdie, a "cunning woman" who practices magic and travels in the fairy world. But Scotland is aflame with wars over religion and "correct" belief-English against Scots, Catholics against Protestants-and in the Scottish Highlands, the witch craze is at its height. When Margaret starts to meet with Isobel to learn magic, Isobel is accused of witchcraft, and Margaret becomes a suspect, too. Can Margaret's tutor, Katharine, a Christian mystic, affect the outcome? Bitter Magic is inspired by the true story of the witchcraft trial of Isobel Gowdie in 1662.