For those who like the good, old-fashioned storytelling techniques of the 19th century (heavy on plot, festooned with lots of odd, memorable characters), “The Last Witchfinder,” by James Morrow, may be just the ticket – with one caveat.
While it may read like a collaboration between Charles Dickens and Henry Fielding, there is at least one stylistic affectation and plenty of modern-
day musing about advanced sciences to suggest strong influence from writers like William Gibson or cutting-edge scientists such as David Duetch and Wolfgang Ketterle.
Because he works within the genre of fantasy and science fiction, and isn’t afraid to entertain the notions of cutting-edge science within any of his novels, Morrow (“Towing Jehovah,” “Blameless in Abaddon,” “The Eternal Footman”) has gone largely unnoticed by mainstream critics as one of America’s premier comic novelists and satirists. “The Last Witchfinder” could change that.
The novel is set in late 17th-century England, when superstition and bigotry are at odds with science and rational thought and the Parliamentary Witchcraft Act of 1604 was still in play. Morrow’s morality tale couldn’t be better timed, considering events in today’s world.
Protagonist Jennet Stearne is, like all interesting characters, a dichotomy. She studies the practice of science with her aunt, Isobel Mobray (a mentor of sorts), yet still helps search the dissected carcasses of various animals for signs of evil spirits. At one point, Isobel, enamored of Isaac Newton, even writes the great man concerning her supernatural searches, only to be rebuked.
Jennet’s father, Walter Stearne, also happens to be the witchfinder general. And when some of Isobel’s actions bring her to the attention of Walter while he is undertaking a mission to seek out more witches across England, Isobel is put on trial and burned at the stake.
Disgraced and exiled for killing his propertied sister-in-law, Walter takes Jennet and younger brother Dunstan to America, where their superstitious fervor reignites with the Salem Witch Trials.
Still in shock from the horrible execution of her aunt, Jennet becomes one of the first American feminists when she decides her mission in life will be to single-handedly dismantle the Parliamentary Witchcraft Act. She decides to fake being a witch to gain a forum for rational thought and to disseminate Isaac Newton’s thoughts on the absurdity of witchcraft.
Jennet’s brother prosecutes her, and the great philosopher Baron de Montesquieu takes up her defense at the climactic trial. En route to this pivotal plot point, Jennet is captured and held prisoner for seven years by Indians, marries and divorces a postmaster and has an affair with young Ben Franklin.
All of which is more than enough to keep any author – and reader – busy, but Morrow throws in a narrative conceit that makes his historical comedy-cum-satire stand out from the crowd – an alternating narrative related by none other than “Mathematical Principles of Philosophy.” The very book written by Sir Isaac Newton.
As related by “Principles,” most books thought to be written by mere humans were, in fact, penned by other books. This sly auctorial conceit allows Morrow to do some tongue-in-cheek, metafictional ruminating about the endless possibilities presented by quantum theory while tossing out a few mini-critiques concerning various classics of literature.
Sporting an oeuvre that puts him in the highest ranks of comedic novelists and satirical writers, Morrow is long overdue for a mainstream audience.
Dorman T. Shindler is a freelance writer from Missouri.
The Last Witchfinder
By James Morrow
William Morrow, 288 pages, $24.95
