By Ben Wright (@iamzavagno | www.xgeeks.co.uk)
This review is spoiler-free.
Synopsis:
Glasgow 2024: Clem waits by her daughter’s hospital bed. Erin was found on an idyllic beach in Fynhallow Bay, Orkney with catastrophic burns and only one memory: her name is Nyx.
But how did she get these burns? And how did her boyfriend end up burned alive?
Orkney 1594: accused of witchcraft, Alison Balfour awaits trial. The punishment? To be burned alive.
Separated by four hundred years but bound by the Book of Witching, two women stand imperilled. Can they unlock a centuries-old mystery? And will Fynhallow Bay give up its secrets before someone else dies?
Last summer (2023), I came across the works of C.J. Cooke, and if you’ve read any of my reviews of A Haunting in the Arctic, The Lighthouse Witches or The Nesting, you’ll know I’m a huge fan of this author. So, when I discovered a new book was due to be released in October 2024, I pre-ordered it on Audible straight away. Did it live up to the hype and expectations? Read on to find out…
C.J. Cooke delivers a gripping and thought-provoking story, blending folklore and feminism in a way that feels completely authentic. As in some of her previous works, Cooke splits the narrative across different time periods. The dual-timeline narrative structure is another triumph, allowing for a smooth back-and-forth that enhances the novel’s pacing. The historical chapters are tense, harrowing, and deeply atmospheric, while the contemporary storyline moves with a sense of foreboding that keeps the listener hooked. Cooke’s ability to shift between these timelines without losing momentum is impressive, creating a rhythm that propels the story forward as the connections between past and present gradually unfold.
The Book of Witching gives voice to women’s experiences across time. The portrayal of motherhood is a central, emotionally charged theme that bridges the two timelines. Both timelines explore the complexities of motherhood – its joys, its burdens, and its sacrifices – with great emotional depth. Another pleasing aspect is that the novel never resorts to cheap thrills or overused witchcraft clichés. Cooke’s writing is mature, confident, and free from the sensationalism that often plagues this genre.
Paula Masterton was an excellent choice to narrate The Book of Witching. Masterton had previously narrated Cooke’s The Ghost Woods, which I thoroughly enjoyed, although I never found the time to review it. Interestingly, I had just finished listening to Broken Ghosts by J.D. Oswald, also narrated by Masterton, before moving on to The Book of Witching. It feels like Cooke and Masterton make a wonderful pairing, as Masterton is skillfully able to bring Cooke’s words to life. It’s an immersive performance from start to finish, showcasing the very best of Masterton’s talents as a performer.
In terms of production, the editing wasn’t the most seamless – at least initially. Whether this was an artistic choice or a time constraint, there were several moments when you could hear Masterton taking an audible breath or swallowing. For the first hour or so, it was a bit distracting, as most audiobooks these days are so tightly edited that these elements are removed. However, as the story and performance are so captivating, you start to notice it less. In fact, it adds a certain charm, as if you were sitting there listening to the story unfold in person. While it doesn’t detract from the story, performance, or overall enjoyment of the audiobook, it’s worth noting.
Tense, harrowing, and richly atmospheric, C.J. Cooke’s The Book of Witching is a feminist folklore masterpiece, beautifully brought to life by Paula Masterton’s immersive performance. The perfect listen to bewitch your mind this Halloween.
X-Geeks 