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Queer witchcraft literature is a genre that explores the intersections of witchcraft and LGBTQ+ identities. It encompasses a wide range of literary works, including books, articles, and essays, that discuss and investigate the experiences and practices of queer witches. This genre is rooted in the belief that witchcraft, as a spiritual practice, can offer empowerment, healing, and a sense of belonging to LGBTQ+ individuals. Queer witchcraft literature often challenges heteronormative and patriarchal structures that have historically marginalized both LGBTQ+ individuals and witches. It seeks to reclaim and redefine witchcraft as a source of personal and collective power for queer people, offering alternative perspectives on spirituality, gender, and sexuality. By highlighting the voices and experiences of queer witches, this literature aims to create a space for affirmation, celebration, and exploration of diverse identities and practices.

L. Frank Baum only mentioned a "Wicked Witch of the South" in passing; because she was referred to as a Wicked Witch and dwelled in a hidden area of Quadling Country, it was theorised by some that Blinkie was in fact the erstwhile Wicked Witch of the South, reduced to lesser means after Glinda deposed her. Some post-canonical works identify Blinkie as the Wicked Witch of the South.

Margaret Hamilton plays the Wicked Witch of the West in the 1939 MGM film The Wizard of Oz, but Glinda, the Good Witch of the North, is played by Emma Thompson. However, many people believe that she is the good witch of the north because she is often associated with the land of Oz and its northernmost region.

By highlighting the voices and experiences of queer witches, this literature aims to create a space for affirmation, celebration, and exploration of diverse identities and practices. Within queer witchcraft literature, there are various themes and topics that are commonly explored. These include discussions on the historical persecution of LGBTQ+ individuals accused of witchcraft, the representation of queer witches in mythology and folklore, the use of witchcraft as a tool for self-discovery and personal growth, and the intersectionality of queer and witch identities with other marginalized identities.

The Truth About The Wicked Witch Of The South

In the land of Oz, there is a Wicked Witch of the East and a Wicked Witch of the West. But is there a Wicked Witch of the South? Some say that the Wicked Witch of the South is a figment of the imagination, conjured up by frightened children to keep them from venturing too far from home. Others believe that she is real, and that she lurks in the dark forests and swamps of the land, waiting to snatch unsuspecting victims. So, is there a Wicked Witch of the South? Perhaps she exists only in the minds of those who believe in her. Or, maybe she is real, and hiding in the shadows, ready to pounce on her next unsuspecting victim.

Before the arrival of the Wizard in Oz, the Quadling Country was ruled by the Wicked Witch of the South. She was overthrown by Glinda and put in a state of sleep for 100 years. When she discovered she had awakened, she began planning revenge against her cousins for their deaths at the hands of Dorothy Gale. According to some post-Baum works, Blinkie is the wicked witch of the south. L. Frank Baum did not make any allusions to the wicked witches’ relationship. She was also featured in Marvel Comics as an alternate. The Wicked Witches of the East and West were referred to by Rachel Cosgrove as her cousins. Kragmagda is the name given to her in The Magic Book of Oz.

Margaret Hamilton as Miss Gulch, The Wicked Witch of the West (1939 MGM) – IMDb

Tattypoo became the queen of the Great Outside World, after Locasta, the true Good Witch of the North, was lost.

The Wicked Witch of the East is named after Nessarose Thropp in Gregory Maguire’s more recent novel, Wicked: The Life and Times of the Wicked Witch of the West. Her physically disabled sister, Elphaba, serves as her sister in The Wicked Witch of the West.

In Baum’s original version, Glinda is the southern witch rather than the North’s, and she does not appear until the second chapter after the first. According to the book, she is not only “kind to everyone,” but she is also “the most powerful of all witches.”

Moreover, queer witchcraft literature often delves into the practical aspects of witchcraft, providing guidance and advice on rituals, spells, and other magical practices. It may also present personal narratives and accounts of queer individuals who have found solace, empowerment, and liberation through their involvement in witchcraft. While queer witchcraft literature is an emerging genre, it has gained significant recognition and acceptance within the LGBTQ+ community and the wider occult and spiritual communities. It has become an important tool for fostering queer resilience, healing, and empowerment, as well as for challenging societal norms and fostering a more inclusive and accepting world..

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