One of the miracles associated with king Henry VI (for whom an application for canonisation was unsuccessfully made) is included here from the anonymous collection of miracles made around 1500. This miracle involves the healing of a painful injury to the groin incurred in a country football match, a sport which the writer disparages.

Chapter 2, “Marie Laveau’s Generational Arts: Healing and Midwifery in New Orleans,” turns from Saint Domingue to the immigrant communities of New Orleans many of whom were of Haitian heritage. Through an excavation of the myth and legacy of New Orleans “voodoo queen” Marie Laveau, I argue that Laveau renegotiated her body as capital, resisting social, cultural, and legal forces that sought to commodify, exoticize, or criminalize her. Instead, she became a community leader, healer, and possibly a midwife. Situating Laveau within a longer genealogy of Black women’s birthwork and midwifery within the nineteenth-century US South and circum-Caribbean, this chapter argues for alternative ways of imagining reproduction, kinship, and energy economies. Ultimately, it puts pressure on the myriad myths surrounding Laveau’s dynastic legacy, drawing attention away from white heteropatriarchal logics of touristic consumption, and instead allowing for bodily autonomy, love among women, and the notion of gestation and labor as an autoregenerating, independent economy.

In the 1910s, human and animal populations all over the Lushai Hills were pounded by a chance series of calamities - environmental, financial, agricultural, and epidemiological - forever altering the social landscape. This chapter is about how people attempting to escape the crush of bamboo famine, debt, crop failure, and disease were set in motion across mountains. As traditional coping strategies were constrained by new political, economic, and environmental realities, shattered clan groups began to forge new survival mechanisms out of missionary medicine and Christianity itself. Shattered families, scattered clans, sickly refugees, and indebted labourers were dashed across mountainsides to become seekers of new powers as older survival mechanisms failed or were ruled out, regulated, or lost. Disasters reordered not only by catalyzing opportunities for spiritual searching, but also by remixing splintered clan groups of survivors - once disparate kin groups and communities that, according to contemporary upland cultural logics, were in dire need of communal healing, restoration, and reconciliation. Foregrounding local terminology in the telling of these pasts opens up causal explanations, interpretative pathways, and complexities otherwise obscured by using Western categories and frameworks alone, and points to the multiple meanings of the conversion process itself. Christianity advanced through catastrophe as shattered populations folded it back into the normal healing structures of upland life.

Given their intersecting, historically oppressed identities, Black women are more likely to be exposed to traumatic experiences than other racial groups. In this chapter we review the historical, systemic and institutional, and individual trauma that impacts the mental health of Black women. We provide a framework for treating trauma with Black women that is based on intersectionality and Black feminist theory. Further, we share the key components of providing trauma-informed care and best practices clinicians can use when supporting Black women in healing from trauma.

As discussed throughout the book, Black women experience racial trauma and discrimination and may internalize these messages and become highly self-critical. These experiences can lead to feelings of low self-worth, anxiety, and depression. In this chapter, we share the strategies of self-compassion, self-forgiveness, and self-love and acceptance to support Black women in emotional healing. We also discuss the use of the arts and religion and spirituality as resources for Black women’s healing and thriving.

Creativity is connected to healing in many different ways. Creative people are more likely to experience post-traumatic growth or beneficial psychological changes that come in the aftermath of trauma. Creative activities can also help maintain emotional equilibrium. The cognitive reappraisal of seemingly negative events is associated with divergent thinking. Notably, the act of drawing, writing, or making music simply for the pleasure of the act can improve one’s mood by helping reduce sadness, anxiety, and anger. Even passively engaging in the arts can improve one’s mood and stave off potential cognitive decline.

This chapter traces a history of Native American short stories, from oral narratives to written short stories infused with retellings of Indigenous oral tales reflecting Native values: close relationships with language, land, human and non-human communities, ancestors, and the sacred. Rather than focus on defining the short story as a genre, Native writers tend to focus on story itself, especially the centrality, power, and life-shaping capacities of story. The earliest short stories were embedded in autobiographies, ethnographies, sermons, etc., but became more standalone stories over time. The long tradition of stories in a primarily realist mode has been joined by speculative fiction, science fiction, horror stories, children’s stories, Young Adult stories, and graphic narratives. Native short stories, including interlinked story cycles, critique settler-colonialism, document historical trauma, present Indigenous alternatives to imposed historical narratives, and offer new possibilities for Native continuance.

By analyzing the topography of Selinous, a colonial foundation of the late seventh century BC, the chapter explores the way in which temple building and sacred architecture became subordinated to urban design. From the sixth century BC onward, Greek cult places and temples were increasingly seen as an expression of the urban rather than the natural landscape. This holds true for altars and temples at the center of cult places, but also for fountain houses that replaced or were built over natural fountains. The sacredness of a place was increasingly represented and communicated through monumental stone architecture. At the same time, the novel use of man-made images in Greek sanctuaries contributed to a radical change in which the presence of the gods was imagined and experienced. All this went along with a shift of power and agency from local groups to urban elites, who had the means to control the restructuring and reorganization of sacred landscapes. The violence of this shift is reflected in the iconography that tends to rationalize and sublimize violence against the non-Greek, non-urban, and non-male.

Anishinabe and Mohawk traditional knowledge keepers share their testimony on the crises we are facing today and the choices we need to make for our relationship with Mother Earth. They shed light on traditional principles and prophecies, and on the path towards reconciliation, balance and peace. Grandmother Marie-Josée Tardif, a leader in Anishinabe cultural and spiritual revitalisation talks about restoring the balance with the feminine and our being human. She highlights the role of spiritual traditions and religions in addressing current global challenges. Grandfather T8aminik Rankin, Anishinabe Hereditary Chief and medicine man, who survived the residential schools and led the way towards reconciliation, talks about healing our relationships and walking on the path of reconciliation with ourselves, with other beings and with Mother Earth. Grandfather Ka’nasohon Kevin Deer, a Mohawk faith keeper, leader in Iroquoian cultural and spiritual revitalisation, talks about the necessary change in consciousness to see, to hear and to speak differently, and about the path of the peacemaker.

This chapter argues that people in what became the French colonial territory of Mauritania marshalled l’ḥjāb in their opposition to colonization and how French perceptions of l’ḥjāb shaped their response to that opposition. It covers the first half of the colonial period from c.1900 when the French formally declared Mauritania a colonial military territory into the 1930s when France considered itself in military and administrative control of the colony. The chapter focuses on this period when colonizers first deployed a strategy of collaboration with certain religious leaders and then rapidly shifted to a strategy that restricted the physical movements of the men they called marabouts. These new restrictions on the movement and activity of purveyors of Islamic learning and its sciences targeted l’ḥjāb as a Mauritania-specific factor in broader colonial anxiety over Islam. It is during this period from 1900–1935 that the French established the policies that would directly shape their engagement with l’ḥjāb and, via socioeconomic changes that resulted from those policies, indirectly shape how people of Mauritania relied on l’ḥjāb and its practitioners.

In the early years of the 2010s, new television and radio stations in a postcolonial Islamic Republic of Mauritania struggled to fill airtime with something other than the nightly news, recorded music performances, and images of Mauritania’s countryside set to traditional music. Talk shows, commercials, and sketch comedies were some of the new productions broadcast on private television and radio programs. Short situational or sketch comedy television programs sometimes used l’ḥjāb as a narrative hook for an episode relying on specific gendered tropes and stereotypes about its experts to elicit laughs from viewers. This chapter examines such television programs as well as the ways Islamist preachers also began using social media to their advantage to reflect on contemporary social issues in this period to examine how a larger Mauritanian public understands, criticizes, makes use of, and ignores l’ḥjāb, its experts, and its detractors. While the representations of l’ḥjāb in the media in the late 2010s show Mauritanians challenging the legitimacy of its bases, its experts and its efficacy, these images nonetheless provide evidence of its persistent relevance to the challenges of daily life and its capacity to adapt and respond to questions of modernity.

This chapter examines the origin of the St Osyth witchcraft accusations in the strained relationship between Grace Thurlowe, a servant at St Osyth Priory, and the cunning woman Ursley Kempe. It reconstructs the network of magical healers in the locality, suggesting that competition and sensitivities around child-rearing and illegitimacy were important in sparking suspicion, as well as several recent deaths of key players in the village.

Chapter 1 focuses on the most common demands placed on magic by wider society during the late medieval and early modern periods. This chapter acts as the foundation for the rest of the book: it cements the idea of magic as a useful tool that could be employed for mundane or everyday purposes. It also establishes what these purposes generally were, using a statistical approach to gauge the popularity of certain services. As such, Chapter 1 is divided into sections covering the primary demands made on magic, including healing and unwitching; theft and goods recovery; love magic; and treasure hunting. Under each of these sections their fluctuating popularity is explored, as are the methods used to bring about the desired outcome.

“Asklepios and the Limits of the Possible,” interrogates Asklepios’ presence in Pythian 3 through the lens of interwoven generic frameworks, arguing that these function as a critical lens for the depiction of Asklepios’ changing cultic status and its activation within Pindar’s theological project. I focus on the ode’s extended Asklepian myths, arguing that they that they alternate between depicting Asklepios as an embodiment of failed human overreach and failure and as a superhuman healer by oscillating between the structures of negative epinician exemplum and cult hymn. These interwoven Asklepian identities require the ode’s recipient, an ailing Hieron of Syracuse, to understand his own aspirations and limitations in light of Asklepios’ identities, divided into mortal and immortal strands by Pindar’s modeling. The ode encourages Hieron, as mortal worshipper, to seek Asklepios’ healing, while himself aspiring, as epinician victor, to immortality in song.