Reproducing Witchcraft Thou Shalt Not Perform a Witch to Live VK Preston

Home , Increase Mather, Witch house (genre)

Can you act witchcraft here and by casting your eyes turn folks into fits?1

In the summer of 2016, in the context of a violent election season defaming the “witch” Hillary Clinton, I visited the Salem, Massachusetts, tourist district’s animatronic shows, dioramas, and souvenir stalls, exploring commemorations of the county’s 1692–93 witch trials. Amid reenactments, confessions, and subterranean replica dungeons, Silvia Federici’s astute interarticula- tions of the witch hunt inevitably inflected my experience and analysis of these attractions. This

1. The passage “Thou shalt not suffer a witch to live” (Exodus 22:18), altered for my title, is widely cited as a scriptural authorization of the trials’ violence. I read it here as performative. The epigraph is taken from “The Examination of William Hobbs,” which appears in the Records of the Salem Witch Hunt (Rosenthal and Adams 2009:215).

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144 VK Preston (re)stagings ofhistory. commerce,” investigatingtheexhibitingoflabor, trade, and Atlantic-world intercultureinthese for touristssevendaysaweek. Witch Museum. Insidethemuseum, kitschdioramasandmechanicalscenesreenactwitchtrials Looming attheentrancetoCommons, adeconsecratedchurchtodayservesastheSalem National Guard, theCommonistodayawell-groomedcityparkinsetwithmilitarymemorials. the Pequot, Wabenaki, andFrench. Nowdesignatedasthesiteoffounding America’s the SalemCommon, foundedonasettlermodel, becameatraininggroundforwarswith great plague” (Baker2015:70)broughtbysettlersravagedtheNaumkeagpeoplesofregion, nied “the patriarchyofthewage” (98). and properties, women, Federiciobserves, cametobeconceivedasthebenefitsthataccompa- (97), evenastheylostaccesstoit. Excludedfromearningwagesandboundtomonetizedrents ing themofcontrolovertheirreproductivecapacities. “[W]omen themselves became” the commons us, womenleduprisingsagainsttheenclosureofcommons, alegalfictionultimatelydepriv- tance intheinterregnumbetweenfeudalismandcapitalism, anerainwhich, Federicireminds 2014:32). Herargumententanglesakeyhistoryofprivatizationwithwomen’spoliticalresis- to aredefinitionofpeople’srelationworkandsexuality, procreationandfamilylife” ([2004] inaugurated thecapitalistmodeofproduction. Marxism byplacingthewitchtrialsatcenterofso-calledprimitiveaccumulationsthat sects withperformativeaswellmaterialhistoriesof Atlantic-world commodification. journey startswithtouristexhibitionsandreperformances, tracingwitchdiscourseasitinter

her book manuscript on dance, performance, [email protected] bookmanuscript ondance,performance, a Theoretical Stage, TDR, theOxford Handbook ofDance andTheatre, Affiliate ofthe Centre for Comparative Literature atthe University of Toronto. Herwritingappears in VK Preston Professor isAssistant attheCentre forDrama,Theatre and Performance Studies and Faculty threshold between the exhibition and gift store. (Photo by VK Preston) Figure 1. (previous page) A witch on a broomstick and flag share a landing at the Salem Wax Museum’s appear inreproductionSalem’s “fright tourism” (Weir 2012:196) only bytheFavourites andEmbassadors oftheLORD” (1691:94). The demonologists’writings of Men. [...Witches] cannotindeedperformanyproperMiracles; thosearethingstobedone help ofevilSpirits, covenantingwith(andusuallyRepresentingof)thewoful[sic]Children to achosenfew: “[Witchcraft is]thedoingofstrange (andforthemostpartill on witchcraftandwhathecalls “troubles” withIndians, CottonMatherlimitsperformatives practices ofwitchcraftthathadthecapacitytodo, whichimpliedthecapacitytoharm. Writing 3. 2. Engaging myfieldworkinSalem, ItraceactorsandreenactorsthroughSalem’s “memory Federici’s analysisofferspotentcontextforreexaminingSalem’shistoriography. After “a In anic scope of performative anic and scope kinesthetic practices. of performative uscript materials in Rosenthal and Adams (2009). See Roach (1996:5) on Atlantic world interculture and an oce- Cotton Mather (1691), Increase Mather (1693), Robert Calef ([1700] 1796), as well as collections of Salem man- Schiff (2015), Stokes (2013), and Zika (2007). source texts on For late 17th-century New England trials, see also erally, see Baker (2015), Breslaw (1996), Boyer and Nissenbaum (1974), Levack ([1987] 2015), Norton (2002), phy. On a “battle over Salem’s memory,” see Weir (2012:201–04). On the Salem crisis and witch trials more gen- of deindustrialization that has in turn redefined within a history engaging performance Salem witch historiogra- Robert Weir argues against pointing out the many historiographical flaws of the tourist industry, importantly Red Skin, White Masks For Indigenous an important reading of primitive accumulation, and of Federici, see Glen Coulthard’s brilliant Caliban andthe Witch ([2004]2014), Federiciadvancesafeministcritiqueoforthodox Canadian Theatre Review, andHistory, Memory, Performance . She iscompleting (2014:7–11). 3 What demonologiststermed “acts ofharmfulmagic” (maleficia)werethe 2 The witchhunts, shewrites, were “functional TheatreForum, Imagined Theatres: Writing for — as materialcultureand ) thingsbythe - Reproducing Witchcraft 145

Then I drove to the site at Gallows Hill recently 5 Then I visited the Witch House and the Salem Wax Museum of Witches Witches Museum of Wax House and the Salem Witch Then I visited the 4

Returning to these sites in May 2017, a year after my first visit, I stopped at the lobby of the a year after my first visit, Returning to these sites in May 2017, Billed as the longest-running show north of Boston, “Cry Innocent” largely draws verbatim from trial archives. archives. trial from verbatim draws largely north longest-runningthe as “Cry Boston, of show Innocent” Billed scenes between questions asking jury, performof to audience the inviting role the roles, multiple play Actors in evangelicals of daughters the girls, dressed identically young, attended, I iteration the At n.d.). Alive! (History multi- her addressed they her, against evidence As promiscuity. alleged Bishop’s of skeptical were audience, the virtue,suspect her and husbands ple fewa causing famous The facepalm. to spectators female tattooed and queer a trial first her after released was She witch. a as tried was Bishop time second the marked 1692 of trials Salem Bishop 1692, in executed be to witch alleged first The hunt. witch Salem 1692–93 infamous the before decade alcohol. sold that inn popular a ran and red, wore business, popular a inherit to stood or bootleg a prompted even have patches shoulder uniform regulation Department Police (SPD) Salem The n.d.). (SPD SPD the by counterfeitbeen denounced has which market, Upon arriving in Salem on 20 June 2016, I parked my car and set about attending the reen- I parked my car and set about attending Upon arriving in Salem on 20 June 2016, 4. 5. and Seafarers, before moving on to the Salem Witch Dungeon Museum, as well as monuments Dungeon Museum, Witch before moving on to the Salem and Seafarers, and memorials. embroidered into police insignia for shoulder patches Salem Police Department to see witches I scrutinized witch icons on the doors of the Pulling into the parking lot, on police uniforms. department and I chatted with an officer who sold witch-themed police city’s police vehicles, souvenirs to raise money for charitable causes.

actments and exhibitions billed as “witch tourist attractions.” These competing businesses, from These competing businesses, “witch tourist attractions.” actments and exhibitions billed as There is no are located throughout the neighborhood. museums, haunted houses to for-profit exhibitions and none of the of the tourist zone, set order for visiting these witch businesses I bought Witch Museum, After visiting the Salem object remains of the trials. offer unmodified, a peripatetic (1992–present), Bridget Bishop” The People versus “Cry Innocent: a ticket for of continu- now entering its 25th year to be hanged, reenactment of the trial of the first witch ous reperformances. in performative reenactments. Salem’s stagings of witchcraft also include material products of Salem’s stagings of witchcraft also include material in performative reenactments. of colonization and histories of labor. Atlantic plantocracies that represent the work Figures 2 and 3. The Salem Police Department’s insignia patches. The date 1626 refers to colonization colonization to refers 1626 date The patches. insignia Department’s Police Salem The 3. and 2 Figures and not the witch trials, importantly entangling notions of colonial settlement and the figure of the witch. witch. the of importantlytrials, witch the not and figure the and settlement colonial of notions entangling Preston) VK by (Photos identified by historians and archaeologists as that of the alleged witches’ executions (Baker identified by historians and archaeologists of the trials took was where 19 of the 20 executions called Proctor’s Ledge, The site, 2015:286). Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26September 2021

146 VK Preston Catholics, andenslavedpeoplesofboth African andIndigenousorigins(Baker2015:63). tions, entanglingwitchfearswithanxietiesaboutallegiancesofNative Americans, French practices. Sourcesinthe Americas likenedwitches’gatherings, orsabbaths, toslaveinsurrec- tests andformulasoftheEuropeanwitchhunts, entanglingthesewith African andIndigenous Atlantic-world witchcrises, theseminutelyexaminedaccountsrepeat, withadifference, the they wereclaiminginfactsuspectbehaviorsandcosmologies. Intheshiftingcontextsof Adams 2009:463–44). Bymakingtheaccusedperform, thejudgesinadvertentlyvalidatedwhat accusers claimedtoexperiencethesensationoffire(Breslaw1996:48–49;Rosenthaland Afro-diasporic magicattheSalemcourthouse, manipulatingburningdollswhilethewitches’ Barbadian “witch” Candy, forinstance, presentedwhatseemstohavebeenbothEuropeanand formative, theyaskedaccusedwitchestodemonstratewitchpracticesincourt. The Afro- cide, illicitsexualacts, andcannibalism. described asblackmenorwearingblack), toanxiousallegationsofshape-shifting, infanti- thing fromthedeathsoffarmanimals, tointimaterelationshipswithspiritintercessors(often ure ofthewitchisstillassociatedinbooks, visualarts, media, theatre, anddancewithevery- storms, sicknesses, andreproductivefailurestoweirdsensations, dreams, andgestures. The fig - to lent adjudicationsofperformatives. Regulatingandrepudiatingwhatdoes(ormaybesaid most vulnerablewomenoftheSalemand Village community. century witchtrials, defendedbyelitesandintellectuals, thatbeganwithattacksonsomeofthe from a19th-centuryadvertisingcampaign(Baker2015:274)thatuneasilytoutsthe17th- about 150arrests, performsafailedexorcismofmemory. The veryname “Witch City” derives subsequent commodificationofitshistory, fromits20executionsand5deathsincustodyto and enslavedmembers(Schiff2015;Smith Tucker 2000;BoyerandNissenbaum 1974). Salem’s accusations ofthe1692–93trialstargetedcommunity’smostprecarioushomeless, dis/abled, witches of African andIndigenousdescentaswellsettlerEuropeans. Importantly, thefirst were young, white, andnearlyalwaysfemale, thoughSalemauthoritiesinterrogatedalleged the 325thanniversaryoftrials(Baker2015;Luca2017). place byhanging. At thetimeofmytrip, thecitywaspreparingtounveilamonumentmarking

with childrenintheParrisfamilyhomewhichwitchcrisis firsterupted. accused witchtoconfessduringthetrials, Tituba, wasanenslavedpersondoingdomesticwork Evidencing anxietiesregardinglaborandmatterinthecrucible ofthe Atlantic world, thefirst of speech, memory, andthings observes inAnimacies:Biopolitics, RacialMattering, andQueer Affect (2012), theentanglement ful magiccutacrossandtroubleconceptionsofrace, class, illness, andgender. As Mel Y. Chen performative fortheuseofpowerful. Insuchtheories andaccounts, allegationsofharm- early moderntropesandtheoriesofperformativityreflecting amovetomonopolizethe (fig. 4). Theseinterventionsecho17th-centuryNewEnglandwritersonwitchcraft, recycling and “Live Spells,” Salem’stouristdistrictoffersmanifoldperformances, exhibitions, and tours 8. 7. 6. do) liesattheheartofmanywitchhunts. Evidenceexaminedinthetrialsrangedwidelyfrom Even astheSalemtrials’judgesexaminedmagic, therebyscrutinizingthelimitsofper “Witch panics,” whetherinSalem’sEssexCountyorinternationally, canbeanalyzedasvio- Yet ateverysiteIvisited, thedocents, reenactors, andguidesemployedbythesebusinesses and Adams (2009:133–37), the NYPL manuscript (NYPL 1962), and Breslaw (1996:122–29). an account of her enslavement by Samuel Parris and his family in Barbados, Boston, and Salem. See Rosenthal New York City Library’s manuscripts of Tituba’s interrogation set out by witch trial judge Jonathan give Corwin (2014), and Sofer (2016). Onand thing theory, intersections of performance see Bernstein (2009), Schneider (2015), Schweitzer and Zerdy On danced scenes and the Witches’ Sabbath, see, for example, Preston (2015:69–74) and Stokes (2013). Ranging fromverbatimreenactmentsoftrialdocumentsto “Authentic SpellCastings,” 7 atteststovaluing(anddevaluing)certainbodiesoverothers. 8 Scenesfromthis 6

- Reproducing Witchcraft 147 - located across from the Salem Wax Museum of Witches and and Witches of Museum Wax Salem the from across located — Figure 4. Signage inviting viewers to attend the castings of of castings the attend to viewers inviting Signage 4. Figure spells Wiesel Elie by opened trials the to memorial 1992 a and Seafarers Preston) VK by (Photo Miller. Arthur and thus —

animacy,” I “deanimacy,” in what I am terming Here, Pointedly, effigies in the Salem Wax Museum appear in macabre displays of hanging, hanging, Wax Museum appear in macabre displays of effigies in the Salem Pointedly, deanimating witchcraft. Rebecca Schneider’s deanimating witchcraft. and between from, to, “constant (re)turn of, the engagement of the term inter(in)animation, of remain- as well as a mode mode of remaining, “may be a critical that states in animation” especially in per records, and trade, precisely helps address this shuttling of things, ing critical,” attend to a staging of magic as an ultimately attend to a staging of magic as an ultimately writ- As 17th-century repressive mechanism. is manifestly a “Witchcraft ings suggest, (Calef [1700] 1796:184), of the Flesh” Work while practices of commodification in - Salem’s gift shops and commercial reenact the witch, “thingify” ments dehumanize and who in turn becomes a brand or logo Deanimacies and Witches Museum of Wax At the Salem stages featuring I walked among Seafarers, Atlantic trade and scenes of both the colony’s “London- by 50 “performed” the witch trials in nearly life-sized sce- wax effigies made” theatres feature trials, These tiny narios. while also and executions incarcerations, narrative of the city’s offering a triumphalist does not make explicit mercantile history that The wax muse- reference to chattel slavery. and piracy economics, um’s scenes of trade, - are all male; while these unfold over centu only the in a trick of represented time, ries, of female-identified figures in these stagings history and of the nation appear in scenes from the witch trials. formances, where a “theatrical claim lodged in the logic of reenactment” reveals rifts, ruptures, ruptures, rifts, reveals in the logic of reenactment” “theatrical claim lodged where a formances, In Salem’s souvenir 17). quick and the dead (2011:7, and paradoxical ways of understanding the They of magic. branded performances monetize the risk or chance stores and witch businesses, ceremo- even deanimated appeal of witchcraft alongside appropriated move to sell a contained, The tourist practices. Wicca and African, Asian, Indigenous, Age, nial items drawn from New bodies, 2012:181) deperform and deanimate acts, (Weir “witch-kitsch” district’s accumulations of and things associated with the witch. writ- “witch’s mark” These all-but-perverse acts echo the and welting. seizing, scratching, and geni- ten on the body and sought as evidence of a diabolical pact secured upon the skin breasts, The infliction of stigmata-like marks on wax mannequins’ cheeks, tals of the accused. than and arms results in scenarios that more closely resemble depraved shop display windows of spirits (Calef “invisible world” they do battles with what 17th-century writers termed as the As per Joseph Roach’s keen observations on wax effigies and Mather 1693). [1700] 1796; C. Yet they the mannequins stand in for something else. 147), figures (2003:211–14; 2007:114, and shapes. seem to disclose the impossibility of their history through their ill-made gestures domicile and the events flowing from accusa- the events flowing domicile and Salem appear throughout tions of witchcraft vast accumula- and dioramas, in performance, tions of souvenirs. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26September 2021

148 VK Preston meetinghouse, presided over by a bewigged Puritan. (Photo by VK Preston) Figure fits at the Salem 5. A trio of bewitched, wax accusers perform Village tion oflifebyselling the “past asacommodity” (2012:182). Intherenewed Salem, capitalism who soughttomonopolizeperformatives andwhopunishedthoseresisted. the disavowalbringsattention to theinfrastructureofauthorityandpowerthatsupportedthose ery illuminatestheauthorizing structuresofperformativityitself. Inthisaccusationof fraud, on EssexStreetfacingwitch-themed touristbusinesses(fig. 6). Thispointedallegation offak- lity, suchasgoldletterstrimmedwithelectriclights thatwrite “SCAM” inalargeshopwindow less commodified)form. Thisdeanimation, inturn, accompaniesscenesthatdisplayincredu- witchcraft asifconstrainingthetrials’virulentallegationsinpointedly “un-live” (ifneverthe- unlifelikeness assuresthesafetyofspectator. life, negatingthefearshemightdo harm butmustnotlive. The stagingofherpresenceinthemuseumisemphatically bereftof ing thedeperformanceofherspells. Incontrastwith Austinian infelicity, here, thewitchdoes mation linkedinamoregeneralsensetothewitch’sbasicinfelicity: thewitch’silleffectenact- various statesofdecay, comingclosertodeathlikenessthan lifelikeness, andintheirinter(in)ani- No longerdotheeffigies’putativemimicryoflifeprovesuasive. Theyseemtobearraignedin life anddeath. onstage audience, encouragingadoublescrutinyofwaxymatteracrossanimpossiblebreach are attendedbywaxjailers, hangmen, andwaxspectators. These nonhumanonlookersforman hers. These scenes, whichinsistentlyimaginethesefiguresatthethresholdsoftheirdeaths, contrast tothecontortionsofherexecutioner another tableau, anallegedwitchonthescaffoldcutsacomposedanddignifiedfigureinstark performed possessionandexorcismforaudiences(seeCerteau[1970]2000;Ferber2004). In the bewitched “demoniacs” and thereasonforherexecution. memory presentsthishistoryasepistemologicallyimplausible, orafraud, elidingboththewitch 1693:n.p.) areemphaticallystagedasfraudulenthere. As such, thestagingoftrials’cultural The witchcraftaccusers’battleswiththe “molestations fromtheInvisible World” (C. Mather Yet asRobertE. Weir shows, tourismtransformedSalem’seconomy, securing there/produc- These inanimatestagingspurposivelytheatricalizethedeanimationand deperformance of The lifelikenessofthewaxenimagesis, atleastinthe21stcentury, verymuchinquestion.

— a termusedinearlymoderndiscoursetodesignatethosewho harm bydeperformingthetawdrypotentialofhercraft. Her — whose neckseemstoallbutsnapinlieuof Nicolas Rémy(1596), calling ologists JeanBodin(1580)and French writersanddemon- Cotton Mather(1691)cite of spirits. to theactsandpersonations nerable andavailablethanmen’s women’s bodiesweremorevul- an attimesmurderousbeliefthat the wordsofwitnesses, retracing held moreswayoverjudgesthan 2009).demonstrations These accused (Rosenthaland Adams archives asthedoingof pinches describedinSalem’s ing thefits, blows, andinvisible tified witchesbydemonstrat- (fig. 5), “afflictedgirls” iden- Salem Wax Museumshows Increase Mather(1693)and As onetableaufromthe Reproducing Witchcraft 149 Figure 7. Effigies of Tituba and perhaps Elizabeth Parris staged staged Parris Elizabeth perhaps and Tituba of Effigies 7. Figure were confessions where meetinghouse replica a of threshold the at Preston) VK by (Photo heard. publicly Figure 6. An Essex street shop window rebuttal of ubiquitous witch witch ubiquitous of rebuttal window shop street Essex An 6. Figure Preston) VK by (Photo kitsch. - - - - as the lifeblood of —

The wax museum’s staging embraces the once shame- embraces the of New England’s ful history of Such entanglements witches. and commer retail businesses cial reenactments financialize cial reenactments “theatri- terms what Schneider (2011:17) cal reproducibility” surro- in scenes and roles that his- but do not dismantle, gate, abuses of tory’s evidence of the elites America’s educated early Emphatically and judiciary. acceptable reproducing socially of a nor including those norms, mative historiography, the exhi- mative historiography, and girls bitions point to women trials’ vio- as responsible for the war lence instead of the judges, and executioners who dens, perpetrated mass incarceration, and the execu- interrogations, tions of the witch panic. presenting the most Tituba, of notorious character of the Salem is a particularly overt trials, example of linking contemporary discourse on race and labor through scenes of alleged witch- The aproned and corseted craft. effigy at the wax museum Tituba 7) evokes a mammy figure (fig. in racist 19th- and 20th-century iconography — she appears wax effigy “white” alongside a depicted sitting at the threshold of the meetinghouse where the Village. trials were held in Salem Though signage at the museum describes the goods produced with slave labor — molasses and sugar the presence Salem’s economy, of enslaved persons on the wax museum’s stage passes without Exhibition texts avoid comment. “ser and use “slave” the term or euphemistically refer to vant” “infamous triangular trade.” the in a noted biog- Elaine Breslaw, compellingly retraces raphy, arguing life as a slave, Tituba’s Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26September 2021

150 VK Preston histories ofwomen’swork. during theSalemwitchcrisismightinturnleadustomorepreciseandconsequentanalysesof tocapitalism’isatestcaseforfeministtheory” (14).“‘transition The trialofenslavedpersons history ofcapital(seeFederici[2004]2014:236–39), suggesting, asFedericiwrites, thatthe returns ustoSilviaFederici’spotentrereadingsoftheerasurewomen’slaborfromMarx’s sectional approachtowomen’slabor(seeHusband1999and2010). This historicalobservation ric thatdistinguishedthelaborofwhitewomenfromracialslaveryfurthercomplicatesaninter The historyofwagedworkforwomenofferedbySalem-areafactoriesandjustifiedwithrheto- domestic everydayinflectingracializeddistinctionsconstitutedinandthroughwomen’swork. obliquely entangledwiththestagingof Tituba’s confession, concealsarepresentationofthe gendered battleoverthedevaluationofwomen’sautonomouswork. This sceneofslavelabor, might thusreadthissceneasaninterventionintoMarx’sformulationoffabric-plus-laborinthe Salem merchants’entanglementwithproductsthatsustainedtheinstitutionofslavery. We nearby Lowell, Massachusetts, alsotermed “slave cloth” (Shaw2012), offersanotherstapleof fabric spillingfromthestagetowardsviewer. This fabric, likethecoarseclothmadein them, tiltedtowardsthespectatortorevealblanchedfabrics. divisions ofwomen’slabor, Tituba standswhilethewhitewaxfiguresits, awashbasinbetween Parris householdattheepicenterofSalem’switchtrials(1996). Inascenethatdistillsracialized raised asanenslaveddomesticworkeronasugarplantationinBarbados, andlatersoldtothe she waslikelykidnappedasan Arawak girloryoungwomanfromthecoastofSouth America, inert thingsuponwhichtoenact violencesidebywithhistoriesoftrade, ofbrands, andof may not the slipperyadjudicationofwho (orwhat)acts what andwhoworksforwhom appearsrepeatedlyatthecenterofthesedisplaysinwhich children), andthose(as Aristotle putit)whoare (2012:51).‘a livingpossession’” Who makes ter), thosewhopartakeofpropertybutdonothavethe authoritytoownit(suchaswivesand the household:betweenthosewhomightrightfullyownproperty (thatis, thehusbandandmas- ture that Angela Mitropolous, inContract andContagion, delineatesas “boundaries internalto ity, denyingthempropertyandearnings. instrumentalized topresswomenoutofautonomousandwaged professions, aswellauthor izing devaluationsofautonomouswork. The defamatory powerofwitchaccusationscouldbe cloth, revealsavolatile, culturallyerasedhistory of productionengenderingaswellracial- observes, women’swork, notablysurroundingthemanufacturing, care, andmaintenanceof reproduction. As readagainstthefigureofmalefabric workerinMarx’sCapital, Federici against theenclosureofcommons(Federici[2004]2014:73–74). wheels) anddomesticwork(broomsorcauldrons)lingersasanunrulyiconographyofprotest tion ofrenegadewomenwiththeanimatedandbewitchedtoolsfabricproduction(spinning (see Federici1988). With thedevaluation oftheirtoolsandmeanswork, adefiantassocia- constitutes aneconomicshiftthatFedericiproposesunderliesMarx’saccountofaccumulation The subsequentforceddependencebywomenonasystemofmalepropertyandpatronage women maintainedautonomouslabor, Federiciargues, beforethedispossessionoftheirtrades. spinning wheel, thimble, andthreadoffabricwork(89). Suchlaborwasonemeansbywhich and fabriclabor(2007:128). There isatraditionofassociatingwitcheswiththespindle, distaff, with thecauldron, thereis, asCharlesZikaobserves, asimilarlinkbetweenwitchiconographies Just asthereisalong-runningvisualassociationofwitchcraftwiththefiguresFatesand Tools The dominantfeatureinthevignette’sforegroundisanopenbarrelfilledwithoff-white Throughout theseexhibitionsarestagingsofthetypedisplays oflaborandmaterialcul- The misuse, misperformance, andmisruleoftoolsalso positionsthewitchasathreatto — appears overtlyacrossthesewitch enterprises. Exhibitsroutinelydepictwitchesas — of whichbodiesmay

,perform andofwhich - - Reproducing Witchcraft 151 the home of a former Salem formera of home the Salem — Figure 8. A brick of tea and a cone of sugar on on sugar of cone a and tea of brick A 8. Figure of units standardized the exhibit plate, pewter a Exhibited trade. global and Atlantic in role Salem’s “Witchat House” witch trial judge. (Photo by VK Preston) VK by (Photo judge. trial witch - In multiple variations across Witch City, a dark-skinned mammy cari- a dark-skinned City, Witch In multiple variations across 9

In a fragment of trial testimony from 1 March 1692 that Breslaw studies as an instance of Afro-diasporic rit- Afro-diasporic of instance an as studies Breslaw that 1692 March 1 from testimony trial of fragment a In that passage a 2009:129), Adams and (Rosenthal see” cannot I now blind am saying, “I as is recorded Tituba ual, (Breslaw techniques” similar divination, and “image-magic, as well as formulas trance evokes suggests Breslaw practices. European and Amerindian, African, of blending the from 1996:129) Disputes in the writings of demonologists the writings of demonologists Disputes in a racially stereotyped repeats and dye, ink, in hard wax, fashioned imagined alterity, Tituba’s 9. cature miscasts 17th-century Atlantic-world slavery with a figure from advertising’s archives Atlantic-world cature miscasts 17th-century The wax museum’s scene of waterless wash- likely Indigenous origins. Tituba’s that obscures persons ing thus doubly surrogates and obscures a history of the enslavement of Indigenous notably within the domestic spaces of European settlers as well as in the America, in North The museum’s proto-industrial production of colonial commodities in the plantation system.

over the reach and felicity of witches’ ges- and felicity of witches’ over the reach usually the human and nonhuman, tures limn deemed witch- attributing the behavior and affecting the like to demons entering Famously redraw- mind. flesh as well as the evidentiary to include ing the limits of the “spectral shapes (the the acts of spirits and into court proceedings admitted evidence” those who sat in judg- in the Salem trials), the acts under scru- ment at the trials policed prohibitions of real tiny and backed their with violence and imagined performatives on surveilled bodies. that could be enacted in A history of epistemological distinctions, ontology of perfor Western affects a turn, of mance exposed in the waxing and waning the witch trials as the witch metamorphoses women “The first three in settler colonialism. ‘deviants’ or to be accused could be seen as Boyer write ‘outcasts’ in their community,” - “particularly suscep people and Nissenbaum, (1974:31; see also tible to such accusations” Some demon- Schiff 2015 and Stokes 2013). ological texts and analyses compare the pact insinuating wage labor and property within forms of legal of the witch with the devil to slavery, In the Malleus Maleficarum and human forces. and contractual subjection between nonhuman ask whether the Devil inhabits a person in a real “when [the] learned Heinrich Kramer writes, just as the but in the effect he causes, they say he is not present in person, or physical sense, as he has lordship over him’” in as much 1588 (Kramer [1486; ‘inhabit a slave, master is said to formulations repeat the topoi of 17th-century writings These contractual edition] 2007:194). 2015) that moved to ban performatives outside on the witch (see Federici 2012; Levack [1987] and institu- lawyers) doctors, judges, elites (priests, authorizing structures of sanctioned (male) and theatres). governments, churches, tions (courts, account of the trials. colonial commodities represented by such represented colonial commodities cone of sugar the brick of tea and a objects as 8). (fig. House Witch at on display Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26September 2021

152 VK Preston the reuseoffiguresandmaterialsusedtoconvictjustify executing Salem’switches. Such out inturnasasecularizingmove, promotingdisbelief inthevalidityofwitchcraftthrough ment ofhistory, theatre, andritual, in aproductthatalsocirculatesaschildren’stoy, plays to executeBridgetBishop recycled caricature. typical characterizationofblackslavery, fashioningamuseum-theatreofcolonialforgettingand placement andenslavementofIndigenouspersonsinthenorthishereconcealedwithastereo- 17th centurythatliesattheheartofSalemtrials’historicalcontext. A historyofthedis- evacuates thehistoricalracializationofdomesticandchildcarelaborinNewEngland representational approachhererepressesvisualculturesofthehistoryslavery. This 11. 10. practices. (Photo by VK Preston) commercially recirculate spirit dolls and Afro-Caribbean devotional claimed to belong to the executed witch Bridget Bishop (on left), Figure 9. “Hex” branded “Jumbo” voodoo dolls and poppets, here History MuseumalongsideprofoundlyracializeddioramasstagingIndigenousdancesandthe which appearin (1953), Arthur Miller’sTheCrucible arepresentinexhibitionsatthe Witch and othersuch Ingredients ” (1691:8). Likenessesoftheseceremonialandritualobjects(poppets), to “small relationship dren fellintosadFits beforethewhole Assembly” accounts ofbewitchmentperformedasexperimentsbeforeanaudience, describinghow “[c]hil- night soundsofclatteringand “divers NoisesintheroomwhereCorpslay” (59)andwith as ifdonewithAwls orPins” Privities werewounded. orburned OnhisBack,,Bruises besides therewereseveralpricks, orholes, that viewedtheCorps, foundaSwelling ononeBreast, whichrendereditlikeaWomans. His accusers. Forexample, CottonMatherrecordsexaminingabody: dies.“Mr Smith The ers inelaboratedescriptionsofthebodies, behaviors, andactsofsuspectedwitchestheir Examined inthegenreofwritingknownasdemonologicalliterature, suchtextsengagedread- upon centuriesofspeculativewritingonwitchcraftandthesomaticevidencebewitchment. The displayofthewitchinwaxmuseumperformsherdeanimationscenesthatdraw On Candy see Breslaw (1996), Smith Tucker (2000), as well as Boyer and Nissenbaum (1974). (2000). See Vita Smith Tucker’s excellent work on metamorphosis and mixed-race histories of Salem’s accused witches 10 Images, orPuppets,Babies, or madeofRaggs, andstufftwith Goats-hair, — .and asaturningpointinMiller’sCrucible This macabredeploy - (1689 and1691:58). Mathercontinueswithdescriptionsofthelate Rptto o te Experiment” the of “Repetition —a evidence ofwitchcraftinthetrial labels thatspecifytheiruseas Street storesdoncardstock pets onsaleinSalem’sEssex X’s formouthsoreyes, thepop- witch trials(fig. 9). Sewnwith and wealth, playedaroleinthe gates forfertility, goodfortune, The poppets, doll-likesurro- and medicinessettlersdisplaced. settler colonythroughthewares ing thefoundingofthisPuritan and archiveofthevictors, retell- shops seemtodeploythespoils sale ingiftshops. poppets arealsoavailablefor ences. named “Candy” fortouristaudi- witch accused Afro-Barbadian As businesses, Salem’sgift 11 Reproductionsofthe f their —of elision Jury

Reproducing Witchcraft 153 Figure 10. A faceless cutout of the witch stands for tourist self- tourist for stands witch the of cutout faceless A 10. Figure Salem and Museum Wax Salem the between street the in portraits Preston) VK by (Photo Village. Witch

market

in America, South The Devil and Commodity The Devil and

At the threshold of the Salem Wax Museum’s exit and gift shop, in the betwixt and between Museum’s exit and gift shop, Wax At the threshold of the Salem In or “manufactured” (Pietz or “manufactured” The term originated 1985:5). in European traditions of witch belief transposed into negative descriptions of “non-Christian” practices and object relations, and later into psychology and While sexual terminology. the concept of the fetish runs Das Capital as a through Marx’s shows how the Taussig leitmotif, correspondence between eco- nomic transactions and theo- ries of witch and other magical practices draws attention to the “superstitions and ideological witch beliefs, ([1980] 2010:6) of Euro-American cosmologies that enmesh histories of character” argu- Taussig’s into the theorizing of markets and communities. across times and geographies, respect “in an important practices that are articulate resistant knowledge like Federici’s, ments, the commodi- At Salem, ([1980] 2010:17). formation” antagonistic to the process of commodity need to repetitively dissimulate its own fication of the witch is thus perhaps evidence of capital’s magical investments. written in “GUILTY” raises his gavel with the word a wax effigy of a judge of a stair landing, an unconvincing facsimile of an arrest warrant hangs on the wall, his left, To red capital letters. witch in a sche- while across a fire exit from the judge a round sign facing the viewer encircles a a witch abstracted to a black sil- In its midst, matized double border suggesting the moon. work for flight. reconfiguring her tools of houette trails three stars as she sweeps up and away, delimiting a sacred space that a double ring surrounds her, “magic circle,” Like the fabled fixing the witch’s flight in simultaneous ico- here becomes the site of a registered trademark, and nographies of capture and escape bounded by nationally instituted regulation of property the copy. Fetishism In ([1980] 2010:34). society” can be “fetish” the term turn, and traced to the witch beliefs and 17th- Inquisitions in 16th- as a , Feitiço century Portugal. from derives spell or charm, “witch- or “magical practice” , and designates facticius craft” things of witchcraft function as function as things of witchcraft and then evidence, fetish objects, reproduced to serve finally are commodity fetishism. explores com- Taussig Michael fetish in peting meanings of the American Indigenous and Latin “recip- the workers’ resistance to rocating replication of Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26September 2021

154 VK Preston “attacked becausetheirlife-practices refusetoreproducethevaluesresponsibleforstruc - not conformtonationalistdogma” (Mitropolous2012:98), where “those whodonot align” are replicate astagedtrajectorytowardsnationhoodthataffirms “violence againstanyonewhodoes of thefauxprisonastheydescendfromwaxmuseuminto thegiftstore, visitorsunwittingly facsimiles ofSalemrecords, andshotglasses(branded “Hysteria”). After trespassingthespace ity stationofferinggravestonerubbings, andagiftstore filledwithwitch-emblazonedthimbles, in toparticipateacross-temporalimaginingofthewitches’ imprisonment, achildren’sactiv- yet knowthattherewasareplicajaildirectlybeneathmeunder thestairs. Visitors couldwalk hand “ it remembering, ononehand, thattheFrenchverbsouvenir tion (ratherthanreproduction)intwomoves:itmarshalsherlegacyasa “memory factory,” 12. of women’s hands. puted originmythsoftheflagitself, anarrativewithtiestoearlySalemfamiliesandthework witch silhouetteandthe American flag, whichcropsupthroughoutSalem, echoesthedis- electrical wiring, asifpairingthestandard, orflag, withthewitch(fig. 1). Thepairingofthe the witch’sflightisrerouted;someonehaswedgedstaffofan Americanflagbehindnearby ing theverymaterialsandproductsofplantocracyinreconfiguredfrighteconomy. But might thinktooofafactoryrefashioningthemassreproductionfearsomethings, deploy- are entangledwiththecommerceofproto-industrialmaterialandcolonialcommodities. We terror” (Schiff2015:5)thatwasSalem’switchcraze;itsexecutions, incarcerations, anddeaths copies as “true.” The word “factory” hereseemsoddunlessoneconsidersthe “tiny reignof 500-year-old iconographywithasymbolofownershipauthenticatingclassmass-produced in thewidelyrecirculated, publishedreportingofthedeathand subjectionofaccusedwitches. recirculation ofaniconographyherentrapment, marking a historyoftortureandconfession cars seenonmysecondtriptoSalem, theinsistentencircling ofthewitchbeliesexpanded market, andconquest(seeDerrida1996). Returningagain tothefiguresonpoliceshieldsand witch andcontainherwithinelasticrhetoricsofproperty, thenation, discipline, authority, the documenting andexhibitingabusesofpowerbythearchon , seekstocapturetheshape-shifting space thatisadiscipline, orhistory. As such, Witch City, whichbearsacomplexrelationshipto 1972:129). This systemdelimitswhatcanbesaidandbecomesunsayable or an “escapee” constitutedinandcuttingacrossthe “system ofitsenunciability” (Foucault[1969] tionship tothestanceandsensationofviewer;itdesignatesalineflight, afigureofescape body” (2011:97–98). The archiveinitstemporalities, aswellitsruptures, appearsinvastrela- documents” but of the domain of what is and can be said, imbricated, “chiasmically, with thelive 2011:97; seealsoDerrida1996:2)notonlyasthatwhichisinsinuatedin “remains asmaterial Foucault, takesupthearchivebywayofrightto “make orrepresentthelaw” (Schneider remains ofthesouvenirsfoundingiftshop. RebeccaSchneider, inherreadingofMichel ries toldbythejailcellandbookfacsimilesanticipatearchive’sasymmetriesproducedin the witch’sthreestarsandastripeStarsStripesaheadofher. The nonlinearsto- with thepost-Revolutionary American state, makingapparentthenegativesymmetrybetween ture, acrossbreachesofrevolution, war, andthe Atlantic, associatesthe pre-Revolutionarytrials real, asin “real-estate,” affirmingpower’sholdonpropertyandworld-making. Thewitch’scap- inverts thesovereign, destabilizingtheetymologicallyentangledconceptionsofroyaland course onrebellionandinsurrectionagainstgodking(Muchembled1993). The witch disguises anaccountofdispossessionandmisrememberedlabor. The commercialshort- The sloganonthisborder, “Salem SouvenirFactory For an account of Salem, mercantilism, women’s labor, and Old Glory, see Jenkins (2013). As IstoodonthelandingtotakephotoofSalemSouvenir Factory The flagandthewitchareacomplexrepublicanpair, entangledwithcenturies-longdis - ® ,” forregisteredtrademark, apracticewithstrongtiestocolonialcommodities, marks 12 ® ,” claimsthewitchforproduc- is “to remember,” while, ontheother, ® — sign, Ididnot marking the Reproducing Witchcraft 155 -

- 15 - led by some verysome by led — In an arresting indicator of the witch in cultural memory, cultural memory, In an arresting indicator of the witch in 14 Trump’s absurd yet characteristic reiteration of claims of abuse echoed absurd yet characteristic reiteration Trump’s 13

bad and conflicted people! #MAGA” (Trump 2017b). (Trump #MAGA” people! conflicted and bad Trump with (2016), strait_jack dubbed seller eBay an by sold Melting,” “I’m sticker bumper the example, for See, Clinton. green melting, a on urinating (2015:286). Baker see Ledge newthe Procter’s at memorial On Referencing alleged collusion with Russia, Donald Trump declared, “This is the single greatest witch hunt of a of hunt witch greatest single is the “This declared, Trump Donald Russia, with collusion alleged Referencing month a almost followed 2017a), (Trump 2017 May 18 on history!” American in politician tweet pre-dawn a in historypolitical in American HUNT WITCH greatest single the witnessing are “You by, later Unsure of what directed me, but committed to that path, I tried looking out from this ledge but committed to that path, Unsure of what directed me, These claims of alleged, contemporary “witch hunts” ostensibly targeting Trump seemed Trump ostensibly targeting “witch hunts” contemporary These claims of alleged, During the campaign against Clinton, a proliferation of online merchandise exhibited latter- a proliferation of online against Clinton, During the campaign to see what I might from this site, of the landscape or surround. In thin soil, amid piles of In thin soil, of the landscape or surround. to see what I might from this site, some weeks ahead of the planned I did not expect, I came upon a stone marker that bracken, 11). (fig. opening of a memorial marking the 325th anniversary of Bridget Bishop’s murder to reach a crescendo in May 2017 when I made my return visit to Salem’s tourist district. I made my return visit to Salem’s tourist district. to reach a crescendo in May 2017 when to purchase regulation police uniform patches Following my visit to the police department I watched a neon- which I thought I might one day show to Federici, of the encircled witch, broomstick sweep up the street ahead of me as I green cab emblazoned with a witch on a up the she seemed to glide above the sidewalk, In a clever visual illusion, drove through town. I then plugged the location On impulse, and to soar around a corner out of view. long street, Village, following directions through the former Salem into my smartphone, “Gallows Hill” My car audibly changed gears as I began the once the epicenter of accusations. today Danvers, wealth behind, leaving the witch-kitsch and exhibitions of Salem’s mercantile climb up the hill, without expect Then, in the middle of a residential street. stopping where the app left me, 14. 15. 13. ing a result, I warily plugged in the name of the site that Emerson Baker (2015) identified as I warily plugged in the name of the site that Emerson Baker (2015) ing a result, years since a location almost willfully forgotten over the 325 that of the witches’ executions, I followed the screen’s an admixture of unease and surprise, With the beginning of these trials. climbed a knoll of bare rock, I pulled into a parking lot, prompts and made a few quick turns. into a tree line along a barely there pathway of and walked past an ornamental shrub and tromped leaves. As this project has unfolded, I have observed a rising, mediatized tide of reference to witch mediatized I have observed a rising, As this project has unfolded, there were chants to of Salem, and months following my June 2016 tour In the weeks hunts. Trump Donald in spring 2017, Later, Prison 2016.” “Hillary for and “lock her up,” “jail her,” Hunt Witch “Single Greatest claim of being the target of the tweeted the incomprehensible in Political History.” Postscript turing of an ethnic identity” (2012:98). In the guise of remembering witchcraft, these 20th- and these 20th- of remembering witchcraft, In the guise (2012:98). ethnic identity” turing of an in a settler whiteness, of nationalism, to reconfigure a species civic theatres seem 21st-century and reproduction. of a myth of race the reproduction lieu of protesting sons and those providing care. For me these reverberations of colonial rhetoric about sover For me these reverberations care. sons and those providing rejection voiding female power. eignty reperformed a bumper stick- silver coins, T-shirts, witch allegations as political sorcery: day redeployments of and electronic ephemera. ers, those included in the transcripts of 16th- and 17th-century witch trials. Such assertions extend trials. transcripts of 16th- and 17th-century witch those included in the violence against marginalized per discourse distilled in records of public an existing defamatory invited aggression and subjection, a narrative that invited aggression and subjection, Clinton’s rendering as both witch and thing to script a witch’s defeat. repeated her alleged servitude and sought Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00724 by guest on 26September 2021

156 VK Preston seems, allbutthelastarchivaltracesofwitches’accusers leavesoff. scattering alittlegravelinsteadofstars, againfollowing aglowinglineforProvidence, where, it forgotten the hillsidecontainedablastedmemorythatisalsotransmission ofaboundary, allbut a tinyshardofpublicland. Itsstrangeimprintamongthe linesofpicketfencesrunningup vate hands. This marginremained, stillunsold more thanthreecenturiesafterthetrials, as more thanthemarginbetweenplots, wherethegallowsstood, onlandthatneverenteredpri- Proctor’s Ledge, openeduponacomplicatedgenealogyofknowingandhealing:something drive-through hadresolveditself. What Iwasobserving, whatIhadnotbeenabletoseefrom with mygazefromlocationevenmomentsbefore, inthetimebeforemysteryof and theepistemologiesofallegedwitchcraft, ofhealing, andofthesenses. ies hadshifted, aswecanobserveyetperhapscannotseebreachesinknowing, intheontologies of sight, itseemedmostclearatthisbreakinthegroundthatdisciplinaryandculturalboundar lot, Icouldseelittlebeyondthetreeline seem tomeappearatsuchledges. As Igazedupfrombelow, besidethe Walgreens parking [1867] 2007:44)butofmedicines, disjuncturesingenealogiesofknowledgeandcosmology, or intheirappearinganddisappearingbodilymarks. Notonlya “world ofcommodities” (Marx ages, andpricklingsmentionedinthetestimonyaboutsomaticpracticesofthoseaccused many ailments, Iwondered, hadanaloguesinthewelts, marks, pinches, “teats,” seizures, block- divins, wisewomen, medicinemen, powaws, hunts, pryingknowledgeawayfromhealersonbothsidesofthe Atlantic pointed out, separatingalearnedmedicinepracticedbymaleelitesinthewakeofwitch of thetrials Boyer, Paul, andStephenNissenbaum. 1974. SalemPossessed: The SocialOriginsof Witchcraft. Cambridge, Bernstein, Robin. 2009. “Dances with Things: Material CultureandthePerformanceofRace.” SocialText Baker, Emerson W. 2015. of AStorm Witchcraft: The Salem Trials andthe American Experience. Oxford:Oxford References VK Preston) placed at Proctor’s Ledge in Danvers, Massachusetts. (Photo by Figure 11. An apparently unsanctioned, and since stolen, memorial I imaginethedetailofcliffsidecannotsee, awaremygazefromheredoesnotmeet MA: HarvardUniversityPress. 27, 4101:67–94. University Press. — — not-quite-forgetting theviolenceonthisledge. Duskhaving fallen, Idroveoff, and theefforttocontainthem. As Brian P. Levack([1987]2015)andothershave — and seers but nothingofthemonument. Beyondunmetlines — was adefiningfeatureofthetrials. How fits, andsymptomsasafeature contain medicines, teachings, sidered theefforttocontroland to pickupprescriptions. Icon- up atthedrive-throughwindow Walgreens, andcarswerelining low brickbuilding. Itwasa Hill Playground, tofindthe down thehill, pastGallows an openwindow. Idroveback ing, makingpurchasesthrough the backofanunmarkedbuild- below me, vehiclesrolledto building. Beneaththeledge pulling inbehindalowbrick have seen, Iwatchedvehicles dering whatothereyesmight Turning tothelandscape, won- — from midwivesand - Reproducing Witchcraft 157 persons in New-England persons Accessed 1 July 2017. www Accessed 1 July 2017. www.salemnews.com/news/on Accessed 1 October 2017. .” Accessed 20 Bishop.” Bridget Versus The People Cry Innocent: . Translated by Translated . on Language and the Discourse of Knowledge Archaeology Late memorable providences relating to witchcrafts and possessions, clearly manifesting, manifesting, clearly and possessions, to witchcrafts providences relating Late memorable 19 July. The Salem News, 1691. 1691.

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158 VK Preston Trump, DonaldJ. 2017b. @realDonaldTrump. Twitter post, 15June, 4:57a.m. Accessed 26November2017. Trump, DonaldJ. 2017a. @realDonaldTrump. Twitter post, 18May, 4:52a.m. Accessed 1June 2017. https:// Taussig, Michael T. (1980)2010. TheDevilandCommodityFetishism inSouth America. 30th anniversary strait_jack.2016.STICKER “Funny‘DONALDTRUMPBUMPER VS.HILLARY’Clinton WITCH Stokes, Laura. 2013. “Toward the Witch Craze.” InTheOxford Handbookof Women andGender Sofer, Andrew. 2016. “Getting on With Things: The CurrencyofObjectsin Theatre andPerformance Shaw, Madelyn. 2012. “Slave ClothandClothingSlaves:Craftsmanship, Commerce, andIndustry.” Journal Schweitzer, Marlis, andJoanneZerdy..and TheatricalThings Basingstoke:Palgrave. 2014.Objects Performing Schneider, Rebecca. 2015. “New MaterialismsandPerformanceStudies.” TDR Schneider, Rebecca. 2011. Performing Remains: Art and War in Times of Theatrical Reenactment.London: Schiff, Stacy. 2015. The Witches: Salem, 1692. New York: Little, BrownandCompany. Salem PoliceDepartment(SPD). n.d. “The CopShop.” Accessed 1May2017. http://salempd.org/shop. Rosenthal, Bernard, andGretchen A. Adams. 2009. Records oftheSalem Witch-Hunt. Cambridge:Cambridge Roach, Joseph. 2007. It. Roach, Joseph. 2003. “Celebrity Erotics:Pepys, Performance, andPaintedLadies.” The Yale Journal of Roach, Joseph. 1996. CitiesoftheDead:Circum-AtlanticPerformance. New York: ColumbiaUniversityPress. Preston, VK. 2015. “How DoI Touch This Text?: Or, The Interdisciplines Between:Danceand Theater Pietz, William. 1985. “The ProblemoftheFetish, I.”,and Aesthetics 9:5–17. RES:Anthropology Norton, MaryBeth. 2002. IntheDevil’s Snare: The Salem Witchcraft Crisisof1692.New York: Knopf. New York PublicLibrary, Archives andManuscripts(NYPL). 1962. “Examination of Tituba theIndian Muchembled, Robert. 1993. LeRoietlasorcière: l’Europedesbûchers , XVe–XVIIIe siècle. Paris:Desclée. Mitropolous, Angela.2012. Miller, Arthur.1953. Mather, Increase. 1693. evilSPIRITSPersonating CasesofConscienceConcerning Men, Witchcrafts, infallible Mather, Cotton. 1693. The Wonders oftheInvisible World: beinganaccountofthetryals ofseveral vvitches lately https://twitter.com/realdonaldtrump/status/875321478849363968?lang=en. twitter.com/realdonaldtrump/status/865173176854204416?lang=en. edition. ChapelHill:UniversityofNorthCarolinaPress. -Clinton-BUMPER-STICKER-Pence-2016-decal-/381704322033. Accessed 1February, 2017. Pence 2016decal.” eBay. dhb/9780199582174.013.032. in Medieval Europe. OxfordHandbooksOnline. Accessed 5May2017. DOI: 10.1093/oxfor Studies.” -cloth-clothing-slaves-craftsmanship-commerce-industry/. of Early Decorative Southern Arts 33. Accessed 10July2017. http://www.mesdajournal.org/2012/slave Routledge. University Press. Criticism University Press. in EarlyModern Archives.” InTheOxford HandbookofDanceand Theater, 56–89. Oxford:Oxford woman: manuscript.” RecordedbyJonathanCorwin. MssCol3365, 2March1961. Compositions. Division ofRareandManuscriptCollections, CornellUniversity. Cambridge, and Teacher of a Church at BOSTON in New England. Experience, andtheJudgment ofmany men. Learned ByIncrease Mather, President ofHarvard College at Proofs ofGuiltinsuch asare accusedwiththatCrime. All Considered according totheScriptures, History, 1693. ClassicJosiah, BrownUniversity. excuted [sic]inNew-England[...]. PrintedfirstatBostun[sic], andreprintedatLondonforJohnDunton, 16, 1:211–30. Theatre Journal 68, 4:673–84. The Crucible. NewYork:Penguin. Ann Arbor: UniversityofMichiganPress. Contract andContagion: From BiopoliticstoOikonomia. NewYork:Minor www.ebay.com/itm/Funny-DONALD-TRUMP-VS-WITCH-HILLARY Boston: Benjamin Harris. Kroch Library, 59, 4(T228):7–17. Reproducing Witchcraft 159

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