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Women in
the International
Film Industry
Policy, Practice and Power

Edited by
Susan Liddy
 Women in the International Film Industry

“Being the Director of a program whose goal is to bring more female voices
and female-focused stories into mainstream media, this book is sorely needed.
My students are always bemoaning how little women are mentioned in the major
texts of screenwriting history that they have used in their coursework and they
long for books like this that represent the world they will enter and give them
the support to make the changes necessary for all artists to succeed at telling a
range of stories.”
—Rosanne Welch, Executive Director, Stephens College MFA in TV and
Screenwriting

“This is an important collection that helps us to think about and navigate the
film industry and its ongoing inequalities. It has international scope, showcasing
a range of places, policies and perspectives. And most crucially, it centres the
voices and stories of women, both on- and off-screen.”
—Bridget Conor, Senior Lecturer in Culture, Media and Creative Industries,
King’s College London

“This project couldn’t be more timely. Liddy’s collection of essays on women in

film is geographically all-encompassing, with contributions from across Europe as
well as Australia, New Zealand, Nigeria and the United States. Taken together,
they reveal how much we hold in common when it comes to addressing gender
inequalities. Key questions emerge around the effectiveness of quotas, access to
finance, career sustainability, and the power of role models. Most importantly,
the writing style is uniformly accessible; arguments are backed up with data, and
the message is clear—we can make it happen and we must.”
—Ruth Barton, Head of School of Creative Arts, Trinity College Dublin

“Women in the International Film Industry: Policy, Practice and Power makes an
important contribution to our understanding of the scope and scale of gender
inequality in the global film industry in the twenty-first century. This vibrant,
timely, and comprehensive collection by leading academics draws from a range of
disciplinary and methodological approaches to interrogate the ongoing interna-
tional struggles to document and redress systemic gender inequality throughout
the film value chain. The authors offer an advanced analysis of the gendered
dynamics of work and labour markets, and the feminist activism and policy frame-
works that shape them, that will be of substantial intellectual and practical value
to scholars, film professionals, activists, and policy-makers for many generations.”
—Amanda Coles, Deakin University, Australia
“Over the last several years the movement for inclusion in the film industry has
gained international momentum and one key to that growth has been research
and data. Women in the International Film Industry: Policy, Practice and Power,
edited by Susan Liddy, is an important tool in the push for equality, orga-
nizing real data from across the globe—because change does not happen in a
vacuum. These important analyses give the activists in each country the ammu-
nition needed to hold decision makers accountable in the fight for equitable
distribution of access and opportunity.”
—Melissa Silverstein, Founder/Publisher, Women and Hollywood.
Co-Founder/Artistic Director, Athena Film Festival. Founder, The Girls Club
 Susan Liddy
Editor

Women
in the International
Film Industry
Policy, Practice and Power
Editor
Susan Liddy
MIC
University of Limerick
Limerick, Ireland

ISBN 978-3-030-39069-3 ISBN 978-3-030-39070-9 (eBook)

https://doi.org/10.1007/978-3-030-39070-9

© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer
Nature Switzerland AG 2020
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights
of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc.
in this publication does not imply, even in the absence of a specific statement, that such
names are exempt from the relevant protective laws and regulations and therefore free for
general use.
The publisher, the authors and the editors are safe to assume that the advice and informa-
tion in this book are believed to be true and accurate at the date of publication. Neither
the publisher nor the authors or the editors give a warranty, expressed or implied, with
respect to the material contained herein or for any errors or omissions that may have been
made. The publisher remains neutral with regard to jurisdictional claims in published maps
and institutional affiliations.

Cover design by eStudioCalamar

Cover image: bjones27, Getty Images

This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
For Fin, Hilary and Yvonne. Each, in your own way, a ‘believing mirror’.
Thank you.
For Joe (Oisin) Liddy, 1932–2020. Gone but still with us in a myriad of
ways. May it always be so.
 Contents

The Gendered Landscape in the International Film

Industry: Continuity and Change 1
Susan Liddy

Europe

Gender in the Austrian Film Industry 21

Eva Flicker and Lena Lisa Vogelmann

Where Are the Female Creatives? The Status Quo

of the German Screen Industry 43
Elizabeth Prommer and Skadi Loist

With Eyes Wide Open: Gender Equality in the Polish Film

Industry 61
Greta Gober

The Road to 5050: Gender Equality and the Irish Film

Industry 77
Susan Liddy

vii
viii CONTENTS

Gender Equality in British Film-making: Research,

Targets, Change 97
Shelley Cobb and Linda Ruth Williams

Gendered Representation in Danish Film 111

Tess Sophie Skadegård Thorsen

To Change or Not to Change? Women and Gender

Equality in the Finnish Film Industry 131
Tarja Savolainen

From Edith Carlmar to Iram Haq: Women

in the Norwegian Film Industry 149
Anette Svane

Experiencing Male Dominance in Swedish Film Production 163

Maria Jansson and Louise Wallenberg

Out in the Cold? Women Filmmakers in Iceland 179

Guðrún Elsa Bragadóttir

Women in the Italian Film Industry: Against All Odds 197

Bernadette Luciano and Susanna Scarparo

Gender Struggles in the Portuguese Film Industry 213

Carla Baptista and Ana Prata

North America

Hollywood and Gender Equity Debates in the #metoo

Time’s Up Era 235
Courtney Brannon Donoghue

Gender Advocacy in Canadian Film and Television:

Are Women Finally Breaking Through? 253
Susan Brinton and Sharon McGowan
 CONTENTS ix

Australia and New Zealand

Gender Still Matters: Towards Sustainable Progress

for Women in Australian Film and Television Industries 271
Lisa French

Aotearoa New Zealand: A Tale of Two Nations 293

Marian Evans

Nigeria

Women and Representations in Nollywood: Questions

of Production and Direction 315
Agatha Ada Ukata

Index 331
 Editor and Contributors

About the Editor

Susan Liddy lectures in the Department of Media and Communication

Studies in MIC, University of Limerick. Her research interests and publi-
cations relate primarily to gender issues in the Irish and international film
industry; motherhood and the film industry; the work of Irish female
writers/directors and representations of older women in film and tele-
vision. Her publications have appeared in journals such as Feminist Media
Studies, Sexuality and Culture and in various edited collections.
Susan is editor of Women in the Irish Film Industry: Stories and Story-
tellers (2020). She is currently researching (with Anne O Brien and Páraic
Kerrigan) how gender and diversity policies are promoted and imple-
mented by broadcasters, training bodies and production companies in
Auditing gender and diversity change in Irish media sectors, a project
funded by the Broadcasting Authority of Ireland. She is also co-editing
a collection on motherhood in the international audio-visual industries.
Susan is Chair of Women in Film and Television Ireland and an advisory
Board member of Women in Film and Television International. She is a
Board member of the Writers Guild of Ireland and Chair of their Equality
Action Committee (EAC). She is also a Board member of Raising Films
Ireland, established in February 2020. She is the founder and co-director
of Catalyst International Film Festival in Limerick, Ireland, a festival that

xi
xii EDITOR AND CONTRIBUTORS

prioritises work from underrepresented groups, in front of and behind the

camera.

Contributors

Carla Baptista is Professor in Communication Sciences at NOVA FCSH

in Lisbon and a Senior Researcher at ICNOVA. She is also a freelance
journalist and a member of the editorial board of the Portuguese edition
of the newspaper Le Monde Diplomatique. She is the author of several
books, including Journalists, from the Craft to the Profession (2007),
Living Memories of Journalists (2009) and Death and Resurrection of
Political Journalism (2011). She has written chapters for several books,
namely Gender in Focus: New Trends on Media (2016), Feminine Poli-
tics (2018) and Press, Political Crisis and Coup in Brazil (2019). Her
research interests include media and journalism history; media, gender
and politics and media and culture. She is currently working on a project
funded by the Portuguese Science Foundation on Portuguese journalism
history, including women’s press publications across the century.
Guðrún Elsa Bragadóttir is a Ph.D. candidate in the Department of
Comparative Literature at the University at Buffalo. She graduated with a
B.A. in Comparative Literature from the University of Iceland in 2011
and an M.A. from the same department in the spring of 2013. Her
B.A. thesis focused on the subgenre of the maternal melodrama in 1930s
and 1940s Hollywood, while she wrote her M.A. thesis on the German
director Rainer Werner Fassbinder’s experimental use of the melodramatic
mode. In 2016, Guðrún Elsa graduated with an M.A. degree from SUNY
at Buffalo and she is now writing her dissertation on contemporary Amer-
ican literature by women authors. Guðrún Elsa has taught film and liter-
ature at the University of Iceland and SUNY at Buffalo and currently
teaches film theory at the Technical College in Reykjavik.
Courtney Brannon Donoghue is an Assistant Professor in the Depart-
ment of Media Arts at the University of North Texas. Her research areas
include Conglomerate Hollywood and international operations, local-
language productions, Brazilian media, management and distribution
cultures, feminist production cultures, and blockbusters and franchising.
Brannon Donoghue’s first book Localising Hollywood (British Film
Institute Press, 2017) explores the localization of Hollywood operations
 EDITOR AND CONTRIBUTORS xiii

across Europe and Latin America since the 1990s based on extensive
international fieldwork in local markets. Her next book project examines
gender inequity and the barriers to developing, financing, producing and
distributing female-driven films in Hollywood and globally. Her publica-
tions have appeared in Cinema Journal, Media, Culture & Society, and
various edited collections, and she is also co-editor for the forthcoming
collection Media Distribution in the Digital Age under contract with
NYU Press.
Susan Brinton has over three decades of senior-level management and
consulting experience in film and television policy and industry analysis
in Canada. She holds a Bachelor of Commerce (Honours) degree and
a Master of Arts degree from the School of Communication at Simon
Fraser University, Vancouver.
An early Board member of Women in Film + TV Vancouver (WIFTV),
Susan has been a leader in many of its recent advocacy initiatives as Co-
Chair of the Advocacy Committee. She also sits on the Board of Women
in Film and TV International (WIFTI) and is a member of the Women
in Production Steering Committee for the federal broadcasting regulator,
the Canadian Radio-television and Telecommunications (CRTC).
Shelley Cobb is Principal Investigator of Calling the Shots: women and
contemporary film culture in the UK and Associate Professor of Film at the
University of Southampton. She is the author of Adaptation, Authorship
and Contemporary Women Filmmakers (Palgrave, 2015) and co-editor of
First Comes Love: Power Couples, Celebrity Kinship and Cultural Politics
(Bloomsbury, 2015).
Marian Evans (Ph.D., L.L.M.) examined gender and the feature film
development process in New Zealand for the exegesis of her Creative
Writing Ph.D. A lawyer, artist, writer and activist; she runs #directedby-
women #aotearoa and interviews women directors for Eurimages. Her
#womeninfilm blog is at https://wellywoodwoman.blogspot.com and
https://medium.com/@devt.
Eva Flicker is Professor for Sociology in the Department of Sociology at
the University of Vienna. Her specialization is in research, teaching and
applied sociology: film sociology, visual sociology, gender studies, group
dynamics. Website: www.soz.univie.ac.at/eva-flicker.
xiv EDITOR AND CONTRIBUTORS

Lisa French is the Dean of RMIT University’s School of Media and

Communication. Her extensive screen industry experience includes
directing the St Kilda Film Festival, serving on the Board of the Australian
Film Institute and producing several documentaries. She is a lifetime
member of the AFI and WIFT, an international member of AACTA,
and internationally recognised as one of Australia’s foremost scholars on
women in film and television. As Co-Chair of the UNESCO Network
for Gender, Media and ICTS, she has advocated for women’s access to
media, including at the UN’s Commission for the Status of Women. She
is currently a member of the Screen Australia Gender Matters Taskforce.
Greta Gober (Ph.D.) is a Postdoctoral Fellow in the Department of
Media and Journalism Studies, Stockholm University. Her research is
concerned with power, social justice and inequality. She is a Board
member of the International Association of Women in Radio and Tele-
vision.
Maria Jansson is Associate Professor in the Department of Political
Science, Stockholm University. She presented her thesis on child care,
motherhood and work in Swedish public policy in 2001 and has since
been doing research in the fields of feminist theory, film and cultural
policy. Her current research is part of the three-year project Representing
women: Gender Swedish Film Culture and Production, funded by the
Swedish Foundation for Humanities and Social Science.
Skadi Loist is Visiting Professor for Production Cultures in Audiovi-
sual Media Industries at the Film University Babelsberg Konrad Wolf in
Potsdam and PI of the research project “Film Circulation on the Inter-
national Film Festival Network” (BMBF 2017–2020). Recent projects:
“Who Directs German Feature Films: Gender Report 2009–2013” (with
E. Prommer, 2015) and “Where are the Women Directors? Report on
Gender Equality for Directors in the European Film Industry 2006–
2013. National Report—Germany” (EWA 2016, with E. Prommer).
Together with Deb Verhoeven (UTS), she established the International
Screen Industries Consortium (ISICon), an international network of
screen industry researchers analysing the position of women in screen
industries across the globe. Recent publications: Film Festivals: History,
Theory, Method, Practice (ed. with M. de Valck and B. Kredell, 2016);
“Teaching European Cinema: The European University Film Award
(EUFA) Project”, dossier in Alphaville 1 (2017) and “Queer/ing Film
 EDITOR AND CONTRIBUTORS xv

Festivals”, special issue of Studies in European Cinema (15:1, 2018, ed.

with Leanne Dawson).
Bernadette Luciano Professor of Italian at the University of Auckland,
specializes in Italian cinema and cultural studies. She has published
numerous articles and book chapters on Italian cinema, film adapta-
tion, Italian women’s historical novels, women’s autobiographical writing
and literary translation. She is co-author (with Susanna Scarparo) of
Reframing Italy New Trends in Italian Women’s Filmmaking (2013),
author of The Cinema of Silvio Soldini: Dream, Image, Voyage (2008)
and co-editor of an interdisciplinary book European/New Zealand:
Cross-Cultural Encounters.
Sharon McGowan (MFA) is an Associate Professor teaching in the Film
Production and Creative Writing Programmes at the University of British
Columbia in Vancouver, Canada. She has written and directed docu-
mentaries for the National Film Board of Canada, including for their
acclaimed feminist film unit, Studio D, and she has produced feature films
including the internationally released hit lesbian romantic comedy Better
than Chocolate (1999).
She was a founding member of Women in Film and Television
Vancouver (1989) and is a past president. She is currently serving on
the Board of Directors of WIFT Vancouver as Co-Chair of the Advocacy
Committee. She also serves on the Women’s Committee for the Directors
Guild of Canada.
McGowan’s most recent film was the documentary, Bearded Ladies
(2015), which premiered at the Vancouver Queer Film Festival.
Ana Prata is Full Professor in Sociology at California State University
Northridge, United States. She is a co-editor of European Women’s Move-
ments and Body Politics (with Radka Dudová, Lenita Freidenval, and
Joyce Outshoorn, 2012). She is the author of several publications on
the Journal of Women’s History, Women’s Studies International Forum,
Journal of Reflection and Critique, The Journal of the Portuguese Women’s
Studies Association, among others. Some of her most recent publications
are The Visibility (and Invisibility) of Women and Gender in Parliamen-
tary Discourse During the Portuguese Economic Crisis and also Gender
and Political Representation Before and After the Great Recession. Her
research interests are women’s movements, gender equality policy, body
politics, gender and economic crisis, and gender representation. She is
xvi EDITOR AND CONTRIBUTORS

currently working on a project on the impact of the #metoo movement

in European Politics.
Elizabeth Prommer is Professor of Communication and Media Studies
and Director of the Institute for Media Research at the University of
Rostock. She has published a media-biographical study on cinema audi-
ences in East and West Germany Cinemagoing and Biography: A Histor-
ical and Media Biographical Analysis, several articles on cinema audiences
and a study about The Lord of the Rings Trilogy: Attraction and Fascina-
tion of a Popular Culture Phenomenon (2007). With her research company
Prommer Media Consulting, she consulted film producers and distrib-
utors about marketing strategies, including Oscar winner Nirgendwo in
Afrika, box-office hit Schuh des Manitu and other film genres. She
is a trainer in the EU executives training programme of CICAE, the
federation of art cinemas.
Tarja Savolainen (Ph.D.) is an independent researcher. Her special area
of expertise is gender equality and media. Her dissertation (2002) was
about the pioneering female film directors in Finland. In 2017, she
published a report on gender equality and film financing in Finland,
Gender Equality in Finnish Film Production: The division of public
financing, which has been widely referred to in the media. In addi-
tion, she has published journal articles and book chapters on gender and
media both in Finnish and in English. “Gender Equality, Postfeminism
and Finnish Media” was published in Gender Equality and the Media: A
Challenge for Europe (eds. K. Ross & C. Padovani, Routledge, 2017).
At the moment, she is preparing a book on women and film in Finland.
She has taught media studies in Finnish universities and has been involved
in transnational research projects (Women in Media Industries in Europe,
EIGE and the Global Report on the Status of Women in the News Media,
IWMF). She has also worked as a consultant and conducted reports on
media to Finnish ministries.
Susanna Scarparo is Associate Professor in the School of Literature,
Languages and Linguistics at the Australian National University. She is
co-author of Reggae and Hip Hop in Southern Italy: Politics, Language
and Multiple Marginalities (2018, with Mathias Stevenson), Reframing
Italy: New Trends in Italian Women’s Filmmaking (2013, with Bernadette
Luciano); and author of Elusive Subjects: Biography as Gendered Metafic-
tion (2005). She has co-edited Violent Depictions: Representing Violence
 EDITOR AND CONTRIBUTORS xvii

Across Cultures (2006); Across Genres, Generations and Borders: Italian

Women Writing Lives (2005); and Gender and Sexuality in Contemporary
Italian Culture: Representations and Critical Debates (2010). She has
also published numerous articles on Italian cinema, women’s life writing,
migration and historical fiction.
Tess Sophie Skadegård Thorsen is a Doctoral Researcher of media,
race and representation in the Department of Culture and Global Studies
at Aalborg University, Denmark. Thorsen is part of the project “A Study
of Experiences and Resistance to Racialization in Denmark (SERR)”. Her
research is on the practices of representation of various minoritized groups
in the production of Danish film.
Anette Svane is a film scholar and independent filmmaker from Norway.
She is currently pursuing her Ph.D. at Lund University, exploring perspec-
tives on female subjectivity in contemporary Scandinavian film. She has
a BFA in film production and an M.A. in film studies, both from
NTNU (Norwegian University of Science and Technology), where she
has worked in various teaching and research positions within film studies
since graduating.
Agatha Ada Ukata (Ph.D.) holds a doctorate degree in African Liter-
ature from the University of the Witwatersrand, Johannesburg, South
Africa. She is currently an Assistant Professor and Chair of the English
and Literature Department of American University of Nigeria, Yola. She
has written widely on Nollywood and especially the politics of gender,
including her book Images of Women in Nigerian (Nollywood) Videos
(2015).
Lena Lisa Vogelmann was Key Researcher for the Film Gender Report.
Her main fields of research are: visual sociology, film and statistics. Lena
Lisa Vogelmann works in the Gender Equality and Diversity unit of the
University of Vienna.
Louise Wallenberg holds a Ph.D. in Cinema Studies (Stockholm
University, 2002) and is Associate Professor in Film and Fashion Studies.
Between 2006 and 2013, she was the establishing Director of the Centre
for Fashion Studies at Stockholm University. She has published on queer
cinema, gender theory, organization theory and fashion. Currently, she is
working on a research project on women in Swedish cinema, funded by
the Swedish Foundation for Humanities and Social Science.
xviii EDITOR AND CONTRIBUTORS

Linda Ruth Williams is Co-Investigator of Calling the Shots: Women

and Contemporary Film Culture in the UK and Professor of Film at the
University of Exeter. She is the author of several books and collections,
including The Erotic Thriller in Contemporary Cinema (Indiana Univer-
sity Press, 2005) and a forthcoming monograph on the child in Steven
Speilberg’s films.
 List of Figures

Gender in the Austrian Film Industry

Fig. 1 Austrian production funding (TV and movies) in 2012–2016
according to the Swedish Model 27
Fig. 2 Austrian public funding (TV and movies) in 2012–2016
according to the Inclusion Model 28
Fig. 3 Applications for Austrian public funding (movies) in
2012–2016: Gender ratios in departments and fees 29
Fig. 4 Austrian feature films in 2012–2016: The Bechdel-Wallace
test according to the Inclusion Model 31
Fig. 5 Award-winning films at Austrian festivals, 2012–2016, in
correlation with the gender compositions of juries and
directors 34

Where Are the Female Creatives? The Status Quo of the

German Screen Industry
Fig. 1 Loss of female potential: A comparison of film school alumni
and women working in the German film industry (Data
sourced from Hochfeld et al. 2017, p. 28; Prommer et al.
2017, p. 3) 48
Fig. 2 Gender distribution of leading roles and protagonists in all
television genres (German (co)-productions) (Data sourced
from Prommer and Linke 2019, pp. 49–50) 49
Fig. 3 Average number of protagonists by gender in creative roles
(Data sourced from Prommer and Linke 2019, p. 114) 51

xix
xx LIST OF FIGURES

Gendered Representation in Danish Film

Fig. 1 Headline from The Guardian.com (Accessed May 2019,
published 10 May 2019) 112
Fig. 2 Headlines from some of the leading national Danish
newspapers (clockwise from top) “Now #MeToo is exploding
- 1223 famous Danes sign manifest”, “Overview: the
MeToo-movement’s route from Hollywood to Denmark”,
and “#MeToo-movement has changed Denmark forever” 116
Fig. 3 From DFI’s 2016 gender report. Two tables which represent
the average subsidy portions by gender for the cumulative
period of 2010 to first half of 2015 (pp. 9–10 of the report;
Møller et al. 2016) 120
Fig. 4 Director Konsulentordningen. Total funds allocated to
directors and for production per year grouped for men and
women, awarded in the category ‘konsulentordning’ 122
Fig. 5 Director Markedsordningen. Total funds allocated to
directors and for production per year for men and women,
awarded in the category ‘markedsordning’ 123
Fig. 6 Manus Konsulentordningen. Total funds allocated to
manuscript writers per year grouped between men and
women, awarded in the category ‘konsulentordning’ (Due
to inconsistencies in the data from the Danish Film Institute,
funds for manuscript development awarded to the movie
‘Pigen fra Planen’ (2018) are not included in the figure as
the field ‘Manusforfatter’ (scriptwriter) was left empty) 123
Fig. 7 Manus Markedsordningen. Total funds allocated to
manuscript writers per year grouped for men and women,
awarded in the category ‘markedsordning’ 124

Experiencing Male Dominance in Swedish Film

Production
Fig. 1 Graph of share of women in creative roles, percentages of all
films released each year (Sources SFI 2008, 2012, 2017) 166

Gender Struggles in the Portuguese Film Industry

Fig. 1 Percentage of films directed by women supported under the
audiovisual program (Source ICA 2018 Catalogue) 217
Fig. 2 National film releases 219
Fig. 3 Women in feature films (2016–2018) (Source Production
credits published in ICA catalogues 2016–2018) 224
 LIST OF FIGURES xxi

Fig. 4 Percentage of films directed by women supported under ICA

(Source ICA 2018 Catalogue) 224
Fig. 5 Graph showing women in documentary 2016–2018 (Source
Production credits published in ICA catalogues 2016–2018) 231
Fig. 6 Graph showing women in short fiction films 2016–2018
(Source Production credits published in ICA catalogues
2016–2018) 231

Gender Still Matters: Towards Sustainable Progress for

Women in Australian Film and Television Industries
Fig. 1 Females working in Creative Roles—Industry Wide July
2011–2017. https://www.screenaustralia.gov.au/sa/media-
centre/images/gender-matters-kpi-update. Source Published
with permission from Screen Australia 278
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and think that once more, at any rate, they will be worth dressing with care.
But the witch keeps her cloak of darkness, her dress embroidered with signs
and planets; that’s better worth looking at. And think, Satan, what a
compliment you pay her, pursuing her soul, lying in wait for it, following it
through all its windings, crafty and patient and secret like a gentleman out
killing tigers. Her soul—when no one else would give a look at her body
even! And they are all so accustomed, so sure of her! They say: “Dear
Lolly! What shall we give her for her birthday this year? Perhaps a hot-
water bottle. Or what about a nice black lace scarf? Or a new workbox? Her
old one is nearly worn out.” But you say: “Come here, my bird! I will give
you the dangerous black night to stretch your wings in, and poisonous
berries to feed on, and a nest made of bones and thorns, perched high up in
danger where no one can climb to it.” That’s why we become witches: to
show our scorn of pretending life’s a safe business, to satisfy our passion
for adventure. It’s not malice, or wickedness—well, perhaps it is
wickedness, for most women love that—but certainly not malice, not
wanting to plague cattle and make horrid children spout up pins and—what
is it?—“blight the genial bed.” Of course, given the power, one may go in
for that sort of thing, either in self-defence, or just out of playfulness. But
it’s a poor twopenny housewifely kind of witchcraft, black magic is, and
white magic is no better. One doesn’t become a witch to run round being
harmful, or to run round being helpful either, a district visitor on a
broomstick. It’s to escape all that—to have a life of one’s own, not an
existence doled out to you by others, charitable refuse of their thoughts, so
many ounces of stale bread of life a day, the workhouse dietary is
scientifically calculated to support life. As for the witches who can only
express themselves by pins and bed-blighting, they have been warped into
that shape by the dismal lives they’ve led. Think of Miss Carloe! She’s a
typical witch, people would say. Really she’s the typical genteel spinster
who’s spent herself being useful to people who didn’t want her. If you’d got
her younger she’d never be like that.’
‘You seem to know a good deal about witches,’ remarked Satan. ‘But
you were going to say what you thought about me.’
She shook her head.
‘Go on,’ he said encouragingly. ‘You have compared me to a knight-
errant. That’s very pretty. I believe you have also compared me to a hunter,
a poaching sort of hunter, prowling through the woods after dark. Not so
flattering to my vanity as the knight-errant, but more accurate, I daresay.’
‘O Satan! Why do you encourage me to talk when you know all my
thoughts?’
‘I encourage you to talk, not that I may know all your thoughts, but that
you may. Go on, Laura. Don’t be foolish. What do you think about me?’
‘I don’t know,’ she said honestly. ‘I don’t think I do think. I only
rhapsodise and make comparisons. You’re beyond me, my thought flies off
you like the centrifugal hypothesis. And after this I shall be more at a loss
than ever, for I like you so much, I find you so kind and sympathetic. But it
is obvious that you can’t be merely a benevolent institution. No, I must be
your witch in blindness.’
‘You don’t take warlocks so seriously, I know. But you might find their
point of view illuminating. As it’s a spiritual difficulty, why not consult Mr.
Jones?’
‘Poor Mr. Jones!’ Laura began to laugh. ‘He can’t call his soul his own.’
‘Hush! Have you forgotten that he has sold it to me?’
‘Then why did you mortgage it to Mr. Gurdon? Mr. Jones isn’t even
allowed to attend the Sabbath.’
‘You are a little dense at times. Hasn’t it occurred to you that other
people might share your sophisticated dislike for the Sabbath?’
‘You don’t attend the Sabbath either, if it comes to that.’
‘How do you know? Don’t try to put me in your pocket, Laura. You are
not my only conquest, and I am not a human master to have favourites
among my servants. All are souls that come to my net. I apologise for the
pun, but it is apt.’
She had been rebuked, but she did not feel particularly abashed. It was
true, then, what she had read of the happy relationship between the Devil
and his servants. If Euphan Macalzean had rated him—why, so, at a pinch,
might she. Other things that she had read might also be true, she thought,
things that she had till now been inclined to reject. So easy-going a Master
who had no favourites among his servants might in reality attend the
Sabbath, might unbend enough to eat black-puddings at a picnic without
losing his dignity.
 ‘That offensive young man at the Sabbath,’ she remarked, ‘I know he
wasn’t you. Who was he?’
‘He’s one of these brilliant young authors,’ replied the Devil. ‘I believe
Titus knows him. He sold me his soul on the condition that once a week he
should be without doubt the most important person at a party.’
‘Why didn’t he sell his soul in order to become a great writer? Then he
could have had the party into the bargain.’
‘He preferred to take a short-cut, you see.’
She didn’t see. But she was too proud to inquire further, especially as
Satan was now smiling at her as if she were a pet lamb.
‘What did Mr. Jones——’
‘That’s enough! You can ask him that yourself, when you take your
lessons in demonology.’
‘Do you suppose for one moment that Mr. Gurdon would let me sit
closeted with Mr. Jones taking lessons in plain needlework even? He would
put his face in at the window and say: “How much longer are them Mothers
to be kept waiting?” or: “I should like to know what your reverence is doing
about that there dung?” or: “I suppose you know that the cowman’s girl
may go off at any minute.” And then he’d take him down to the shrubbery
and scold him. My heart bleeds for the poor old gentleman!’
‘Mr. Jones’—Satan spoke demurely—‘will have his reward in another
life.’
Laura was silent. She gazed at the Maulgrave Folly with what she could
feel to be a pensive expression. But her mind was a blank.
‘A delicate point, you say? Perhaps it is bad taste on my part to jest
about it.’
A midge settled on Laura’s wrist. She smacked at it.
‘Dead!’ said Satan.
The word dropped into her mind like a pebble thrown into a pond. She
had heard it so often, and now she heard it once more. The same waves of
thought circled outwards, waves of startled thought spreading out on all
sides, rocking the shadows of familiar things, blurring the steadfast pictures
of trees and clouds, circling outward one after the other, each wave more
listless, more imperceptible than the last, until the pool was still again.
 There might be some questions that even the Devil could not answer.
She turned her eyes to him with their question.
Satan had risen to his feet. He picked up the flag basket and the shears,
and made ready to go.
‘Is it time?’ asked Laura.
He nodded, and smiled.
She got up in her turn, and began to shake the dust off her skirt. Then she
prodded a hole for the bag which had held the apples, and buried it tidily,
smoothing the earth over the hole. This took a little time to do, and when
she looked round for Satan, to say good-bye, he was out of sight.
Seeing that he was gone she sat down again, for she wanted to think him
over. A pleasant conversation, though she had done most of the talking. The
tract of flattened grass at her side showed where he had rested, and there
was the rampion flower he had held in his hand. Grass that has been lain
upon has always a rather popular bank-holidayish look, and even the
Devil’s lair was not exempt from this. It was as though the grass were in
league with him, faithfully playing-up to his pose of being a quite everyday
phenomenon. Not a blade of grass was singed, not a clover-leaf blasted, and
the rampion flower was withering quite naturally; yet he who had sat there
was Satan, the author of all evil, whose thoughts were a darkness, whose
roots went down into the pit. There was no action too mean for him, no
instrument too petty; he would go into a milk-jug to work mischief. And
presently he would emerge, imperturbable, inscrutable, enormous with the
dignity of natural behaviour and untrammelled self-fulfilment.
To be this—a character truly integral, a perpetual flowering of power and
cunning from an undivided will—was enough to constitute the charm and
majesty of the Devil. No cloak of terrors was necessary to enlarge that
stature, and to suppose him capable of speculation or metaphysic would be
like offering to crown him with a few casual straws. Very probably he was
quite stupid. When she had asked him about death he had got up and gone
away, which looked as if he did not know much more about it than she did
herself: indeed, being immortal, it was unlikely that he would know as
much. Instead, his mind brooded immovably over the landscape and over
the natures of men, an unforgetting and unchoosing mind. That, of course—
and she jumped up in her excitement and began to wave her arms—was
why he was the Devil, the enemy of souls. His memory was too long, too
retentive; there was no appeasing its witness, no hoodwinking it with the
present; and that was why at one stage of civilisation people said he was the
embodiment of all evil, and then a little later on that he didn’t exist.
For a moment Laura thought that she had him: and on the next, as
though he had tricked himself out of her grasp, her thoughts were scattered
by the sudden consciousness of a sort of jerk in the atmosphere. The sun
had gone down, sliding abruptly behind the hills. In that case the bus would
have gone too, she might as well hope to catch the one as the other. First
Satan, then the sun and the bus—adieu, mes gens! With affectionate
unconcern she seemed to be waving them farewell, pleased to be left to
herself, left to enter into this new independence acknowledged by their
departure.
The night was at her disposal. She might walk back to Great Mop and
arrive very late: or she might sleep out and not trouble to arrive till to-
morrow. Whichever she did Mrs. Leak would not mind. That was one of the
advantages of dealing with witches; they do not mind if you are a little odd
in your ways, frown if you are late for meals, fret if you are out all night,
pry and commiserate when at length you return. Lovely to be with people
who prefer their thoughts to yours, lovely to live at your own sweet will,
lovely to sleep out all night! She had quite decided, now, to do so. It was an
adventure, she had never done such a thing before, and yet it seemed most
natural. She would not sleep here: Wickendon was too close. But presently,
later on, when she felt inclined to, she would wander off in search of a
suitable dry ditch or an accommodatingly loosened haystack; or wading
through last year’s leaves and this year’s fern she would penetrate into a
wood and burrow herself a bed, Satan going his rounds might come upon
her and smile to see her lying so peaceful and secure in his dangerous
keeping. But he would not disturb her. Why should he? The pursuit was
over, as far as she was concerned. She could sleep where she pleased, a hind
couched in the Devil’s coverts, a witch made free of her Master’s immunity;
while he, wakeful and stealthy, was already out after new game. So he
would not disturb her. A closer darkness upon her slumber, a deeper voice
in the murmuring leaves overhead—that would be all she would know of
his undesiring and unjudging gaze, his satisfied but profoundly indifferent
ownership.
 *** END OF THE PROJECT GUTENBERG EBOOK LOLLY
WILLOWES ***

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