The Honey Witch

In a world where public attitudes toward queer people and queer representation regularly cycle through times of progress and regression, novels like The Honey Witch offer a vital safe space for the queer community. Queer fantasy literature allows people to envision a space where queerness is not demonized or seen as deviant from the societal standard of straightness.

The fantasy genre as a whole has always been about reshaping worlds, for better or worse, often drawing upon hope and a sense of wonder. This is evident in the way that fantasy worlds often explore egalitarian concepts, like the aspiration toward a virtuous world, a lack of gender disparity, and kindness as a strength. The inclusion of queer characters can often be a way of exploring a fantasy world where queerness is not treated as anomalous and perverse.

The Honey Witch is set in an 1830s society that mirrors the real Romantic Era through the cultural importance placed on artistic talent and the high society balls in Bardshire. The societal values of Bardshire are reflective of this period, with an emphasis on women marrying young and becoming wives and mothers. However, while queer and gay relationships in the 19th century were seen as taboo, The Honey Witch offers a world in which attraction to members of the same sex is an equally valid form of love.

The first mention of queerness takes place in Chapter 5, when Marigold’s childhood friend August introduces his partner, Edmund. There are no acknowledgements that August’s partner is a man instead of a woman, and no characters are inwardly caught off-guard by this fact. The introduction mirrors those of straight relationships, as no one is surprised when a heterosexual person introduces their partner. The casual reactions to queerness continue throughout the novel. For example, Marigold brings Lottie home and tells her mother of their attempts at romance. Additionally, Marigold helps lead her best friend, August, to his soulmate, who happens to be Marigold’s brother. Their budding relationship is only spoken of scandalously when Marigold acknowledges them sneaking off together—the fact that they are two men is in no way taboo.

The only time a candid discussion about sexuality occurs is in Chapter 15, when August tries to gauge Marigold’s interest in Lottie. August describes Lottie as “only attracted to women” and describes himself saying, “I don’t have any preference when it comes to gender. I love whom I love, without question, and sometimes without logic” (135). The conversation surrounding their romantic and sexual preferences is casual and does not carry the weight of societal stigma, trauma related to queer acceptance, or secrecy. The ability for characters to have and discuss queer relationships openly in the world of The Honey Witch emphasizes the way that romantic fantasy novels can offer an escape from real-world discrimination against LGBTQ+ relationships.