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The structures of migration in Tales from Firozsha Baag
Peter Morey

characters who inhabit them as almost to constitute a character in their own right: examples include the American deep south in Faulkner’s Go Down, Moses, Joyce’s Dublin, and, here, Mistry’s Firozsha Baag.4 The sequence of stories also sometimes traces the psychological and intellectual development of a particular character from childhood to maturity. Finally, time is often depicted as cyclical rather than linear, with repetition and variation of situations allowing for a deepening of perspective on key themes: in Tales from Firozsha Baag, the stories ‘Squatter’, ‘Lend Me

in Rohinton Mistry
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Beyond the witch trials
Owen Davies
Willem de Blécourt

awkward process of divorcing themselves from popular concerns and beliefs regarding witchcraft. This shift led, it would seem, to some considerable consternation amongst the witch-believing public as to what was and was not regarded as criminal. Yet while the criminal basis of witchcraft was increasingly undermined by legal circumspection regarding the nature of evidence, and broader intellectual scepticism concerning the reality of witchcraft, beneficial magic remained a crime even though it was rationalised according to intellectual developments. This is particularly

in Beyond the witch trials