Alfie Lester’s checkered past on the streets of Cheyne Heath has made him the perfect partner for Gosha. He’s seen enough strangeness working as a bouncer for every shady establishment in the neighborhood not to be fazed by the revelation of the secret world of Craft and Influence, but not so much that he’s hardened or jaded.
Excerpted from a curious book I found hidden in the back of a dusty shelf in a used bookstore on Cape Cod: As we all know, we witches are never the most welcoming of people, save to the needy visitors to our kitchens, and the witches of Cheyne Heath are more unwelcoming than most, so…
In the 1980s, when Spellshock and The Witch of Cheyne Heath series is set, homosexuality had technically been decriminalized, but the country was still oppressive toward members of the LGBT community.
Though Millicent is a few years younger than Gosha, Gosha entertains hopes that she and Millicent might be friends. Unfortunately, the circumstance of their meeting sets that friendship off to a difficult start.
I see Gosha’s photography as something between the stylized maximalism of Pierre et Gilles, and the impressionism of Sarah Moon. Both styles would work well to take advantage of the tendency for Gosha’s visions to be captured on emulsion.
The Comet Club, stronghold of usurpers to the sainthood of Shadow and workplace of Johnny and Alfie, I pictured in my mind as a cross between the Bowery Ballroom in New York City, one of my favorite places to see live music, and the fabled Blitz Club of 1980s London.