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Brought to her uncle’s decaying Oxfordshire estate when she was a child, Grace has grown up on the periphery of a once-great household, an outsider in her own home. Now a self-possessed and secretive young woman, she has developed unusual predilections: for painting, particularly forgery; for deception; for other girls.

Amelia Cole—Lia for short—is one of the first women studying abroad at Oxford University in the 1920s. Finally free from her overbearing Brooklyn parents, she finds a welcome sense of independence in British college life. Lia quickly falls for Scarlett Daniels, an aspiring actress and hardheaded protester. Scarlett introduces her to an exciting gender-equality movement with high stakes. But when their secret love clashes with political uprising, their relationship is one of the casualties.

Buying into the dream that education is the road out of poverty, a teen mom takes a chance on bettering herself, gets on welfare rolls, and talks her way into college. But once she's there, phallocratic narratives permeate every subject, and creative writing professors depend heavily on Freytag's pyramid to analyze life. So Ariel turns to a rich subcultural canon of resistance and failure, populated by writers like Audre Lorde, Tillie Olsen, and Kathy Acker. Wryly riffing on feminist literary tropes, We Were Witches documents the survival of a demonized single mother.