The Very Secret Society Of Irregular Witches By Sangu Mandanna -

Published in 2022, Sangu Mandanna’s The Very Secret Society of Irregular Witches is a cozy fantasy novel that subverts traditional tropes of witchcraft narratives. Rather than focusing on dark magic or epic battles, the novel centers on Mika Moon, a solitary young witch who has been raised to hide her magic, avoid human connections, and follow rigid rules to ensure her safety. The story follows her journey to Nowhere House, a crumbling estate on the English coast, where she is hired to tutor three young witches. This paper argues that Mandanna uses the framework of a lighthearted romance and magical realism to explore profound themes: the human need for belonging, the redefinition of family beyond biological ties, and the courage required to live authentically.

Mika’s initial coping mechanism is performative: she plays a “fake witch” online to feel seen. The irony is that she is a real witch performing a caricature of herself. At Nowhere House, she learns to shed this performance. The children, especially, cannot be taught with fake personas; they require genuine vulnerability. Mandanna suggests that magic—like happiness—works best when it is not hidden or performed for approval. The climax, where Mika uses her magic openly to protect her new family, signifies the ultimate act of authenticity: choosing to be seen, flaws and all, for those you love. Published in 2022, Sangu Mandanna’s The Very Secret

Mandanna writes in a warm, accessible prose style with sharp, witty dialogue. The novel fits into the “cozy fantasy” subgenre (alongside works by T.J. Klune and Travis Baldree), characterized by low stakes, high emotional payoff, and an emphasis on comfort. The magic system is soft (no complex rules), serving primarily as a metaphor for hidden talents and emotional states. The pacing is gentle, alternating between domestic scenes and moments of magical chaos. This paper argues that Mandanna uses the framework

Traditional family is absent for Mika (her parents died) and for the three young witches (they were abandoned). Mandanna deliberately constructs “found family” not as a consolation prize but as a superior model. The members of Nowhere House—a gay librarian, a stern housekeeper, a retired witch, a grumpy handyman, and three children—are bound not by blood but by mutual care and chosen commitment. The novel emphasizes that family is an active, daily practice of love and protection. Mika’s eventual adoption into this unit represents a rejection of her biological witch family’s cold, rule-bound legacy. At Nowhere House, she learns to shed this performance