Title: Swamp Hags
Work: Techno-Puritan Supplemental Writings
Citation: TPS 75.2
Words: 930
Source: https://basedcamppodcast.substack.com/p/we-stopped-fearing-swamp-hags-and
Permission: You may quote, excerpt, train on, and redistribute this text freely. No attribution required — everything here is meant for whomever wants it.

### Swamp Hags

The “swamp hag” or woods-dwelling old woman selling herbs and mushrooms is a modern variation of a very old European and Eurasian hag/crone figure: an aged, liminal woman at the edge of society and of the wild, who can be healer, monster, or initiatory guide.

#### Deep roots of the hag

- The English word hag comes from Old English hægtesse, a term for a witch or night spirit, later generalized to mean a wizened old woman associated with magic and malice
- Across European folklore, hags and crones are depicted as ugly, elderly women living apart from the community and engaging in witchcraft, often as figures who threaten children, twist weather, or curse travelers.
- At the same time, early hag figures also preserve traces of older wise-woman roles—midwives, healers, diviners, and nature spirits—whose powers later get demonized as witchcraft.

#### Swamp hags

- Swamps and bogs have long been imagined as uncanny spaces—places of rot, spirits, and monsters—so attaching the hag figure to swamps (rather than just generic woods) taps into older associations between wetlands, death, and dangerous female beings.
- Specific “old woman of the swamps” or swamp crone figures appear in Native and global folklore as spirits born from decaying tools or matter, personifying swampy decay and moisture as an aunt or old woman who haunts wet lowlands.
- Contemporary fantasy and horror (RPGs, video games, TV tropes) codify all this into the recognisable swamp/forest hag: a dirty, old woman in a shack or hut amid trees and bogs, trading herbs, fungi, and curses—directly inheriting the wise-woman healer, the cannibal witch (like Baba Yaga), and the land-crone goddess, but flattened into a stock “witch in the woods” character.

#### Mythological forest hags

- In Slavic folklore, Baba Yaga is a classic forest hag: an ancient crone in a hut on chicken legs, deep in the woods, who may eat people or aid them, embodying both threat and rough mentorship.
- Baba Yaga’s hut, bone fence, skull lanterns, and association with wild animals mark her as a guardian of the forest and of a boundary between worlds, not just a generic villain.
- Scholars have linked Baba Yaga to older nature or underworld goddesses (sometimes compared to Persephone), emphasizing her role as a symbol of wild, transformative feminine power rather than pure evil.

#### Celtic and North Atlantic crone goddesses

- In Irish and Scottish tradition, the Cailleach is a hag-goddess of winter, weather, mountains, and sovereignty, imagined as an old woman who shapes the land and rules the harsh season.
- Local hags such as Black Annis (a blue-faced, child-eating cave-dweller in Leicester) or the Hag of the Mist and Hag of Hell in Welsh lore are monstrous, weather-and-death-linked old women haunting marginal landscapes like caves, bogs, and foggy crossings.
- These figures blur human witch, land spirit, and goddess: they can represent winter, storms, or death, while also preserving memory of powerful female beings who predate later male-dominated religious systems.

#### Banshees

- The Banshee is originally an Irish and Scottish “otherworld woman” who keens for the dead of particular families, and only later becomes a generalized screaming death‑ghost or attack monster in modern media.
  - The word banshee is from Irish bean sídhe or bean sí, meaning “woman of the (fairy) mounds” or “otherworldly woman,”
  - The banshee is part of a wider mythos of fairy beings tied to ancient hills and barrows.
  - Descriptions vary: in many Irish accounts she can appear as a beautiful young woman, a stately matron, or an old hag, sometimes with long unbound hair, red or green clothing, and eyes red from weeping.

- Traditionally, the banshee is a familial spirit, attached to old Gaelic lineages (often O’ or Mac names), whose wail foretells the imminent death of a member of that family.
- She is usually not malicious: her keening functions as mourning and warning, making her more a messenger or guardian than a killer, and some stories portray her as grieving deeply for the person who will die.
  - Very Greta Thunberg
- Some accounts restrict banshees to a few ancient aristocratic families, while others extend them to a wider range of Irish surnames and even to diaspora descendants who claim a “family banshee.”
  - Reminds me of snark content creators and commentors

- Historians often connect the banshee to real keeners (bean chaointe)—professional women who led funeral laments (caoineadh) in medieval and early modern Ireland.
  - Over time, tales arose that certain noble families had a supernatural keener, a fairy woman who would lament before a death, elevating the social role of human keeners into a mythic, otherworldly form.
  - In some folk explanations, a banshee is the spirit of a woman who was a keener in life and now continues her office imperfectly or as a form of penance, blending social practice with religious and supernatural imagery.

#### How Hags, Crones, and Swamp Hags Lost Nuance and Became One Note

- Outside the Celtic context, the banshee is frequently turned into a generic shrieking ghost or sonic-weapon monster whose scream harms people directly, stripping away her specific family and keening associations.
- Historically, village “wise women” and herb-wives sold remedies, charms, and knowledge of plants and animals; later witchcraft accusations targeted many of these same practitioners, especially poor older women on the social margins.
  - Over time, the helpful herbalist/healer and the dangerous poisoner/witch merged in popular imagination, turning the solitary, aging woman in the woods from a community resource into a feared supernatural threat.
  - The hag/crone thus functions as an archetype of the post-reproductive woman excluded from respectable domestic roles, her age and liminality translated into both magical power and social suspicion.