apt for Doshi ’ s intentions , as , for both writers , a woman ’ s body and her poetry are intertwined . As such , Doshi is able to navigate women ’ s pain , making witchcraft an active bodily expression and rejection of passivity . Here , it is not an identity term , but a tool to return to women the ‘ bodily territories ’ taken from them by violent men . A body of poetry can allow women today the space to conceptualise their ’ native strength ’, it is a creative tool through which they can express their rage , articulating their suffering in ways that accused witches have been so long forbidden . As Jorge Diego Sánchez suggests , Doshi understands that ‘ the physical body is born to decay , but its corporeal and spiritual stories stay ’, she knows that witches have represented a threat to ‘ starchy ministers ’ for centuries as a monstrous , evil mob of women . By writing a poem that ‘ seemed to lend itself to using the body ’ in every way , even