From Modern Mythcraft to Magical Surrealism

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Outside, the quarantine train was unblemished white. Where its tracks skirted populated regions, barbed wire and warning signs—DANGER! ¡PELIGRO! INFECTIOUS MATERIALS! ¡SUSTANCIAS INFECCIOSAS!—discouraged trespassers from marking the cars with spray paint. The interior was another story. In her cabin, a narrow sleeper with four beds (one for Screaming Moraine, one for Fiddler Kristi, one for Drummer Tulli, and one for their carry-on luggage, several densely packed grocery bags, and an electric violin), Tulli found graffiti scrawled near her upper bunk.

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Tausi sat listening to her aunts, who crowded in a circle at the far end of the room. Their dresses were a kaleidoscope of greens, reds, blues, and yellows, each worked with repeating patterns that shifted with the eye. Huddled like that theyand snowberries in the snug, familiar halls of Laburnum Castle, strained cheese as pure as ice for weeks in the caves and the kitchens, covered any gloomy stone with tapestries or stags’ heads with mistletoe braided through their antlers. We sent away south to the great markets of Mother-of-Millions for new silks and velvets and furs.

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The night Miss Carstairs first saw the merman, there was a great storm along the Massachusetts coast. Down in the harbor town, old men sat in taverns drinking hot rum and cocking their ears at the wind whining and whistling in the chimneys.

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Samuel Crewe was the son of a witch. He was, in fact, the seventh son of a witch, who had herself been one of seven daughters. In fairy tales, this