Cottage Fairy Quotes

One of us will just have to stay at the cottage to keep an eye on her.' [...] Let's see if Widow Hazel wouldn't take her in during the day, maybe teach her something useful -' No, remember when she learned how to knit? Now we're stuck wearing these dreadful hats.' Not so loud! She'll hear you.' In a lower voice one of the dwarfs said, 'H.A.T.S.' Apparently Snow White didn't know how to knit or to spell.

So many fairy tales were about breaking taboos, and being punished for crossing lines you shouldn't have crossed. Touching a spindle you were forbidden to touch. Inviting a witch into your cottage, and accepting the shiny apples she brought you, even though you knew better, because you wanted them. And while most heroes or heroines managed to scratch or scheme their way out of peril, it was easier to avoid doing something stupid in the first place. Smarter, better, and infinitely less fraught with regret.

That night, I fell into a deep, travel-weary sleep, lulled by the familiar sound of the waterfall beyond the window. I dreamed of the beck fairies, a blur of lavender and rose-pink and buttercup-yellow light, flitting across the glittering stream, beckoning me to follow them toward the woodland cottage. There, the little girl with flame-red hair picked daisies in the garden, threading them together to make a garland for her hair. She picked a posy of wildflowers- harebell, bindweed, campion, and bladderwort- and gave them to me.

And Miss Potter? Well, having believed in fairies when she was a child and continuing to believe in the creative power of the imagination, she was not at all bothered by the possibility that she and the children might see something they didn't understand.

I moved silently across the garden, silvered with moonlight, my feet barely touching the ground. I brushed past fern and tree, following the lights across the stream, toward the cottage in the clearing where I watched a little girl surrounded by light and laughter as the fairies threaded flowers through her hair. I stood out of sight, peering through the tangled blackberry bushes, but the girl saw me, rushing forward, her hand outstretched, a white flower clasped between her fingers. "For Mammy," she said. "For my Mammy.

By the Hospital Lane goes the 'Faeries Path.' Every evening they travel from the hill to the sea, from the sea to the hill. At the sea end of their path stands a cottage. One night Mrs. Arbunathy, who lived there, left her door open, as she was expecting her son. Her husband was asleep by the fire; a tall man came in and sat beside him. After he had been sitting there for a while, the woman said, 'In the name of God, who are you?' He got up and went out, saying, 'Never leave the door open at this hour, or evil may come to you.' She woke her husband and told him. 'One of the good people has been with us,' said he. ("Village Ghosts")

All of the great mythologies and much of the mythic story-telling of the world are from the male point of view. When I was writing The Hero with a Thousand Faces and wanted to bring female heroes in, I had to go to the fairy tales. These were told by women to children, you know, and you get a different perspective. It was the men who got involved in spinning most of the great myths. The women were too busy; they had too damn much to do to sit around thinking about stories. [...] In the Odyssey, you'll see three journeys. One is that of Telemachus, the son, going in quest of his father. The second is that of the father, Odysseus, becoming reconciled and related to the female principle in the sense of male-female relationship, rather than the male mastery of the female that was at the center of the Iliad. And the third is of Penelope herself, whose journey is [...] endurance. Out in Nantucket, you see all those cottages with the widow's walk up on the roof: when my husband comes back from the sea. Two journeys through space and one through time.

Nana and I had to take off our shoes, roll up our trouser legs, and wade into the cottage. Fortunately the double bed we shared had tall legs, so we slept about two feet above the muddy water. . . . But the cottage was also fun. When the flood receded, mushrooms would spring up under the bed and in the corners of the room. With a little imagination, the floor looked like something out of a fairy tale.

Once, as I passed by a cottage, there came out a lovely fairy child, with two wondrous toys, one in each hand. The one was the tube through which the fairy-gifted poet looks when he beholds the same thing everywhere; the other that through which he looks when he combines into new forms of loveliness those images of beauty which his own choice has gathered from all regions wherein he has travelled. Round the child’s head was an aureole of emanating rays. As I looked at him in wonder and delight, round crept from behind me the something dark, and the child stood in my shadow. Straightway he was a commonplace boy, with a rough broad-brimmed straw hat, through which brim the sun shone from behind. The toys he carried were a multiplying-glass and a kaleidoscope. I sighed and departed.

in a cottage deep in the forest lived the wicked old witch...it was a cottage out of the nastier kind of fairy tale

We will also bloom, wilt, and regrow throughout our lives as needed.

Peaceful living does not entail eliminating things from our lives—instead, it challenges us to transform those things to serve us better.

She read the color-coded series of Andrew Lang's fairy tales to her mother. They became lost in an enchanted cottage with vines growing over the window. It was dark and it was quiet and they could hear each other softly breathing. Every story had the same message: what was deep inside could only be deciphered by someone who understood how easily a heart could be broken.

The prolongation of light meant the cessation of traditional stories in European cottages. And when the cottages took in American kerosene or paraffin there was prolongation. Then came lamps with full and steady light, lamps that gave real illumination. Told under this illumination the traditional stories ceased to be appropriate because the rhythm that gave them meaning was weakened. Other things happened to put traditional stories out of date. Young people went to schools and learned to read. The world reached into the villages; wars and the doings of congresses interested country people more and more. Claiming attention for the happenings of the day before, the newspaper reader took the place of the traditional storyteller, the man of memories.

Quickly and quietly, the Princess returned to the cottage, for she knew what she must do. The crone had sacrificed her eyes to provide the Princess with shelter and now must this kindness be repaid. Although she had never traveled beyond the forest rim, the Princess did not hesitate. Her love for the crone was so fathomless that if all the grains of sand in the ocean should be stacked up end to end, they would not run so deep.

Reluctant to return to the empty rooms of Bluebell Cottage, Olivia ate fish and chips on the harbor wall, dangling her legs over the side just like she used to as a little girl, even though it made her mam anxious. The breeze nipped at the back of her neck and whipped up a fine sea spray that settled on her hands, leaving sparkling salt crystals as it dried. Fairy dust, she used to call it. She breathed in the fresh air and absorbed the view: tangerine sky and dove-gray sea, ripples on the surface of both, like dragon scales. She savored the sharp tang of vinegar on her tongue, letting her thoughts wander as the sun slowly melted into the sea, turning it to liquid gold.

We’re about to attack a fearsome creature who has ruined Carabas and is responsible for the sudden outpouring of cooperation found in the goblins, and the placement of the candy cottage witch, and your foremost concern is that he keeps his drawers on?” Gabrielle hissed. “You haven’t seen a naked ogre, or you wouldn’t be judging me for my worry.

Approaching Em’s cottage, especially at night, always enchanted him. It was like walking into those fairy tales he’d read by flashlight under his bedcovers, full of rose-covered cottages and small stone bridges, glowing hearths and content couples hand in hand. His relieved father had thought he was reading Playboy but instead he was doing something infinitely more pleasurable and dangerous. He was dreaming of the day he’d create this fairy-tale world for himself, and he’d succeeded, at least in part. He had himself become a fairy. And as he looked at Em’s cottage, its buttery light beaconing, he knew he’d walked right into the book he’d used to comfort himself when the world seemed cold and hard and unfair. Now he smiled and walked toward the house, carrying his Christmas Eve offering.

The little island is dominated by a grand white house which might be showing its age but which is still striking. She used to want to live in the houses she saw pictured on chocolate box lids, cottages that were inseparable from that sweet smell, like gingerbread houses. This house looks nothing like those long-ago fairy-tale cottages, but it has the same kind of appeal. She would like to try to capture it on the page

Grown up at last and required to live all day long in the real world, it now seemed to Beatrix that imaginary fairies were of a great deal more use than real ones. And I think we must agree with her on that score. It is undeniably true that the imagination is far more powerful than knowledge, and that it is much more important to believe in something than to know it! There is, after all, a limit to the things we can know (even if we are fortunate enough to be geniuses), but no limit whatsoever to the things we might imagine. And if we cannot imagine, we will never know what we have yet to learn, for imagination shows us what is possible before knowledge leads us to what is true. For Beatrix, dreaming, imagining, creating, improvising, and fancying redeemed the stern and sometimes frightening world in which she lived, and allowed her to transform it.

The song she heard from the meadow was the same tune as the bird's call.She looked up in the trees.For a moment she thought she'd lost the bird, and she nearly cried out for him, but he fluttered down,landed right at her feet, and grew into a man." "Oh." Meg sighed.She'd always liked that part. "He whistled the tune once more, then the fey man said, 'My lady,will you dance?" "'I will.' She crossed the bridge to the meadow,and danced with the whistler." "Tell us they married," Meg said. "The story doesn't go like that," Poppy reminded. "It should." Meg stroked Tom's blood-clotted hair. I fumbled with the charcoal in my blackened fingers. As the story went, the girl danced through the seasons, but when she wandered home at last and reached her cottage door, she was a shriveled-up old women, for a hundred years had passed while she danced with the whistler,and everyone she'd known in her former life had died. Meg knew how it went.But when our eyes locked, I saw tonight she couldn't bear it. I found another bit of charcoal. "That very spring when the meadow was in bloom,the whistler, who had fey power to transform into a bird and sing any girl he wished to into the wood, chose the one girl who'd followed him so bravely and so far to be his wife. And she lived with him and the fey folk deep in Dragonswood in DunGarrow Castle, a place that blends into the mountainside and cannot be seen with human eyes unless the fairies will it so." I drew the couple hand in hand, rouch sketches on the cave wall; the stone wasn't smooth by any means. "She lived free among the fey folk and never wanted to return to her old life that had been full of hunger and sorrow under her father's roof." I sketched what came next before I could think of it. "A dragon came to their wedding," I said, drawing his right wing so large, I had to use the ceiling. "He lit a bonfire to celebrate their union." I drew the left wing spanning over the couple in the meadow. "And they lived all their lives content in Dragonswood.

There was much work to be done in the crone's cottage, but the Princess was never heard to complain, for she was a true Princess with a pure heart. The happiest folk are those that are busy, for their minds are starved of time to seek out woe. Thus did the Princess grow up contented. She came to love the changing seasons and learned the satisfaction of sowing seeds and tending crops. And although she was becoming beautiful, the Princess did not know it, for the crone had neither looking glass nor vanity and thus the Princess had not learned the ways of either.

I would have sooner believed in fairy tales coming true. Of course, we all believe in fairy tales now. The Scarlet Varulv has slunk out of the pages and lives with me in this cottage. The Sleeping Prince has woken and sacked Lormere, an army of alchemy-made golems behind him as he murders his way across the country. Stories are no longer stories; characters run rampant through the world these days. All I’m waiting for is Mully-No-Hands to knock on the window, begging to come in and warm himself, and my life will be complete. Actually, no, that’s not what I’m waiting for.

reverted to a feral state.’ A longing came to my mind, then, that I should be able to do this also. The word ‘feral’ had a kind of magical potency which allied itself with two other words, ‘ferocious’ and ‘free’. ‘Fairy’ ‘Fey’, ‘aeriel’ and other discreditable alliances ranged themselves behind the great chord of ‘ferox’. To revert to a feral state! I took a farm-labourer’s cottage at five shillings a week, and wrote to Germany for a goshawk. Feral. He wanted to be free. He wanted to be ferocious. He wanted to be fey, a fairy, ferox. All those elements of himself he’d pushed away, his sexuality, his desire for cruelty, for mastery: all these were suddenly there in the figure of the hawk. White had found himself in the hawk that Blaine had lost. He clutched it tightly. It might hurt him, but he wouldn’t let go. He would train it. Yes. He would teach the hawk, and he would teach himself, and he would write a book about it and teach his readers this doomed and ancient art. It was as if he were holding aloft the flag of some long-defeated country to which he staked his allegiance. He’d train his hawk in the ruins of his former life. And then when the war came, as it surely would, and everything around him crumbled into ruin and anarchy, White would fly his goshawk, eat the pheasants it caught, a survivor, a yeoman living off the land, far from the bitter, sexual confusion of the metropolis or the small wars of the schoolroom.

Apart from such visits, for the first time in her life Eliza was truly alone. In the beginning, unfamiliar sounds, nocturnal sounds, disturbed her, but as the days passed she came to know them: soft-pawed animals under the eaves, the ticking of the warming range, floorboards shivering in the cooling nights. And their were unexpected benefits to her solitary life: alone in the cottage, Eliza discovered that the characters from her fairy tales became bolder. She found fairies playing in the spiders' webs, insects whispering incantations on the windowsills, fire sprites spitting and hissing in the range. Sometimes in the afternoons, Eliza would sit on the rocking chair listening to them. And late at night, when they were all asleep, she would spin their stories into her own tales.

He is astonished, still, by the speed and thoroughness with which Caleb insinuated himself into his life. It was like something out of a fairy tale: a woman living on the edge of a dark forest hears a knock and opens the door of her cottage. And although it is just for a moment, and although she sees no one, in those seconds, dozens of demons and wraiths have slipped past her and into her house, and she will never be able to rid herself of them, ever. Sometimes this was how it felt. Was this the way it was for other people? He doesn’t know; he is too afraid to ask. He finds himself replaying old conversations he has had or overheard with people talking about their relationships, trying to gauge the normalcy of his against theirs, looking for clues about how he should conduct himself.

Annie, just once could you not give me a hard time?” “Maybe someday, but not today.” “Annie, you’re making Theo sad.” Neither of them realized Livia had been paying attention to them. She peered around Theo’s legs. “I think you should tell him your free secret.” “I don’t!” She gave Livia a death glare. “And you’d better not, either.” Livia peered up at Theo. “Then you better tell your free secret.” He stiffened. “Annie doesn’t want to hear my free secret.” “You have a free secret?” Annie asked. “Yes, he does.” Livia puffed up with four-year-old self-importance. “And I know it.” Now Theo was the one giving Livia the death glare. “Find some pinecones. A lot of them.” He jabbed his hand toward the trees behind the gazebo. “Over there.” Annie could only stand so much. “Later,” she said. “We need to get back to the cottage and see if mom’s awake.” Livia’s face turned into a thundercloud. “I don’t want to go!” “Don’t give Annie a hard time,” he said. “I’ll finish the fairy house. You can see it later.” The fire had disrupted Livia’s world. She hadn’t had enough sleep, and she was as cranky as only an overstimulated four-your-old could be. “I’m not going!” she cried. “And if you don’t let me stay, I’ll tell your free secrets!” Annie grabbed her arm. “You can’t tell a free secret!” “You absolutely can’t!” Theo exclaimed. “I can!” Livia retorted. “If they’re both the same!

I dozed, jolting occasionally at the driver's loud pronouncement of upcoming stops. At this early hour the bus hummed along quietly with few passengers, so the stops were infrequent. In the hazy surrealism of predawn, there really was not much to see--what I could make out was mainly countryside, though not what I would call quaint, and certainly no Shakespearean cottages or fairy folk peeping from the trees.

I think I was actually channelling my grandfather,’ she admitted. ‘He lived right out in the woods in this little cottage and he used to scare the life out of me and my older sister with stories about bears and wolves.’ ‘I didn’t know you grew up in a Grimm fairy-tale.’ ‘Ha, ha – Russia, actually.’ ‘Ahh, I see: Katia Bialogawski,' he pronounced her name slowly, rolling it over his tongue like a boiled sweet, with all the right inflections. It made her spine tingle.

I know these are only dreams. I know these days are long past. I wake to a dream in which Hammer’s breath has stopped, and mine with it, and hearts have gone to a quiet sunny meadow with the sweetest little cottage in the middle, with a millwheel and a stream. Our bodies will lie tangled until they become earth, like roses twining so closely there is no beginning and no end, and only the shades of beauty that were their growing. Every dream I ever had as a child has come true, simply because Hammer loved me. Perhaps this one will too.

What sort of work do you do?" Lifting her skirts with one hand, still holding the owl in the other, she started for the cottage. "Quickening. Citizens of this spacetime call it clockwork magic." ---

It was not a bed with curtains, but a bed with doors like shutters. This may not seem like a nice way of having a bed, but we would all be glad of the wooden curtains about us at night if we lived in such a cottage, on the side of a hill along which the wind swept like a wild river. Through the cottage it would be streaming all night long. And a poor woman with a cough, or a man who has been out in the cold all day, is very glad of such a place to lie in, and leave the the rest of the house to the wind and the fairies.

Photos of the interior displayed a warren of rooms as worn and welcoming as a fairy-tale grandmother’s lap, and as rumpled.

Now that we’ve found the two of you, we need you to come with us into the cottage. We didn’t get a chance to greet many people, and you’ve told us before that we shouldn’t forget our manners.” “While it is true that manners are incredibly important, darling, I’m afraid I can’t come with you into the cottage. This is Caroline’s night, and it wouldn’t be fair to her to do something that I know will annoy her.” “But . . . she’s clinging to Uncle Everett’s arm like he’s the best gentleman in the whole world, and that means they’ve made up from their fight. And she’s dripping in jewels, wearing a gown that’s very lovely, and . . . what if Uncle Everett goes ahead and does something . . . awful?” “Like ask Miss Dixon to marry him,” Thaddeus whispered. “We don’t want that to happen.” Millie’s heart gave an uncomfortable lurch she tried her best to ignore. “Your uncle is a grown man, children. If he decides he wants to marry Miss Dixon, I’m certainly not the lady who is going to be able to change his mind.” “If he sees you looking like that, you might be,” Rose argued. “You look just like a fairy princess tonight, and Uncle Everett likes you, Miss Millie . . . likes you a lot . . . and we’d really rather have you as our aunt than Miss Dixon.” The sight of the three sets of eyes gazing at her so hopefully had Millie smiling even as she shook her head. “I’m just the nanny, children, and that means I’m the least-suitable woman on the planet for your uncle.” Elizabeth plunked her hands on her slim hips. “But . . . he likes you and . . . you like him.

Lerner held that Brigadoon was one of Minnelli’s least vivacious efforts, despite the potential offered by CinemaScope. Only the wedding scene and the chase that follows reveal Minnelli’s unique touch. Before shooting began, Freed rushed to inform Lerner that “Vincente is bubbling over with enthusiasm about Brigadoon.” But, evidently, his heart was not in this film. Early on, Minnelli made a mistake and confessed to Kelly that he really hadn’t liked the Broadway show. As a film, Brigadoon was curiously flat and rambling, lacking in warmth or charm, and the direction lacks Minnelli’s usual vitality and smooth flow. Admittedly, Lerner’s fairy-tale story was too much of a wistful fancy. Two American hunters go astray in the Scottish hills, landing in a remote village that seems to be lost in time. One of the fellows falls in love with a bonnie lass from the past, which naturally leads to some complications. Minnelli thought that it would be better to set the story in 1774, after the revolts against English rule had ended. For research about the look of the cottages, he consulted with the Scottish Tourist Board in Edinburgh. But the resulting set of the old highland village looks artificial, despite the décor, the Scottish costumes, the heather blossoms, and the scenic backdrops. Inexplicably, some of the good songs that made the stage show stand out, such as “Come to Me, Bend to Me,” “My Mother’s Wedding Day,” and “There But for You Go I,” were omitted from the film. Other songs, such as “The Heather on the Hill” and “Almost Like Being in Love,” had some charm, though not enough to sustain the musical as a whole. Moreover, the energy of the stage dances was lost in the transfer to the screen, which was odd, considering that Kelly and Charisse were the dancers. For some reason, their individual numbers were too mechanical. What should have been wistful and lyrical became an exercise in trickery and by-now-predictable style. With the exception of “The Chase,” wherein the wild Scots pursue a fugitive from their village, the ensemble dances were dull. Onstage, Agnes de Mille’s choreography gave the dance a special energetic touch, whereas Kelly’s choreography in the film was mediocre at best and uninspired at worst. It didn’t help that Kelly and Charisse made an odd, unappealing couple. While he looks thin and metallic, she seems too solemn and often just frozen. The rest of the cast was not much better. Van Johnson, as Kelly’s friend, pouts too much. As Scottish villagers, Barry Jones, Hugh Laing, and Jimmy Thompson act peculiarly, to say the least.

It hated humankind. Yet, the creature remembered when ancient ones left blood stained shrines in its honor. Its greedy eyes watched the peasants, sacrificing precious cattle, in the hope of immunity from its deadly wrath. The creature could recall dairy offerings on cottage steps, left in hope, that it would not invade the sanctity of the mortal homes to steal wailing newborn infants from their cradles. It listened to desperate prayers of farmers as they begged for their pitiful crops. When anglers sprinkled salt upon their fishing nets to satiate its thirst. The creature and its kind spread the killing frosts that foretold of harsh winters. It traversed the heat of the summer skies, voiding the air of moisture during the drought filled months. It burned those feeble little dwellings the people called churches.

Girls without their fathers were also at risk. I didn't learn this from the fairy tales of my youth, because in those stories the fathers were present in the castles and in the cottages. The fairy-tale fathers, however, were unforgivably weak and always thinking with their groins. These men would rather sacrifice their daughters than risk harm to themselves. Rapunzel's father loved her mother so much that he stole for the woman. When he was caught, he was a coward, and instead of paying with his own life he promised away their unborn child. Gretel was very much alive, as was her brother, Hansel, when their father tried to do away with them. Three times he tried. ("Abandonment in the forest" was a bloodless euphemism for attempted murder.) Of course, there was Beauty. Was she not the poster child for daughters of men who dodged their responsibilities and used their female offspring as human shields? Fairy-tale fathers were also criminally negligent. Where was Cinderella's father when she was being verbally abused and physically demeaned by her stepmother and stepsisters? Perhaps he was so besotted, his wits so dulled by his nightly copulation with his new wife, that he failed to notice the degraded condition of his daughter. Snow White's father, a king no less, was equally negligent and plainly without any power within his own domestic realm. Under his very roof, his new wife plotted the murder of his child, coerced one of his own huntsmen to carry out the deed, then ate what she thought was the girl's heart. This king was no king. He was a fool who left his daughter woefully unprotected. When I first heard these stories, I assigned to these men no blame because they worry the solemn and adored mantle of "father." I understood them to be, like my own father, men who went to work every day, who returned home exhausted and taciturn, and who fell asleep in their easy chairs while reading the newspaper. I assumed that they, like my father, would have protected their daughters if only they had known of the dangers their girls faced during those dark hours after school and before dinner.

Estelle had even tried her own concoction of rosemary and lavender, which she plucked from the little herb garden around the back of her cottage. Boiling the leaves down until only their dark oils remained, she would then mix in a good amount of Umbrian olive oil sent by her niece, Gloria, from London. The oil left her Mediterranean skin taut like snappy brindle berries, a fact that spurred envy among the old townswomen and prompted Dervla Quigley to spread rumors that Estelle Delmonico had made a deal with the fairies, for sure.

I believe that peace of mind is not only achievable but grows in abundance once we begin to nourish it. I see it as a life long journey of letting go of unnecessary burdens, again and again, casting off the weight until - ever so slowly - the load lightens.

Her feet touched upon ground, and a cloud of silvery dust blossomed up to her waist. Her clothes shimmered, and the checkered cotton dress she was wearing became an elegant white gown with a silver cord around the waist. "Your apprentice gown," explained Agata. She gestured ahead. "Welcome to the Wishing Star." Before her was a village not unlike Pariva, only every cottage was a different color: rose, violet, mahogany, marigold. Burgundy, magenta, and pearl. Even the flowers in the gardens matched the colors of the houses, and trees made of gold and copper and silver lined the shimmering streets. In the center was a house made of crystal, its windows stained with hearts of every color in the town. As soon as her gaze fell upon the house, its door opened, and over a dozen fairies filed outside, each wearing a warm smile.

We are living memorials to those we have loved and lost. Life may continue after heartbreak, but it will be innately different. And this need not be a sad thing. In fact, the experience can connect us to our souls more than we ever thought possible. It offers us a new life that no longer lives in the shallows, but left open and raw, ready to experience what this new world has to offer. The souls we once knew are preserved in stories written on our hearts, ones that we will recite again and again. And in that chanting of a memory, in bringing them back to life a thousand times over, we start to understand.

Sometimes there’s nothing more comforting than sitting in thankful awareness of our physical selves, our consciousness, and the ability to think and feel joy and pain. Our bodies and minds let us experience the world in our own ways, completely and utterly unique to ourselves.

Jack Dogherty lived in a remote little cottage by Dunbeg Bay, on the coast of County Clare. Jack was a fisherman, as his father and grandfather before

Apart from such visits, for the first time in her life Eliza was truly alone. In the beginning, unfamiliar sounds, nocturnal sounds, disturbed her, but as the days passed she came to know them: soft-pawed animals under the eaves, the ticking of the warming range, floorboards shivering in the cooling nights. And there were unexpected benefits to her solitary life: alone in the cottage, Eliza discovered that the characters from her fairy tales became bolder. She found fairies playing in the spiders' webs, insects whispering incantations on the windowsills, fire sprites spitting and hissing in the range. Sometimes in the afternoons, Eliza would sit on the rocking chair listening to them. And late at night, when they were all asleep, she would spin their stories into her own tales.

I picked up one of the books lying on top of a stack on the floor beside me. It had a navy blue cover with Grimm's Fairy Tales written across it in gold lettering. The books beneath it were Hans Christian Andersen's Fairy Tales, Panchatantra, Aesop's Fables, and Arabian Nights. All the books I used to read with Amma and devour with the aid of a flashlight long after she left me alone in the darkness. I got up and began to wander around, casually perusing the rest of the books in the cottage. They were all the same- fairy tales and magical stories. I wondered if these were the only books upon which she had built her conception of the real world, a world inhabited by witches and mermaids, a world where men beheaded their wives and animals spoke.

We went out to investigate and found the maid collapsed on the path, gasping that Miss Lavender was dead. I looked inside the cottage. I did not touch anything. I saw Miss Lavender on the floor, dead as a doornail. I sent my niece inside and informed Mrs. Needham that she had a vacancy. I know nothing else about the matter.

Once upon a time, there was a woman who lived in a cottage at the edge of the woods. She was neither young nor old, neither pretty nor unattractive. As such, people from the village didn’t take much notice of her. Nor did she take much notice of them. She spent her days foraging for roots and mushrooms in the forest, simmering broths in the cauldron at her hearth, and spinning wool into long strings that would be woven into shawls and mittens.

Aurora Rose looked back and forth among the three women, gladly distracted from the sad events by the puzzle before her. The fairies in real life had their own personalities, of course, despite their superficial similarities as ageless, chatty, loving aunt figures. Flora tended to try to lead and make decisions for them. Merryweather seemed to understand the basic workings of the world better, although she rarely acted on this knowledge and instead chose to comment snarkily on it. Sometimes she got sneaky and went behind Flora's back. Fauna was the one who hugged the princess the most and often acted as an intermediary between the other two. The green one, "Fauna," seemed more concerned with how Aurora Rose was feeling- how 'everyone' was feeling. She was the one who had been waiting outside the cottage for the prince and princess. Like she was the one who 'cared.' And the blue one- "Merryweather"- seemed 'incredibly' quick-minded and brilliant. And even snarkier. "Flora" was brave and powerful and ready to plunge into any physical combat. And not for nothing, she was built like a gladiator. They were 'all' acting like extreme versions of their real selves.

The hawk was a myth. A legend. ‘There was a sentence which suddenly struck fire from the mind,’ he wrote. The sentence was: ‘She reverted to a feral state.’ A longing came to my mind, then, that I should be able to do this also. The word ‘feral’ had a kind of magical potency which allied itself with two other words, ‘ferocious’ and ‘free’. ‘Fairy’ ‘Fey’, ‘aeriel’ and other discreditable alliances ranged themselves behind the great chord of ‘ferox’. To revert to a feral state! I took a farm-labourer’s cottage at five shillings a week, and wrote to Germany for a goshawk. Feral. He wanted to be free. He wanted to be ferocious. He wanted to be fey, a fairy, ferox. All those elements of himself he’d pushed away, his sexuality, his desire for cruelty, for mastery: all these were suddenly there in the figure of the hawk. White had found himself in the hawk that Blaine had lost. He clutched it tightly. It might hurt him, but he wouldn’t let go. He would train it. Yes. He would teach the hawk, and he would teach himself, and he would write a book about it and teach his readers this doomed and ancient art.