The Once and Future Witches - Alix E. Harrow Page 0,191

of her, all sunshine and sweat despite the icy chill of the wind. She glances up at the sky, dimming quickly into darkness. “Perhaps I ought to stay tonight, if—”

August brushes this away. “No, you two go on. I’ll find us a place to stay and draw a circle for your return.” He chucks Eve under the chin and she burbles pleasantly at him. “Give them my regards.”

Agnes kisses him once—and if she lingers longer than is strictly decent, if his hand is lower and warmer on her waist than it ought to be, she finds she doesn’t care.

She turns away and draws a stick of white chalk from her pocket. She sketches a neat design on the wall: three white circles, interwoven. Her daughter’s small fingers splay beside hers on the soot-stained brick for a half-second before the two of them are pulled into elsewhere, or perhaps nowhere.

There is a house down in Orleans they call the Rising Sun.

It’s been the ruin of many a woman,

By God I won’t be one.

A spell against conception, requiring a red dawn & a drawn star

By the spring equinox of 1894, the city of New Orleans has slid past spring and is flirting shamelessly with summer. The air is soft and heavy, magnolia-sweet, and the sun drapes itself like a warm cat around bare shoulders.

Beatrice Belladonna has been in the city for three weeks now, staying in a rented room in the Upper Ninth Ward, and hopes to stay longer.

She is sitting now at a broad desk with the breeze plucking at her endless stacks and piles of notes. More than half of them are written in Miss Quinn’s careless, slanting handwriting, dashed off during her many meetings and interviews—which always seem to occur in midnight graveyards or abandoned bell-towers and involve a great deal of danger—and then jammed haphazardly in a pocket or purse when the authorities arrived.

Cleo dismisses Bella’s concerns with airy waves of her long fingers. “Writing a book is dangerous business, if done correctly.”

Over the winter Cleo received a not-insubstantial contract from John Wiley & Sons to write a book chronicling the sudden upsetting rise of witchcraft among the sharecroppers and freed-women of the South. Her editor desired a lurid account of cannibal-witches and voodoo queens, a book so scandalous it would provoke fainting spells and lengthy speeches about the moral decay of the nation, and which would sell like ice cream on the fourth of July.

Cleo intends to oblige him, to a certain degree; her working title is Southern Horrors, and it so far contains many hair-raising tales of hexed landlords and haunted sheriffs, of boo-hags and haints and courtesans with poison smiles, although it is conspicuously free of specific names or locations.

It also contains a number of engraved illustrations. Above the depictions of mayhem and murder there are inky black skies pricked with white stars in very particular patterns. If a person happens to know their constellations, and if they bear no ill intent toward witches or women, they might reveal certain words and ways that John Wiley & Sons never intended to publish.

Bella serves mostly as her typist and assistant, assembling notes and organizing chapters, but she also devotes considerable hours to their other, much more ambitious and secret undertaking: to restore what has been burned, to find again what has been lost. To rebuild the Library of Avalon.

Bella and Cleo collect spells wherever they go, hidden in rumors and stories, preserved in rhymes and hymns and sewing samplers, and record them as accurately as they can. Already Bella has begun a dozen new spell-books: grimoires and guides, books of weather and medicine and beauty and death. She’s written the words and ways from the smallest household spells—charms to sort bad eggs from good or remove stubborn stains from white sheets—to curses that will stop hearts or poison wells or heal bones.

Many of the spells sound strange to Bella’s ear, nothing like Mama Mags’s rhymes. They come in odd forms and unlikely languages—Spanish prayers and Creole songs and Choctaw stories, star-patterns and dances and drum-beats—and not all of them are easily translated to ink and paper. Bella begins to believe that the Library of Avalon was only ever a sliver of witchcraft in the first place. She begins to believe that the words and ways are whichever ones a woman has, and that a witch is merely a woman who needs more than she has.

Mr. Blackwell agrees. Bella sends him pages of notes and ideas every