44 pages • 1 hour read
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Garrett, nearly 20, has become an accomplished trapper. He enjoys being alone in the mountains and dreams of getting away from his father’s farm. In a gesture of gratitude, Jack offers Garrett a chance to become his legal partner in his farm. Jack confides that Garrett is the closest he has to a son. It is a generous offer, but Garrett wants to think it over.
Going into November, Garrett understands the need to hunt before winter closes in. As he treks about the woods, he sees a great swan beating its wings in obvious panic. As he gets closer, he sees the bird is caught in a snare. Much to his surprise, he sees a beautiful young woman in a blue coat approach the stricken bird. He knows this must be the girl that only Jack and Mabel have seen. As he watches, she expertly kills the bird with a knife and then guts it, never seeing Garrett, who is both mesmerized and terrified.
When the Bensons come to Mabel and Jack’s cabin for Christmas dinner, they finally meet Faina. Mabel fears the girl might bolt out the door, but she stays. Garrett is enthralled. Esther says in disbelief, “Your girl is flesh and blood” (284). But as the fireplace heats up the small room, Faina grows uncomfortable. When the Bensons leave, Faina heads out to the woods.
Garrett returns to the woods to trap a wolverine, among the most elusive animals to snare. But he cannot forget the girl. He sees her tracks everywhere. He feels her near. Suddenly she is there. She asks him bluntly whether he was the one who killed her fox. He admits it. Without a word, she pulls from behind her back a carcass of a wolverine and tosses it disdainfully at him. Take it, she says, and never return to her woods. Garrett is furious, of course, but also impressed by the girl’s prowess. As he heads back, a storm stirs, and soon he is lost. Through the snow he sees the girl—she beckons him to follow, and she guides him back to Jack and Mabel’s cabin. When he turns to thank her, she is gone.
Garrett cannot forget the girl. He returns to the woods. He meets Faina and watches as she calmly dispatches two gamebirds with an expert throw of two rocks. She shows him a cave where a huge mother bear hibernates with her cubs by her side. No animal, he acknowledges, is more dangerous.
To Mabel’s surprise, Garrett shows up with a puppy, a gift to keep Faina company and to make up, in part, for trapping her fox. When Faina meets the puppy, her eyes are “alight with joy” (308). Garrett, Faina, and the puppy take off for an afternoon in the woods.
In the woods, Faina suddenly pulls up close to Garrett. He cannot resist kissing her. He feels the entire length of her body, and Faina confidently pulls him to her. The two make love.
Although this is a winter section, the feel is celebratory, even joyous. With the passing of eight years, Faina and Garrett have both moved into late adolescence. The narrative now introduces what is often regarded as the most sublime expression of the magic of the real world: the tonic urgency of young love with its tenderness, its hunger, and its joy.
Jack and Mabel move to the margins. But even as the love between Garrett and Faina takes center stage, the narrative juxtaposes images of freedom and domestication to suggest that love necessarily limits autonomy. Indeed, Garrett himself is associated with the trap lines he sets. For her part, Faina kills a swan, two martens, and a wolverine. When Jack offers Garrett part ownership of his farm, Garrett is unsure. Much like Faina, he feels most alive in the wilderness. The farm would become for Garrett what it has always been for Faina, a trap.
Appropriately Garrett first falls under the spell of the mysterious Faina in the woods. But theirs is hardly a fairy-tale meeting. Faina is no delicate princess; Garrett watches in rapt fascination bordering on horror as this woman first snares and then coolly dispatches the swan. And even as Faina and Garrett move through the awkwardness of first love, the narrative will not allow any slip into some gauzy fantasy. This section culminates not in love’s first kiss but in hungry sex in the woods. Garrett relishes tracing the taut lines of Faina’s body, and Faina initiates the action—this is hardly Prince Charming and Cinderella.
The puppy loves romps in the woods, certainly, but he is a domesticated animal, a species that long ago accepted life indoors under the care of others. Thus, even as the narrative moves toward Garrett and Faina’s initiation into physical love, even as the narrative itself surges with the magic of their love (and certainly Chapter 44 would have made a nearly perfect fairy-tale ending), we resist giving in to this fairy tale’s coaxing charm. We know the story of Jack and Mabel and what happened to their young love—we know life cannot be so magically uncomplicated.