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The Merry Spinster: Tales of Everyday Horror
The Merry Spinster: Tales of Everyday Horror
The Merry Spinster: Tales of Everyday Horror
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The Merry Spinster: Tales of Everyday Horror

Rating: 3.5 out of 5 stars

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"Empowering, subversive. . . . Daniel M. Lavery twists fairy tales into elegant garrotes. . . . There's not a single weak link in the cat's-breath chain of this collection." —The New York Times Book Review

Adapted from the beloved “Children’s Stories Made Horrific” series, The Merry Spinster takes up the trademark wit that endeared Daniel M. Lavery to readers of both The Toast and the bestselling debut Texts from Jane Eyre. Sinister and inviting, familiar and alien all at the same time, The Merry Spinster twists traditional children’s stories and fairy tales with elements of psychological horror, emotional clarity, and a keen sense of feminist mischief.

Unfalteringly faithful to its beloved source material, The Merry Spinster also illuminates the unsuspected and frequently alarming emotional complexities at play in the stories we tell ourselves, and each other, as we tuck ourselves in for the night.

LanguageEnglish
Release dateMar 13, 2018
ISBN9781250113436
The Merry Spinster: Tales of Everyday Horror
Author

Daniel M. Lavery

Daniel M. Lavery is a former “Dear Prudence” advice columnist at Slate, the cofounder of The Toast, and the New York Times-bestselling author of Texts from Jane Eyre, The Merry Spinster, and Something That May Shock and Discredit You. He also writes the popular newsletter The Chatner. He lives in Brooklyn, New York.

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Reviews for The Merry Spinster

Rating: 3.6846154953846155 out of 5 stars
3.5/5

130 ratings18 reviews

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  • Rating: 4 out of 5 stars
    4/5
    I dug into this book, eagerly anticipating dark twists on familiar tales. I was not disappointed. Although the stories are not consistently top-notch throughout, the number of very good tales easily outweighs the few that I thought were a bit dissatisfying in their endings. From the uncoiling dread that seeps through "The Rabbit" to the horrifying violence in "Cast your Bread Upon the Waters," Ortberg had me rethinking familiar fairy tales and children's books. Perhaps what I'd read as a child was more subversive than had seemed at first glance. It wasn't too difficult to be convinced that perhaps reading between the lines of some of these children's tales would reveal the darkness that Ortberg brings to the surface in all its macabre glory.
  • Rating: 3 out of 5 stars
    3/5
    Dark, yet often humorous, retellings infused with other folklore, Shakespeare, and religion, mostly Catholicism. Frankly, the religious aspects didn't resonate with me at all, which probably affected my overall enjoyment, though not my appreciation. Recommended mainly to readers familiar with the Grimms' brand of storytelling. Recommended to all others with a disclaimer that several of these stories will confuse, frustrate and/or repulse you.Ortberg has a distinct voice, one in which you hear much of his life experience even though these stories are fairy tales. There's a macabre vein throughout, which is probably another echo of his transitioning from Mallory to Daniel.Aside from the voice, the overarching exploration of gender fluidity was both refreshing and compelling. I particularly enjoyed this in "The Thankless Child," a retelling of Cinderella tales.I would like to reread this collection again in a few years - a close read, for deeper analysis. And I do plan to read any new books or collections Ortberg publishes in the meantime.3 starsBelow are simply my notes to self, for memory's sake."The Daughter Cells" (Little Mermaid) - 4 starsThe youngest daughter of a sea-kingsea-witch actually trusted adviser who helps the daughter only after warning herdaughter murders the prince and his bride, not out of jealousy, but because she thinks they belong to her"The Thankless Child" (Cinderella) - 4 starsgodmother is domineering narcissistfluid gender / marital rolesPaul is eldest daughter; when she marries they discuss who will be the wife"Fear Not: An Incident Log" (Book of Genesis) - 3 starsan angel's account of doings on earth; wrestling with Jacob, not his fault"The Six-Boy Coffins" (Six Swans) - 3 starsThe sister is physically abused by the king; she's sentenced to death for murdering her babies (she aborted them early in pregnancy)brother throws the abusive king in the fire"The Rabbit" (The Velveteen Rabbit) - 4 starsThe creepiest story of them all!!rabbit would kill to be real; does he suck the life out of the boy?"The Merry Spinster" (Beauty and the Beast) - 3 starsBeauty is ugly; modern setting; Mr. Beale is the beastthe scariest aspect -- not being allowed to read any of those books!!non-ending left me feeling like what was the point."The Wedding Party" (Goose Girl) - 2 starsuh, I have no idea. Not sure of the plot or the point."Some of Us Had Been Threatening Our Friend Mr. Toad" (Wind in the Willows) - 0 starsI haven't read source material so don't feel it's fair to offer a ratingonly thing I will say: worst. friends. ever."Cast Your Bread Upon the Waters" (Orkney folktale) - 2 starstoo religious for me; man falls in love with a mermaidmother punishes him for his "sins", takes his 6 kids raises them herself"The Frog's Princess" (Frog Prince) - 3 starsfunny; pay your debts, keep your word"Good Fences Make Good Neighbors" (The Fisherman's Wife) - 3 starssometimes getting what you wish for (really want) isn't all it's cracked up to be, may not be what you actually want; at the least, a verbally abusive relationship, emotionally manipulative "friend"
  • Rating: 5 out of 5 stars
    5/5
    Angela Carter would be a good starting point for these retellings, most of them grabbing fragments from more than one traditional fairy tale. But where Carter was interested in sex and blood, Ortberg is more interested in the horror of knowledge. Specifically, the horror of knowing that something is very wrong and that if you say so, those who are close to you (and who, in their own way, may very well love you) will deny that anything is wrong and perhaps hurt you to prove their point. Not all the stories are specifically about that, but most are about how people conflate “love” and “power over.” They were indeed very creepy.
  • Rating: 3 out of 5 stars
    3/5
    I won this book from LTER, but never received it. However, I did get a copy from my local library when it hit the shelves, so I figured I should review it anyway just to be on the safe side. I tend to really enjoy fairy-tale retellings, so I was quite excited for this book. And it certainly was a unique and topical take on several classic stories. Some were easy to figure out (like the little mermaid one that is alluded to on the cover), but others were combinations of several stories, or were so changed from the original that I occasionally couldn't figure out what tale they were based off of until the final few sentences. I found some of the prose a bit obtuse and obfusticatory, but overall this is a decent addition to the genre.
  • Rating: 3 out of 5 stars
    3/5
    This is exactly (and not quite) what I was expecting. Ortberg retells classic fairy tales and puts her own dark spin on them. From beauty and the beast, to the velveteen rabbit, to cinderella, and to the little mermaid; they're all accounted for and are all predictably creepy. She modernizes the stories a bit and brings them back to their true "Grim" roots. This collection is filled with death and unhappy endings, perfect for reading to your children at night ;) Overall, it was alright, but there were a few stories I couldn't get in to or went over my head a little bit. Beautifully written, but it's not a collection I think I'll ever re-read.
  • Rating: 4 out of 5 stars
    4/5
    This is a collection of retold fairy tales. Some of the stories are some of the better of this genre, in the vein of Angela Carter. Others left me just puzzled. The author lists her influences in the back of the book, which I liked because I wasn’t sure about some of them. She didn’t just work from the brothers Grimm; she also has Biblical influences, Shakespeare, the Wind in the Willows, and even does a riff on the Velveteen Rabbit (which I thought was a really creepy tale). These are not pretty tales; they are all on the dark side. The ‘Wind in the Willows’ one, “Some of Us Had Been Threatening Our Friend Mr. Toad” is about as dark as you can get, seeing how far people can go in the name of ‘helping’ others. One really different aspect to these stories is how Ortberg puts a spin on gender and terminology; princesses can be male or female, as can wives and husbands or sons and daughters. I liked the idea of ‘wife’ being a job description rather than a term fixed by one’s genitals! The author also has a wicked sense of humor that comes out at times. Four stars.
  • Rating: 5 out of 5 stars
    5/5
    This was a very cool book. The imagery that Ortberg uses and the flipping of the usual narrative scripts within fairy tales was awesome and well thought out. There were tons of lines that she wrote that I highlighted and chortled at because they were just so true to life, despite being set in a fairy tale world. Definitely would recommend this book to anyone who likes the grimmer side of fairy tales.
  • Rating: 5 out of 5 stars
    5/5
    --received as part of goodreads early reviewer program--I was looking forward to this one, and even so it was better than expected. AS with any short story collection, some are stronger than others. Some are too near the fairytale to have anything really new to say, some so far as, really, to just be short stories, and not retelling at all. But then there's several that balance -perfectly-. Just perfect. I will never see the velveteen rabbit the same way, again, and that story has been part of my basic make-up for all the parts of my life i can remember. In order: The Daughter Cells (the little mermaid)- this was a good choice to start out the collection; a fairly straitforward retelling of a story everyone knows, but with all the stupidest, illogical shit taken out. Everyone makes sense, which is a lot more than can be said for most versions of the story. Still, this is clearly just anotehr version of a storyThe Thankless Child (the juniper tree, or cinderella, I guess)- I really liked the treatment of gender in this. The genders in the previous one were already, maybe, interesting, but it wasn't explicit. I love the husbands and wives and straightforward conversations on which of those each character hopes to be. I... didn't actually get into the story as much as I might've hoped, for all thatFear Not:an incident log (genesis, etc)- hilarious. Just good, laugh-out-loud blasphemous fun. Have you read the book "Good Omens"? So has Ortberg. The Six Boy-coffins (the six swans)- Again, a fairly straightforward retelling, but the characters are so pure, the sibling interactions so genuine, as to transcend the fairytale it clearly is.The Rabbit (the velveteen rabbit)- This story is the star of the book. This story is the one I will be telling everyone about. This story is the one that will end up being in all sorts of collections. It is SO GOOD. This is an entirely straightforward retelling. Large segments of text are directly lifted from the original, and yet this is, in no way, the same story. It is so brilliantly twisted as to retroactively question the words in the original. I don't want to spoil it, but I do want to tell you all about it. I'll give you a hint- the rabbit is a vampire, and that wasn't yellow fever the boy had.The Merry Spinster(Beauty and the Beast)- This was possibly the weakest story in the book. The main character is meant to be insipid, and succeeds. Maybe it's a satire "fuifty shades of grey". That might make it funny. But I haven't read fifty shades of grey to get the joke, and maybe that wasn't even the joke.The Wedding Party- this one also failed to grab me. I also don't know what story it is meant to be retelling, though the characters retell several inside the story. Some of us have been threatening our friend Toad- I love both the Wind in the Willows AND Barthelme. I re-read "Some of us have been threatening our friend Colby" the night before this, to have it fresh in my mind. Barthelme does Barthelme -much- better than Ortberg does Barthelme, but it was still a grand romp.Cast your Bread upon the Waters(various selke and northern mermaid stories)- Like the first mermaid story, this one is pretty true to the tale it derives from, but if only one character, just one, had some damned sense. The Frog's Princess (the frog prince) - again, I love the treatment of gender. Rather than trying to get around the daughters and sons aspects of fairytales, Ortberg has embraced it- daughters do what daughters do, sons do what sons do, but some daughters are boys and some sons are girls. daughter is a position, not a gender, and as with many jobs, it comes with certain responsibilities. In this story, Ortberg takes that framework, set up in earlier stories, to create a really convincing, really icky stalker/shotgun wedding metaphor, succinctly and convincingly expressed. And because of that framework, she can do it all without involving any girls. Good Fences Make Good Neighbors(The Fisherman and his Wife)- In a twist, this one retells the fairytale, but takes away any damned sense the principles had in the original. Or maybe I'm just made at it because I happen to -love- frog and toad, and don't want to see them subverted. Still, it was a strong story, in which clearly the fisherman ought've run off with the fish.
  • Rating: 5 out of 5 stars
    5/5
    This is probably found to end up being one of my favorite books this year. It is terribly clever and humorous. I wish Supernatural had writers this good.
  • Rating: 1 out of 5 stars
    1/5
    Love retellings but this was incredibly disappointing. Tried way too hard to be dark and edgy and still managed to be predictable.
  • Rating: 4 out of 5 stars
    4/5
    This was much creepier and affecting than I expected. Having read a lot of humor from this author, I maybe should have but did not realize he would be so well suited to this kind of absurd, anxious horror. While some stories are much stronger than others, the whole collection is worth a read.
  • Rating: 4 out of 5 stars
    4/5
    Those familiar with Mallory Ortberg (recently transitioned to Daniel Mallory Ortberg) from the Toast website or her first book, Texts from Jane Eyre, already know that he is extremely well-read and that his point-of-view can be truly unique and humorous. In his newest book, the Merry Spinster, Ortberg offers a modern and twisted take on 11 well-known fairy tales and children’s stories. Playing with ideas of gender, identity and the perpetuation of cultural norms, the stories in this collection are a mixture of traditional narrative and experimental storytelling. Some of the classics that served as influences include the Little Mermaid, Cinderella, Frog Prince, the Velveteen Rabbit and the Wind in the Willows. The Merry Spinster retains and highlights some of the darker elements of these old favorites while challenging their conventional morality and inherited norms. This quick read would be great for those who adore the old tales of childhood, but also appreciate innovative interpretations of these beloved works.
  • Rating: 3 out of 5 stars
    3/5
    Ortberg re-tells well-known stories (fairy tales and others), such as Cinderella, The Little Mermaid, The Velveteen Rabbit, and more. These re-tellings keep the bare bones of the original stories while going off into Ortberg's imagination. I did notice that it was more interesting to follow Ortberg's thread when I was more familiar with a story. For example, I could see where the original Beauty and the Beast influenced the title story far more than I saw deviations in the brothers-turned-into-swans fairy tale, which I've never read previously. (Ortberg does cite all the story sources at the back of the book for those interested.)In most cases, the stories in this book do tend to end 'happily ever after,' in that the protagonist is satisfied, but not necessarily tidying everything up into Hollywood happy endings. These endings might be brutal or violent, as suggested by the book's subtitle, but this is not a collection of spine-tingling scary stories. Some of the conclusions did feel a bit abrupt, but I often feel that way about short stories.With this collection, Ortberg certainly plays with gender and it's not exactly inaccurate to describe at least some of these as feminist stories, although this is nowhere near collections like The Maid of the North, which are decidedly meant to be feminist fables. Perhaps it's because I'm not the hugest fan of either short stories or fairy tales, but I wasn't completely blown away by this book. It's clear that Ortberg is an excellent writer, but this wasn't exactly my cup of tea. However, those who enjoy twists on well-known stories will enjoy this book.
  • Rating: 5 out of 5 stars
    5/5
    Creepy and utterly original. Everyone I know was reading this at the same time, but I never arranged a book club conversation and I regret it. There's so much to discuss. The collection holds together better than most short story collections, but also each story is such a horrifying little rotted jewel that I wanted to savor it alone rather than reading the whole collection quickly. I'm reviewing this months later, and the ones I still think about are the Velveteen Rabbit one (that was always a horror story for me anyway), "The Thankless Child," "Cast Your Bread Upon the Waters," and "The Frog's Princess."
  • Rating: 4 out of 5 stars
    4/5
    These stories range from amusing to satisfying to very unsettling. Quite the collection, although definitely not fit for a bedtime read aloud for sweet dreams! The Velveteen Rabbit story especially screwed me up.
  • Rating: 3 out of 5 stars
    3/5
    I picked this up based on the cover art, title and back page description alone. It's a fast read - the author puts a creative and, at times, feminist spin upon classic fairy tales. It's a fast read, but not a particularly enthralling one. While some of the stories are a little off to the point of being disquieting, but I wouldn't categorize them as chilling or unsettling, much less horror.The Daughter Cells (a twist on The Little Mermaid) was my favorite because, IMO, its reimagining was so detailed. The Rabbit and Good Fences were solidly told, if more obvious. A couple of the stories - Incident Report and Cast Your Bread seemed underdeveloped compared to the others.It wasn't until Six Coffins that the author's feminist retellings of these stories (originally all authored by males, I believe). At times, the author switches up the pronouns (sometimes referring to a daughter as a she, sometimes a he; or a female character marrying a male character and getting the choice of the 'wife' or 'husband' role, etc). I think the author intended a statement on gender neutrality (or fluidity?), but the overall effect is unnecessarily confusing and adds little. It came across as more of an affect than a POV.Overall: I expected absinthe, but got vodka instead.
  • Rating: 3 out of 5 stars
    3/5
    Book received from NetGalley in exchange for an honest review.

    This was a fun book to read, it you like to read unusual and twisted stories. Ortenburg doesn't retell familiar fairy tales; she takes the familiar and gives it her own unique spin using humor, integrating bits and pieces of other literature such as the Bible and folktales, Female characters play strong roles in her tales; no damsels in distress here.
    On the other hand, it took me awhile to finish this book because I would put it down and walk away, not in any rush to pick it back up. Some of the stories grabbed my attention, while others left me not really caring one way or the other what happened.
    Overall, this book, for me, rates between 3 and 4 stars.
    Overall, though, I'm glad I read it, even if it did take me awhile. I like the unusual and twisted telling of these tales; I think the ones that gave me the most difficulty involved stories I hadn't ever read. At the end of the book, Ortenburg includes a list of the original works she based her stories on and the list did include tales I hadn't read before.
  • Rating: 2 out of 5 stars
    2/5
    Ortberg's collection of 11 retold fairy tales in The Merry Spinster promise to be tales of "everyday horror", but mostly turn out bland at best, or confusing and too self-aware at worst.

    Where Ortberg shines is when he sticks to a more classic retelling. The strongest story was probably "The Six Boy-Coffins", which had an excellent feminist slant and was overall very straightforward and well done. "The Wedding Party" and "The Thankless Child", however, were examples of where Ortberg got a little too caught up in his own cleverness and the overall effect is confusing and trampled by an onslaught of allusions. A short story is as much about choosing what not to say as it is choosing what to say, and Ortberg laded his stories with too much, and they buckle under the weight.

    Even the more horrific ones were just... bland. There was nothing shocking, or even particularly horrific. The Velveteen Rabbit retelling has been much vaunted for the sociopathic nature of the cuddly protagonist, but even that was more dull than anything.

    Additionally, this collection has been praised for its progressive gender fluidity, but I never saw anything particularly well done about it. Ortberg routinely mixes and matches pronouns - a daughter called "he", a character choosing to be a wife or a husband - but there is nothing else done with it. Simply changing pronouns isn't saying anything particularly profound.

    All in all, a miss for me.

Book preview

The Merry Spinster - Daniel M. Lavery

ONE

The Daughter Cells

Daughters are as good a thing as any to populate a kingdom with—if you’ve got them on hand. They don’t cost much more than their own upkeep, which you’re on the hook for regardless, so it’s not a bad strategy to put them to use as quickly as possible. There are, you may know, kingdoms underneath the sea as well as above it, with all manners of governance, as it happens. Kings have daughters there too, in the manner of kings everywhere, and fathers there must find something to do with daughters, just as we do on land. There once was a king who owned a great deal of what lay under the surface of the sea, and he happened to fill it with his daughters. Another man might have filled it with something else—potato farmers or pop-eyed scholars or merchant marines—but this one filled it with daughters, so there’s no use arguing about it now.

Each of this man’s daughters had a little plot of ground in the central gardens of the underwater city, which she could develop as she liked. Each daughter had use of the land but did not own it. (I haven’t time to explain to you the way personal property is thought about in states where all borders are by definition liquid. There are other books about that sort of thing.) You might call the daughters princesses. I wouldn’t, but if it’s easier for you, then you might. You might call them something else, too—there are words for such things that live under the sea and haven’t legs. You certainly wouldn’t think to call them girls, if you happened to see them.

At any rate, these girls didn’t own their patches of land, but they had the use of them, which made for good practice. They might ornament their allotted land with flowers, they might grow crops, or they might stuff it with old sea glass and bits of shipwrecked kettles, as they saw fit. The only way to teach the value of something is to give someone the chance to waste it—or at least that was how the thinking went under that particular administration. And most of the daughters grew up with a reasonably discerning sense of what was worth something and what wasn’t, so that’s one point in that philosophy’s favor. Most of them didn’t farm sea glass either.

The youngest of the daughters planted nothing at all in her garden, and no one thought any less of her for it. If a single polyp so much as presented its head above the ground there, she’d twist it out and fling it over the wall before it could so much as think of partitioning itself. She had no particular genius for growing things, and saw no reason to force a skill when there were so many others to cultivate.

You might well ask—and some did—why bother to go to all the trouble of patrolling for kelp and rhizomes and bits of eelgrass if you weren’t going to grow anything in their place. The point isn’t that I’m growing anything else there, at least not at present, she always said. "There’s the whole rest of the sea available to go be a polyp or a rhizome or a bit of eelgrass in; they just can’t do it here. I can go look at a flower anywhere without having to put in a lot of effort to grow a poorer version of my own," which everyone celebrated as an eminently sensible answer.

Nothing gave the youngest daughter so much pleasure as to hear about the worlds above the sea, and the ways in which they were variously apportioned and administered. She made her old grandmother tell her all she knew of the ships and of the towns (a great deal), of their fortifications and their distribution of resources (very little, but she didn’t mind lying). The defining characteristic (or so it seemed to the youngest daughter) of these places was what a great store its peoples seemed to set in declaring one place not another—this country here can never be that country there and vice versa, and how strictly important the notion of a front door was.

You mean if someone has something, and I should like to use it, and they don’t want me to, she said to her grandmother, all they have to do is put it behind their front door, and keep it there, and there’s nothing I can do about it?

Not unless you were willing to get into a great deal of trouble for the keeping of it, her grandmother said.

But that’s unreasonable, she said. "What right has a front door to keep me from anything? My goodness, I keep clams and things out of my garden, but I don’t expect them to stop trying just because I put a few rocks around it. It’s my garden because I till it, not because the world stops trying to grow things at my say-so."

Nevertheless, her grandmother said, they set a great store by it, and wouldn’t give up their front doors for anything.

You can’t have understood it properly, the girl said.

Front doors, her grandmother repeated, they’re absolutely mad for them, and their fish are covered in soft scales, and roost in stiff pods of kelp that don’t move in the slightest, and scream at one another from their nests all day long, for everything that lives there hates quiet. All day long a hot coal rakes its way across the roof of the world, and all night they freeze as little white maggots peep out all over the sky to watch them.

It isn’t decent, she added, and the general opinion was that she was right.

Decent or not, the girl said, I’d like to see it for myself.

And you will, said her grandmother. When you’re of an age, and your affairs are in order, and you have your family’s consent, you may sit on the rocks by the coast and watch the ships go by moonlight. Then you will come home, and you can think about what you have seen.

At last the girl came of an age, and her affairs were in order, and she had the consent of her family tucked under the wallet strung round her waist.

Now you are grown up, said her grandmother, and you must let me turn you out so everyone who sees you will know your rank, and she placed ropes of nautilus on her neck and ordered eight solemn oysters to clamp onto her hair.

But this hurts so, said the girl, who had never suffered before and did not like it in the least.

I would not hurt you unless I could bear the same thing. You are not being asked to do anything without precedent, said her grandmother, and no one likes to hear someone talk about their aches and pains. Have the decency at least to be quiet about it.

All the same, the girl said, twisting her mouth, I don’t believe I should like to suffer again. As a matter of fact, I don’t believe I will suffer again at all. Good-bye, for now at least. And with that, she drew herself up and vanished into the blue haze overhead.

The sun had set just before she broke her head into the air. Nearby, a large ship rested on the water. The sea and the sky alike were still and cool, but the surface of the ship seethed in continual motion against the waves. Dark figures crawled all along the rigging with a great shouting and waving of arms. Lanterns had been tipped up all around the deck and stuffed with fire, and pennants flashed from every spar. A lurching, crashing music tipped over the sides of the ship and scattered on the waves so that the girl sputtered and thrust her head back under the water, where everything was blessedly dark and quiet. She swam closer to the cabin windows and looked in through the glass. There she saw a smaller crowd of people, not moving about so wildly as the first, but richly dressed, who smiled at each other and spoke in soft voices.

Among them was a young prince—"for practical purposes, much the same thing as a daughter, at least to them," her grandmother had said. His rank was obvious from the deference offered him, despite the conspicuous lack of nautilus and clamshells on his person. He was dark-eyed and solemn, or at least civil, and the girl thoroughly approved of him for it. The celebration was for him; it was the prince’s birthday, and they were marking it with tremendous merriment, for they had only a single prince to share among all their people.

The girl remembered what her grandmother had told her: "They aren’t made as you or I were made. Here, a king knows exactly the number of daughters—or sons, if he wants any—he needs, and produces them as necessary. They have to go to a great deal more trouble than that if they want to get up more people. And they can make only one or two at a time, which makes for a devil of a time with planning, so that sometimes there are too many, and sometimes not nearly enough, and always there is the question of who they are going to make new people with. They can’t make daughters as individuals or as a body politic, nor bud nor generate colonies, as sensible people do. They have to split off into two first, and commit sexuality against one another. I told you it wasn’t decent."

When the prince moved from his cabin to the deck, a terrible shouting came from the sailors gathered there, and more than a hundred rockets shot out across the bow, singeing the sky with such a brightness that the girl could hardly bear to look. She had to bathe her eyes in salt water before she could open them again. When she did, it appeared as if every star in heaven had been wounded, and that they were unspooling themselves into blazing white threads that dripped into the sea. Everything was freezing cold and burning hot all at once. The ship itself was so brilliantly lit that everything onboard seemed lost in half radiance, half shadow. No one seemed in the least bit frightened, and everyone who saw the prince smiled at him. In this way the girl figured he must be lovely, so she smiled at him, too.

It grew late, yet the girl did not take her eyes from the ship, nor from the prince once they had adjusted to the glare. One by one, the lanterns drooped lightless, the music paled, and the ship grew quieter. The sea became restless, and every wave began to hiss foam, but still the girl remained by the cabin windows, bobbing up and down in the water. Then suddenly the deck was no longer quiet; sailors moved in a black line up the mast, seizing at the rigging, but the waves threw themselves to yet greater heights, where they were joined by fat lashings of lightning. The sails were soon swamped, and the ship dove down like a swan, and all of it made for great sport for the girl, who had long been cradled by storms such as these.

At once the sea rushed over the deck, sweeping everyone before it. All around her there was a struggling of limbs and gasping for breath, and the girl felt rather sorry for complaining about the weight of a few oysters, now that she could see how thoroughly everyone around her suffered. I won’t complain about them next time, she promised herself.

Now and again she had to swim slightly out of her way to avoid the scattered side effects of the shipwreck. It became so dark she could imagine herself on the seafloor, but then a flash of lightning threw the scene into relief, and she glimpsed the prince sinking below the waves. She brightened at the thought that soon he would be down in her father’s country, where she might show him her garden and explain her philosophy of relative value and effective stewardship. After all, she thought, better for him to join us than for us to join him, if he is the only administrator his father has, as having one is scarcely better than having none at all. Then she remembered that humans could live only under the strictest of conditions, that their lungs were quite useless when wet, so that by the time he reached her father’s house he would be quite dead and unable to learn anything about her philosophies at all, much less help implement them. So he had better not

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