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Mabel finds herself reenergized. She waits at the cabin window anticipating a visit. To fill the time, Mabel takes up drawing, which she abandoned after the death of her child. But the girl’s visits fit no pattern. One night at dinner, the girl at last shares her name: Faina. Mabel struggles to sketch the child’s wild beauty; “something in the turn of her head, the tilt of her eyes, hinted at a wildness Mabel wanted to capture” (121).
In mid-February, the book from Mabel’s sister Ada arrives. Although it is in Russian, Mabel delights in the illustrations of the snow maiden surrounded by forest animals. Ada’s letter provides additional information about the fairy tale from a professor cataloguing their father’s library. The tale, whatever the telling, ends in tragedy with the maiden returning to the wild and the couple left devastated. Ada closes her letter by suggesting perhaps people should write their own endings and “choose joy over sorrow” (129).
As winter drags on, food starts to run out. The couple slaughters their chickens and scours the woods for fruit. Jack notices how Mabel has become attached to the child and thinks he ought to tell her about the girl’s father. But he promised the girl he wouldn’t. As the couple plucks two of Mabel’s chickens for their meager dinner, they confirm their love for each other, asserting that whatever happens they are together, through both “success and the failures” (133). Mabel takes one of the chickens uncooked to the woods not for the girl but for her fox. Jack, who does not know the fairy tale, wonders if Mabel is slipping into madness.
When Esther visits, Mabel updates her about the child. Sensing Esther’s doubts, she tells Jack to confirm that he also saw the child. But again, Jack does not. When Esther leaves, Mabel confronts Jack. Rather than acknowledging his doubts, Jack dances awkwardly with Mabel while humming a tune. They kiss. They move toward the bedroom and make love.
It is late February. During a visit, Faina tells Mabel about the fox who always accompanies her, how they hunt together and keep each other company. Later, Mabel hears laughter outside and finds Jack and the girl making “lovely, crazy” (146) snow angels. Mabel realizes that the angel impressions would surely prove the girl is real. But days later when she shows a visiting Esther the spot, new snow and wind have obscured the imprint.
When Garrett Benson stops by while Jack is out splitting firewood, the boy shows Jack a silver fox that he had trapped. As the two talk, Garrett opens up about his hopes to not work his father’s farm but rather to live alone in the wilds and trap furs. Later, when Jack tells Mabel about the visit, Mabel panics, but Jack assures her the dead animal could not have been Faina’s fox.
The next morning Mabel frets that a hunter might kill Faina’s fox. When she dozes off by the woodstove, she is awakened by Faina, who urgently wants her to come outside with her sketchpad. Faina isolates a single snowflake on her tiny hand and challenges Mabel to draw it, to capture its beauty. Even as Mabel clumsily sketches the snowflake, its elegance escapes her. Faina squeezes her hand and says “Goodbye” before disappearing into the woods. The snow turns to dreary rain. Spring has returned.
When Mabel receives the illustrated fairy-tale book from her sister, we begin to understand that perhaps the fairy tale is not the stuff of hope and magic. The fairy tale ends in tragedy: The snow maiden abandons the childless couple.
To this point, we seem to have only two choices: to accept brutal reality or escape into impossible fantasy. Even as the first winter unfolds and the mysterious child becomes more of a presence in Jack and Mabel’s lives, Faina initiates critical changes in the dynamic of husband and wife. These changes edge the narrative away from the inevitable tragedy of the Russian fairy tale and in turn introduce the possibility of this story, to quote Ada’s letter, moving toward joy rather than tragedy.
The most obvious indicator of an optimistic ending is when Mabel returns to sketching, proof that her heart, her soul, and her imagination are reigniting thanks to the influence of the feral child. Her sketches are initially labored as she regains her skills, but she pours her heart into them. Importantly the beauty of the world around her—whether the girl or the simple snowflake—eludes her ability to capture. Nature is more beautiful, more fantastic than can be recorded.
In these winter chapters Jack and Mabel slowly turn toward each other. In mid-February, even as the moose meat runs out and they must slaughter Mabel’s chickens, even as the difficult reality of wilderness life begins to oppress them, they draw comfort from each other for the first time. They are in this together, an affirmation of their love that indicates that the uneasy distance between the two caused by their child’s death may be closing, a hope that culminates when the two dance and then make love. Unlike the earlier lovemaking episode, this moment is not triggered by some hokey fairy-tale wish—now difficulties bring them together.
The snow angel episode provides readers a test of whether we are willing to accept that Faina is no fairy tale but rather a resourceful orphan. The indention in the snow confirms that the child is real, but days later weather has effaced the impression. Do we return to the idea that here is some fairy creature that defies science, or do we understand that, after days and whirls of snow and early spring rain, of course the impression would be gone? In accepting the latter, we acknowledge that the fragile brevity of anything we treasure does not compromise its value.
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