THE WOOD AT MIDWINTER

Reviewed by Steven H Silver

When Susanna Clarke published Jonathan Strange and Mr Norrell in 2004, she created a vast and complex world of English magic. Many of the short stories she has published, both before and since that novel appeared had been set in the same world, sometimes exploring story lines that were touched on, other times going off on new tangents. According to Clarke, one of the lengthy footnotes written for that novel, but cut before publication, referred to the magical analog of Newcastle in that world. While that footnote didn't make it into the novel, it connects to Clarke's new story, The Wood at Midwinter.

The story opens with two sisters, Ysolde and Merowdis Scot going for an outing. While their parents insist it isn't proper for a young girl to go out on her own, the sisters have already planned for Ysolde to drop Merowdis, her two dogs, and pig off for a private walk in the wood while Ysolde continued on to visit some neighbors. Clarke establishes quite early that there is something special about Merowdis, who can speak to not only animals, but the spirit of the forest, as well. Few people, including Ysolde, can understand Merowdis, although Ysolde loves and accepts her sister, who she sees as a holy person.

Merowdis, on the other hand, sees herself as a young woman who is confined by the constraints of her society, which seems to offer her two options. She can either become the wife of George Blanchland, who wants to marry her despite not respecting her interests, or become a nun, for which she realizes she does not have the right aptitude. However, once Merowdis and the animals enter the Wood, she is at home, knowing she can't be harmed and is one with nature.

During her stroll through the woods, Merowdis communes with nature, which, in her case, includes talking to her animals, as well as the birds and foxes of the woods and the forest itself. She reflects on her desires and realizes that she wants a child, even if she is not interested in marrying George Blanchland or anyone else. Despite the strong feeling of an English pagan world, Merowdis is also a part of the Christian world and sees midwinter as the proper time for a virgin to have a son of her own. Clarke doesn't spell out the parallels between Christianity and the more naturalistic elements of Merowdis' life in this short story, but they are clearly there, with many of the elements seen as sanctity for the girl.

In addition to the story, the book contains illustrations by Victoria Sawdon throughout. Not only do these drawings provide an idea of what Merowdis and her animals look like, but they become integral to the tale as the dialogue of the trees is depicted almost as if being carried by the wind blowing through the leaves. The manner in which the words and illustrations are laid out together make Sawdon's art an integral part of Merowdis' story.

Although The Wood at Midwinter is short, Clarke manages to fill it with the magic that flowed through her previous novels and short stories. Merowdis, her animals, and the wood come to life in Clarke's skilled hands. Ideas which at first seem straightforward reveal themselves to have depth and complexity, showing an intricate dance between the modern religious beliefs and the beliefs that it supplanted centuries earlier. Clarke's story can be enjoyed for her use of language and ideas, but it also reveals deeper truths that will remain with the reader after the final page is read.

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