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Back in the pit, the being reawakens to terrible memories of blood and smoke. The being discovers that he’s being attended by several animals—a possum, a floating fish with the faces of children, and a raven—that call him Father. These animals, the wildfolk, tell their Father that he is a slayer who protects them and a tree called Pawpaw from the incursion of humans. They say that he’s defended them once before, but now it’s time to reawaken and kill the new humans—starting with Abitha.
Abitha goes to the barn to saddle a mule and hears odd voices. She’s attacked by the wildfolk and approached by Father, whom she takes to be the devil. As he nears, she is overcome with visions of burning huts and screaming people; the visions give way to a tumult of spiders and eventually blackness. Abitha wakes, alone, and returns to the house. She gets a small bag of hair that she stole from her mother before leaving England. Her father believed that her mother cursed their family through her witchcraft, but Abitha believes in her mother’s goodness. The hair reminds her of a warding charm of mixing ash and blood. As she’s spreading ash mixed with some of her own blood around the perimeter of the property, Wallace approaches her and tells her that she still has a way out of trying to farm alone—by marrying his 16-year-old son. Abitha rebukes him, and Wallace leaves in a fury.
From a distance, Father watches the interaction between Abitha and Wallace. He feels Abitha’s emotions: her hatred and despair at the prospect of farming alone. Father questions the wildfolk about his visions of burning huts, and the wildfolk tell him that he was once in conflict with the Pequot people, who stole his soul and harmed Pawpaw. Father senses that they aren’t telling him the full truth, so he returns to his pit. He finds ghosts there and follows the ghosts to the land of the dead where he hopes to find answers about his past.
The wildfolk—Forest, the possum; Creek, the fish; and Sky, the raven—return to the pit and speculate about what has happened to Father. They worry that he might be with a being called Mamunappeht, and they fear what he might learn—and what might happen to them—if he finds Mamunappeht. They also worry that Father might find a Shaman who would tell him the truth of what has happened to him.
Meanwhile, Father sits with the spirits at the river Lethe, where he speaks to a ghostly boar who informs him that he’s not yet ready to join the dead. Father sense Abitha’s presence nearing, and as he tries to reach out to her, he’s transported back to the world of the living.
It is now June, and Abitha goes out to the crops. Outside, she sees a man whom she assumes to be Edward, but when he turns to her, his eyes are only sockets. She runs, worrying that she has somehow made a pact with the devil. When she turns there’s nothing there. Abitha goes to church where Helen tells her that the love charm has worked—she and her beloved, Isaac, Wallace’s son, have shared a kiss—and that the women of the town scorn Abitha for trying to do a man’s work. After the service, Sarah Carter takes Abitha aside and expresses admiration for her attempt to farm by herself. She warns Abitha that Wallace is planning on indenturing her if she isn’t able to harvest the full crop—a distinct possibility given the recent lack of rain. Sarah’s warning is overheard by Ansel Fitch, the local gossip.
Now back in the forest, Father encounters some men hunting wolves. He kills one of the men and is invigorated by the kill; the other man runs, calling Father “Satan.” Father, now wondering if it is indeed his duty to act as a “slayer” for the wildfolk, speculates that killing people might help banish the visions of spiders that have been plaguing him. He approaches a woman and a child in a blackberry patch. The woman also calls him “Satan” and Father grabs her, demanding that she tell him who he really is. The woman dies in his grasp and Father, confused by his lack of desire to feast on the humans, lets the child go.
As autumn approaches, Abitha finds the farm work increasingly difficult; the lack of rain means she needs to bring water from the well to the crops. While at the well, she’s encouraged by a voice from the bottom to die by suicide; though tempted, she refuses before losing consciousness. When she wakes, she finds a bucket of berries near her, which she gratefully eats. She then feels the presence of a dark being near her, and she goes to the barn where she sees Father’s shadow. He asks for Abitha’s help in discovering his own identity, and Abitha, confused, refuses. When Abitha wakes the next morning, she finds Father outside again; he tells her that he doesn’t know what he is, and Abitha accuses him of having killed Edward and wanting to steal her soul. Father says he wants nothing to do with her soul but can’t definitely say that he didn’t kill Edward.
The next day, Abitha wakes and wonders if Father isn’t Satan but a sort of forest-god who can be appeased. She goes the woods and brings Father candy and a crown; he remembers this act of gift-offering from his past and accepts. In return, Abitha asks if he can help grow her crops. After she demands Father’s services with all her heart, she feels an intense connection to Father as he uses his powers to grow her corn. She joins in with his chant and feels her excitement building.
The wildfolk are horrified that Father isn’t becoming the slayer they need him to be. They confront him about this, telling him that he must kill Abitha, and he refuses. The wildfolk resolve to kill her themselves. The wildfolk and Father return to Abitha, and Abitha gets the wildfolk to admit that they lured Edward into the pit and killed him so that Father could eat him. Father, horrified, apologizes and promises to help Abitha with her dreams. Abitha struggles to articulate what her dreams are, but eventually she remembers that her truest dream, as a child, was to be a “fairy queen” (119). Abitha offers Father more candy, asks him for help with her crops, and tells him that she will call him Samson.
As the wildfolk offer more information in this second section of the novel, Samson’s characterization becomes increasingly complicated, particularly regarding The Relationship Between Humanity and Nature. In the opening section, Samson is presented in terms of the Christian vision of the devil: He has hoofs and horns, lusts for blood, and acts as a “slayer” of humanity. When the wildfolk explain, though, that Samson kills in order to protect nature from human destruction, and Samson sees the ways in which the colonists have destroyed the forest, he “felt an instinctive anger building his heart, his gut” (61). This section mixes the devil-like imagery of Samson’s body with the conservationist impulses that motivate him. This mixing reconfigures the archetypal dynamics of the horror novel by complicating the binaries of good and evil.
These complications in Samson’s character only add to the complexity of Abitha’s connection with the slayer. The first act that Samson and Abitha achieve together is the raising of Abitha’s corn. Their incantation takes on erotic overtones: As Samson begins the chant,
Abitha realized she was chanting along, the strange sounds spilling from her lips, somehow familiar and comforting. The pulse continued to pump through her, gaining intensity until she felt part of it, felt one with him, with the ghosts, with the earth…the corn! (112)
Here, “the corn!” arrives as an orgasmic exultation, a climax that marks the end of the spell but the beginning of a new connection between Abitha and Samson. This overtly sexual connection between the two is ambiguous. On one hand, it suggests that Abitha has entered into a pact with the devil, sealed by their intercourse (as witches were often accused). On the other hand, since Samson is portrayed as a naturalistic protector of the earth, there is a positive conservationist overtone to the fact that Abitha indulges her long-unfulfilled sexual desires with him. For the first time since Edward’s death, Abitha has found an outlet for her socially-repressed sexual desires, and this poses just as much of a threat to Sutton as her magical crop does.
Abitha’s newfound freedoms, both sexual and economic, are so dangerous to the men of Sutton because the women of this society are treated as property. This establishes the structures of Gender and Institutional Power in the story world. When Abitha first makes clear that she’ll harvest the crop on her own, an incredulous Wallace replies, “[y]ou cannot be on your own. So I am inviting you into my home. You can help Charity and Isaac with the chores” (52). Wallace’s “invitation” to have Abitha act as a servant in his home makes clear the implicit value women hold in this society: They are perceived only as useful as instruments for their husbands’ use, and a single woman serves no function other than waiting for attachment to a male. When Abitha refuses to conform to this idea, Wallace and Watson make clear that, “[i]f [she] cannot bring in this crop, they plan to turn [her] unpaid debt into servitude” (91). This highlights the fact that women aren’t only implicitly treated as property but can legally become property. Abitha’s rejection of their offers threatens to upend not only norms but also the very legal structures of Sutton.
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