The Wood at Midwinter

“A woman alone was in danger from all sorts of predatory creatures—bears, wolves, men. Yet walking in the wood was the only thing that interested Merowdis.”

This passage highlights the dual imagery of the wood as both a place of danger and sanctuary. While society frames the woods as perilous for women, Merowdis finds solace and fulfillment there. The line underscores her rejection of societal constraints in favor of communion with nature. The mention of “men” among the predators subtly critiques patriarchal assumptions about safety and agency, while also establishing Merowdis’s defiance in pursuing her own path.

“(If you ever get a chance to learn what is written in spider webs, take it. Spiders have been writing since the world began and know many interesting things.)”

This whimsical aside bridges the mundane and mystical, emphasizing the wood’s sentience and interconnectedness. The parenthetical tone suggests a timeless, universal wisdom embedded in nature, accessible to those like Merowdis who are attuned to it. The quote reflects the idea of hidden knowledge and the blending of natural and supernatural elements, positioning spiders as ancient storytellers in a narrative about vision and prophecy.

“Its voice was like the wind, but also like a thousand trees thinking the same thought.”

This description of the wood’s voice underscores its collective consciousness, portraying nature as a unified entity with a shared awareness. The metaphor of “a thousand trees thinking the same thought” suggests that the wood transcends individualism, embodying the interconnectedness of all living things. It evokes the idea that nature operates on a deeper, more profound level of communication than humans typically perceive, aligning with Merowdis’s spiritual connection to the natural world.

“How can babies grow when the earth is frozen, when the light is short and the dark is long?”

This question reflects the thematic tension between hope and hardship, encapsulated in Merowdis’s contemplation of a midwinter birth. It symbolizes the paradox of life emerging from desolation, connecting to her vision of a child who will “bring light.” The imagery of frozen earth and long darkness evokes seasonal cycles and emphasizes the resilience required for growth in adverse conditions, reinforcing the mystical and prophetic tone of the narrative.

“That is what I wanted to tell you. That is the sorrow I wanted to bring you.”

This line encapsulates the fable-like quality of the story, blending sorrow with revelation. The wood’s omniscient voice delivers a truth that is both painful and necessary, mirroring the moral lessons found in traditional folklore. The deliberate use of “sorrow” conveys the weight of wisdom that comes with prophecy, reinforcing the religious undertones of sacrifice and acceptance in Merowdis’s journey.

“All woods join up with all other woods. All are one wood.”

This statement reflects the wood’s perspective on the unity of nature, portraying the world’s forests as a single, interconnected entity. It underscores the theme of interconnectedness, suggesting that the boundaries humans perceive are illusions. The phrase emphasizes the timeless, omnipresent nature of the wood, which not only spans physical spaces but also embodies the shared consciousness of all living things. This interconnected view aligns with Merowdis’s ability to understand and commune with the natural world, reinforcing her role as a bridge between human and non-human realms.

“It was covered in brown-black fur and had strong claws that had already torn flesh and skin.”

This description of the bear cub juxtaposes the idea of an innocent midwinter child with a predator capable of violence. Irony is created through Merowdis’s yearning for light and life being embodied here by a creature associated with danger and destruction. The cub’s dual nature—both vulnerable as a baby and deadly as a predator—symbolizes the complex, often painful dualities of sacrifice and love that define Merowdis’s saintly journey.

“Such a love must kill her in the end. Humans aren’t meant to live in the woods.”

This line reflects the tension between Merowdis’s deep connection to nature and the ultimate incompatibility of humans with the untamed wild. The phrase “such a love” implies that her communion with the wood is profound yet consuming, highlighting the sacrifices required to fully embrace the natural world. It serves as a commentary on the fragility of human existence in contrast to the enduring power of nature.

“She understands perfectly. Saints do shocking things. It’s what makes them saints.”

Apple’s remark encapsulates the paradox of sainthood: to act in ways that defy conventional understanding. The phrase “shocking things” suggests that true sanctity requires a willingness to embrace the extraordinary, even at great personal cost. This quote ties Merowdis’s actions to the broader theme of sacrifice, illustrating her acceptance of a path that others, including her animal companions, cannot fully comprehend.

“One should be patient with saints, I suppose. Though the trouble with being patient […] is that, generally speaking, there’s no one to see you doing it.”

This statement captures the isolation and unseen struggle inherent in both sainthood and supporting those who embody it. The idea that patience often goes unnoticed highlights the thankless nature of such sacrifices, mirroring the quiet, unnoticed ways in which nature sustains life. It also emphasizes Ysolde’s complex relationship with Merowdis, blending frustration with understanding.

“Her expression is fierce, but also triumphant.”

This description of Merowdis’s expression in the painting suggests a duality in her character. The fierceness conveys her defiance and strength in choosing her path, while the triumph reflects her fulfillment in achieving her purpose. The image encapsulates the essence of sainthood as both a struggle and a victory, highlighting the tension between sacrifice and transcendence.

“Sometimes new stories are just old stories badly remembered.”

This line from the afterword reflects the cyclical nature of storytelling, emphasizing how myths and fables evolve over time. By acknowledging the roots of her tale in ancient narratives, Clarke ties “The Wood at Midwinter” to the broader tradition of folklore, reinforcing its timeless quality. The phrase also invites readers to consider how memory and reinterpretation shape the stories we tell.

“Some stories sink down into your bones.”

This statement captures the deeply resonant quality of certain narratives, suggesting they are felt on an instinctual, almost physical level. It aligns with the mystical tone of the story, where the wood’s timeless wisdom and Merowdis’s journey evoke a sense of universal truth. The quote emphasizes the power of storytelling to transcend intellectual understanding and connect with the soul.