The hedge maze is deep emerald green in the light of day,
though within the deepest parts of the maze it is cool and full of silver mist.
She and Piper begin on separate paths, taking new routes and seeing who can
reach the centre last. They have traversed the many corners and trails so many
times they have memorized every possible route to the centre and now make a
game of finding the worst possible route to take, going in circles and coming
to dead ends, following spirals that twist in on themselves until they end up
where they started. Eventually though, they each find their way, congratulating
one or the other when they reach the centre after such a long time. Once there
they collapse in a heap on the soft earthen floor, in the centre of the
clearing in which bubbles an old fountain with a small stone basin and in which
stands many old statues brought there or built by scholars from other lands. Surrounded
by the aroma of Spanish moss and looking up at the sky with hedges and statues
draped with drooping moribund tendrils, Piper tells stories of the statues.
Tales of the rampant lion, or the pale lady missing her eyes and crying out in
anguish, the god-like man with goat’s legs and horns atop his curly hair. She
tells of the many knots in the bases of some of the statues, explaining
trinities of life, death and rebirth, or maiden, mother and crone. Her
companion responds with lessons from her father about the power of trinities,
of elements tied together in contrast or harmony. They chase one another around
ram-headed lions, winged horses and a giant faun so covered in moss and ferns
he is almost lost in his own foliage.
Art by Guillermo Del Toro
Text by Lucie MacAulay
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