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Grammar is tedious, difficult, slow; grammar is a shackle placed on language, correcting who into whom, can I into may I. Grammar and grammarians are constables, sternly watching while you split infinitives, narrowing their eyes at spliced commas while smacking semi-coloned truncheons against their palms. But that is not the truth of grammar. There was a time when grammar was wild—when it shifted shapes and unleashed new forms out of old. Grammar, like gramarye, like grimoire. What is magic but a change in the world? What is conjugation but a transformation, one thing into another? She runs;
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Their voice made Esther think of weather, of winter, of woodsmoke: something cold but bright, burning and fragrant, curling into the air before vanishing. They were utterly strange and utterly beautiful, in a way that Esther yearned towards because she didn’t understand it, the way she yearned towards horizons and untrodden secret paths in unfamiliar woods.
She couldn’t put words to the look on Rin’s face. She only knew, very sharply and deeply, that she wanted to go on being the cause of it.
“Bel,” she said helplessly, around the fire in her throat. “Queen of ducks and angels. You shall have poems written to you with a quill on fire. You shall have songs sung to you by enchanted harps. Whole branches of grammar will be invented only to praise you.”
“Ysabel Hawthorn,” she said, and she could not keep the heat from her voice, “demand better than to be worshipped by a crumb.”
I want you to be happy, I do, but—I don’t like to see you always waiting for someone who only visits when the moon is right.”
Every mill is necessarily the site of complex translations: water becomes the movement of stones; the movement of stones crushes grain into flour; flour, in and of itself, is a substance made to undergo further transformations, most often by mixing with the very water that ground it before being baked into bread.
“Steal from a woman long enough, and a witch is what she’ll become.”

