55 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of substance use and animal death.
The narrative opens in summer 1998 at Stoneridge College. Minerva Contreras remains on the stately, Victorian campus as a resident director during the summer break, ostensibly to write her thesis. She worries that she’s experiencing writer’s block and “progress has stalled” on her project (4). She is working toward a degree in English literature, specializing in horror novels set in New England, many of which were written by authors who lived, at one time, close to Stoneridge. There is even a grove of trees on campus, known as the “Witches Thicket,” that is rumored to have been the hiding place of a witch during the Salem witch trials. Salem, too, is just a short drive from Stoneridge.
When Minerva, who is from Mexico City, applied to the school, many people warned her about its harsh winters, but she’d been resolute: She wanted to tread in the footsteps of writers like HP Lovecraft, Steven King, and Beatrice Tremblay. Her own family history contains stories of witches, many of them told to her by her great-grandmother Alba. Minerva is fascinated by the connection between personal history and folklore, and she hopes to explore that idea in her thesis. She works in the language lab helping other students to learn Spanish and is grateful for the work-study position. As a scholarship student, she needs all the help she can get financing her education.
The thesis Minerva is struggling to write is on Tremblay’s horror novel The Vanishing. Back in high school, Minerva was a caretaker for her grandmother, Nana Alba. Nana Alba had always claimed that there used to be real witches in the world, and Tremblay claimed that her book was based on her real-life experiences with witchcraft.
Minerva lives in Lodge House, in the large apartment given to resident directors. It was once a library, and it’s filled with dusty old books and, curiously, taxidermized birds. She loves the eerie set of rooms and finds it the perfect location to write a thesis about a novel like The Vanishing. The issue is that she cannot get her hands on Tremblay’s papers. They belong to Carolyn Yates, a prominent Stoneridge donor, who will not permit Minerva to view them. Minerva mulls over the issues with her thesis as she deals with Conrad, a problem student under her care, and then meets up with her friend Hideo, another resident director and a fellow English student. Hideo is also interested in horror, but prefers better-known authors like Henry James. She shares her writing woes with Hideo, and he invites her to an upcoming party.
The narrative switches to 1908, where Alba Quiroga and her family live on Piedras Quebradas, a farm in Hidalgo, Mexico. She is the oldest of her siblings, and now that her father is dead, Alba has taken on more of the household responsibilities. She feels that her mother is always irritated, and her eldest brother, Tadeo, is busy overseeing the animals and field work. Alba has become skilled in various areas of domestic work, but she does not always enjoy her tasks. She is impractical by nature and prefers reading Greek myths and preparing elaborate meals to minding her younger siblings and cooking basic staples.
She has been hoping for a visit from her favorite uncle Arturo and even cast a small spell to summon him, although she knows that most of the people in her family would disapprove of her “folk” beliefs. Arturo is her the younger brother of Alba’s mother, Luisa, and he is only four years older than Alba herself (24). Arturo, who lives in Mexico City, spent some time on the farm as a young man, but never got along with Alba’s father or her brother, preferring the bustle of city life. He views his country relatives as old-fashioned.
When he arrives, Arturo and Tadeo clash passive-aggressively, but Luisa and Alba are happy to see Arturo. Arturo gifts Alba a beautiful necklace with a pearl pendant. Tadeo is adamant that Arturo not stay for long, but Alba is overjoyed and hopes that his visit will not be cut short by Tadeo’s rudeness.
In 1998 at Stoneridge College, Minerva attends a party but does not enjoy being there. She stays only a few minutes before sneaking out. Outside, she runs into Noah Yates, Carolyn’s grandson. He recognizes her and asks how her inquiries into his family’s papers are going. He recalls that she’s studying something about ghosts, and she corrects him: Her thesis is about witches and The Vanishing’s connection to local folklore. She confesses that she’s having trouble getting past his grandmother’s secretary, and he invites her to brunch the next day at The Willows, his family’s estate. Minerva is both stunned and thrilled. Noah is obviously drunk, but she will take him up on his offer anyway. Noah offers her a ride home in Carolyn’s chauffeured car, and as she is ferried back to her dorm, she contemplates the relationship between her thesis project and the stories her grandmother has always told her about witches and witchcraft. Her grandmother was a staunch believer in witches and spirits. During the final days of her life, she fixated on the teyolloquani, the “heart-eaters.” Given her family history, Minerva thinks, it is only natural that she chose witchcraft as the subject of her thesis.
The narrative returns to 1908. Alba’s family attends a memorial mass for Alba’s father. Afterward, some of the family’s friends come back to the farm for chocolate. The Molina family, who owns the neighboring farm, is among them. Valentín, their overseer’s nephew, is one of Tadeo and Alba’s closest childhood friends, and the Molina girls whisper that he plans to ask for Alba’s hand in marriage. Alba is not sure that she wants to marry Valentín and brushes their chatter aside. Mr. Molina does broach the topic of buying the farm, and Tadeo angrily refuses. Arturo tries to step in, arguing in favor of the sale, and the two nearly come to blows.
Later, Arturo finds Alba. He questions her about Valentín, whom she assures him is her “friend” only. She confesses that she was so excited at the prospect of Arturo’s arrival that she cast a small spell to bring him to the farm. He frowns at this and explains that these kinds of practices were the product of the peasantry’s “uneducated” mindset and that she should not try to style herself after country folk. He tells her of Mexico City’s beauty and modernity and asserts that a beauty like her belongs in the city rather than in the country.
The narrative returns to 1998, where Minerva arrives for brunch at The Willows, Carolyn’s grand estate. Noah is still asleep, and a servant leads Minerva to a sunny room in which Carolyn is brunching, alone. Carolyn is initially irritated to have been interrupted, but she softens when she discovers who Minerva is. She remembers telling her secretary that she wouldn’t speak to Minerva, but she recalls various details about Minerva aloud: She is an international scholarship student working several jobs to finance her own education. Carolyn notes dryly that Noah has never earned a dime of his own money, and she respects people with a work ethic who show initiative.
Carolyn reminisces about Tremblay. Minerva sits rapt as Carolyn explains that she, Tremblay, and another woman, Virgina “Ginny” Somerset, were once close friends. Ginny went missing in December of 1934, but her wealthy family hadn’t reported it because it was rumored that she had eloped with Santiago, a Portuguese boy who worked on campus. At the time, Ginny was engaged to Edgar Yates, whom Carolyn ended up marrying. Carolyn had been a fine arts major and now has a large collection of her own work, but also a small, abstract painting of Ginny’s on display in her estate. She explains that Ginny and Tremblay both believed in witchcraft and the supernatural, and Ginny believed that the supernatural influenced her paintings. She notes that seances and such were popular during the years following the Great War because so many people had lost loved ones.
Carolyn agrees to let Minerva look at Tremblay’s papers, but only at The Willows. She shows Minerva to another room and brings out Tremblay’s diary from the year Ginny disappeared, as well as some photographs and an unpublished manuscript—an account of Ginny’s disappearance that no one other than Carolyn has ever seen. Noah interrupts Minerva’s research, hungover and sarcastic, but nothing can dampen Minerva’s mood. Noah shows Minerva a few more of Ginny’s sketches that his grandfather, Edgar, kept. Edgar never got over Ginny’s disappearance. How odd, Minerva muses, that Edgar then married Carolyn.
The narrative turns to Tremblay’s manuscript, which begins: “Some moments return to us, intact and incandescent, undimmed by the passage of time” (66). She explains that she must tell her story in her own way and begins by describing the difficulties of the Great Depression. It came on the wave of the Roaring Twenties and took the nation by surprise. She, like many others, struggled to get by. She was lucky to have been given a scholarship and a work-study job at Stoneridge: She worked as an assistant to the French professor. She lived in 11 Joyce House with the beautiful, wealthy Carolyn Wingrave (later Yates) and their new roommate, Virginia “Ginny” Somerset.
Tremblay notes that Carolyn was from an old, New England family and disapproved of Ginny. Ginny was a dark-haired beauty from California, the daughter of a wealthy doctor to the stars. She was, by Carolyn’s standards, “new money.” Carolyn and Ginny argued constantly: Carolyn objected not only to Ginny’s background, but also to her spiritualism (Ginny believed she could speak with spirits), her hand-made clothing, and her general effervescence despite Carolyn’s insistence that she was socially unacceptable. Carolyn had a sudden change of heart after a month or so when she discovered Ginny was dating Edgar Yates, the son of another prominent member of New England society. Carolyn seemed to feel that this elevated Ginny, and the two became friends. Tremblay notes that in retrospect, she knows she was in love with Ginny, but at the time, she was just happy to be Ginny’s friend.
The narrative returns to Alba’s family farm in 1908. Arturo and Tadeo continue to clash, although with less intensity. The family attends mass and market day together, and Arturo takes Alba into the pharmacy to look at colognes and perfumes. Valentín interrupts with a basket of pastries from his mother, and Arturo is displeased. Upon exiting the pharmacy, Alba sees Tadeo arguing with a woman, Perpetua, who is a known witch. She wonders what business he might have with her. Valentín accompanies the family back to their house for a meal. Everyone is in high spirits except Arturo, who later confronts Alba about Valentín. He tells her that it is obvious to everyone except her that Valentín is courting her, and from her mother’s and Tadeo’s attitude toward Valentín, it is also obvious that the family would approve of the match. Alba is fond of Valentín, but shudders at the thought of a lifetime spent doing his laundry. She and Arturo share a moment of heightened sexual tension, and she finds the experience disquieting. She has no idea what she wants her future to hold, but finds herself drawn to Arturo. The next morning, she goes to see Tadeo, but finds his bedroom a mess. It appears that he did not sleep in his bed, and his belongings are strewn about. The most terrifying thing of all is that there is a large pool of blood on the floor.
In 1998 at Stoneridge College, Hideo tells Minerva that they have to move a few boxes from a different dorm into the storage unit at their dorm: Conrad’s former roommate, Thomas, the boy who’d lodged so many complaints against Conrad, has dropped out. The school will keep his belongings until the fall semester begins. Minerva is unnerved: She’s heard a rumor that Thomas has transferred to another school, but cannot recall from whom. She had run into him one night a few months ago, and he seemed spooked. At the time, she hadn’t paid the encounter much attention, but now it worries her. She goes out to do her rounds and hears loud music coming from Conrad’s rooms. She finds him drinking with a girl and tells him that she has to write up the infractions. He gets upset, and she hurries away, worried that he might become violent. The next morning, there are two black lines painted on the front door of her dorm in what looks like tar. She has no idea what they mean or how they got there, but they strike her as ominous.
Through Tremblay’s manuscript, the narrative flashes back to 1934. Ginny introduced herself to the new handyman on campus and learned that his name was Santiago and his family was from Portugal. The other girls teased her for paying attention to someone who was obviously working class, but Ginny didn’t care. She didn’t flirt with Santiago, and they didn’t seem to be friends, but later, when she disappeared, everyone pointed to him as having been involved.
The Halloween Ball, the biggest dance of the year, approached, allowing everyone the opportunity to mingle with boys. Rumors swirl that Carolyn’s father’s factory was about to go under and that she was looking to steal Edgar from Ginny. Ginny, unbothered, admitted that she and Edgar were engaged.
Later, as the dance came to an end, Ginny ran toward the ballroom from the grounds, terrified. She had gone out to look for Edgar, thought she saw him, and followed until he disappeared. At that point, she wondered if she’d been mistaken and hurried back. She felt an evil presence behind her and was sure that there was some kind of malevolent spirit on her tail. Although no one quite believed her, everyone was rattled.
Structurally, the three interconnected timelines introduced in this first section immediately establish the novel’s thematic interest in Women’s Legacy of Empowerment and Agency. In the novel’s opening chapter, Moreno-Garcia presents Minerva, an international student financing her education through grants, scholarships, and various work-study positions at a prestigious New England college, as the ideological and moral lens of the narrative. The author opens the novel with Minerva quoting Alba, creating an explicit link between the two protagonists and laying the groundwork for the parallels Moreno-Garcia will continue to draw between the past and the present throughout the novel: “Back then, when I was a young woman, there were still witches. That was what Nana Alba used to say when she told Minerva bedtime stories” (3). Minerva’s familial legacy of brujeria establishes the stakes of her work both personally and professionally. She reflects on her devotion to Alba when she was alive, and acknowledges her desire to carry Alba’s legacy forward through her thesis project. Minerva’s interest in the role that witchcraft plays in her family history underscores her love for the work of Tremblay, an author whose personal connection to witches mirrors Minerva’s. Minerva hates that Tremblay has not garnered the same amount of attention or respect as her male counterparts, and she hopes to ensure Tremblay’s continued inclusion in the canon of American horror writers.
At the start of her arc, Alba has not yet embraced her natural gift for brujeria and still actively resists any association with it, fearing her mother and uncle’s disapproval. As the novel begins, she feels torn between the folk wisdom and traditions of her father’s family and the Western, post-enlightenment values of her mother, highlighting The Tension Between Folk Wisdom and Modern Beliefs as a central theme in the narrative. As Arturo scoffs: “What can you learn on a farm except the uneducated nonsense that the laborers repeat?” (49). Alba lives with her family on a farm in a remote area and believes in the kind of folk wisdom that the novel’s more socially sophisticated characters look down upon. She lacks the practicality that defines her brother Tadeo, another of the novel’s key “folk” characters. Alba dislikes many of her chores and prefers cooking “elaborate dishes” to the everyday fare that her mother prepares for her family and the farm’s workers. She casts a small spell to draw Arturo to the farm, signaling her affinity for folk magic.
Alba comes of age in a patriarchal society with few options for women, and yet she instinctively resists the idea that marriage is the only option available to her. Alba craves self-determination and shows early signs of being unwilling to give up control over her own life. The juxtaposition between Alba’s life and Minerva’s highlights the opportunity Minerva has to study abroad thousands of miles away from home and work on a thesis of her own design with an overt focus on women, writing, and witchcraft, framing Minerva’s life, in part, as a fulfillment of Alba’s wildest dreams. Simultaneously, the supernatural obstacles they each face generations apart suggest that while progress is made, many battles, both real and figurative, continue to be fought over and over.
The device of Tremblay’s manuscripts provides Minerva with the information necessary to solve the narrative’s central mystery, Ginny’s disappearance, pointing to the novel’s thematic engagement with The Impact of Storytelling. Both Tremblay’s account of Ginny and Alba’s stories shape Minerva’s research interests, and the integration of the two ultimately allows her to escape her own bewitching. Tremblay’s unpublished account of Ginny’s disappearance is especially important during these chapters, as it propels Minerva’s project forward and sets her squarely in Carolyn’s sights, foreshadowing the novel’s final confrontation.
The politics of class emerge as one of the novel’s key subtexts during these chapters through Minerva’s interaction with Carolyn and Alba’s conflict with Arturo, paralleling these two narrative antagonists. Arturo, although related to Minerva and her family, embodies a different set of values than his rural relatives and believes himself superior to them because of his sophistication and interest in modern values. He clashes with Tadeo because they embody two opposing worldviews and ideologies, underscoring the narrative preoccupation with affluence and privilege as predatory forces. Carolyn, too, embodies wealth and privilege. During her flashback chapters, she treats individuals whom she deems her social inferiors with disdain. This attitude is evident both in her treatment of Ginny and in the way that she easily scapegoats Santiago. She demonstrates racism and classism in her treatment of Santiago and Ginny’s immigrant mother, making it clear that Carolyn values whiteness, “old money,” tradition, and conformity.
Moreno-Garcia is known for works that engage with Mexico’s rich history, and the novel grounds itself in the symbols and rituals of Indigenous culture. For example, Alba passes down the story of the teyolloquani to Minerva—real figures from Mesoamerican legend that drain their victim’s life force and eat their heart. The incorporation of these cultural and historical elements adds depth and detail to the story.



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