erin

bridge use restricted

We reach the bridge on the third day, in the late afternoon with the sun just starting to sag into the trees. We are tired and hungry, having eaten the last of the almost-stale scones with honey hours before, and overjoyed to have finally reached our next landmark.

We whoop and shout enough to scare the nearby birds but we fall silent when we notice the sign.

No one warned us of this part, though few had set down this path before and returned to share the particulars. We did not expect the bridge, this fabled bridge we had heard about that seemed solid and eternal in our imaginations, to be so narrow and flimsy and have formally posted restrictions.

“Do Not Run” seems understandable given the rickety construction, but “Limited To Three Pedestrians” gives us pause, leaving us shuffling our formerly eager feet in the dirt with four pairs of eyes refusing to make contact.

We decide, after some debate, that it is likely not an enforceable restriction and we should all cross, but one at a time so that there are never more than three of us at once.

No one wants to be last, just in case, so we break a stick and draw straws and I am only slightly surprised to find the short one in my hand when I open my eyes.

My companions cross slowly, it seems an eternity before the third begins to walk, and when she is almost halfway with the other two safely on the far side and watching nervously, I shift my pack on my shoulders and prepare to step forward.

Before I even lift my foot the bridge has vanished, leaving me standing alone next to another sign that instructs me to continue west to the other bridge, and beneath the sign is a warm honeyed scone.

About flax-golden tales. Photo by Carey Farrell. Text by Erin Morgenstern.

the bunny business

We moved the table to the back of the store years ago but once in a while interested customers still come in and my dad points them toward the end of the long polished oak counter and around the corner and then he presses the button that lights up the fading fancy-lettered Lapins sign and dings a bell by my desk so I can unlock the case.

I sometimes wish we could just leave the sign on and the case unlocked so I could do something productive, since most of the time the potential customers are only browsing and they get grumpy when I inform them that they can’t handle the merchandise without displaying what they have for trade.

No one has lapins for trade anymore. Not nice enough ones to trade for our stock since all our lapins are in prime condition for their age, still shiny and mostly in the pale green the official catalog calls “celery” and silver, which is just called “silver.” Once we had a pink (“amaranth”) one but a woman I’d never seen in the store before swooped in with a wide-brimmed straw hat and a huge purse the day after we got it in stock and traded three green ones and a still-wrapped cerulean for the single pink. After she left my dad grumbled and suggested that we could have held out for a better deal, but there was no way I wasn’t letting that lady have that pink bunny, not with the look in her eyes under the shadow of that hat.

But most of the interested customers we get aren’t as serious, even though we’re the only store in this part of the country that deals in lapins anymore. I’ve mastered the headshake of disapproval when people produce lapins for trade that have clearly been tampered with, serial numbers illegible and ears crudely reattached.

“The lapin business is still a noble trade, son,” my dad says, even though I’m a girl (he always calls me son anyway) and both of us refer to it as “the bunny business” on a regular basis.

Sometimes I suggest we crack them all open and be done with it, but I never really mean it and I’m always relieved when my dad shakes his head and pats the display case, aiming a tiny smile down at the lapins safely locked under glass.

About flax-golden tales. Photo by Carey Farrell. Text by Erin Morgenstern.