She'd read once that if you ran into a bear in the woods you should avoid eye contact and you shouldn't run away, but all she knew about wolves is that you should never tell them how to find your grandmother's house.

In woods where the woodsmen told lies, maybe it was the wolves who told the truth.

She'd read once that if you ran into a bear in the woods you should avoid eye contact and you shouldn't run away, but all she knew about wolves is that you should never tell them how to find your grandmother's house.

Jack believed in something—he believed in white witches and sleighs pulled by wolves, and in the world the trees obscured. He believed that there were better things in the woods. He believed in palaces of ice and hearts to match. Hazel had, too. Hazel had believed in woodsmen and magic shoes and swanskins and the easy magic of a compass. She had believed that because someone needing saving they were savable. She had believed in these things, but not anymore. And this is why she had to rescue Jack, even though he might not hear what she had to tell him.

If shadows were caused by the interplay between light and Life, a child's was still forming. An adult's was inextricably bound to his body, but a child had a tenuous relationship to his own permanence, and thus, his own shadow.

Fiercely original and uncommonly lovely, The Witch's Boy is equal parts enchanting and haunting. Kelly Barnhill is master of truly potent and unruly magic; luckily for readers, she chooses to use her powers for good.

It snowed right before Jack stopped talking to Hazel, fluffy white flakes big enough to show their crystal architecture, like perfect geometric poems.