“But you’re not fat!” Cora couldn’t keep the horror from her voice. She didn’t even try. Growing up fat had meant an endless succession of diets suggested by “helpful” relatives, and even more “helpful” suggestions from her classmates, ones that suggested starvation or learning to vomit on command. She’d managed to dodge an eating disorder through luck, and because the swim team had needed her to stay in good shape: if her school hadn’t offered endurance swimming as well as speed, if she’d been expected to slim down to be allowed into the water, she would probably have joined the girls behind the gym, the ones who died slowly on a diet of ice chips, black coffee, and cigarettes.

“It’s not about fat or thin,” said Christopher. “It’s not … oh, fuck. You probably think this is about dieting, don’t you?” He didn’t wait for her to reply before he continued: “It’s not. It’s really not. Mariposa is a land of skeletons. As long as I have skin, as long as I’m like this, they can make me leave. Once the Skeleton Girl and I marry, once she cuts my humanity away, I can stay forever. That’s all I want.”

“That’s all any of us want,” admitted Cora.

“You were a mermaid, weren’t you? That’s what Nadya said.”

“I still am,” said Cora. “I just have my scales under my skin for now.”

Christopher smiled, a little lopsided. “Funny. That’s where I keep my bones.”

The pomegranate grove was coming to an end around them, the trees growing less frequent as they approached a high marble wall. There was a door there, tall and imposing, the sort of door that belonged on a cathedral or a palace; the sort of door that said “keep out” far more loudly than it would ever dream of saying “come in.” But it was standing open, and when they drew nearer, no one appeared to warn them off. Kade glanced back at the others, shrugged, and kept walking, leaving them no choice but to follow.

And then, with so little warning that Cora thought the people who lived here—who existed here—would be fully within their rights to be angry, they were in the Halls of the Dead.

The architecture was exactly what a thousand movies had told her to expect: marble pillars holding up impossible ceilings, white stone walls softened with friezes and with watercolor paintings of flowering meadows. The colors were muted, whites and pastel greens and grayish pines. They somehow managed not to become twee, but to project an air of solemnity and silence instead. The only sounds were their feet tapping against the stone floor, and the clacking of Sumi’s bones.