Jessica took the best notes she could. Her German and French were sorely lacking.
"After that, Hans Christian Andersen published his Fairy Tales Told for Children in 1835. Ten years later two men named Asbjornsen and Moe released a collection called Norwegian Folk Tales, from which we read 'The Three Billy Goats Gruff ' and others.
"Arguably, as we approach the twentieth century, there are really no major new works or new collections to be found. Much of it is retelling of classics as we move into Humperdinck's opera of Hansel and Gretel. Then Disney released Snow White and the Seven Dwarfs in 1937, the form was revived, and it has flourished ever since."
"Flourished?" Byrne asked. "Flourished how?"
"Ballet, theater, television, movies. Even the film Shrek owes the form. And, to a certain extent, The Lord of the Rings. Tolkien himself published 'On Fairy Stories,' an essay on the subject that he expanded from a lecture he gave in 1939. It is still widely read and discussed in college-level fairy-tale studies."
Byrne looked at Jessica, back at Bridgwood. "There are college courses in this?" she asked.
"Oh yes." Bridgwood smiled, a little sadly. He crossed the room, sat at the desk. "You probably have the notion that fairy tales are rather sweet little morality tales for children."
"I guess I do," Byrne said.
"Some are. Many are much darker than that. In fact, a book called The Uses of Enchantment by Bruno Bettelheim explored the psychology of fairy tales and children. It won the National Book Award.
"There are, of course, many other important figures. You asked for an overview, and that's what I'm giving you."
"If you could sum up what they all have in common, it might make it easier for us," Byrne said. "What is the common thread?"
"Essentially, a fairy tale is a story that arises out of myth and legend. Written tales probably grew out of the oral folk-tale tradition. They tend to involve the mysterious or supernatural, they tend not to be tied to any specific moment in history. Hence the phrase 'once upon a time.' "
"Are they tied to any religion?" Byrne asked.
"Not usually," Bridgwood said. "They can be quite spiritual, however. They usually involve a humble hero, a perilous quest, a vile villain. Folks are usually all good or all bad in fairy tales. Many times the conflict is resolved by using, to some extent, magic. But this is terribly broad. Terribly broad."
Bridgwood sounded apologetic now, like a man who had shortchanged an entire field of academic study.
"I don't want to leave you with the impression that fairy tales are all alike," he added. "Nothing could be further from the truth."
"Can you think of any specific stories or collections that focus on the moon as its subject?" Jessica asked.
Bridgwood thought for a few moments. "One that springs to mind is a rather long story that is really a series of very short sketches. It is a narrative that tells of a young painter and the moon."
Jessica flashed on the "paintings" found on their victims. "What happens in the stories?" she asked.
"Well, this painter is very lonely, you see." Bridgwood suddenly became quite animated. It appeared that he was shifting into a theatrical mode-better posture, hand gestures, lively tone. "He lives in a small town and has no friends. One night he is sitting in his window and the moon comes to him. They talk for a while. Before long the moon makes the painter a promise that every night he will return and tell the painter what he has witnessed all over the world. In this way, the painter, without leaving his home, could imagine these scenes, render them to canvas, and perhaps become famous. Or maybe just make a few friends. It is a marvelous story."
"You say the moon comes to him every night?" Jessica asked.
"Yes."
"For how long?"
"The moon comes thirty-two times."
Thirty-two times, Jessica thought. "And this was a Grimms' tale?" she asked.
"No, this was written by Hans Christian Andersen. The story is called 'What the Moon Saw.' "
"And when did Hans Christian Andersen live?" she asked.
"From 1805 to 1875," Bridgwood said.
I would put the originals at around the second half of the nineteenth century, Ingrid Fanning had said about the dresses. Closer to the end. Perhaps 1875 or so.
Bridgwood reached into a suitcase on the table. He extracted a leather-bound book. "This is not by any means the complete works of Andersen, nor despite its weathered appearance, is it particularly valuable. You are welcome to borrow it." He slipped a card into the book. "Return it to this address whenever you are finished. Take as long as you like."
"That would be helpful," Jessica said. "We'll get it back to you as soon as possible."
"Now, if you'll excuse me."
Jessica and Byrne stood, slipped on their coats.
"I'm sorry I have to rush," Bridgwood said. "I have a performance in twenty minutes. Can't keep the little wizards and princesses waiting."
"Of course," Byrne said. "We thank you for your time."
At this, Bridgwood crossed the room, reached into a closet, pulled out a very old-looking black tuxedo. He hung it on the back of the door.
Byrne asked, "Is there anything else you can think of that might help us?"
"Only this: To understand magic, you have to believe." Bridgwood slid into the old tuxedo coat. Suddenly he was a denizen of the late nineteenth century-slender, aristocratic, somewhat peculiar. Trevor Bridgwood turned, winked. "At least a little bit."
61
It was all in Trevor Bridgwood's book. And the knowledge was horrifying.
"The Red Shoes" was a fable about a girl named Karen, a dancer who has her feet amputated.
"The Nightingale" was about a bird that captivated an emperor with its song.
"Thumbelina" was about a tiny woman who lived on a lily pad.
Detectives Kevin Byrne and Jessica Balzano, along with four other detectives, stood speechless in the suddenly quiet duty room, looking at pen and ink illustrations from a children's book, the realization of what they were facing a raging stream beneath their thoughts. The anger in the air was palpable. The feeling of frustration was worse.
Someone was killing the citizens of Philadelphia in a series of murders based on the stories of Hans Christian Andersen. The killer had struck three times that they knew of, and now there was a good chance that he had Sa'mantha Fanning. Which fable would she be? Where was he going to place her on the river? Would they be able to find her in time?
All these questions paled in the light of one other gruesome fact contained between the covers of the book they had borrowed from Trevor Bridgwood.
Hans Christian Andersen wrote nearly two hundred stories.
62
The details surrounding the strangulation murders of the three victims found along the banks of the Schuylkill River had leaked, and every newspaper in the city, the region, and the state was carrying the story of a compulsive killer in Philadelphia. The headlines, as expected, were lurid.
A Fairy Tale Murderer in Philadelphia?
A Fabled Killer?
Who is the Schuylkiller?
Hansel and Regrettable? trumpeted the Record, a tabloid rag of the lowest order.
The usually jaded Philadelphia media were off and running. There were news crews up and down the Schuylkill River, doing stand-up shots on the bridges, on the banks. A news helicopter had flown the entire length of the river, taking footage as it did so. The bookstores and libraries could not keep books on Hans Christian Andersen on the shelves, nor the works of the Brothers Grimm and Mother Goose. It was close enough for the sensationalists.
Calls were coming into the department every few minutes about ogres and monsters and trolls following children throughout the city. One woman called and said she had seen a man in a wolf costume in Fairmount Park. A sector car followed up and found it to be true. The man was currently in the drunk tank at the Roundhouse.