Mary Toft; or, The Rabbit Queen

A Novel

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$16.95 US
Knopf | Vintage
24 per carton
On sale Oct 13, 2020 | 978-0-525-43273-9
Sales rights: US, Canada, Open Mkt
In 1726, in the town of Godalming, England, a woman confounded the nation’s medical community by giving birth to seventeen rabbits. This astonishing true story is the basis for Dexter Palmer’s stunning, powerfully evocative new novel.
 
Surgeon’s apprentice Zachary Walsh knows that his master, John Howard, prides himself on his rationality. But John cannot explain how or why Mary Toft, the wife of a local journeyman, has managed to give birth to a dead rabbit. When this singular event be­comes a regular occurrence, John and Zach­ary realize that nothing in their experience as rural physicians has prepared them to deal with a situation like this—strange, troubling, and possibly miraculous. John contacts sev­eral of London’s finest surgeons, three of whom soon arrive in Godalming to observe, argue, and perhaps use the case to cultivate their own fame.
 
When King George I learns of Mary’s plight, she and her doctors are summoned to London, where Zachary experiences a world far removed from his small-town ex­istence and is exposed to some of the dark­est corners of the human soul. All the while Mary lies in bed, as doubts begin to blossom among her caretakers and a growing group of onlookers waits with impatience for an­other birth, another miracle.

from CHAPTER III.
 
A Concerned Husband.
 
*
 
On October 13, 1726, the first day of the year that was chilly enough to compel John Howard to light a fire in his office, his first visitor was one Joshua Toft, a journeyman in the cloth trade.
 
The man was hulking and hirsute, and stood at the threshold of Howard’s office, a faded, weather-beaten cloth cap clutched in his hands. His slumping posture suggested a diffidence at odds with his frame: with his stooped back and drawn‑in shoulders, he seemed as if he genuinely believed he was half his actual size. His eyes were at odds with the rest of him, twin glints of silver twinkling in the shad­ows cast by his hooded brows.
 
John closed the volume of Locke on his desk, putting it aside with a mixture of relief and regret: he was finding Locke’s pedantic defini­tion of infinity to be deeply befuddling, but unpleasant as it was, his confusion had a cast to it that signaled an impending enlightenment. It would take him another morning to pick up the thread of reason­ing once he dropped it. Alas: too late. “May I help you?” he asked, stifling a sigh, feeling the flickering flame in the back of his mind go cold.
 
Joshua Toft took two timid steps forward, eyes on the floor. He mumbled something John couldn’t catch: a stuttered sibilant, a word that sounded like “wife,” and little else. “Speak up,” John said, becom­ing aggravated.
 
“My wife!” Joshua fairly shouted, then cringed as if startled by the sound of his own voice. “My wife,” he said again. “Sh . . . she’s. She’s . . . she’s with child. It’s time.”
 
He looked away from the floor and at John, who was leaning back in his chair, staring up at Joshua in puzzlement. “It’s time,” Joshua said again, his voice now steady and even, though his posture still suggested an instinctive supplication. “We need you. Today. Certainly before nightfall. Perhaps now.”
 
Slowly, John pushed back his chair and stood. He looked at Joshua, then down at the book before him, as if some secret were hid­den between its covers that needed urgent deciphering, then back at Joshua again. “That cannot be,” John said quietly; then, again, louder: “No. That cannot be.”
 
“I tell you, it is,” said Joshua. “Perhaps I am not the expert in human anatomy that you are. But I know my wife, and I trust my eyes.”
 
“Sit,” said John, gesturing toward an empty chair.
 
“We don’t have—”
 
“Sit, I said.”
 
With slow steps Joshua found his way toward a chair and col­lapsed into it, the joints crying out as his formidable weight settled. He began to wring his cap in his large, meaty hands, as if he intended to tear it in two.
 
“Mr. Toft,” John said, sitting down behind his desk once more and attempting to infuse his voice with a warmth and gentleness that he did not at all feel, “it has not even been six months since your wife’s . . . untimely exclusion in the spring. The blessing of a preg­nancy, even one that might appear to have progressed far along, is easily within the realm of probability: I grant you that. But to suggest that my services are needed urgently? That the birth is mere hours away? This defies belief—my apologies, but there is no other honest way to state it.”
 
The silver in Joshua’s eyes brightened. “I know what I see,” he said, his voice rising. “We have had three children before this—James, and the girls Clara and Bridget, both taken by the smallpox two years back. I am no fool. Sir.
 
“I did not intend to suggest you were,” said John. “I offer you my sincerest apologies, once again. But you do see the problem here, all the same? The situation presented to me requires either strange biol­ogy, or new mathematics; I refuse to ponder the latter, and cannot find any justification for considering the former. There must be some mistake; the facts must not be as they seem.”
 
Joshua became still more anxious, twisting his cap in his hands, biting his lower lip, knocking his knees against each other. “There is . . . something else,” he said. “This is a matter of shame for me; when I tell you of it, I fear you will come to the wrong conclusion, and call me the fool I say I’m not.”
 
“Speak freely, Joshua: I am a doctor, not a judge. And these walls have overheard more confessions than you can ever know, from patients who contracted their illnesses through sins beyond most men’s ability to forgive.” John spread his arms in magnanimity. “I promise you: your secrets will remain within this room.”
 
Joshua sat in silence for nearly a full minute, and John thought it wisest to stay silent as well, and wait. Then, with a long, heavy sigh, Joshua said, “Since the . . . exclusion . . . I have not . . . lain with my wife. But I tell you: I am no cuckold, either, and Mary is not one for adulterous intrigues. I know her mind as I know my very own.”
 
John frowned. “Whether or not this is the case—”
 
“It is not!”
 
“I believe you. As I intended to say—whether or not this is the case, adultery would not resolve the basic impossibility of what you claim. Though it is true that the lack of adultery makes the situation even more confusing.”
 
“There is . . . still more I might reveal,” said Joshua, his voice barely above a whisper.
 
“Friend, you need not parcel out the details of this case in such a parsimonious manner,” John replied. “The knowledge only has value after I’ve received it.”
 
“You may perhaps not find this credible, sir. My wife . . . these past few months, she . . . talks in her sleep. Mumbling, but also . . . curses. The foulest language. I can’t bring myself to repeat it. And, a few weeks ago, she began to weep in her slumber. Each night, without fail, I am awakened by her sobs. In the morning I ask her about her troubled sleep, and she remembers nothing.”
 
“It seems that the two of you have failed to put the past behind you,” said John. “All of what you describe to me—the illusion of a pregnancy by which you are both convinced; the ceasing of your mari­tal relations; the woman troubled by dark dreams—all this suggests to me that neither of you has brought yourself to accept the unfor­tunate loss of your child a few months ago. I fear, Joshua, that you and your wife have indulged in a mutual comforting fantasy, in an attempt to recover—”
 
Joshua leaned forward. “Sir. She weeps not tears, but blood. In the morning I see the evidence on her face: twin tracks of red, leading back from the corners of her eyes to her ears. And spots of blood on our bedding as well.”
 
John Howard stared at Joshua in silent shock.
 
“For months now,” Joshua continued, “I have attempted to turn a blind eye to these details, for they were too bizarre for me to com­prehend, and I could only hope that they would somehow vanish just as they came. Her restless sleep; her bloody tears; her complaints of the symptoms of pregnancy, despite the fact that relations between us have grown cold, and her belly has not swollen. But she tells me, this morning, that a child is ready to come, and I believe her. I do not understand what I see, but I can no longer pretend that I do not see it.
 
“And sir—I am terrified.”

“Palmer spins a cracking tale that, despite its disconcerting subject, is piquantly cheerful and compassionate . . . With empathy and imagination, Palmer explores the master/apprentice relationship, first love and first rivalry, spite and kindness: conjuring a world to raise a wry smile . . . Palmer is paying Mary the compliment of complexity . . . She is a woman whose story, both happily and unhappily, is rather more than the sum of its rabbit parts.” 
—Katharine Grant, The New York Times Book Review

“[Palmer] takes a daring narrative leap: He tells the story not from Mary's perspective, but from the point of view of Zachary Walsh, a fourteen-year-old apprentice to the real-life figure of John Howard, a local surgeon in Godalming who helped discover Mary Toft and bring her to prominence . . . From there, Palmer's impeccable research kicks in . . . Where there are gaps or fuzzy areas in the actual history of Mary Toft, Palmer fills in the illustration with lush detail, vivid characterization — and most importantly, philosophy . . . Epistemology is a big pill to swallow in a work of historical fiction, but Palmer coats it with sure storytelling, a compelling voice in the form of Zachary, and a gripping mystery at the core of the story . . . Palmer has always been a novelist of big ideas, and Mary Toft is his most thoughtful work yet.”
—Jason Heller, NPR
 
“Dexter Palmer’s Mary Toft; or, the Rabbit Queen brings the past to life with authenticity and unexpected relevance . . . A zesty blend of bawdy entertainment and thoughtful coming-of-age story, Mary Toft tantalizes the contemporary conscious as its truth-seeking characters wade through truth-defying circumstances.”
—Mari Carlson, Bookpage

Mary Toft; or, The Rabbit Queen serves as a reminder that the issues that dictate — and sometimes define — our lives can often be as complex as the very people attempting to solve them . . . The language Palmer uses feels just as meticulous as the surgeries Howard and Zachary perform. This kind of thoughtful, detailed approach in the writing style feels necessary for a novel of such magnitude . . . I imagine the term ‘audacious’ will be used often regarding Palmer’s newest work. Such a word is certainly fitting. Dexter Palmer is a bold and daring writer, and Mary Toft; or, The Rabbit Queen is a novel that captures his voice at its very best.”
—Bradley Sides, The Chicago Review of Books

“Vivid, sensitive . . . The novel lingers on those who are most torn; those who, like me, want to test their capacity for belief. These confused characters, especially Mary’s ‘man-midwife,’ John Howard, become vehicles through which Palmer asks the novel’s central question: Why would anyone believe a woman who claimed she was giving birth to rabbits? . . . Rather than mock John’s credulity, though, Palmer treats his “man-midwife” with respect.”
—Lily Meyer, The Atlantic

“Mr. Palmer hews closely to historical records, a reasonable decision when history is this insane.”
—Sam Sacks, Wall Street Journal
 
“[A] frolicsome period comedy.”
The New Yorker

“This gripping, well-written novel is a wonder of characterization . . . Faith and science, uneducated villagers and London’s aristocratic elite, this novel plumbs the spectrum to offer an immersion in the world of the burgeoning Enlightenment. A fascinating, propulsive read from beginning to end, this is a stimulating novel of ideas and imagination.”
—Bethany Latham, Historical Novel Review
 
“Sharp, droll, and actually fairly profound in its observations about human experience, and the nature of belief. I can’t wait for the work day to be over so I can get back to reading it.”
—Emily Temple, LitHub
 
“A suspenseful, thought-provoking narrative that pairs well with dystopian fiction such as The Handmaid's Tale.
Shelf Awareness
 
“A brilliant work . . . Like the historical fiction of Hillary Mantel or Caryl Phillips, Palmer does not shy away from the depravity of the past. Expertly utilizing an actual bizarre historical event to explore faith, reason, and the foundations of our current economic system, this exhaustively researched and dexterously constructed novel is another triumph to add to Palmer’s incredibly diverse corpus of works.”
Booklist (starred review)
 
“Palmer brilliantly fictionalizes the true story of Mary Toft . . . [He] evocatively captures the period . . . But more impressive are the novel’s inquiries into the human concerns of wonder, denial, and belief. . . Palmer skillfully and rewardingly delves into the humanity at the heart of this true historical oddity.”
Publishers Weekly
 
“Deft, droll, and provocatively philosophical . . . A novel that attempts to illuminate ‘the slippery nature of truth,’ when everything from God to reality is up for grabs.”
Kirkus Reviews (starred review)
 

“A beautifully written, slyly profound meditation on perception and reality. I relished each immersive scene, each detail. I wanted to sit and discuss with the characters their beliefs about the world. Reading it, I was torn between wanting to gobble it all up quickly or savor it over time.”
—Nicole Galland, author of I, Iago

Mary Toft is wonderful! The kind of novel that you want to read and then discuss with other readers. But then Dexter Palmer is a writer like Hilary Mantel or Kate Atkinson, able to move between genres and time periods, by virtue of the almost supernatural sympathy he is able to invoke for his characters and the sense of the worlds they inhabit.”
—Kelly Link, author of Get in Trouble
 
“Mary Toft; or, The Rabbit Queen is provoking in ways that reach well beyond the premise, anticipating as it does our own ‘world of ash,’ with all its spectacle, factionalism, and noise. It is vividly composed and audaciously imagined, filled with characters who do battle against a world that perceives them as strange—or who, conversely, assume strangeness as a mask in order to induce the world to see them at all. It is yet another wonder in Dexter Palmer's cabinet of wonders.”
—Kevin Brockmeier, author of The Brief History of the Dead

About

In 1726, in the town of Godalming, England, a woman confounded the nation’s medical community by giving birth to seventeen rabbits. This astonishing true story is the basis for Dexter Palmer’s stunning, powerfully evocative new novel.
 
Surgeon’s apprentice Zachary Walsh knows that his master, John Howard, prides himself on his rationality. But John cannot explain how or why Mary Toft, the wife of a local journeyman, has managed to give birth to a dead rabbit. When this singular event be­comes a regular occurrence, John and Zach­ary realize that nothing in their experience as rural physicians has prepared them to deal with a situation like this—strange, troubling, and possibly miraculous. John contacts sev­eral of London’s finest surgeons, three of whom soon arrive in Godalming to observe, argue, and perhaps use the case to cultivate their own fame.
 
When King George I learns of Mary’s plight, she and her doctors are summoned to London, where Zachary experiences a world far removed from his small-town ex­istence and is exposed to some of the dark­est corners of the human soul. All the while Mary lies in bed, as doubts begin to blossom among her caretakers and a growing group of onlookers waits with impatience for an­other birth, another miracle.

Excerpt

from CHAPTER III.
 
A Concerned Husband.
 
*
 
On October 13, 1726, the first day of the year that was chilly enough to compel John Howard to light a fire in his office, his first visitor was one Joshua Toft, a journeyman in the cloth trade.
 
The man was hulking and hirsute, and stood at the threshold of Howard’s office, a faded, weather-beaten cloth cap clutched in his hands. His slumping posture suggested a diffidence at odds with his frame: with his stooped back and drawn‑in shoulders, he seemed as if he genuinely believed he was half his actual size. His eyes were at odds with the rest of him, twin glints of silver twinkling in the shad­ows cast by his hooded brows.
 
John closed the volume of Locke on his desk, putting it aside with a mixture of relief and regret: he was finding Locke’s pedantic defini­tion of infinity to be deeply befuddling, but unpleasant as it was, his confusion had a cast to it that signaled an impending enlightenment. It would take him another morning to pick up the thread of reason­ing once he dropped it. Alas: too late. “May I help you?” he asked, stifling a sigh, feeling the flickering flame in the back of his mind go cold.
 
Joshua Toft took two timid steps forward, eyes on the floor. He mumbled something John couldn’t catch: a stuttered sibilant, a word that sounded like “wife,” and little else. “Speak up,” John said, becom­ing aggravated.
 
“My wife!” Joshua fairly shouted, then cringed as if startled by the sound of his own voice. “My wife,” he said again. “Sh . . . she’s. She’s . . . she’s with child. It’s time.”
 
He looked away from the floor and at John, who was leaning back in his chair, staring up at Joshua in puzzlement. “It’s time,” Joshua said again, his voice now steady and even, though his posture still suggested an instinctive supplication. “We need you. Today. Certainly before nightfall. Perhaps now.”
 
Slowly, John pushed back his chair and stood. He looked at Joshua, then down at the book before him, as if some secret were hid­den between its covers that needed urgent deciphering, then back at Joshua again. “That cannot be,” John said quietly; then, again, louder: “No. That cannot be.”
 
“I tell you, it is,” said Joshua. “Perhaps I am not the expert in human anatomy that you are. But I know my wife, and I trust my eyes.”
 
“Sit,” said John, gesturing toward an empty chair.
 
“We don’t have—”
 
“Sit, I said.”
 
With slow steps Joshua found his way toward a chair and col­lapsed into it, the joints crying out as his formidable weight settled. He began to wring his cap in his large, meaty hands, as if he intended to tear it in two.
 
“Mr. Toft,” John said, sitting down behind his desk once more and attempting to infuse his voice with a warmth and gentleness that he did not at all feel, “it has not even been six months since your wife’s . . . untimely exclusion in the spring. The blessing of a preg­nancy, even one that might appear to have progressed far along, is easily within the realm of probability: I grant you that. But to suggest that my services are needed urgently? That the birth is mere hours away? This defies belief—my apologies, but there is no other honest way to state it.”
 
The silver in Joshua’s eyes brightened. “I know what I see,” he said, his voice rising. “We have had three children before this—James, and the girls Clara and Bridget, both taken by the smallpox two years back. I am no fool. Sir.
 
“I did not intend to suggest you were,” said John. “I offer you my sincerest apologies, once again. But you do see the problem here, all the same? The situation presented to me requires either strange biol­ogy, or new mathematics; I refuse to ponder the latter, and cannot find any justification for considering the former. There must be some mistake; the facts must not be as they seem.”
 
Joshua became still more anxious, twisting his cap in his hands, biting his lower lip, knocking his knees against each other. “There is . . . something else,” he said. “This is a matter of shame for me; when I tell you of it, I fear you will come to the wrong conclusion, and call me the fool I say I’m not.”
 
“Speak freely, Joshua: I am a doctor, not a judge. And these walls have overheard more confessions than you can ever know, from patients who contracted their illnesses through sins beyond most men’s ability to forgive.” John spread his arms in magnanimity. “I promise you: your secrets will remain within this room.”
 
Joshua sat in silence for nearly a full minute, and John thought it wisest to stay silent as well, and wait. Then, with a long, heavy sigh, Joshua said, “Since the . . . exclusion . . . I have not . . . lain with my wife. But I tell you: I am no cuckold, either, and Mary is not one for adulterous intrigues. I know her mind as I know my very own.”
 
John frowned. “Whether or not this is the case—”
 
“It is not!”
 
“I believe you. As I intended to say—whether or not this is the case, adultery would not resolve the basic impossibility of what you claim. Though it is true that the lack of adultery makes the situation even more confusing.”
 
“There is . . . still more I might reveal,” said Joshua, his voice barely above a whisper.
 
“Friend, you need not parcel out the details of this case in such a parsimonious manner,” John replied. “The knowledge only has value after I’ve received it.”
 
“You may perhaps not find this credible, sir. My wife . . . these past few months, she . . . talks in her sleep. Mumbling, but also . . . curses. The foulest language. I can’t bring myself to repeat it. And, a few weeks ago, she began to weep in her slumber. Each night, without fail, I am awakened by her sobs. In the morning I ask her about her troubled sleep, and she remembers nothing.”
 
“It seems that the two of you have failed to put the past behind you,” said John. “All of what you describe to me—the illusion of a pregnancy by which you are both convinced; the ceasing of your mari­tal relations; the woman troubled by dark dreams—all this suggests to me that neither of you has brought yourself to accept the unfor­tunate loss of your child a few months ago. I fear, Joshua, that you and your wife have indulged in a mutual comforting fantasy, in an attempt to recover—”
 
Joshua leaned forward. “Sir. She weeps not tears, but blood. In the morning I see the evidence on her face: twin tracks of red, leading back from the corners of her eyes to her ears. And spots of blood on our bedding as well.”
 
John Howard stared at Joshua in silent shock.
 
“For months now,” Joshua continued, “I have attempted to turn a blind eye to these details, for they were too bizarre for me to com­prehend, and I could only hope that they would somehow vanish just as they came. Her restless sleep; her bloody tears; her complaints of the symptoms of pregnancy, despite the fact that relations between us have grown cold, and her belly has not swollen. But she tells me, this morning, that a child is ready to come, and I believe her. I do not understand what I see, but I can no longer pretend that I do not see it.
 
“And sir—I am terrified.”

Praise

“Palmer spins a cracking tale that, despite its disconcerting subject, is piquantly cheerful and compassionate . . . With empathy and imagination, Palmer explores the master/apprentice relationship, first love and first rivalry, spite and kindness: conjuring a world to raise a wry smile . . . Palmer is paying Mary the compliment of complexity . . . She is a woman whose story, both happily and unhappily, is rather more than the sum of its rabbit parts.” 
—Katharine Grant, The New York Times Book Review

“[Palmer] takes a daring narrative leap: He tells the story not from Mary's perspective, but from the point of view of Zachary Walsh, a fourteen-year-old apprentice to the real-life figure of John Howard, a local surgeon in Godalming who helped discover Mary Toft and bring her to prominence . . . From there, Palmer's impeccable research kicks in . . . Where there are gaps or fuzzy areas in the actual history of Mary Toft, Palmer fills in the illustration with lush detail, vivid characterization — and most importantly, philosophy . . . Epistemology is a big pill to swallow in a work of historical fiction, but Palmer coats it with sure storytelling, a compelling voice in the form of Zachary, and a gripping mystery at the core of the story . . . Palmer has always been a novelist of big ideas, and Mary Toft is his most thoughtful work yet.”
—Jason Heller, NPR
 
“Dexter Palmer’s Mary Toft; or, the Rabbit Queen brings the past to life with authenticity and unexpected relevance . . . A zesty blend of bawdy entertainment and thoughtful coming-of-age story, Mary Toft tantalizes the contemporary conscious as its truth-seeking characters wade through truth-defying circumstances.”
—Mari Carlson, Bookpage

Mary Toft; or, The Rabbit Queen serves as a reminder that the issues that dictate — and sometimes define — our lives can often be as complex as the very people attempting to solve them . . . The language Palmer uses feels just as meticulous as the surgeries Howard and Zachary perform. This kind of thoughtful, detailed approach in the writing style feels necessary for a novel of such magnitude . . . I imagine the term ‘audacious’ will be used often regarding Palmer’s newest work. Such a word is certainly fitting. Dexter Palmer is a bold and daring writer, and Mary Toft; or, The Rabbit Queen is a novel that captures his voice at its very best.”
—Bradley Sides, The Chicago Review of Books

“Vivid, sensitive . . . The novel lingers on those who are most torn; those who, like me, want to test their capacity for belief. These confused characters, especially Mary’s ‘man-midwife,’ John Howard, become vehicles through which Palmer asks the novel’s central question: Why would anyone believe a woman who claimed she was giving birth to rabbits? . . . Rather than mock John’s credulity, though, Palmer treats his “man-midwife” with respect.”
—Lily Meyer, The Atlantic

“Mr. Palmer hews closely to historical records, a reasonable decision when history is this insane.”
—Sam Sacks, Wall Street Journal
 
“[A] frolicsome period comedy.”
The New Yorker

“This gripping, well-written novel is a wonder of characterization . . . Faith and science, uneducated villagers and London’s aristocratic elite, this novel plumbs the spectrum to offer an immersion in the world of the burgeoning Enlightenment. A fascinating, propulsive read from beginning to end, this is a stimulating novel of ideas and imagination.”
—Bethany Latham, Historical Novel Review
 
“Sharp, droll, and actually fairly profound in its observations about human experience, and the nature of belief. I can’t wait for the work day to be over so I can get back to reading it.”
—Emily Temple, LitHub
 
“A suspenseful, thought-provoking narrative that pairs well with dystopian fiction such as The Handmaid's Tale.
Shelf Awareness
 
“A brilliant work . . . Like the historical fiction of Hillary Mantel or Caryl Phillips, Palmer does not shy away from the depravity of the past. Expertly utilizing an actual bizarre historical event to explore faith, reason, and the foundations of our current economic system, this exhaustively researched and dexterously constructed novel is another triumph to add to Palmer’s incredibly diverse corpus of works.”
Booklist (starred review)
 
“Palmer brilliantly fictionalizes the true story of Mary Toft . . . [He] evocatively captures the period . . . But more impressive are the novel’s inquiries into the human concerns of wonder, denial, and belief. . . Palmer skillfully and rewardingly delves into the humanity at the heart of this true historical oddity.”
Publishers Weekly
 
“Deft, droll, and provocatively philosophical . . . A novel that attempts to illuminate ‘the slippery nature of truth,’ when everything from God to reality is up for grabs.”
Kirkus Reviews (starred review)
 

“A beautifully written, slyly profound meditation on perception and reality. I relished each immersive scene, each detail. I wanted to sit and discuss with the characters their beliefs about the world. Reading it, I was torn between wanting to gobble it all up quickly or savor it over time.”
—Nicole Galland, author of I, Iago

Mary Toft is wonderful! The kind of novel that you want to read and then discuss with other readers. But then Dexter Palmer is a writer like Hilary Mantel or Kate Atkinson, able to move between genres and time periods, by virtue of the almost supernatural sympathy he is able to invoke for his characters and the sense of the worlds they inhabit.”
—Kelly Link, author of Get in Trouble
 
“Mary Toft; or, The Rabbit Queen is provoking in ways that reach well beyond the premise, anticipating as it does our own ‘world of ash,’ with all its spectacle, factionalism, and noise. It is vividly composed and audaciously imagined, filled with characters who do battle against a world that perceives them as strange—or who, conversely, assume strangeness as a mask in order to induce the world to see them at all. It is yet another wonder in Dexter Palmer's cabinet of wonders.”
—Kevin Brockmeier, author of The Brief History of the Dead