But at least they can muster a consensus to kill a witch. She is borne off into a new burying ground, which for some reason they have situated hard by the granary. Enoch is at a loss to know whether this juxtaposition-that is, storing their Dead, and their Staff of Life, in the same place-is some sort of Message from the city’s elders, or simple bad taste.

Enoch, who has seen more than one city burn, recognizes the scars of a great fire along this main street. Houses and churches are being rebuilt with brick or stone. He comes to what must be the greatest intersection in the town, where this road from the city gate crosses a very broad street that runs straight down to salt water, and continues on a long wharf that projects far out into the harbor, thrusting across a ruined rampart of stones and logs: the rubble of a disused sea-wall. The long wharf is ridged with barracks. It reaches far enough out into the harbor that one of the Navy’s very largest men-of-war is able to moor at its end. Turning his head the other way, he sees artillery mounted up on a hillside, and blue-coated gunners tending to a vatlike mortar, ready to lob iron bombs onto the decks of any French or Spanish galleons that might trespass on the bay.

So, drawing a mental line from the dead criminals at the city gate, to the powder-house on the Common, to the witch-gallows, and finally to the harbor defenses, he has got one Cartesian number-line-what Leibniz would call the Ordinate-plotted out: he understands what people are afraid of in Boston, and how the churchmen and the generals keep the place in hand. But it remains to be seen what can be plotted in the space above and below. The hills of Boston are skirted by endless flat marshes that fade, slow as twilight, into Harbor or River, providing blank empty planes on which men with ropes and rulers can construct whatever strange curves they phant’sy.