Phillida pulled her close, but Lieserl stayed stiff, resisting mutely. Phillida buried her face in Lieserl’s hair; Lieserl felt the soft weight of her mother’s cheek on the crown of her head. “Not yet,” Phillida said. “Not yet. A few more days, my love. That’s all…”

Phillida’s cheeks grew warmer, as if she were crying, silently, into her daughter’s hair.

Lieserl returned to her snakes and ladders board. She found herself looking on her creation with affection, but also nostalgic sadness; she felt distant from this elaborate, slightly obsessive concoction.

Already she’d outgrown it.

She walked into the middle of the sparkling board and bade a Sun, a foot wide, rise out from the center of her body. Light swamped the board, shattering it.

She wasn’t the only adolescent who had constructed fantasy worlds like this. She read about the Brontes, in their lonely parsonage in the north of England, and their elaborate shared world of kings and princes and empires. And she read about the history of the humble game of snakes and ladders. The game had come from India, where it was a morality teaching aid called Moksha-Patamu. There were twelve vices and four virtues, and the objective was to get to Nirvana. It was easier to fail than to succeed… The British in the nineteenth century had adopted the game as an instructional guide for children called Kismet; Lieserl stared at images of claustrophobic boards, forbidding snakes. Thirteen snakes and eight ladders showed children that if they were good and obedient their life would be rewarded.

But by a few decades later the game had lost its moral subtexts. Lieserl found images from the early twentieth century of a sad-looking little clown who clambered heroically up ladders and slithered haplessly down snakes.