Published: 1 February 2023
In consiliis nostris fatum nostrum est (“In our choices lie our fate”)
Oscar winning writer-director Guillermo del Toro and bestselling author Cornelia Funke are the storytellers behind the beautifully crafted dark fairy tale titled “Pan’s Labyrinth: The Labyrinth Of The Faun”. Published in 2019, this fantasy novel is based on the screenplay of the 2006 cinematic gem that is “Pan’s Labyrinth”.
With haunting illustrations by Allen Williams, this New York Times Bestseller is set in the summer of 1944 in fascist Spain, under the regime of Francisco Franco (1939-1975) and five years after the end of the Spanish Civil War.
The book follows the story of thirteen-year-old Ofelia who moves to a remote military outpost with her recently widowed mother to live with her sadistic stepfather, a captain in Franco’s army. The story masterfully alternates between the horrific realities of Spanish fascism and the hopeful fantasies of an innocent child, as Ofelia is guided by a mysterious faun named Pan to discover her true identity through a series of tasks.
Pan’s Labyrinth does not shy away from exploring the violent nature of darkness and evil, both of which, interestingly enough, further accentuate the brightness of light and the softness of love. Fantasy, family, human morality, life and death, and rebellion are just some of the central themes that run through this book.
The novel is an ode to magical realism, with hints to timeless fairy tales such as Alice in Wonderland (Ofelia’s frock and apron), Little Red Riding Hood (the totalitarian captain a.k.a “the Wolf”), The Wizard of Oz (Ofelia’s red shoes) and Hansel & Gretel (Ofelia’s temptation at the Pale Man’s banquet). Pan’s Labyrinth also holds many elements reminiscent of the 1988 story “Dear Mili” by Wilhelm Grimm, which explores the pains and struggles of being a child amidst the tragedies of war.
Just like any other fairy tale, Pan’s Labyrinth has a fair amount of food references that enable a more immersive and sensory storytelling. Having said that, the historical context of the novel is of utmost importance. A story set during the “Years of Hunger” of Spain begs the questions: What did the people of Spain eat to survive this period of famine? What privileges did the ruling-class members of Navarra have? And what foods haunted the reveries of a child caught in the misfortunes of dictatorship?
Without further ado, let’s explore the foods references in “Pan’s Labyrinth: The Labyrinth Of The Faun”:
Water
Source of all life, water is mentioned as early as the prologue in the story of a princess living in an underground realm who dreamt of the human world:
“Princess Moanna dreamt of a perfect blue sky and an infinite sea of clouds; she dreamt of the sun and the grass and the taste of rain. . . .”– Prologue
In chapter 1, water is requested by Carmen Cardoso, Ofelia’s pregnant mother, after feeling ill on their drive to see Capitán Vidal a.k.a “the Wolf”:
“Serrano, the commanding officer, came to check on her mother. He was a tall, bulky man who talked too loudly and wore his uniform like a theater costume. Her mother asked him for water in her broken-bell voice, and Ofelia walked a little way down the unpaved road.”– The Forest and the Fairy (Chapter 1)
Nature’s thirst for water is also brought up in chapter 1 when the surrounding trees of Ofelia’s new home are given human-like characteristics:
“Water, the trees whispered. Earth. Sun.”– The Forest and the Fairy (Chapter 1)
In chapter 4, Dr Ferreira visits a weakened Carmen and adds an amber liquid to her beverage to help her rest and recover:
“‘This will help you sleep,’ he told her mother as he added a few drops of amber liquid to a glass of water.“– A Rose on a Dark Mountain (Chapter 4)
“‘Just two drops,’ he said, handing Ofelia the small brown bottle so she could close it. ‘You’ll see it will help her.’ Her mother could barely swallow the water without gagging. ‘You need to drink all of it,’ Dr. Ferreira softly urged. ‘Very good.'”– A Rose on a Dark Mountain (Chapter 4)
A paranoid and murderous Vidal finds some H2O in chapter 5 while searching through the rabbit hunters’ rucksack for compromising evidence:
“Vidal sniffed at a bottle he drew out of the old man’s rucksack. Water. One had to do these things calmly to enjoy them.”– Fathers and Sons (Chapter 5)
Things get dark very quickly as Capitán Vidal’s fiery temper is triggered and the bottled water is turned into a lethal weapon:
“Vidal took the bottle of water and slammed it into the young peacock’s face. Then he drove the shattered glass into his eye. Again and again.”– Fathers and Sons (Chapter 5)
Rabbit Meat/Stew
After cold-bloodedly killing the father and his son, Capitán Vidal empties the ransack’s content onto the ground only to discover two dead rabbits:
“Vidal wiped his gloved hands clean on the rucksack, then upended it onto the ground. Papers. More papers. And two dead rabbits. He held them up. They were scrawny little things, mere bones and fur. Maybe a stew would have come out of them.”– Fathers and Sons (Chapter 5)
In chapter 7, Mercedes is ordered to take the two dead rabbits and use them to prepare the evening meal:
“‘Mercedes.’ It always sounded like a threat when Vidal said her name, although he usually spoke to her in so soft a voice it reminded her of a cat hiding its claws under velvet fur. ‘Prepare those rabbits for dinner tonight.’ She picked them up and inspected the skinny bodies. ‘Too young to make a good meal.’ Where were the sick girls they’d been supposed to feed?“-Razor Teeth (Chapter 7)
“‘Well,’ Vidal said. ‘A cup of stew, then, and the meat of the hind legs.‘”-Razor Teeth (Chapter 7)
Grain
In the second chapter, we get a glimpse into Captain Vidal’s property which harbours a retired mill house that used to produce flour:
“But Ofelia saw the contempt in his eyes as he welcomed them in the dusty yard where once upon a time, peasants of the surrounding villages had delivered their grain to the miller.”– All the Shapes Evil Takes (Chapter 2)
Grain is mentioned a second time as Ofelia reminisces on the past life of the mill house:
“Mercedes and the men carried her mother’s suitcases to the mill house. Ofelia thought it looked lost and sad, as if it missed being a mill grinding fresh grain. Now it was overrun with soldiers, swarming around its withered stone walls like locusts. Their tents and trucks were everywhere, filling the wide yard surrounded by stables, a barn, and the mill itself.”– All the Shapes Evil Takes (Chapter 2)
Bread, Cheese, and Wine
Despite the ban of artisan cheesemaking during the Franco regime, the cheese culture in Spain is still very strong and thriving. Some even refer to Spain as “the land of 200 cheeses”. That being said, the most popular Spanish cheese is undoubtedly Manchego, a cheese traditionally made from sheep’s milk that was mass-produced during Franco’s dictatorship.
Cheese, bread and wine make an appearance in chapter 3 when Mercedes, Vidal’s housekeeper, serves some staple foods to Capitán Vidal and his men:
“Capitán Vidal and his officers were planning the hunt for those men when Mercedes walked in with the bread, cheese, and wine he had ordered. At one time the table on which they’d spread their map used to serve meals to the miller and his family. Now all it served was death. Death and fear.”– Just a Mouse (Chapter 3)
Bread and Coffee
Food availability and distribution changed dramatically during Franco’s dictatorship. While most Spaniards could only hope of getting a dense and difficult to swallow “black bread” in their food rations, higher ranks serving Franco would indulge in luxurious white bread and coffee. This state of privilege is highlighted in chapter 7 as Vidal is served his standard breakfast in his office:
“Vidal was just giving the boots the last bit of polish when Mercedes walked in with his coffee and bread.“-Razor Teeth (Chapter 7)
“Mercedes took the metal coffee mug from the tray and placed it between the rabbits. So much cruelty. She’d seen too much of it in this place. Sometimes she wondered whether it covered her heart like mold by now.”-Razor Teeth (Chapter 7)
By complaining about the quality of his morning brew, Vidal further emphasizes his privileged status:
“‘This coffee is burned a bit.’ He liked to stand close to her. ‘Taste it yourself.’ Mercedes took the black metal mug with her left hand, still holding the two rabbits in her right. Young dead things. You’ll soon be as dead as them, Mercedes, her heart whispered. If you keep on doing what you’re doing.”-Razor Teeth (Chapter 7)
“She took the rabbits down to the kitchen and told Mariana, the cook, the capitán had complained about the coffee. ‘He is nothing but a spoiled brat!’ Mariana said.“-Razor Teeth (Chapter 7)
The dark and bitter beverage is referenced once more in chapter 13 as Mercedes slips out the dining room door to head back to the kitchen:
“‘Put the coffee on,’ she ordered the other maids. ‘I’ll get some more firewood,’ she added, grabbing her jacket from the hook by the kitchen door.”-The Tailor’s Wife (Chapter 13)
Chicken, Beef, Potatoes and Beans
After delivering Vidal’s breakfast, Mercedes heads to the kitchen at the end of chapter 7 to coordinate the menu for dinnertime. Needless to say, there is no shortage of protein for the captain and his guests:
“‘We need one more chicken and some beef for the dinner.‘”-Razor Teeth (Chapter 7)
“‘Make sure those chickens are cleaned properly,’ she said. ‘And don’t forget the beans.’“-Milk and Medicine (Chapter 9)
In chapter 9, we are reminded of the harsh realities surrounding the Spanish Hunger Years (1939–1952), as the totalitarian captain and the ruling-class members of Navarra impatiently await a sumptuous feast:
“‘One more chicken and some beef? Where are we supposed to find that?’ Mariana mocked.”-Razor Teeth (Chapter 7)
“Of course, there would be enough food for the capitán’s dinner guests. His soldiers made sure of that and everyone in the kitchen knew how. Some local families would go hungry for a few days, but what was there to say when soldiers knocked on the door to claim the last chicken or the potatoes a farmer had hidden for his children?”-Milk and Medicine (Chapter 9)
The loyalty of the Roman Catholic Church is underlined in chapter 13 as the priest continues to give moral legitimacy to Franco’s authoritarian while stabbing into a potato:
“‘May God save their lost souls. What happens to their bodies hardly matters to Him.’ The priest sank his fork into a roasted potato.”-The Tailor’s Wife (Chapter 13)
Fruits, Cakes, Roasted Meats, Puddings, Fresh Fruits (Grapes, Pomegranates), Edible Flowers and Red Wine
In chapter 20, we are introduced to the Pale Man, a “skeletal, child-eating monster with eyeballs embedded in his palms” representing “institutional evil feeding on the helpless” according to del Toro. As Ofelia enters the windowless room of the grotesque creature, she uncovers a lavish spread of food:
“All she saw was the long table at the center of the room. It was covered with golden bowls and plates filled to the brim with fruits, cakes, and roasted meats, but only the chair at the very end of the table was taken. The Pale Man sat on it, illuminated by the flames dancing in the fireplace behind him.”-The Pale Man (Chapter 20)
“Ofelia couldn’t take her eyes off all the cakes, puddings, and roasts decorated with fruit and edible flowers, the golden plates reflecting in crystal goblets filled with red wine. Red and gold . . . the whole room was filled with those colors, even the flames echoed them. And the heavenly aromas! They made Ofelia forget everything, even the frightening creature sitting so silently just a few feet away from her in front of his plate.”-The Pale Man (Chapter 20)
After successfully retrieving the Pale Man’s dagger, Ofelia is lured once more to the enchanting banquet hosted by the Child Eater. Mesmerised by the thought of sweetness and escape, Ofelia slowly starts to surrender to the thought of a forbidden taste:
“All the food looked so delicious. She couldn’t remember when she’d last seen such a cake or such fresh fruit. Never! And she was hungry. Truly hungry, her heart whispered as she raised her hand. Don’t eat or drink anything! But Ofelia saw the grapes and pomegranates and foods she didn’t even know by name. They all promised such delicious sweetness she didn’t want to hear the panicked warnings being chirped by the Fairies.“-The Pale Man (Chapter 20)
Grapes
Grapes become the main source of temptation for Ofelia while visiting the Pale Man’s lair. As the scene unfolds, the spellbound girl finally plucks a red grape from the display of food:
“No. Ofelia waved them away. One grape—just one. Surely nobody would notice in this abundant feast. Who would miss a single little grape? Ofelia gingerly plucked one grape and put it into her mouth. The Fairy who’d met her in the woods covered her face in despair. They were doomed.“-The Pale Man (Chapter 20)
The consumption of the grapes eventually awakens the Pale Male who slowly rises from his slumber while Ofelia remains hypnotised by the fresh fruits displayed in front of her:
“The eyeball fit perfectly into the hole gaping in his left palm, and when his right hand had received the second eyeball, with a pupil as red as the grape Ofelia had eaten, the Pale Man raised both hands to his eyeless face to find out who had woken him. Ofelia hadn’t noticed what she’d done. The enchantment the table offered was too strong and the Fairy that had brought her to the labyrinth couldn’t stop her from plucking another of the treacherous grapes.”-The Pale Man (Chapter 20)
“The Fairy fluttered right in front of the girl’s face to break the spell, even managing to pull the grape from her fingers. But was the child grateful? Oh no. Ofelia was angry. Don’t they understand? she thought, yanking the grape back from the Fairy. All she wished was to drown herself in sweetness, to have the fruit make her forget everything—all the bitterness, all the pain, and all the fear that filled her life.”-The Pale Man (Chapter 20)
“Oh, how the Fairies were screaming now. But their voices were barely louder than the chirping of crickets and Ofelia bit into another grape while the Pale Man came closer, his skin hanging from his bony limbs like clothes sewn from flesh.“-The Pale Man (Chapter 20)
In chapter 26, Ofelia faces the wrath of the Faun as she confesses her lack of self-control at the Pale Man’s banquet:
“‘It was only two grapes!’ she cried, hastily pulling the red velvet-wrapped dagger from under her pillow. ‘I thought no one would notice!’ The Faun snatched the dagger, and shook his head in anger. ‘We’ve made a mistake!'”-Only Two Grapes (Chapter 26)
The guilt haunting Ofelia appears once more in chapters 30 and 34 as she recalls her failure to resist the forbidden fruit at the Pale Man’s lair:
“Ofelia was sure everything would have been all right if her mother hadn’t thrown the mandrake into the fire. Or if Ofelia had only hidden it better. And if she’d resisted the grapes of the Pale Man. . . .”-Don’t Hurt Her (Chapter 30)
“Ofelia remembered the grapes on the Pale Man’s golden plates. No. This time she would be stronger. She nodded.”-One Last Chance (Chapter 34)
Berries
Nature’s blessings appear in chapter 21, as Mercedes gathers berries in the forest while the doctor talks with her brother, Pedro:
“Mercedes was picking berries while her brother talked to Ferreira. The forest offered so much to those who honored it.“-No choice (Chapter 21)
Berries are also swiftly mentioned in the love story of the woman and the Faun:
“That’s why the trunk is split open like a wound. This tree did give birth, for it was once a woman who danced and sang under my canopy. She picked my berries and braided her hair with my flowers. But one day she met a Faun who liked to play his flute under my trees in the moonlight.“-When the Faun Fell in Love
Tears
Can sadness be thirst-quenching? Seems like it for the Fairies!
In the chapter titled “The Sculptor’s Promise, we discovers a rather uncanny scene during a conversation between the Faun and Cintolo, the sculptor:
“The Faun was feeding the swarm of fairies that served him, when the sculptor walked in. The Faun fed them with his tears to remind them of Moanna, as fairies tend to be quite forgetful creatures.”– The Sculptor’s Promise
“‘And how do you intend to do that?’ the Faun asked as the fairies licked another tear from his clawed fingers.“– The Sculptor’s Promise
Chopped vegetables
As the story progresses, it becomes quite evident that the themes of horror and food are closely intertwined. In Chapter 9, we are confronted with the conflicted feelings of Mercedes, as she prepares a feast for the oppressors who shed the blood of her people:
“Mercedes felt so ashamed as she and the other maids chopped vegetables. That was the use of knives for women: to cut food for the men who killed with their knives . . . who killed those women’s husbands, their sons, and their daughters.”-Milk and Medicine (Chapter 9)
“The knife she sliced onions with was the same most kitchen maids kept in the folds of their aprons, right below the belly, safe and always handy: it had a short blade, roughly three inches in length, made of cheap steel and a worn wooden handle.”-Milk and Medicine (Chapter 9)
In chapter 24, Mercedes continues to worry about her brother as she reluctantly returns to the kitchen to help prepare a vegetable soup:
“Mercedes was surprised her feet found the way back to the kitchen. The others were chopping vegetables for the soup they would serve the murderers. Is my brother still alive? she kept asking herself as she joined them to cut roots and parsley.“-Bad News, Good News (Chapter 24)
“Slowly, as if her fingers belonged to someone else, she cut another root into pale slices with her apron knife.“-Bad News, Good News (Chapter 24)
“Mariana was watching her, her round face lined by life. “That’s plenty, dear,” she said when Mercedes pushed the chopped vegetables over the table and reached for another root.”-Bad News, Good News (Chapter 24)
The kitchen knife used by the maids to chop vegetables eventually becomes a weapon for Mercedes in chapter 33 as she tries to escapes from Vidal:
“Keep talking, Mercedes prayed as her fingers searched silently for the knife hidden in her apron. Would it be sharp enough? Sharp enough to cut rope instead of carrots and onions?”-Just a Woman (Chapter 33)
“Vidal inspected the grotesque grin Mercedes had given him. The kitchen knife had sliced his skin as efficiently as it sliced vegetables. When he tried to open his mouth, a jolt of pain made him shut his eyes, but he still saw Mercedes with the slim blade sticking out of her hand like the thorn of a wasp.”-The Wounded Wolf (Chapter 35)
Milk and Honey
We are reminded of one of humanity’s first foods in the chapter titled “The Labyrinth”:
“From dusk till dawn that night Alba stayed in the labyrinth, walking its crooked paths, even though her infant son was crying for her milk in her chambers.“-The Labyrinth
In chapter 9, the soothing combination of milk and honey makes an appearance when Mercedes offers a sweet beverage to Ofelia, who is standing at the kitchen doorway:
“‘Do you want some milk with honey?’ Ofelia nodded and Mercedes took her outside where the brown cow was standing under the trees, her udder firm with milk. It ran warm and white over Mercedes’s fingers as she filled a bucket with it. ‘Move back,’ she softly said to Ofelia. ‘We can’t have you getting milk on your dress. It makes you look like a princess.’“-Milk and Medicine (Chapter 9)
The conversation continues as Mercedes milks the brown cow standing outside, under the trees:
“Ofelia forgot about the dress and the milk and stepped to her side. ‘Last night a Fairy visited me,’ she said softly. ‘Really?’ Mercedes dipped a small bowl into the bucket and filled it with the warm milk.“-Milk and Medicine (Chapter 9)
But, as Ofelia tells Mercedes about the Fairies and the Faun, they are abruptly interrupted by Vidal and his officers:
“She went with him. Of course. Although she would have loved to stay with the girl and the warm milk and the breath of the cow on her skin.“-Milk and Medicine (Chapter 9)
Milk also plays an important role in chapter 18, when we are first introduced to the mandrake, a human-looking root that was commonly used in Europe during the Middle Ages for its medicinal and magical properties. Ofelia is instructed by the Faun to place the mandrake root in a vessel filled with milk to help heal her dying mother:
“‘This is a mandrake root,’ the Faun explained, handing the strange thing to Ofelia. ‘A plant that dreamt of being human. Put it under your mother’s bed in a fresh bowl of milk, and feed it each morning with two drops of blood.'”-The Second Task (Chapter 18)
“Ofelia had come to her mother’s room to do as the Faun had told her. She’d brought a bowl of milk and the mandrake he’d given her, although the root still disgusted her. It began to stir the moment it touched the milk, stretching its pale limbs like a newborn.“-The Kingdoms of Death and Love(Chapter 22)
“It wasn’t easy placing the bowl underneath without spilling the milk. Ofelia had to crawl under the bed to push the bowl out of sight and for a moment she was worried the mandrake would wake her mother as it started crying like a baby. A hungry baby. Of course! Ofelia bit into her finger and pressed it until two drops of blood spilled into the milk.“-The Kingdoms of Death and Love(Chapter 22)
“Ofelia knew. She looked at the jug of fresh milk Mercedes had brought. The mandrake would soon need it.“-Bad News, Good News (Chapter 24)
In chapter 28, Ofelia checks up on the mandrake root only to find it motionless:
“The root wasn’t moving anymore even though she’d given it fresh milk and another few drops of blood.“-Magic Doesn’t Exist (Chapter 28)
Not long after, Ofelia is discovered by the Wolf who hastily inspects the bowl of milk:
“‘What were you doing down there?’ He yanked her up and shook her so roughly Ofelia tasted hatred like a poisonous brew in her mouth. Of course, he found the bowl. He sniffed at the milk and cringed in disgust.“-Magic Doesn’t Exist (Chapter 28)
“She cried out when he grabbed the mandrake out of the bowl and tried to free it from his grasp, but he held it out of her reach, milk running down his arm, while his other hand wouldn’t let go of Ofelia.”-Magic Doesn’t Exist (Chapter 28)
As Ofelia’s mother intervenes, she is confronted with a raging Wolf who cannot tell a foe from a friend:
“‘Look at this thing!’ Milk splattered Carmen’s nightgown as he pushed the root into her hands. ‘What do you think of this? Heh? She was hiding it under your bed!'”-Magic Doesn’t Exist (Chapter 28)
Flour, Salt, Olives and Bacon
With most of the Spain’s agricultural produce being sent to Germany in exchange for their military assistance, most Spaniards were left to survive with “bad quality flour, pork fat, vegetables, olive oil, and a little salted fish.” As for the “Spaniards deemed unworthy or enemies of the state”, they were left to fend for themselves.
In chapter 9, the Francoist regime’s control of food supply is highlighted anew when various cans and packages containing food items are brought to Vidal’s barn by Lieutenant Medem:
“‘We brought everything, Capitán. As promised.’ The lieutenant’s uniform was as stiff and clean as a toy soldier’s. ‘Flour, salt, oil, medicine,’ he listed, while leading the way into the barn. ‘Olives, bacon . . .’ He pointed proudly at the baskets and cartons. The dusty shelves were filled with packages and cans.”-Milk and Medicine (Chapter 9)
“Flour” appears on multiple occasions in the chapter titled “The Mill That Lost Its Pond” as we learn more about Javier the miller:
“The flour the mill produced turned black every year on the anniversary of the witch’s death and as not even the cats keeping the mice away from the farmers’ corn would go near it, Javier the miller would throw the ruined flour into the woods. The flour was always gone the next morning, as if the trees had devoured it with their roots.“-The Mill That Lost Its Pond
Believed to be cursed by the death of a witch, the blackened flour thrown into the woods by the miller keeps disappearing, until one day:
“The flour the miller threw onto the frozen forest floor seemed even blacker than it had the year before, so black it looked as if the night itself had fallen from the sky to make room for the day. As always on the following morning the flour was gone, but this time a few remnants blackened a trail of footprints. The miller followed the footprints all the way to the millpond. The thin layer of ice covering the surface was broken, black flour drifting on the water like ash.“-The Mill That Lost Its Pond
Black flour is seen covering the female face with golden eyes that emerges from the water in front of Javier:
“The creature’s lips were covered with black flour and the miller felt his heart become as silvery and cold as hers when he kissed them, but he couldn’t let go and they both sank into the pond, united in a fierce embrace.”-The Mill That Lost Its Pond
The dark powder is mentioned one last time in chapter 17 as Mercedes tries to comfort a very saddened Ofelia:
“Mercedes stayed with Ofelia until the girl fell asleep—finally, despite her worries about her mother, despite the fear that filled the old mill like the dust of black flour.”-Brother and Sister (Chapter 17)
Liquor and Wine
Despite drinking restrictions, captain Vidal is seen eagerly searching for his favourite liquor in chapter 9 amid the provisions:
“Vidal sniffed at a small package wrapped in brown paper. He liked his tobacco. And his liquor.”-Milk and Medicine (Chapter 9)
Winemaking was plagued during the Franco era, with many vineyards eventually being replanted with cash crops. The Spanish dictator was said to favour subpar bulk wine production in an attempt to boost the economy.
In chapter 13, Captain Vidal raises his glass full of wine as he boastfully talks about his thirst for blood:
“‘Our enemies’—he paused to look at his guests, one after the other—’hold the mistaken belief that we’re all created equal. But there’s a big difference: They lost this war. We won. And if we need to kill each and every one of them to make that clear, then that’s what we’ll do. Each and every one of them.’ He raised his wineglass. ‘To choice!’”-The Tailor’s Wife (Chapter 13)
In a tense scene involving Vidal and Mercedes in chapter 31, the captain requests a liquor bottle from the barn which once served as a torture room for Tarta, the captured rebel:
“‘I want you to bring me some more liquor. From the barn.’ He pushed the cork into the bottle. ‘Please.’ ‘Yes, señor.’ Mercedes put her untouched glass on the table. ‘Good night, señor.'”-The Cat and the Mouse (Chapter 31)
Orujo (pomace brandy) and cheese
In chapter 19, Mercedes supplies the famished rebels with cheese, tobacco and a bottle of Orujo, a brandy made from grapes:
“‘I’ve brought some Orujo.’ Mercedes took the bottle of Vidal’s favorite liquor out of her satchel. ‘And tobacco and cheese. And there’s mail.’“-A Cave in the Woods (Chapter 19)
Glimmers of hope and comfort resurface as the worn-out rebels pick up on the scents of long-lost pleasures:
“As they walked into the back of the cave to read what their loved ones had written, some of the others sniffed longingly at the cheese Mercedes had stolen. The aroma took them back to better times when they’d made their own cheese from their own goats and freedom had not been a luxury to pay for with fear and misery.”-A Cave in the Woods (Chapter 19)
Brandy is also mentioned in chapter 31 as a paranoid Captain Vidal interrogates Mercedes:
“‘What must you think of me?’ Vidal filled a glass with brandy he kept in his bottom drawer. The tomcat was playing with the mouse; Mercedes had known him far too long to have any illusions about the outcome of this game.”-The Cat and the Mouse (Chapter 31)
“He filled another glass for himself and gulped the brandy. Mercedes still hadn’t touched hers. How could she drink with the glass in her throat? He knows. . . .”-The Cat and the Mouse (Chapter 31)
The antiseptic properties of brandy are put to the test in chapter 35 when Vidal reaches out for his favorite liquor after getting excruciating stitches on his face:
“Ofelia dared not breathe. She could have touched his legs when he poured himself a glass of brandy. Her brother let out a feeble squeal in his cradle and the Wolf groaned when the sharp liquor seeped through his bandage. Ofelia heard him pour himself another glass and . . . set it down on the table.”-The Wounded Wolf (Chapter 35)
In the same chapter, resourceful thirteen-year-old Ofelia spikes Vidal’s drink with her deceased mother’s medication before picking up her baby brother in an attempt to escape:
“Ofelia didn’t leave her hiding place until she heard his steps on the stairs outside. He had left the half-empty glass of brandy on the table. It reminded Ofelia of other glasses—the ones Dr. Ferreira had prepared for her mother to help her sleep.“-The Wounded Wolf (Chapter 35)
“The bottle of medicine she had taken from her mother’s room. She poured just a few drops into the liquor, afraid the Wolf would taste it if she added too much. Dr. Ferreira, her mother, her father, Mercedes . . . maybe they were all waiting for her in the Underground Kingdom the Faun had told her about.“-The Wounded Wolf (Chapter 35)
“The Wolf walked over to his table and put the watch that lay next to the glass into his pocket. Then he reached for the liquor. Ofelia slipped out from behind the door the moment he turned his back and gulped the brandy down.“-Sister and Brother (Chapter 36)
“Vidal followed her, but he barely made it through the door. His head was swimming. What was wrong with him? He didn’t suspect the brandy, he was too proud to consider the idea that a child had drugged him.“-Sister and Brother (Chapter 36)
Figs
Largest fig producer in Western Europe, Spain is known for its cultivation of fig trees especially in the areas of Extremadura, Alicante, Catalonia and Granada. In chapter 10, Ofelia reads about a fig tree in the Faun’s book:
“The creatures protected one another. They slept in the shade of a colossal fig tree that grew on a hill near the mill.”– The Tree (Chapter 10)
As Ofelia stumbles on a tree just like in the book, she discovers her mission involving the Toad and the three magic stones :
“Retrieve the golden key from inside his belly. Only then will the fig tree flourish again.”– The Tree (Chapter 10)
In chapter 14, Ofelia meets with the Faun to hand him the key she retrieved after saving the fig tree:
“But the Faun just nodded. Ofelia had expected a bit more than that. After all she’d faced a giant toad and saved the fig tree, not to speak of offending her mother.”– Keep the Key (Chapter 14)
In the chapter titled “When the Faun Fell in Love”, there is talk of a fig tree with the two main branches resembling the horns of a goat:
“There is one fig tree especially whose story the others like to tell when the wind makes their leaves murmur. It grows on a hill at the heart of the forest. One can spot it easily, as the two main branches bend like the horns of a goat and the trunk is split, as if the tree gave birth to something growing under its bark.“– When the Faun Fell in Love
A final mention of the fig tree appears in the epilogue as the narrators reminds us of the beauty that continues to grow in the forest near the mill:
“As for Ofelia, the morning after she died a small pale flower sprouted on the branch of the old fig tree she had freed from the Toad. It grew in the exact spot where Ofelia had hung her new clothes to keep them safe while she fulfilled the Faun’s first task.“– Epilogue Little Traces
“But finally the labyrinth led him back to the arch and he felt so tired that he lay down under the fig tree, which by now was in full bloom and festooned with flowers and leaves.”– Epilogue Little Traces
Raw meat
Horror and food continue to converge here and there throughout the story. According to Adam Lowenstein, a professor of English and film studies at the University of Pittsburgh and the author of Horror Film and Otherness, the pairing of horror and food is no new occurrence. “Horror is a very visceral genre, and sometimes that means literally visceral — the blood, the guts, the intestines,” he explains. “But it is always looking for a primal engagement and confrontation with the audience, and eating has proven a very effective way to do that. It’s wrapped up with the very core identity of the genre.”
In chapter 14, the Faun, half-human and half-goat, reveals his carnivorous appetite to Ofelia:
“The Faun, though, seemed far more excited about what he was eating. Ofelia couldn’t quite make out what it was, only that it was bloody and raw, maybe a dead bird or a rodent. The Faun ripped off a mouthful with his sharp, pointed teeth and took a few prancing steps toward her. ‘That’s me!’ He pointed at the column. ‘And the girl is you.’ He took another bite from his bloody meal.“– Keep the Key (Chapter 14)
Unlike Tinker Bell, the Fairies in Pan’s Labyrinth unveil a thirst for blood that is closer to their dark origins:
“He straightened and held his hand out to the Fairy. She landed gracefully on his outstretched finger and the Faun chuckled with delight when she took a greedy bite from his meat.“– Keep the Key (Chapter 14)
Ofelia shivers as she thinks back to the flesh-eating Fairies serving the Faun:
“Yes, she was. Ofelia shuddered as she recalled the Fairy digging her teeth into the Faun’s bloody meal. The Fairies in her books didn’t have teeth like that, did they?”– A Lullaby (Chapter 16)
Bread, Salt, Beans and Potatoes
In chapter 15, the comforting nature of starchy foods is pointed out as starving residents line up in front of Vidal’s locked barn, eager to receive their ration of food:
“Hunger was a regular guest at their tables, as regular as their family members and the words bread, salt, beans, or potatoes sounded far more magical to them than any treasure described in the fairy tales of their childhood.“– Blood (Chapter 15)
As rations are distributed to the hungry people, Lieutenant Medem sings the praises of the Franco regime at the sight of Mercedes and the maids carrying freshly baked bread:
“Mercedes and two other maids brought out baskets filled with fresh bread. Lieutenant Medem, who had brought all the treasure to the mill, held up one of the loaves of bread from Mercedes’s basket. ‘This is our daily bread in Franco’s Spain!’ his voice boomed across the yard. ‘Kept safe in this mill. The Reds lie when they tell you we let you starve. . . .'”– Blood (Chapter 15)
In the same chapter, hunger reemerges as Ofelia is awaken with a strong craving for bread:
“Words kept drifting in from outside. ‘. . . in a united Spain there is not a single home. . . .’ Ofelia slipped silently out of the bed so as to not wake her mother. Home . . . ‘. . . not a single home without fire or bread!’ Bread. The word made her hungry. So hungry. After all, she’d been sent to bed without supper after quite an exhausting adventure. ‘. . . not a single home without fire or bread.’ Even Ofelia knew that was a lie, though it was proclaimed with so much confidence. When do children realize that adults lie?”– Blood (Chapter 15)
Tea
Tea is briskly mentioned after the passing of Ofelia’s mother in chapter 30:
“Ofelia put the bottle into the suitcase Mercedes had already packed with her mother’s few clothes, and picked up her books. There was another suitcase on the table where her mother would have her tea, and underneath the window stood the wheelchair.“-Don’t Hurt Her (Chapter 30)
Chorizo
After intercepting Mercedes’ escape in chapter 33, Captain Vidal thoroughly searches her bag and finds stolen goods including one of the oldest processed foods known to man:
“‘Chorizo . . .’ He threw the sausage on the ground. ‘That was not supposed to feed just you and the girl, right? And for sure you didn’t steal this for the girl.’ He sniffed at a small parcel. ‘My best tobacco. You should have asked for it. I would have given it to you, Mercedes.'”-Just a Woman (Chapter 33)
Note-worthy expressions involving food
Reminiscent of “Hansel and Gretel”, bread crumbs make an appearance in chapter 4 as the Fairy is led to Ofelia through the sound of her voice:
“Behind the mill, in the forest as dark and silent as the night, the creature Ofelia called the Fairy spread her wings and followed the sound of the girl’s voice, the words building a path of bread crumbs through the night.“– A Rose on a Dark Mountain (Chapter 4)
In the chapter titled “The Boy Who Escaped”, the Pale Man’s eyes are compared to overripe fruit that eventually fall from the tree:
“One night when he’d outdone himself with a victim, Pálido’s own eyes couldn’t bear to watch his deeds any longer. They dropped out of their sockets like overripe fruit and the Pale Man carved holes in his own hands so from then on he could wear his eyes in his palms.“-The Boy Who Escaped
In chapter 13, Mercedes experiences the taste of vinegar in her mouth as fear overcomes her during Vidal’s report of the rebels in the forest:
“Mercedes caught another glance from Ferreira. She straightened her back and tried her best to give him confidence by banning any expression of worry from her face, though she tasted her own fear like vinegar in her mouth.”– The Tailor’s Wife (Chapter 13)
In chapter 33, Vidal objectifies Mercedes, comparing her to meat, as a dynamic of prey and predator emerges:
“‘Damn. You found my weakness. Pride.’ He examined her face like it was a piece of beautiful meat. All his to make it bleed. ‘Luckily it’s my only one.'”-Just a Woman (Chapter 33)
In chapters 33 and 35, the tides turn as Mercedes and Vidal become, respectively, the butcher and the pig:
“‘Don’t you dare touch the girl.’ She barely recognized her own voice. ‘You won’t be the first pig I’ve gutted.'”-Just a Woman (Chapter 33)
“Two of his soldiers had made it back from the forest, but no one dared tell the capitán the others were lying dead in a clearing among the trees, their blood dripping from fern fronds, while Mercedes, who had cut him like a pig, was alive and free.“-The Wounded Wolf (Chapter 35)
In chapters 32 and 34, the dynamic of prey and predator is brought up once more as Ofelia is compared to a hunted rabbit:
“The Wolf shook her and Ofelia felt his wish to do more. Break her. Slash her like one of the rabbits the cook prepared in the kitchen for him and his men. Finally, he let go of her with a rude curse and took off his cap, breathing heavily, smoothing his hair.”-It’s Nothing (Chapter 32)
“She would do everything she could just to have him protect her from the Wolf who’d dragged her back to this room like a rabbit caught in the woods.”-One Last Chance (Chapter 34)
