ng the signs. The year she turns thirty-eight, she keeps finding snakes, bears, ghosts, and ancestors at her doorstep, pointing toward the person she needs to become. As an eclipse approaches, she begins to follow their demands and account for their presence. Clutching the milky quartz she finds in a New Mexican canyon and picking up the pebbles dropped by returning ghosts on her bedroom floor, Mahler excavates personal meaning from astrology, tarot, mothering, siblinging, and homesickness throughout the three connected essays of A Calendar is a Snakeskin, a noctuary of a year marked by the shedding of selves and fears.