More than a century after its first publication in 1908, L. M. Montgomery's of Green Gables remains exceptionally popular, read worldwide: a dynamic text passed from generation to generation. Anne fans, as Brenda Weber terms men and women who love Montgomery's novel, demonstrate an intense connection to its heroine that passes beyond the confines of their own childhood, perhaps only comparable to the widespread affection retained for Louisa May Alcott's Jo March (Weber 50-51). The considerable amount of consumable product is tangible evidence of the text's draw. In a salutation to Green Gables's centennial, Margaret Atwood details the An- nery available to the text's devotees: Anne boxed sets, notepaper and pencils, coffee mugs and aprons, candies and straw hats. . Green Gables, clearly, has transcended the limits of time and of the narrow geographic space of Prince Edward Island, inflating into a beloved international literary commodity. However, despite a great deal of scholarly attention, the enigma of this popularity has not been entirely resolved, nor all of the dimensions of the text's appeal understood. Fascination with Green Gables is often credited to the unorthodoxy of its eponymous character. Shirley is mercurial to the point of ridiculousness: she is a narcissist; she is a rebel. Nevertheless, by Green Gables's end, she has transitioned into something entirely other, an undeniable movement. This transition is a significant and neglected locus of fascination with Green Gables. Working within the framework of Jacques Lacan's psy- choanalytic orders, I propose that that fascination is fundamentally connected to the pleasures of witnessing Anne's active healing from early childhood trauma, her movement from isolated fantasy and profound mirror distortions to productive social relationships within an embracing community. Scholarship that addresses Anne's appeal has, of course, already proposed manifold answers to this question of textual attraction and longevity. Elizabeth