A thing which had a different, a horror-like beauty like a mad Goya etching, occurred when the black priestess did her death dance with the huge white turkey. Though far from feeble, possessed of great vitality, she was a slender woman, slightly formed, whose nervous strength lay not in muscular weight. When the turkey’s wings spread wide and began to flap frantically above her head as she whirled, the great bird seemed larger and more powerful than she; it seemed that she would be dragged from her feet, hurled to the ground, or flown away with fabulously into the sky. And as she sought finally to tear off its head, sought to clutch its body between her knees, it attacked her savagely, beating her face and breasts, beating at her so that she was at moments enfolded by the great white wings, so that bird and woman seemed to mingle struggling in a monstrous, mythical embrace. But her fatal hands were still upon its throat, and in that swanlike simulacre of the deed which for the male is always like a little death, it died.

So savage had this scene been that it was almost like an anticlimax when the sacrificial goat was now led through the doorway to the altar…

W B Seabrook describes his voodoo blood baptism in Haiti in The Magic Island (1929)