With the heated debate on the utility of the humanities as a context, this paper reads Rossetti’s “Goblin Market” as an attempt to reconcile the emerging functional attitude towards the humanities and the susceptibility of the humanities to the neo-liberal condition. This paper traces connections between the “reparative” or the “post-critical” turn and fairy tales or fantasies in order to argue that Christina Rossetti’s much debated poem, “Goblin Market,” could be framed in a fantastic framework that substantiates a reparative orientation that is “additive and accretive” (Sedgwick, Touching Feeling 149). A stubborn insistence on the hermeneutics of suspicion has informed much of the readings of the “Goblin Market,” especially the haunted market, as “kinda subversive, kinda hegemonic” (Sedgwick, Queer Performativity 15). I aim to provide a different approach given that recent scholarship on “Goblin Market” ignores the possibility of reparation. In this paper, I attempt to withhold suspicion in order to hone caring eyes to uncritical materials that are often deemed untenable to politicized life. I reparatively read the female participation in the market that resuscitates a full female identity and the “muted” ending that is often subjected to paranoid readings. Locating “Goblin Market” in a fantastic framework, I argue, helps us to see the actual world and it helps us visualize a fantastic world that brings out an ethical efflorescence that entertains human experience in its plenitude. This essay also argues that “Goblin Market,” partakes in “a new wave of innovative fairy tales” (Zipes 98) that gained ascendancy in the latter half of the nineteenth century and this serves as an affective archive to document long marginalized figures and feelings. I also argue that Rosetti’s poem invites thoughts on how aesthetic devices sustain and reproduce selves that ripple off from real-life experiences in a fantastic interruption of spatiality and temporality.