In my new novel The Story Sisters (Shaye Areheart Books) Elv Story creates an imaginary world to help her deal with a childhood trauma that she keeps secret. Stories help her to deal with reality and with her past. In a way, she cannot live without them. 

Each chapter of the novel begins with a piece of what I call Elv's Black Book of Fairy Tales. When added together they complete a psychological puzzle and tell the story of Elv's interior life. She is the sum of these stories' parts, and they are the truth of who she is. 

Elv is one of three sisters, but as is true in many fairy tales, each sister has a separate path that she alone must follow. In many ways The Story Sisters is a quest that follows the structure of traditional fairy tales. I grew up in love with fairy tales, stunned by the truths they told. Many of the other stories I read as a child felt false, as if they were talking down to me. I wanted to read stories that were brutal and beautiful and fearless. Fairy tales always trust the reader to look inside the deepest truth about real life. There are monsters as well as heroes, and sometimes, all too often, it's difficult to know which is which. 

Set in New York, New Hampshire and Paris, the novel also takes place in an invented fairy tale world. What good are fairy tales? They, above all other stories, explain us to ourselves and give voice to our own inner natures. In telling stories people are able to acknowledge and understand their own pain and humanity. Fairytales make up the inner story of our lives, the blood and bones. They tell of a psychological journey, sometimes through the dark woods, to a place of growth. These stories are the interior map of what happens to Elv Story. Read them and you'll know why the secret world she invents may be more real than the everyday life she leads. 

The Story Sisters is a novel about the power of stories and the way in which fiction can often tell the deepest truths. How close is the fairy tale world to our own? For Elv Story, it's closer than her own front door. 

Here are six of Elv's fairy tales, which you can also hear read aloud at my website. The rest of the story can be found inside The Story Sisters


FOLLOW 

Once a year there was a knock at the door. Two times, then nothing. No one else heard, only me. Even when I was a baby in my cradle. My mother didn't hear. My father didn't hear. My sisters didn't hear. But the cat looked up. When I was eleven I opened the door. There she was. A lady wearing a gray coat. She spoke, but I didn't know her language. A big wind had come up and the door slammed shut. When I opened it again, she was gone. But I knew what she wanted. Me. The one word I'd understood was daughter. I asked my mother to tell me about the day I was born. She couldn't remember. I asked my father. He had no idea. My sisters were too young to understand. When the gray lady next came I asked the same question. I could tell from the look on her face. She knew the answer. She went down to the marsh, where the tall reeds grew, where the river began. I ran to keep up. She slipped into the water, all gray. She waited for me to follow. I didn't think twice. I took off my boots. The water was cold. I went under fast. 


GONE 


The witch came to the village at noon. She moved into a cottage in the middle of town, got a fire burning, put up her pot. After that a famine began. They sent me to her because I was nothing, a cleaning girl, dispensable. In the afternoon the roads were filled with frogs. By suppertime there was lightning. By early evening the birds all fell out of the trees. I collected frogs in a jar as I went along. I took the charred wood from a tree hit by lightning and tied the twigs together in my shawl. I took the birds bones and kept them in my pocket. At the well, I stopped and looked down into the black water. Nothing was reflected back. Only the rising moon. It was night and the streets were empty. Everyone had locked their doors. What do you have for me? the witch asked. I gave her the frogs, the charred wood, the bones. She made a soup and offered me some. All over people the county people were starving. I sat down to dinner with her. When she packed up to leave, I was already at the door. 


SWAN 

My sister stayed in her room, hiding. She gazed the sky and cried. You would think she'd be happy to be human, but she kept talking about needing her freedom. I had lost sister after sister, was I supposed to lose her too? She stood on the ledge outside the window. She had only one arm; if she started to fall she would dash to pieces on the rocks below. I was always the one to save everyone. I went out at midnight to gather the reeds, though there were wild dogs and men who thought of murder. I carried sharp needles and sticks. At night I wove the reeds together while my sister cried. When I was done, I threw the cape over her. She changed into a bird and flew away. I watched until she looked like a cloud. Now she was free. Well so was I. I walked to the city and got a job. I had a talent after all. When people asked if I had a family I didn't mention that once I'd had sisters. I said I took care of myself. I said I liked it that way, and after a while I meant it. 

IRON 

We only wanted to look at him. We set out the trap in the meadow. It had little metal bars and a gate that slammed shut when footsteps crossed the threshold. People barely believed in him anymore, but we did. We'd seen his shadow. We caught him the first time out. We thought it was luck. We thought it was fate. We were proud of ourselves. There he was, hiding from the sunlight. Crows circled overhead. He didn't move so we poked him with sticks. We were afraid that if we opened the gate he would run, so we watched him all through the day Tell us your name, we said. We knew if he did he'd be ours forever. He said nothing. Perhaps he couldn't speak. He was growing paler. He looked like moonlight. He was so beautiful we couldn't stop looking at him. Tell us, we asked, again and again. He said nothing until he disappeared, curled up like a leaf, gone. But we heard clearly that his name was sorrow. Exactly what we'd have all the rest of our lives. 


SNOW 

One year twelve girls went missing. One gone for every month that passed. People in town became used to this. They wondered which beast had done this, and who the next victim would be. I found a handful of teeth on the ground. My mother said they belonged to a dragon. My father said they had lined the mouth of a wolf. But the teeth were small and white, perfect as pearls. There were twelve all together. I strung them on a chain and wore them around my throat. That was when people began talking. There was a town meeting to decide what to do. Everyone said the teeth must be disposed of. They'd bring a curse to me and my village. But I heard someone whisper "No" in what sounded like my voice. I ran away. The town council came to my house. The questioned my father and my mother, but it was too late. I was on the hillside, planting the teeth in the ground. When it rained, twelve girls would grow. They would point to their murderer before they turned into flowers, each one white as snow. 


ROSE 

Everything was red, the air, the sun, whatever I looked at. Except for him. I fell in love with someone who was human. I watched him walk through the hills and come back in the evening when his work was through. I saw things no woman would see: that he knew how to cry, that he was alone. I cast myself at him, like a fool, but he didn't see me. And then one day he noticed I was beautiful and he wanted me. He broke me off and took me with him, in his hands, and I didn't care that I was dying until I actually was. 


CONFESSION 

The wolf came to me at midnight and stood below my window. He had chased the innocent, defiled the sacred, ran after horses and carriages, caused the snow to turn red with blood. But he had an arrow in his side. He was the one bleeding now. I told him it would hurt, and to shut his eyes. I took out the arrow, cleaned the wound, gave him supper. People in the village said he devoured me then and left only my boots in the snow. They said it would teach the other girls a lesson, and maybe it did. From where I lived in the woods I could hear them calling at night. I wonder what lesson they'd learned.
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Is love complicated or is it simple?

In The Third Angel, set in three sections in the 90's, the 60s, and the 50s, all in the same London hotel, it can be both at the same time.

I didn't realize until after I was through writing, that the novel could be read backwards or forwards and that a reader's understanding and knowledge of the story and the characters would be hugely different depending on what he or she knew or didn't know about the past.

In the first section of the novel, a writer named Allie Heller writes a book for children that can be read forwards or backwards. Every family has a family mythology --- Allie's story is one that her mother told her and her sister when they were children. In it a heron has two wives --- one on earth, the other in the sky. He doesn't mean to betray either, but in the end, he will.

How does he choose between them? Who does he love? It all depends on how you read the story.  Allie's book isn't in the novel, and hasn't existed until now, but I don't think she'd mind if I shared it with you. After all, if you've read The Third Angel you know everything about her already.

A few nights ago, a night heron woke me in the dark, crying outside my bedroom. I can tell you for certain, his cries were some of the most human sounds I have ever heard.

 

                                               The Heron's Wife

 

        Out of Nowhere

She was standing in the marsh and everything was blue. Water, clouds, reeds. He was a heron in the sky, then he fell to earth and was human. They believed love could be simpler than it seemed.

 

        Out of the Darkest Night

When he was in her house everything outside was hazy. Snow, fences trees. His broken wing had become a broken arm. His life in the sky had become tea, biscuits, a bed with blue sheets. There was a past, but it was far away. They believed love could be too strong to fight.

        Out of the Blue

She was high above them so she could see everything clearly. House, laundry on the line, pillowcases, sheets, shirts that were his size. When a heron cries the salt falls to the earth below. The world of the air meant nothing to her. She couldn't taste anything but her own blood. She tried to be human, pulling out her feathers, but there were too many and she was unchanged. She believed love was everlasting.

        Out of Mind

He saw the feathers on the ground. Blood, bone, blue. He remembered things that the fall to earth had shaken out of his mind. He thought of nests, heartbeats, wind, her body beside his. He believed he had made a promise, but to whom had it been spoken?

        Out of Honor
 
He couldn't ignore the before just to get to the after. He had seen a trail of blood, feathers plucked from her own chest. He cast off his cloak and became who he'd been before. The earth became distant, but he could hear it calling him back. He believed he could leave and never look back, even though he saw it spinning, so beautiful and blue, whenever he closed his eyes.
 
        Out of Hope
 
She waited every day. She waded far out in the water. Crabs, shadows, songbirds. She took the feathers she found on the ground and sewed them to her dress. She pinned them to her shoes, her hair, her coat. She climbed into the highest tree, where the branches shook in the wind. She looked like blue leaves about to rise. She looked like heartbreak, faith, desire. Why wouldn't he love her, come back to her? Why couldn't she fly away? She believed she could find him, but more than that, she believed in fate.

       Out of Ashes
 
They both saw him, his wife on the earth and his wife beside him, and then they didn't. He was between them and then he wasn't. Hunters shot him as though he were a crow, as though no one had ever loved him, yearned for him, mourned him. The sky looked smaller than it ever had. A cloud stretched across the earth. They had believed love would keep him safe.
 
        Out of Somewhere

They were standing in the marsh and everything was blue. Water, clouds, reeds. They did this every day. His wife on earth and his heron wife. They never spoke. They didn't have to. They believed love was more complicated than it seemed.

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The Third Angel Arrives on Tuesday April 8th, 2008.

A novel is formed in so many ways, from so many pieces of a writer's life and consciousness, but The Third Angel began in a hotel in London in the summer of  2004. My UK publisher put me up in a hotel in Knightsbridge for a book tour. It was hot that summer and the rooms were broiling. There were air-conditioners perched on stands, vented through hoses in the open window - so that the hot air continued to stream through.

That first night as I slept fitfully I heard an argument in the hall. I looked at the clock. It was ten thirty. I was jet-lagged, over-heated, exhausted. The argument went on. I got out of bed. But when I went to look I discovered my door had no peephole. I put my ear to the door. A man was shouting.

If I opened the door, I might be thrust into the middle of a vicious argument, I stood there not knowing what to do, then the voices stopped.

I went to bed.

The next day I went to an exhibit that one of the characters in the Third Angel goes to - a beautiful, heartbroken display at Kensington Palace. It was still hot, sticky, overcast.

I went to bed that night. Still not sleeping well, still jet-lagged, still thinking about love gone wrong and betrayals. At last I fell asleep. And then, the argument began. I looked at the clock. Ten. Another argument. I heard the man in the hall. Did I get up and throw open my door? Or did I stay in bed, hope for peace and quiet, finally sleep?

Who was that out in the hall? On the first night, the second night, and then again, on the third night, on every night of my stay at the hotel? I began to get used to the voice, wait for it, be lulled to sleep by it - it had come to seem normal, a regular part of the day, like breakfast or tea.

It slowly dawned on me that a loop was being replayed, again and again. It was the same argument out in the hall, unseen, but passionate. This was the beginning of the Third Angel. What happened out in the hotel hallway years earlier, what haunts us, what we can't forget even when we try, what redeems us is at the heart of the novel.

A summer night in London. A hotel where it is possible to get lost and to lose someone you love. Do you open the door or not? I didn't then, but now I do.

Welcome to the Lion Park Hotel. The doors open today.

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Who is the Muse?

If the third angel is an unexpected blessing on earth, the person who by the very act of your generosity saves you in return, then is the muse the third angel for an artist?


There are those, like Jamie Dunn, the musician in The Third Angel who can't write and is in a desperate search for a muse, who believe a muse is a person who will inspire. There are others, like Frieda, the young woman Jamie is convinced is his muse, for whom experience itself is the muse. The act of living, of being in love, of loss, all work together to help Frieda produce a perfect poem/song.


The greatest writing teacher of the century, Albert J. Guerard, my beloved mentor, believed that every writer and artist has a voice, and that voice is made up of experience, readings, dreams, along with, and most especially, childhood readings and experience. Your childhood is within you. It's part of the muse, subconsciously or consciously. It's in everything you do, part of your imagination's DNA.

 

All this adds up to another puzzle in The Third Angel:

Who is the boy on the train from London to Edinburgh who helps Lucy return to the living after she witnesses the accident in London?

He's mentioned throughout the book. Later in life, he becomes a great, unique artist. Although he may not have been on that exact train, he often went to Edinburgh as a child to visit relatives. When he was twelve or so he did compose the book he is writing and illustrating while on the train, Anthology, a reworking of the books he loved, including the Alice books. Perhaps Lucy influenced him as well, and years later he wrote about her, perhaps even long after he'd forgotten meeting her. Maybe he only remembered her name and a train ride and the stories he loved which had gotten him through his own troubles with loss and love.

As for me, I found that many people who I had admired and who had influenced me while I was growing up arrived in the pages of The Third Angel, as if they had minds of their own. The music you listen to, the books you read, the paintings you love, all become  part of you, and, as an artist or writer, a part of your work.

I was twelve when I went to the Plaza Hotel and waited outside with hundreds of other fans in the mad hope that we might catch a glimpse that boy on the train. Every time a curtain moved, we all screamed, hopeful. My mother took me there, she was that sort of person, as much a friend as a mother, a fan of the boy on the train as well. We stood outside the Plaza until it became clear the hotel employees were at the windows, shaking the curtains, having their fun with the fans.

I didn't see him that day, but it really didn't matter. My mother and I went for coffee somewhere on Fifth Avenue.

"To hell with it," she said to me. "Let's just imagine we saw him."

I did.

 

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Thank you so much to everyone who sent in comments to my new website. I so appreciate the kind words and thoughts and I'm delighted to hear so many people are looking forward to the arrival of The Third Angel.

Sometimes, when I'm at work on a book I forget anyone will ever read it. I've often wondered if that's what allows me the freedom to write - a detachment from the future of the book at the time I'm working on it. The idea of publishing and being public with what has been created in private can stop writers from going forward. I knew a woman who couldn't finish her novel because she was afraid of what her mother would think. This writer decided she would have to wait for her mother to die before she could publish. Good luck or bad - the novel died long before the writer's mother ever did. 

The novel  becomes the world that I live in. The creation of that other world -- and the characters who live there--is very personal and very private. I don't discuss my work when I'm writing. I know too many people who have "talked out" a book, confused themselves with other people's perceptions during that delicate time when it's all too easy to throw a novel away.

Once a book is finished, there it goes, into the real world where it will mean different things to different people. Many thanks for all the support, kindness, and messages that have meant so much to me.

More about the secrets inside the new novel next time.

----- with gratitude,
Alice

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For me, a novel isn't autobiographical in "real time" - but my life is there, transfigured by fiction. I think of a novel the way analysts deconstruct a dream - the dreamer is every character in his or her dream, including the cat and the dog. Or, think of it this way:  Your life is a mirror. You throw it down on the ground. It shatters into thousands of pieces. You can never recreate the mirror as it was, but each piece is still a part of the mirror, a part of the writer's life.

For me, reality in art is a false construct. We are creating life from ink, print, paper and wanting characters to "feel" like flesh and blood. Can you fall in love with a fictional character? Absolutely. Can you detest one? Certainly. Can one renew your faith? I think so.

Here is another clue to the identity of The Third Angel.

At the edge of the woods there was a cave. No one went there. As a matter of fact, the people in my town took the long way, around the woods, just to avoid it. A monster lived inside. He was seven feet tall.

When people began to fall ill they blamed the damp weather, the ruined crops, each other, and then they blamed the monster. I was one of the people who went after him. I had a knife, a lantern, a silver star to protect me from evil. My child had fallen ill. I was filled with something I thought was righteousness. It was thick and poisonous and it led me to the woods with a hundred other righteous men.

I got lost in the dark. I stumbled and the others left me behind. They forgot me. When I called out they couldn't hear me. But something did. The monster came out from a cave. He was a bear, seven feet tall. He had been hunted and had a fear of humans, but I had dropped my lantern, my knife, my star. I had the chance to look into his eyes before the people from town circled around. I imagined the woods without people, our lives without boundaries, the night without fear, the town without sick children, the world where we could live together. I turned to the people I had known all my life.

Imagine, I said.

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Novels have inside stories and outside stories, sometimes more than one. There are stories that reveal themselves all at once, and others that are a puzzle. My new book The Third Angel is filled with secrets. Some characters keep secrets from the people they love best. Some keep them from themselves.

 Here is a clue to the identity of the Third Angel. Sign my guestbook and I'll send out other clues.

I heard something at my window. I thought it was snow falling, or birds calling, or branches hitting against the glass. I had been betrayed by someone I loved. Because of that I was sick of human race. All I could think of was how people went behind your back, lied to you, gave you gifts that looked like gold but were made of straw.

I heard it again at my window. I knew someone wanted to come in. I wondered if I had lost my soul, if someone or something had now been sent to collect it. I had most certainly lost something in being betrayed. I couldn't find it again because I didn't know what it was.

I thought I heard someone say my name even though the window was closed. Not the name I went by now, but my childhood nickname, a name I didn't use anymore. I looked out and saw a man. It was cold. The sky was filled with stars. I had one thing left from the person who had betrayed me. A black coat. When I thought of him I thought of that coat and how he looked in it. Now I grabbed it from the closet and brought it outside. The man in the snow was waiting for someone to save him, so I did. I helped him on with the coat.

When he walked away I thanked him for his gift. Now when I thought of that coat I wouldn't remember my betrayer. Instead I'd think of the man in the snow and the way he came to save me. 

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