The Stars Are Fire

A novel

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From the New York Times best-selling author of The Weight of Water and The Pilot's Wife (an Oprah's Book Club selection): an exquisitely suspenseful new novel about an extraordinary young woman tested by a catastrophic event and its devastating aftermath--based on the true story of the largest fire in Maine's history

In October 1947, after a summer long drought, fires break out all along the Maine coast from Bar Harbor to Kittery and are soon racing out of control from town to village. Five months pregnant, Grace Holland is left alone to protect her two toddlers when her husband, Gene, joins the volunteer firefighters. Along with her best friend, Rosie, and Rosie's two young children, Grace watches helplessly as their houses burn to the ground, the flames finally forcing them all into the ocean as a last resort. The women spend the night frantically protecting their children, and in the morning find their lives forever changed: homeless, penniless, awaiting news of their husbands' fate, and left to face an uncertain future in a town that no longer exists. In the midst of this devastating loss, Grace discovers glorious new freedoms--joys and triumphs she could never have expected her narrow life with Gene could contain--and her spirit soars. And then the unthinkable happens--and Grace's bravery is tested as never before.


“Long before Liane Moriarty was spinning her “Big Little Lies,” Shreve was spicing up domestic doings in beachfront settings with terrible husbands and third-act twists. She still is, as effectively as ever, this time with a narrative literally lit from within.” 
—Mary Pols, New York Times Book Review

“Like her sensational best-selling 1998 novel The Pilot’s Wife, about a widow who discovers her pilot husband had a second family, The Stars Are Fire explores what happens in the secret spaces between married people…Masterful… lingers long after the last page is turned, like the smoke from a wildfire.”
—Patty Rhule, USA Today

“Precise, evocative prose brings the story’s vivid characters to life…original and gripping.” 

"Anita Shreve’s books are reliably engrossing literary page-turners, never formulaic…Shreve consistently creates complex characters and plots, often drawn from the historical record or from obscure headlines…Then she tells their stories in unobtrusively elegant prose."
—Kate manning, The Washington Post

"This is a suspenseful and heartwarming story of not just overcoming but also growing in the face of great difficulty."

"This is sure to be a best seller. Shreve's prose mirrors the action of the fire, with popping embers of action, licks of blazing rage, and the slow burn of lyrical character development. Absolutely stunning."
—Library Journal  (starred review, Editors' Spring Picks)

"It is a book of small moments, a collection of seemingly simple themes that build to surprising and moving crescendoes. Shreve's spare, economic prose suits her character’s practicality and initial hesitance to determine the course of her own life... Shreve's crisp writing becomes more expansive in the moments when her protagonist consciously stretches beyond the boundaries of her previously narrow life."

“I had the sense as I read Shreve’s newest and 18th novel, The Stars Are Fire, that I was in the company of millions of phantom future readers who will adore this novel and devour it and recommend it to all their friends and book clubs…Shreve’s storytelling choices feel organically wedded to her writing, a winning and essentially magical alchemy…It’s all totally irresistible.  Along with storytelling mojo and stylistic verve, this novel has an excellent, suspenseful premise: Grace’s life is upended and ultimately transformed by a real-life historical catastrophe, the wildfires that spread through coastal Maine in October of 1947, following months of severe drought….In fact, The Stars Are Fire is so virtuosic, so infallibly readable, it could very well sell more copies than all Shreve’s others combined.”
 —Kate Christensen, Portland Press-Herald

"One of the pleasures of reading The Stars are Fire is Shreve’s ability to impart an authentic feel of 1940s daily life... Shreve’s writing is lovely."
— ‘The ARTery’ 


Hot breath on Grace’s face. Claire is screaming, and Grace is on her feet. As she lifts her daughter, a wall of fire fills the window. Perhaps a quarter of a mile back, if even that. Where’s Gene? Didn’t he come home? She picks Tom up from his crib and feels a wet diaper. No time to change him.
She scurries down the stairs carrying both children. She deposits them in the carriage in the hallway and pushes it onto the screened porch. Claire begins to cough in the smoky air. “Sweetie,” Grace croons, “have you saved us all?”
She stuffs blankets, diapers, baby food, and water into the carriage behind the children. She loops the kids’ clothes around the upper bits of metal and ties them in knots. She’ll have to leave the mementos.
Because she can’t push the now too-heavy carriage over the lip of the porch, she reverses it in order to drag it down the step. Claire is crying, and so is Tom, but Grace has no time to soothe them.
As she maneuvers the vehicle to the edge of the grass, a bomb goes off, the explosion one Grace can feel right through her feet and legs. The children are silent, as if awed by the sound.
“A fuel tank in a house on Seventh Street,” she hears one man shout to another.
Sparks and embers swirl around Grace. There’s chaos in the streets. She hears cars moving, women screaming. Balls of flame seem to leap from treetop to treetop, giving the fire a frightening momentum. A tree catches fire at the top, and the fire races down the trunk and into a house below. Another bomb. The fire turns tree after tree into tall torches.
Fields resemble hot coals. For as far as she can see, there’s an unbroken line of fire. Cars are traveling, but where can they go?
An ember lands on the hood of the carriage. Grace swipes it off and begins to run. Heat and common sense push her to the seawall. A deer leaps across the street with her, chased by the freight train bearing down on all of them.
She takes the children from the carriage and sets them on a blanket on the sand. On another blanket, she lays out what few provisions she has brought. Abandoning the carriage, she begins to drag both blankets away from the fire and closer to the water. When the sand feels wet underfoot, she stops. 
Smoke adds to the confusion. She spots, and then doesn’t, Rosie dragging a canoe.
“Rosie!” Grace calls.
“Grace, where are you?”
“Right at the water. There you are.”
Grace helps her friend drag the canoe beside the two blankets. “Where’s Gene and Tim?” Rosie wails.
“I have no idea,” Grace says, shaken.
“Where are all the people going?” Rosie asks.
“To the schoolhouse, I heard.”
“That’s crazy. The schoolhouse will burn, if it hasn’t already.”
Grace kneels on the blanket to change Tom’s diaper. His sleeper is dry enough to stay on. Grace can feel heat on her face.
“Oh, God,” Rosie cries.
“The Hinkel house just went. It’s only one street back from us.”
Grace has no words. When she glances up, the fire burning on the ground resembles hot jewels among the rocks and pebbles.
“Rosie, take what you can from the canoe and put it near the water’s edge. Then push the canoe out to sea.”
“But . . .”
“It’s wood. If an ember falls inside, it will bring the fire right to us. Wet your hair and the kids’ hair.”
Rosie follows Grace’s instructions. She’s glad that Rosie won’t see her own house go up. Already, roof shingles are burning.
“Do my kids, too,” Grace yells to buy more time.
The splendid maple next to Grace’s own house turns orange in an instant, as if someone had switched on a light. The tree collapses. Grace can’t see her screened porch, but she knows the fire will consume that next and lead straight into the house. She left the photographs, the papers, the layette, the antique tools.
Rosie’s house explodes, the fire having found the fuel tank in the basement. Rosie snaps her head up. 
“Rosie, don’t,” Grace commands, and there must be something in her voice that makes her friend obey, because Rosie turns to the water and puts her face in her hands.
Grace imagines the fire eating its way through her own home. The kitchen with the wringer washer, the hallway where the carriage is kept, the living room in which Grace made the slipcovers and drapes (an image of the fire climbing the drapes like a squirrel momentarily freezes her), upstairs to the children’s beds, her own marriage bed. All their belongings, gone. Everything she and Gene have worked to have, gone.
“Rosie, listen. Go down to the water’s edge so that only your feet are in the water. Lay down facing the sand—make an air pocket—and I’ll bring you Ian and Eddie. Put a child under each arm and hold them close. Make air pockets for them, too. I’m going to soak your blanket and drape it over you. I’m going to cover your heads. Don’t look up and don’t reach out a hand or let your hair out from under the blanket.”
Rosie is silent.
“Okay?” Grace shouts.
“Okay,” Rosie says.
Grace races into the sea to wet the blanket. Men in jackets and caps carry children toward the water, as if in a great and horrible sacrificial act. The women, with provisions, follow. She lays the blanket over Rosie and her children just as she said she would. Then she sets her own children in the sand and wets another blanket. Tugging the dripping wool, she fetches Tom and lies down facing up, pulling the blanket to her face and anchoring it with her feet. She beckons for Claire to come to her. When she has the children securely beside her, she lets go for a second and flips onto her stomach, making three air pockets. She rolls the children over so that they are all facedown in the sand. Holding her hair back with one hand, she drapes the blanket up and over their heads. She checks around Claire and Tom to make sure nothing is sticking outside the covering. 
She hears screams—not of pain, but of horror, and she guesses that the waterfront houses are about to go. People who have not managed to get out of town are trapped like rats running for the sea. She prays an animal will not step on her or, worse, try to burrow inside.
The heat on their heads and backs is just this side of bearable. The blanket won’t stay wet for long.
“Rosie!” Grace shouts.
Grace can hear nothing.
“Still here!”
“Squiggle back into the water till it’s up to your thighs, just short of the kids’ feet.”
“Do it, please.”
Grace follows her own instructions and is in water nearly to her waist. She wishes she had thought to make a cave for her stomach. She creates new air pockets for herself and the children.
“Whatever you do, don’t look up. Rosie, did you hear me?”
“Did you look up?”
Grace takes shallow breaths, afraid she might inhale sand. She wonders if she and her children will die like this, the fire advancing to the dune grass at the seawall and then igniting Grace’s blanket. Would it be too late by the time she felt the pain, or would she have a few seconds to get Tom and Claire into the water up to their shoulders? She might have to dunk herself and the kids if the fire gets that close. Does sand burn?
She can do nothing but wait until the fire exhausts itself. The seawater must be in the mid-sixties, and she has begun to shiver under the blanket. She has on only her cotton nightgown. The children are hardly more dressed than she. She can’t tell if the shivering is simply because of the cold, or if it stems from fear. Heat leaves the body quickly when one is lying on the ground, though the top of her feels as if it might sear at any minute. She would rather suffer the cold until the fire is well and truly out. How long will that take?
Around her, she hears timbers crashing, grass crackling. How many people are on the beach now? She doesn’t dare look. She wishes she could calm herself, but it’s impossible with the shivering. She has only one task now, to save her children.
And then Rosie’s children and Rosie.
The shaking becomes so severe, the children seem to catch it. Nature’s way of keeping them warm inside.
When she can no longer resist peeking, the moon is red. Burned trees fall to the ground amid showers of sparks. The entire town, for as far as Grace can see, is ablaze. Nothing moves but the fire—hungry, angry, relentless.
This must be what hell is like, she thinks as she lowers the blanket.

Excerpted from THE STARS ARE FIRE by Anita Shreve. Copyright © 2017 by Anita Shreve, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Reader's Guide

1. The epigraph is a quote from Shakespeare’s Hamlet: “Doubt thou the stars are fire; / Doubt thou the sun doth move; / Doubt truth to be a liar; / But never doubt I love.” What does it mean? What does it have to do with the novel it introduces?

2. “Containerize, her own mother once told Grace, as if imparting the secret of sanity. Her mother meant children as well as dry goods.” (pages 9–­10) In what ways does Grace follow this advice? When does she disregard it?

3. Grace intends to seduce Gene on page 15, but the results are degrading and painful. If the novel were set in the present, might this be considered marital rape? How are things different now from in the 1940s?

4. On page 22, Grace thinks, “It feels true that she might have wished her mother-­in-­law gone. Not dead, just gone. It feels true that she caused the hurtful night in bed, even though she sort of knows she didn’t.” Why does she blame herself for these things? When does she stop blaming herself?

5. Discuss Grace’s relationship with Rosie. Why is this friendship so important to Grace? What function does Rosie serve in her life?

6. Before reading The Stars Are Fire, what did you know about the fires that tore through Maine in 1947?

7. Can you think of anything Grace could have done differently to prepare?

8. After the fire, after losing the baby, Grace believes Gene may have used the chaos as cover for him to leave the family. What makes her think this? Would she rather that he fled, or died fighting the fire?

9. Why do Matthew and Joan take in Grace and the children? How does their action help her to heal?

10. At various points in the novel, Grace either ignores or heeds her intuition—­for instance, when Claire has a fever, or when Grace lets Aidan stay in the house. How does she decide when to follow her gut, and when to disregard it? Does her faith in her intuition grow over the course of the novel?

11. What do you think would have happened to Grace and the children if Marjorie hadn’t found them?

12. When does Grace begin to believe in her ability to survive and even thrive on her own? Is it purely a matter of necessity?

13. How does the notion of a “diaspora” figure into the story?

14. Which does more to pull Grace toward Aidan, their conversations or his music?

15. Why do you think Merle hid her jewelry where she did? What would have happened to Grace and the children if Grace hadn’t found it?

16. What prompts Grace to lie to her mother about Dr. Lighthart and about the money?

17. When Gene reappears, Grace thinks, “She will live in this house with this injured man on the couch until one of them dies. She will never again go to a job. She will never make love again. She will not have friends.” (page 175) What prompts her to find a way to escape this fate?

18. Are there any ways in which Gene’s rage about his situation is justified?

19. On page 195, Gene says, “ ‘Goddamnit, Grace. What’s got into you?’ ” She replies, “ ‘What’s gone out of me is a better question.” What does she mean?

20. In her goodbye letter to Gene, Grace writes, “I think that if the fire hadn’t happened, we’d have continued as the little family that we were. In time, I believe, we would have come to care about each other in a way that was companionable.” (page 221) Without the upheaval of the fire, do you think Grace would have stayed in her marriage?

21. When Grace decided to drive north, where did you think she was going? Did the epilogue surprise you?

22. The novel ends on a serendipitous note. Did you find it satisfying?

Q & A

Q: What inspired you to use the Maine fires of 1947 as the backdrop for your story? As a native New Englander, do you have a personal connection to this event or its aftermath?
A:  As it happens, I live in a town on the Maine coast that was hard hit by the Fires of ‘47.  During that week-long catastrophe, 151 of 156 houses along the beach in town were burned to the ground. Over the years, I'd heard talk about the Great Fire and had, once or twice in the past, read about it.  
A couple of years ago, I developed an intense interest and began to go to the archives to research the disaster.  The detail that captured my imagination was that of the women who had to go into the sea to save themselves and their children. I began to envision a young housewife who had to do just that, and the novel was born. 
Q: The natural disaster described in the book, a severe drought followed by uncontrollable wildfires, actually happened in 1947.  As our climate changes, it seems that tragedies like this one—where people lose communities, homes, and loved ones—are becoming more common.  What did you learn about disasters, natural or otherwise?
A:  Writing about the fire was an eye-opener for me, because it was not just the fear of surviving the moment (fire, hurricane, earthquake, sea levels rising) I had to address, but also the harrowing aftermath.  The fire takes place on page 50 of a 250-page book.  It ends on page 59.  When Grace comes to, she looks at devastation that is nearly unbearable in its thoroughness. Everything before her is black. There are no houses standing.  She sees no people.  The sand is black.  The air is filthy with soot.  Her town appears to have vanished. 
Grace is taken to the hospital; her children are under the care of strangers. There’s no trace of her neighbor next door, of her mother, of her husband.   A doctor mentions the idea of diaspora, and Grace realizes that most of the people who lived in the small town will never see each other again. (In the real fire of '47, one town vanished from the map. It was destroyed and never built up again).
The people of Hunts Beach (the fictional town) start leaving, either to live with relatives in other states or, having nothing, to start a new life.  Grace can’t get insurance money because the contracts were burned and her husband, who knew the name of the insurance company, is missing.  All family photos, all their furniture, the wringer washer that Grace loved—all are gone. Grace must live with a series of strangers who clothe and feed her and the children until she is able to look for work.  All of her life is focused on the practical. Surviving is everything. When Grace receives a letter from her best friend, Rosie, who has left Hunts Beach to settle in Nova Scotia, she breaks down and weeps. 
Because the fire is caused by prolonged drought, I couldn’t help but think of more natural disasters ahead of us, and of the climate change that will cause them.
People on the Maine coast still worry about fire, but they worry more about tidal surges and sea levels rising.  Drought causes fires, excessive rain causes flooding, disturbances in the air cause tornadoes where they’ve seldom been, earthquakes rip apart cities, the tsunamis that follow wash away villages, and a glacier falling into the sea can cause sea levels to rise with disastrous consequences. 
It's tough to hold in the head the idea of the earth destined to destroy itself, so I prefer to look at a tiny piece of that destiny.  Hence Grace and The Stars Are Fire
Q: Can you explain the significance of the book’s title?
A:  The title is taken from a line in Shakespeare (in Hamlet), but isolating the line changed its meaning for me (apologies to Mr. Shakespeare).  I read it as fire determining the fate (stars) of the victims. The cover of the book shows this best. The sparks from the fire at the bottom of the page begin to be seen as stars as they rise against a darker background.
Q: As a woman living in the 1940s, Grace is constrained by the gender roles of her time period and society’s rigid expectations for her. Can you talk about what’s changed for women between then and now?  What women (literary or real) inspired your portrayal of Grace?
A:  In that era, a woman’s life was defined by the neighborhood in which she lived and by the chores she had to perform. My mother had three children, no car, and a wringer washer.  The simple tasks of family life took up most of her day (except for her soap operas).  We could buy food from the “little” store but shop only once a week, on Thursday nights, when my father came home with his paycheck. I used my mother as a role model for Grace, though my parents had a very happy marriage. It was immensely pleasurable for me to go back to my early childhood and remember details I hadn't thought of in decades. 
Q: Gene also seems to be constrained by gender roles—in his case, society’s expectations of manhood.  Do you also see him as a victim of his culture or is he more of a foil to Grace?
A:  I don’t see Gene as particularly constrained by gender roles. His role was exalted, particularly since he had fought in WWII.  He was free to marry, have a home and children and leave that home to go out into the world to earn money. If anything, he was constrained by his responsibility to provide for his family -- but aren’t we all?
Q: By the end of the book, it seems that there are a few possible endings to Grace’s story. Why did you choose to leave her narrative open ended?
A:  I’m not sure I see the novel as open-ended. The meaningful gesture, in my view, is the moment when Aiden grasps Grace’s wrist and won’t let go, meaning that nothing will separate them now. Yes, he will go off to his concerts, but he will always come home to Grace. What I like most about the ending is her ability to envision an unconventional union, and having imagined it, take such joy in it. 
Q:  Some of the themes of your previous books—loss and grief, resilience, how one moment in life can change everything—resonate powerfully here.  Can you talk about how this book is a continuation of themes that have long interested you?  In what ways is it also a departure?
A:  Many of my novels ask the question:  If you take an ordinary woman and push her to the edge, how will she behave?  Grace is tested in the extreme: by the Fire, by a troubled marriage, and by the reappearance of a damaged and angry husband who threatens her very existence.  We see how Grace behaves: she’s resilient, she’s practical, and she finds a means of escape, even knowing how hard that escape will be.  When she married, she never imagined the emotional trials she would face, but she stood up to the challenges, even though, at times, she was terrified by them.  She had pluck and backbone and, above all, a desire to protect her children. I liked Grace.  I liked her throughout the writing of the novel.

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