Episode 1 · Mature · 18+ private alpha
Hearth & Bramble
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About this story
History remembers the ones who burned. It forgot the ones who didn’t.
The Ones Who Didn't Burn
A reckoning told by Wren of the Ashroot Circle.
They tried to burn us.
They drowned our daughters, buried our names, salted the earth where we bled. And still, we lived.
I’ve fought monsters older than stone. Helped Viktor drive back the Drowned Gods with nothing but will, blood, and the bones of the women they thought they’d erased. We won the war. We bought peace.
But peace is brittle. Mortals look at us like smoke they can’t clear. People whisper behind closed doors. And some of my sisters? They never stopped smoldering.
Now a new fire’s catching.
It starts with a symbol carved deep, and an oath that was never truly broken. We’ve learned to live beside those who once hunted us, but we haven’t forgotten. And when the past claws its way out of the ashes, we’ll show them:
We are not the witches who burned.
We are the ones who didn’t.
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- historical violence/genocide
The frost came ten days earlier than I wanted it to, which meant the calendula was done before I was, which meant I spent most of Tuesday morning kneeling in cold dirt swearing at a flower bed in a language nobody in Thistledown, Vermont has spoken correctly in about four hundred years.
Nobody heard me. That's the nice thing about swearing at plants. No one calls the language police on you, and the plants don't seem to mind either way.
I run a shop called Hearth & Bramble, on the corner where Elm Street stops pretending to be a through-road and just admits it's a driveway to the co-op parking lot. Tinctures, dried bundles, a wall of jarred honey from three different beekeepers who each think their bees are superior and will not be told otherwise, a rack of soaps a woman two towns over presses by hand and drops off every full moon like it's a delivery schedule instead of a coincidence, and a back room that smells permanently of woodsmoke and rosemary no matter what I actually burn that week. The front window still has the original gold-leaf lettering from whatever business occupied the space in the forties - I never had it stripped, because Thistledown likes its history worn where it can see it, and because, if I'm honest, I like watching the letters fade a little more each decade. It's a nice reminder that time moves for buildings too, even when it forgets to move for me.
I've had the shop for nineteen years under this name. I've had some version of this shop, under some version of this name, for considerably longer than that, but nineteen years is what's on the lease, and nineteen years is what Thistledown believes, and I have found that the truth is rarely as useful as what people are willing to believe.
I have been Marguerite. I have been a half a dozen other people after that - names picked up like coats in a closet that got too crowded to sort through properly, worn until they didn't fit anymore, or until the people who knew them got too old to keep asking questions about why I hadn't. Wren is the one I like best, if I'm honest with you, because a wren is a small, plain, brown bird that nobody bothers to shoot at, and after four centuries, being beneath notice has stopped feeling like an insult and started feeling like a small, private luxury.
I measure by feel. That's not humility, that's just accuracy - I could tell you the precise ratio of yarrow to elderflower in the fever blend down to the gram, I simply don't need a scale to get there, the way you don't need a ruler to know your own hallway is six steps long. Ora Bettencourt, who has been buying that fever blend from me for eleven years and from whoever ran the shop before me for Goddess knows how long before that, watched me pinch and drop and pinch again without measuring a single thing and said, the way she always says it, "You ever gonna write that recipe down, Wren, in case you get hit by a bus?"
"If I get hit by a bus, Ora, this town has bigger problems than my fever tea."
She laughed the wheezy laugh of a woman who's earned the right to laugh however she wants, and bought her tea, and told me her grandson was coming over from Burlington for the long weekend and did I have anything for a hangover that wasn't just "drink water and suffer, Wren," because that's apparently what I told her last time. Which - fair, because it's true, but I gave her the milk thistle anyway, because being right isn't the same as being helpful, and I try when I can, to be both. Ora is seventy-four, wears the same green barn coat from October through April regardless of the actual temperature, and has outlived two husbands and, by her own count, four doctors who told her to slow down. I have a theory that she'll outlive me too, in the sense that matters, which is that she'll be the one telling the story afterward.
Mrs. Okafor came in twenty minutes after Ora left, the way she does most Tuesdays in the fall, though her real season is June, when her third-grade classroom turns into what she calls "a small, humid room full of very loud future adults" and she buys lavender by the pound like she's stocking a bunker. Today she only wanted chamomile and, I think, an excuse to sit on my stool for ten minutes and talk about a parent conference that had gone sideways that morning - a father who didn't like his son being told to sit still, as though sitting still were a personal insult rather than a basic classroom expectation.
"He actually said the word woke to me, Wren. About handwriting practice."
"What did you say back?"
"I said the state curriculum doesn't have politics, it has cursive, and if he wanted to litigate that he could take it up with the superintendent." She sighed into her tea, which I hadn't finished steeping yet but she drank anyway, because Mrs. Okafor has never once waited for anything to be ready before deciding she was ready for it. "Some people just need somewhere to put the feeling. Doesn't matter what the actual thing in front of them is."
I didn't think much of that sentence at the time. I've thought about it a great deal since.
The bell over the door went again at half past four, and it was Jonah - seventeen, gangly, working the register three afternoons a week for gas money and, I suspect, for an excuse to leave a house that is too loud for him in ways he's never explained and I've never asked him to. He's got a good nose for the tincture blends, better than mine was at his age, though at his age means something different for me than it does for him, a fact he'd probably find more interesting than upsetting if I ever told him, which I won't, because there's a version of that conversation that ends with him looking at me differently, and I like the version where he doesn't.
"Ora says you turned down measuring cups again," he said, tying on his apron.
"Ora talks too much."
"Ora's right, though. What if you actually did get hit by a bus."
"Then you'll have had four years of watching me do it by feel, and you'll do it by feel too, and it'll come out fine, because that's how it's always worked." I said it lightly. I meant it less lightly than that. There is a version of this trade that only survives if someone is willing to catch it when it falls, and I have been, at various points across a genuinely embarrassing span of centuries, both the one falling and the one catching, and I would rather be tired forever than let it hit the ground.
He wants to study botany, or he thinks he does, or he thinks he's supposed to want something concrete enough to say out loud at Thanksgiving, and in the meantime he weighs dried nettle with more care than the job strictly requires and asks me questions I sometimes have to think hard about before I answer, because the honest answer involves a century I'm not ready to explain and the useful answer is usually good enough on its own.
"How'd you know the yarrow needed another week before you cut it?" he asked, elbow-deep in a bin of it.
"Same way you know when bread's proofed. You just know. Comes with doing it enough times."
"How many times is enough times?"
"More than you've got left in this lifetime to worry about it," I said, and he laughed, because he thought it was a joke, and I let him.
Not everyone in Thistledown loves the shop, for what it's worth - I'd be lying if I told you otherwise, and I try not to lie to you when I don't have to. There's a woman, younger than Deb, whose name I've never learned, who slows her car outside the window most Thursdays and then keeps driving. There's a man who brings his daughter to the co-op every Saturday and steers her by the shoulder to the far side of the sidewalk when they pass my door, the way you'd steer a kid around a patch of ice: careful, wordless, and completely unaware. I think that I've noticed every single time in four years. It doesn't cost me anything, most days. A shop this size runs fine on the people who do walk in. But I clock it, the same way I clock weather, not because it frightens me, but because a woman who's survived what I've survived does not get to afford the luxury of not noticing who's already decided something about her before she's said a word.
We closed up at six. I fed the shop cat, who is not my cat, who belongs to no one, who simply decided four winters ago that Hearth & Bramble had the best radiator and has not been argued out of the position since. She has no name that I use out loud, though I have called her several things privately over the years, none of them printable, all of them affectionate. I walked home the long way, past the green with its bandstand nobody's used since the town stopped doing summer concerts, past the church nobody's used as a church in thirty years, its steeple still catching the last orange light better than anything else on the street, past the window boxes going leggy with the last of the season's mums, and past the historical society's little glass case on the green, which displays, every October without fail, a laminated placard about three women investigated for witchcraft in this county in 1789 - not hanged, not even formally tried, just investigated and then quietly let go when the accusation turned out to trace back to one aggrieved neighbor and a dead cow. A footnote so small it barely rates a footnote, the kind of story a town likes to tell about itself precisely because it ends the safe way. I have stood in front of that case more times than I could count, in more decades than the historical society would believe, and I have never once told a soul that I knew two of those three women personally, or that the dead cow had nothing to do with any of it, or that the neighbor's real grievance was a fence line and forty years of resentment that finally found a shape ugly enough to use. Thistledown likes to believe it handled that story well. Handled better than most, certainly. But better than most is a low bar, and I have learned not to trust a town's opinion of its own history any more than I trust a man's opinion of his own temper.
I thought, the way I think most evenings without meaning to, about how many towns I have walked through at exactly this hour, in exactly this kind of failing light, feeling exactly this settled.
It never lasts. I know that better than almost anyone alive. But you'd be amazed how long a person can live inside not yet before they let themselves remember it's not the same as never. Thistledown has been not yet for nineteen years now, which is longer than I've let myself have anywhere since before I had this face, and there is a particular kind of foolishness in a woman my age who still lets a town this small talk her into thinking it might be the exception.
I let it. I want to be honest about that, going in. I let myself believe it, right up until the week I couldn't anymore.
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