“It was all the same thing; the same sign, and now she knew what it meant.”
In a time before modern history, a girl tries to use a charred stick and ochre to make magic with disastrous results. Staring at the spiral shapes found everywhere in nature, she begins to grasp the enormity–the power–that can be found in written marks.
Centuries later, Anna hopes to care for her brother after her mother’s death only to have the entire town turn against her. As she fights rumors and increasingly vocal accusations that she is a witch, Anna too begins to see hidden meaning in the spiral found in their traditional spiral dance that begins to appear everywhere.
In the twentieth century an American poet watches the ocean from within the walls of an inhospitable asylum. He can see the shapes there too. Spirals. Helixes. Shapes that have become emblematic of the horrors he can scarcely fathom.
Keir Bowman knows, in the distant future, that he will become an astronaut on a desperate mission to colonize a new planet. He knows he will keep looking forward. What Bowman can’t guess is that in hurtling himself through space, he will also move toward his destiny and an understanding of these spirals that march through history in The Ghosts of Heaven (2015) by Marcus Sedgwick.
The Ghosts of Heaven is a standalone novel in the same style as Sedgwick’s Printz Award winner Midwinterblood.
After an introduction from the author, The Ghosts of Heaven includes four short stories titled “Whispers in the Dark,” “The Witch in the Water,” “The Easiest Room in Hell,” and “The Song of Destiny.” As the introduction explains, these stories can be read in any order. (I read them in the order given in the book which is also the order listed above.)
The Ghosts of Heaven is an incredibly smart and ambitious novel. The stories here span a variety of genres and forms as they work together to convey a larger meaning.
“Whispers in the Dark” is told in sparse verse as a girl begins to make sense of written words and forms.
“The Witch in the Water” returns to more traditional prose as the story watches the hysteria and fear that fed the fires of witch accusations and trials in the seventeenth century. This segment also demonstrates how much of the novel deals with unequal power dynamics–in this case as Anna tries to work around much unwanted attention.
“The Easiest Room in Hell” brings readers to an asylum on Long Island where supposedly revolutionary treatments highlight the arcane and unfeeling nature of much mental health care in the early twentieth century. This story also underscores the fine line that can exist between creativity and madness.
Finally in “The Song of Destiny” Sedgwick brings the golden ratio (and the Fibonacci sequence) to the forefront in this solitary and meditative story as all of the vignettes come together in a conclusion with surprising revelations about the spirals and their ultimate meaning.
Sedgwick weaves subtle references between each quarter to make sure that the whole is greater than the sum of its parts as readers–along with the characters–move toward a larger understanding over the course of the entire novel.
The Ghosts of Heaven is a startling, clever and life-affirming novel that pushes the written word to its limit as Sedgwick expertly demonstrates the many ways in which a story can be told.
Possible Pairings: Tiger Lily by Jodi Lynn Anderson, All the Truth That’s in Me by Julie Berry, Plain Kate by Erin Bow, Wildthorn by Jane Eagland, The Curiosities by Tessa Gratton, Maggie Stiefvater and Brenna Yovanoff; The Curious Incident of the Dog in the Night-Time by Mark Haddon, Wicked Girls by Stephanie Hemphill, The Physick Book of Deliverance Dane by Katherine Howe, Folly by Marthe Jocelyn, Fire and Hemlock by Diana Wynne Jones, These Broken Stars by Amie Kaufman and Meagan Spooner, A Confusion of Princes by Garth Nix, Across the Universe by Beth Revis, In the Shadow of Blackbirds of Cat Winters
*A copy of this book was acquired for review consideration from the publisher*