Ayesha Roscoe

My conversation with Grady Hendrix when we come back. Stay with us. Grady, thanks for joining us. Thanks for having me. Okay, so set this up for us. The story starts in the early 1970s with a pregnant 15-year-old girl, her very angry father at the wheel. They're speeding from Alabama to Florida.

And there is so much judgment at this time for unwed mothers in general, but especially for teenage unwed mothers. Tell us who the girl is and where her father is taking her.

And there is so much judgment at this time for unwed mothers in general, but especially for teenage unwed mothers. Tell us who the girl is and where her father is taking her.

And there is so much judgment at this time for unwed mothers in general, but especially for teenage unwed mothers. Tell us who the girl is and where her father is taking her.

And the girls were kept under very tight control. Like, the woman running the place where it never ends up, She instructs the girls that they are not to talk about their real identities. They're given fake names. And they are also kept in the dark about what exactly is going to happen to them when it's time to give birth. They're told, oh, there's no pain. You'll just go on to sleep.

And the girls were kept under very tight control. Like, the woman running the place where it never ends up, She instructs the girls that they are not to talk about their real identities. They're given fake names. And they are also kept in the dark about what exactly is going to happen to them when it's time to give birth. They're told, oh, there's no pain. You'll just go on to sleep.

And the girls were kept under very tight control. Like, the woman running the place where it never ends up, She instructs the girls that they are not to talk about their real identities. They're given fake names. And they are also kept in the dark about what exactly is going to happen to them when it's time to give birth. They're told, oh, there's no pain. You'll just go on to sleep.

You won't remember anything. And that's not true. Even back then, I mean, they had some stuff going on, but that's not true.

You won't remember anything. And that's not true. Even back then, I mean, they had some stuff going on, but that's not true.

You won't remember anything. And that's not true. Even back then, I mean, they had some stuff going on, but that's not true.

You know, the novel's going along. It's all very realistic because, you know, these homes existed. But then here comes this bookmobile and a mysterious librarian and this spellbook for groovy witches. Yes. Talk to me about Fern, Rose, Holly and Zinnia. That's the kind of the group or should I say coven that comes together and their first foray into the dark arts.

You know, the novel's going along. It's all very realistic because, you know, these homes existed. But then here comes this bookmobile and a mysterious librarian and this spellbook for groovy witches. Yes. Talk to me about Fern, Rose, Holly and Zinnia. That's the kind of the group or should I say coven that comes together and their first foray into the dark arts.

You know, the novel's going along. It's all very realistic because, you know, these homes existed. But then here comes this bookmobile and a mysterious librarian and this spellbook for groovy witches. Yes. Talk to me about Fern, Rose, Holly and Zinnia. That's the kind of the group or should I say coven that comes together and their first foray into the dark arts.

Exactly. I mean, so they get a little into it. They do a little spell and someone feels the effects of it. But, you know, things do get rough. Witches are witches. They're going to do witchy things. And there's always a price to pay for power.

Exactly. I mean, so they get a little into it. They do a little spell and someone feels the effects of it. But, you know, things do get rough. Witches are witches. They're going to do witchy things. And there's always a price to pay for power.

Exactly. I mean, so they get a little into it. They do a little spell and someone feels the effects of it. But, you know, things do get rough. Witches are witches. They're going to do witchy things. And there's always a price to pay for power.

But it really seems here that more of the horror in this book is the reality that the girls are living in, where they just have zero agency over their bodies, their babies, their kids. And they're put in this position where they have to make these horrible decisions, and they're just children. What kind of led you to write this kind of story? Yeah.

But it really seems here that more of the horror in this book is the reality that the girls are living in, where they just have zero agency over their bodies, their babies, their kids. And they're put in this position where they have to make these horrible decisions, and they're just children. What kind of led you to write this kind of story? Yeah.

But it really seems here that more of the horror in this book is the reality that the girls are living in, where they just have zero agency over their bodies, their babies, their kids. And they're put in this position where they have to make these horrible decisions, and they're just children. What kind of led you to write this kind of story? Yeah.

Well, I'm glad you stuck with it. And that's interesting about, you know, failing to write it, but then getting to this work. So that should give some people hope because you kept at it and you succeeded.