Sanctuary

Sometimes losing your children is the only way to save them.

The year is 2039. Jean Bennett’s husband and sister are dead. Chased by government goons and a virus that might kill her at any time, Jean must be braver than she ever thought possible as she journeys a thousand miles to Canada to take her five children to safety. On a ride unlike any they’ve ever taken, Jean must overcome each new challenge as she begins to understand what she must do to save her children.


Praise for sanctuary

GENUINELY EXCITING, Sanctuary is an entertaining mash-up of Cormac McCarthy’s The Road and Emily St. John Mandel’s Station Eleven. Ginny Fite is a talented writer, and her family of survivors will linger on in your memory.

—Jeff Soloway, author of The Travel Writer mystery series and winner of the Robert L. Fish Award from the Mystery Writers of America

 

HAUNTING YET HEART-POUNDING, Sanctuary’s intimate portrayal of one family’s fight to survive a viral cataclysm breathes new literary life into dystopian fiction. It’s The Road meets Station Eleven but with Fite’s uniquely lyrical voice. A must-read!

—J.L. Delozier, multi-award winning author of The Photo Thief

 

IN EQUAL TURNS THRILLING AND POIGNANT, Sanctuary is a fast-paced, thought-provoking novel that draws the reader into one family’s quest for safety in a world ravaged by a deadly virus. Ginny Fite skillfully brings the near-apocalyptic world, populated by desperate citizens and corrupt virus police, to horrifying life, inviting the reader to consider just how far we might go to save our own families. 

—Kathleen Barber, author of Truth Be Told (an Apple TV+ series) and Follow Me 

 

A GRIPPING DYSTOPIAN THRILLER, Ginny Fite’s Sanctuary is about a mother’s harrowing journey to secure the safety of her children amidst a relentless pandemic. Set against the backdrop of a society in chaos due to an invisible killer, the novel masterfully captures the essence of maternal love stretched to its limits. As the protagonist navigates through a world plagued by fear and uncertainty, readers are taken on a rollercoaster ride of suspense and emotion. Sanctuary is an adrenaline-pumping exploration of love, survival, and the unbreakable bonds that hold us together against adversity.

—Jackson Banks, author of the thriller novel Alligator River

 


Chapter 1 Sample

Jean

THE infection hit with such ferocity and speed that all public trans­port had shut down by the end of my husband’s meeting in DC, sixty-five miles from home. No car, no commuter train, no way out.

In the five hours since he’d arrived in the city that morning, police had blockaded roads and barred highway entrances. Airlines delayed flights and then canceled them. Residents, under threat of arrest, huddled in their homes, and universities restricted students to dorms. Government officials shuttered public buildings, closing, and locking the gates.

Television news showed black-helmeted National Guardsmen herd­ing panicked tourists back toward their hotels as they stampeded down unfamiliar streets. Coast Guard cutters patrolled the Potomac River; helicopters buzzed overhead. From Capitol Hill to the Ellipse, red lights on Constitution Avenue blinked on and off. Front pages of the morning newspaper skittered across empty streets.

I waited for Ted to call.

Six months later, planting is the one activity that still makes sense. Elbow deep in dark, loamy soil, preparing this year’s vegetable garden, Caro says, “Even demons believe in God.” Her eyes are lowered, watch­ing her own gloved hands transfer a tender tomato plant from its small pot to the ground.

Her sudden assertion doesn’t surprise me; we’ve been playing this game all our lives. This will be another argument in my sister’s perpetual attempt to crack open my agnostic armor. I’m accustomed to parrying her new thrusts.

She nailed a cross on her door when she was fifteen. I hung a bejew­eled heart on mine. Ten years later, we argued about the sanctity of gurus when she taped an image of Maharishi Mahesh Yogi on my refrigerator. I countered with a photograph of the owner of my local market. Three years ago, well before the infection, she began attending Friday evening Shabbat services; I took up Tarot card reading. These days, the figure of Death turns up frequently.

I sit back on my heels to watch her face. “I don’t believe in demons.”

“Maybe you should, Jean.” Caro purses and twists her lips—her expression on the rare occasion when I take her rook with my queen. She always beats me at chess, although sometimes I surprise her with a move or two.

My neck clicks as I roll my head around to stretch out the knots. I’m the older sibling, not the smarter one. Pragmatism is my religion. When the world is falling apart, doing what works is a virtue. At least, that’s what I tell myself to keep from going crazy.

Caro calls me a mechanic, but I understand her. It’s comforting to believe in something, particularly now. I believe in what I can see, what I can do. Beyond the edges of my small map of the world, the little I know won’t work. The real world is huge, and at thirty-nine, I’m still a journeywoman. It’s unclear now that I’ll have enough time to arrive at proficiency.

“Never mind,” she says, giving me a reprieve from heavy arguments on an otherwise perfect March day that feels more like May. Next year it’ll be warmer still; that much we can count on.

She plunges the baby tomato plant into the black dirt. We’ve already put in lettuce, broccoli, and onions. Tomorrow we’ll plant eggplant and green beans. Relieved she’s surrendered, I reach for another tender shoot, drop it into the soil, and pat the earth firmly around the roots. We’ve learned to cherish small wins when we can. I can almost smell the tomato to come, taste it sliced and salted, drizzled with balsamic vinegar, and sprinkled with fresh basil.

More than ever, life is what we make it. The last viral pandemic, the one dubbed COVID-19, I was young enough to feel impervious to disease. I used to think getting dirt under my nails was good for me, that the musky energy radiating from the center of the Earth would balance me. Now I’m watchful, careful about everything, xenophobic about interacting with even the tiniest forms of life because, this time, where the enemy comes from is a mystery.

The year before my son, Ren, was born, all we worried about was cli­mate change. Ted and I put in forty-two trees on the three-acre meadow where we’d planted our house to balance our carbon footprint. We were such Boy Scouts, thinking the world would continue on the course we expected, believing we could be prepared for anything.

I am grateful for our industry, though. Those lovely oaks, maples, pears, birches, and fir trees block any neighbor’s view into our yard. Red­bud and cherry give us color; cedar gives us fragrance. My struggling magnolia throws out cream-colored satin buds the size of my fist every June, no matter what’s happening in the world. From a drone’s eye view, our house is an origami box floating in a sea of green.

Caro wipes sweat from her forehead with her wrist, keeping the dirt-covered fingers of her glove pointed away from her face. She doesn’t want to streak her cheeks with mud. I love her for this unnecessary fastidiousness about her appearance. Aside from our small gang of five children, no one will see her gardening or doing anything else.

“What about angels?” she asks, pulling off her gloves and adjusting her broad-brimmed sun hat.

“Angels?” I laugh. She hasn’t given up, only changed tacks. “What about them?”

“Do you believe in them?”

I look at her angular, still unlined face and wonder why she’s strug­gling with this idea of deity today. “Why is this important now?”

“I saw something,” she says. “Hovering over the kids yesterday when they were playing in the trees. Something I don’t know how to explain.”

“Heat haze,” I guess. “Northern lights during the day. Electromag­netic activity caused by sun flares. Auras.”

She lowers her eyes, a signal that she thinks I’m being flippant. In the world of all possible answers, I haven’t stumbled upon the right one.

“It’s a portent.” She stares into my eyes as if to send me a telepathic message. “You know, like Mom said. Something we’re supposed to notice.”

I tense. Our mother was not an oracle I would believe, but whatever Caro saw has meaning to her. I should pay attention instead of making light of it, even though I can’t resist teasing her. She’s always so serious.

“Okay. What does it portend?”

“I did something you’re going to be angry about.”

I stretch my neck, close my eyes to shutter my annoyance, and wait.

Writing the End of the World as We Know It

Ginny Fite

I began thinking about this story, now titled SANCTUARY, in 2016, as news stories surfaced of women and children crossing the Mediterranean in small rubber boats fleeing war-ravaged countries to Europe. How does a woman choose to strap her child to her body and leave her home forever; where does she find the courage? I thought about families displaced by raging wildfires in California and Oregon and the loss a mother faces after her world is devastated. I thought of the humans who traversed the globe on foot to escape drought and famine and wondered what happens to a woman when she must flee.

By the time a version of the first chapter was published as a short story by the SFWP Quarterly as “Even Demons Believe in God” in 2018, I knew I was writing an end-of-the-world The Road meets Bird Box kind of dystopian thriller but without zombies, cannibals, aliens, or devils, and with a female protagonist on a desperate journey to keep her children safe, no matter what that took.

Then the viral pandemic I thought I’d invented as a catalyst for the protagonist’s actions became a real infection ravaging people across the globe, and I could observe humanity’s reactions in the news—the disbelief and dread, the resistance to public health measures, and what looked like government abdication or overreach and, globally, the complete inability to adapt and manage the disaster. To separate my fictional crisis from the real one, I had to set the action of the novel farther into the future. It now takes place in a year like the one Mandel’s Kirsten of Station Eleven can’t quite remember—the time between normal and when civilization ended.

I pictured the grief of a woman who had lost her child to the waves when their rubber boat collapsed on the sea only miles from Greece, prostrate and writhing in agony, and wrote from there. My protagonist would face a parent’s greatest fear—that she would lose her children. To raise the stakes, losing them would also be the only way to save them. She would have to let them go on without her, not knowing if they would make it alone, but sure that if they stayed with her, they would die. The children would have to face their own greatest fear of abandonment and yet realize that leaving her was the only way to save themselves.

The first character to speak to me was Jean, who, like her name, is an ordinary American woman in her early forties who has a first-world education and a comfortable suburban home. My hope is that most American women will see themselves in Jean. She’s smart, competent, attractive, and caring. She’s involved with her kids, works freelance while the kids are young, and is still in love with her husband after fifteen-plus years of marriage. She has no grand designs for fame or glory but expects her pleasant lifestyle to continue. Not that she hasn’t had her personal struggles or that her relationship with her sister Caro isn’t bumpy, but she thinks she has the luxury of time to iron out the psychological rumples in her otherwise well-organized life. The last thing Jean expects is that the random attack of a deadly, invisible enemy will devastate the world.

Then Jean’s husband and her sister Caro die from the virus, and, brokenhearted, she decides to flee with her three children and Caro’s two to escape both the encroaching virus and the government goons who intend to detain and separate her family. It takes Ren, her fourteen-year-old son, to narrate how the children experience being torn away from the only life they’ve known and the ever-escalating fear and risky choices they must make on their 1,000-mile journey to safety. When they learn that children, who seem to be immune, can be infected when they turn fifteen, their trip takes on greater urgency.

When I wrote “The End” on the last page of the novel, I began to sob. I still don’t quite understand why. Perhaps my readers will have the same experience and explain it to me.