On the surface, Alice is exactly where she should be in life: she's just given birth to a beautiful baby girl, Dawn; her ever-charming husband Steve--a white academic whose area of study is conveniently her own Mohawk culture--is nothing but supportive; and they've just moved into a new home in a wealthy neighbourhood in Toronto, a generous gift from her in-laws. But Alice could not feel like more of an imposter. She isn't connecting with Dawn, a struggle made even more difficult by the recent loss of her own mother, and every waking moment is spent hiding her despair from Steve and their picture-perfect neighbours, amongst whom she's the sole Indigenous resident. Even when she does have a moment to herself, her perpetual self-doubt hinders the one vestige of her old life she has left: her goal of writing a modern retelling of the Haudenosaunee creation story.
At first, Alice is convinced her discomfort is of her own making. She has gotten everything she always dreamed of, after all. But then strange things start happening. She finds herself losing bits of time, hearing voices she can't explain, and speaking with things that should not be talking back to her, all while her neighbours' passive aggression begins to morph into something far more threatening. Though Steve urges her this is all in her head, Alice cannot fight the feeling that something is very, very wrong, and that in her creation story lies the key to her, and Dawn's, survival. . . . She just has to finish it before it's too late.
Told in Alice's raw and darkly funny voice, And Then She Fell is an urgent and unflinching look at inherited trauma, womanhood, denial and false allyship, that speeds to an unpredictable--and unforgettable--climax.