by Ashley Clark
But Harper chided herself—she couldn’t dare consider taking Millie’s gown! The piece was an heirloom. Who was she to deserve such a thing? Such a story?
She had come to believe her designs were ordinary. That she was ordinary. There was nothing about her as exquisite as this dress. And yet God had reminded her of the value of her dreams. By taking the safe route, she was actually taking the harder one, allowing fear to trump faith in her heart. Pushing healing away from herself and others, telling God His plans for her weren’t worth her time because she’d been too afraid to make the steps.
And now, here she was, standing inside the store she was meant to start all along. Somehow, God had used all those attempts to bring her where she was now. Tears began to well up in her eyes as validation rose deep within her heart.
“I’m not even engaged,” Harper whispered, looking off at the inventory.
But Millie set the dress in Harper’s arms. She raised her own finger to Harper’s chin and gently nudged until their eyes met.
“I want you to have it. No one else will love it as you will. No one else will see the story as you have. And if my hunch serves me well, as it usually does, you’ll be wearing it soon enough as my granddaughter.” Millie didn’t so much as blink, and Harper dared not blink, either. “The story is yours now.”
At that, the rock Harper had so carefully used to close up her hopes and her dreams and her soul began to roll, and fast. In its place, she found beauty, she found freedom, she found purpose streaming forth.
But most of all, she found her own second story.
Millie reached to brush the fabric of her mended cardigan.
“Harper,” she said, “it’s time to fasten the buttons.”
And Harper knew she was right.
Buttons may be tiny. Delicate, even. But they fasten together the fabric of an entire garment. The fabric we wear day in and day out, the mundane cotton blouse and the lacy wedding dress. The fabric, the seams, that cover us, warm us, protect us. Binding dream to dream, story to story, but mostly, death to life.
With a particular kind of beauty that rises from the dust. The resurrection life of a second story, of the breath that mends us.
Harper took Millie’s hand in her own and together, they stepped toward the door to open the store for the first time.
Note on Historical Accuracy
Millie represents many men and women of her time who made the agonizing decision to pass as white and hide part of their ancestral history in an effort to secure safety and opportunity. It’s my hope that I’ve clearly portrayed the complex struggle this choice creates within Millie, and the unrelenting pride she holds for all aspects of her heritage—a pride that ultimately prompts her to embroider the sack and effectively render it a historical, artistic, and cultural heirloom whose narrative will be preserved.
The satchel referenced in this novel is based on a true story about a sack purchased at a flea market in Nashville that would later become an integral artifact for African American cultural history in Charleston and beyond. Ashley’s Sack is on display at the National Museum of African American History and Culture in Washington D.C., and was originally filled with a dress, pecans, and a braid of hair. I fictionalized the buttons for the purpose of this story. The actual embroidery on the satchel reads:
My great grandmother Rose
mother of Ashley gave her this sack when
she was sold at age 9 in South Carolina
it held a tattered dress 3 handfulls of
pecans a braid of Roses hair. Told her
It be filled with my Love always
she never saw her again
Ashley is my grandmother
— Ruth Middleton, 1921
Ruth Middleton was likely the granddaughter of Ashley and was well known in affluent households within Philadelphia for her remarkable fashion sense. By embroidering the satchel in this way, Ruth ensured Rose and Ashley’s tragic story would continue to be told, and their sacrifice honored for generations to come.
Author’s Note
Dear Readers,
Thank you for taking this trip with me to the dress shop on King Street. I hope you enjoyed reading Harper and Millie’s story as much as I enjoyed writing it. Millie represents such a different set of experiences from my own that during many stages of this process, I felt intimidated to write her story justly, but she soon became my favorite character in a decade’s worth of writing. I felt her struggle for the freedom and safety to express her identity as though she were a dear friend. With that said, I would love to give you a little behind-the-scenes glimpse of how the book came to be.
I’ve always been interested in postmodernism, and it’s fair to say I hope this book provides an alternative to the cultural unraveling of “truth”—instead pointing toward a greater hope, a greater redemption, a greater Truth beyond any binary construct of power or identity, even those of our own making.
I first began writing novels ten years ago. Like Harper at the beginning of the story, I was so sure this was what God had called me to do, and while I expected I would have to work hard at my craft and face rejections, I never expected those obstacles would come repeatedly for a decade. But you know what? God never left me alone on that journey, and without every one of those rejections, I would still be writing subpar attempts at rom-com. I certainly would not have written The Dress Shop on King Street.
Did Harper and Millie’s story resonate similarly with you? Do you have a God-given dream within you, that maybe you’ve believed is dead because you have worked at it but haven’t seen anything happen? Maybe you gave it a good-faith effort, only to fail, or perhaps you’ve found yourself immobilized by fear or loud voices speaking insufficiency. Let me tell you something—the author of creation is the author of your story, and where He calls, He equips, even when manna provision doesn’t look as we’d expected. Whether you’ve dreamed of being a writer or an artist, a teacher or a foster parent, it’s time to look straight at that dead dream and allow God to breathe life into it. I pray you will find your own vision resurrected and stronger for the beautiful in-between, just like Harper and Millie.
Thanks for reading, and I can’t wait to tell you more about Lucy and Eliza’s story in the next HEIRLOOM SECRETS novel!
—Ashley Clark
Book Club Questions
What experiences do Harper and Millie have at the dress shop on King Street? How does the store itself change through the course of the story? What might these changes represent?
Both heroines believe life has disqualified them from following their dreams. What has happened to make them feel this way? Can you relate?
Millie’s racial identity has a profound influence on the choices she makes, as does the trauma of what happened to her father. Do you fault Millie for these choices? Why or why not?
Though the novel is primarily about Harper and Millie, their love stories with Peter and Franklin play a key role in shaping their dreams. What was your favorite romantic moment, and which hero did you find more swoon-worthy?
My one-word theme for the book is resurrection. How do you see this theme play out in the story? Can you think of any specific moments? Also, how do you see this theme playing out in your own life—or how do you want it to?
Water plays a key role throughout the story, as both sustaining and destructive. Can you think of any examples? How do those moments change the characters, and how do similar moments change us within our own lives?
Where would you rather visit—Millie’s boardinghouse in Fairhope, or one of Peter’s rentals in Charleston?
Millie carries two heirloom buttons throughout the book that help unravel long-held family secrets. What is significant about these buttons as a symbol, both for the characters and for your own life?
Do you think Harper and Millie are ultimately successful or unsuccessful? Why or why not?
Sparks are flying between Lucy and Declan for all the wrong reasons. What do you think may be coming for their
story—as well as Eliza’s—in the next HEIRLOOM SECRETS novel?
Acknowledgments
Like threads weaving in and out of embroidery, so many people have graciously touched this work and left it more beautiful for their investment—some when the story was only a dream, others in its final stages, but all with the commonality of helping make The Dress Shop on King Street the best version of itself. I am thankful for each of you.
Raela Schoenherr, sometimes I still pinch myself to think you’re my acquisitions editor. Thank you for believing in this story—and me!—long, long, long before it ever saw the light of day. Readers may not always know your name, but they should because you better the world of Christian fiction for all of us. You also have excellent taste in television shows.
Elizabeth Frazier, you’ve tirelessly and patiently worked to make my story shine, and I’m in awe of all the catches you find as well as your valuable big-picture feedback.
Amy Lokkesmoe, Noelle Chew, and all the team members who have diligently, creatively, and faithfully worked to place this story in front of all the right channels—you are so incredibly appreciated. Thank you for all you do!
Bethany House family, I am constantly gushing over you. You are amazing. Every one of you is intentional about producing quality fiction that embodies the hope of the gospel, and I am humbled to partner with you.
Karen Solem, you believed in me from the first day we met and never let me settle for anything less than the best fit for my stories. Thank you for never wavering and for offering such wise counsel. You are a wonderful agent.
Alley Cats, I remember the day you asked me to join your blog. I had no idea that we would become like sisters in this writing journey, and I cannot imagine walking this path with anyone else. Pepper Basham, Angie Dicken, Cara Putman, Amy Simpson, Sherrinda Ketchersid, Laurie Tomlinson, Julia Reffner, Krista Phillips, Mary Vee, Casey Apodaca, and Karen Schravemade, I adore you all. Let’s be best friends forever.
Angie Dicken, where would I be without you? In every season, you have been faithful, helpful, and understanding, from chapter critiques to celebrations. Thank you for always cheering me forward.
Cara Putman, there really are no words to acknowledge the many ways you have invested in me over the years. You are the kind of person I can go to with anything, and I wholly trust your advice. God knew I needed you from the start! You are a gem.
Betsy St. Amant, your early edits of this story were such a huge help, but even beyond that, you gave me the courage on a fundamental level to tell a story that felt intimidating and bigger than myself. You are a wonderful human being, and I am so thankful for our dear friendship and mutual love of Gilmore Girls.
Joy Massenburge, your name suits you. You are a gifted author and an absolute delight. Thank you for graciously offering a much-needed lens on my story.
Ed Grimball and Sue Bennett, the two of you are an embodiment of class, charm, and the culture of Charleston. Your walking tours inspired not only this story, but also my love for your great city. I am so thankful to know you both and will forever cherish our friendship.
Matthew Clark, when I told you I felt God was calling me to write, you believed me, and you never looked back. You’ve come to writing conferences, celebrated my milestones, and have been there when it felt as though it was all crashing down. You are my best friend, and I would marry you all over again.
Nathanael Clark, being your mother has changed my life. Your kindness, creativity, and spunk brighten my days, and I have your fierce love of trains to thank for inspiring the train-jumping portion of this novel.
Steve and Laurie Young, you taught me never to give up on my dreams and continue to bring encouragement, strength, and joy into my life. I am beyond thankful to have you as my parents.
One of the reasons I’m so drawn to multigenerational, southern stories is because I’ve had the privilege of knowing my grandparents well. Ernie and Melody Rippstein, and Jim and Dolores Young, I am so thankful to have grandparents like you and for the heritage of faith you have given me.
And I feel I’d be remiss if I didn’t mention my dogs, Maddie and Schroeder, who have offered a whole lot of moral support, cuddles, and doggie high-fives, as well as concerned looks whenever I was going through line edits. As they say, don’t shop—adopt!
Ashley Clark writes romantic women’s fiction set in the South, and The Dress Shop on King Street is her debut novel. With a master’s degree in creative writing, Ashley teaches literature and writing courses at the University of West Florida. Ashley has been an active member of American Christian Fiction Writers for over a decade. She lives with her husband, son, and two rescued cocker spaniels off Florida’s Gulf Coast. When she’s not writing, she’s rescuing stray animals, dreaming of Charleston, and drinking all the English breakfast tea she can get her hands on. Be sure to visit her website www.ashleyclarkbooks.com.
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Table of Contents
Cover
Endorsements
Title Page
Copyright Page
Dedication
Contents
Epigraph
Prologue
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Note on Historical Accuracy
Author’s Note
Book Club Questions
Acknowledgments
About the Author
Back Ads
Back Cover
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