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All stories are made of both truths and lies, she used to say. What matters is the way that we believe in them.
During her search for the missing door, she’d read that the Prince of Hearts’ church held a different aroma for everyone who visited. It was supposed to smell like a person’s greatest heartbreak. But as Evangeline entered the cool cathedral, the air did not remind her of Luc—there were no hints of suede or vetiver. The dim mouth of the church was slightly sweet and metallic: apples and blood.
According to the myths, the Prince of Hearts was not capable of love because his heart had stopped beating long ago. Only one person could make it work again: his one true love. They said his kiss was fatal to all but her—his only weakness—and as he’d sought her, he’d left a trail of corpses.
He gave her a real smile, revealing a pair of dimples that briefly made him look more angel than devil. But she imagined even angels would need to beware of him. She could picture him flashing those deceptive dimples as he tricked an angel into losing its wings just so he could play with the feathers.
Heroes don’t get happy endings. They give them to other people.
But hope is a difficult thing to kill, just a spark of it can start a fire,
The Ballad of the Archer and the Fox, a romantic tale about a crafty peasant girl who could transform into a fox and the young archer who loved her, but was cursed with the need to hunt her down and kill her.
“I believe there are far more possibilities than happily ever after or tragedy. Every story has the potential for infinite endings.”
She knew some people would think this made her foolish, but it was tremendously hard to fully fall out of love with someone when you had no one else to love instead.
But she felt. She felt so very much. Loneliness touched with hints of regret, or hope colored by impatience. It was never just one pure emotion. It was always one thing plus another.

