Violet Powell ha ventidue anni e una colpa che non potrà mai cancellare. Ha scontato ventidue mesi di carcere per aver guidato ubriaca e aver causato la morte di una maestra d'asilo. Ora è libera, ma non sa come fare a ricominciare con un passato che pesa così tanto. Harriet Larson, insegnante in pensione e vedova, ha dedicato anima e cuore al gruppo di lettura della prigione. Ora, con le sue ragazze che riacquistano la libertà una dopo l'altra e la nipote con cui vive che si trasferisce, sente che le sue giornate stanno diventando vuote e prive di scopo. Frank Daigle ha trascorso una vita intera tra attrezzi e macchine, ma non ha ancora trovato il modo di riparare il più grande guasto di tutti: il dolore per la perdita della moglie, la donna che Violet ha ucciso. Tre persone alla deriva, tre esistenze spezzate. Quando una libreria di Portland le fa incontrare - Violet è alla ricerca del libro che stava leggendo in prigione, Harriet alla scoperta di un nuovo titolo per il suo gruppo di lettura e Frank intento nel suo lavoro da tuttofare - succede qualcosa di inaspettato. I loro destini si intrecciano e tra pagine lette e parole taciute, tra rimorsi e possibilità, i tre scopriranno che forse, proprio come nei libri, la vita offre sempre una nuova occasione per riscrivere il finale.

'La signorina' Ona Vitkus ha vissuto una vita riservata e ineccepibile, i suoi segreti - e le sue pene - celati con cura a occhi indiscreti. Questo finché non arriva lui, il bambino insolito con la passione per i Guinness dei primati. Lei ha 104 anni, lui soltanto 11. Da bravo boy scout, dovrebbe semplicemente aiutarla nei lavori di casa ogni sabato, ma con la sua curiosità e il suo entusiasmo contagioso infrange pian piano la scorza diffidente e un po' burbera di Ona, riuscendo a farla parlare di sé, a cominciare da quelle lontane origini lituane, e persino a coinvolgerla in un progetto singolare: farle vincere il record di 'Automobilista patentata più anziana'. Ona, che nel suo secondo secolo di vita credeva di avere ormai chiuso con l'amicizia, è conquistata da quel ragazzino con l'aria fragile e buffa che la fa sentire speciale. Ed è profondamente delusa quando quei sabati fatti di faccende domestiche, racconti e lezioni di guida s'interrompono di colpo. Passa un sabato, poi un altro: del bambino, nessuna traccia. Fino a quando si presenta a casa sua uno sconosciuto, un uomo di nome Quinn. È il padre del ragazzino ed è lì per completare quello che suo figlio aveva iniziato prima di essere strappato alla vita troppo presto. Da quel momento, Ona si ritroverà alle prese con i sensi di colpa di un padre, con il dolore di una famiglia spezzata, con un inatteso viaggio on the road che diventa un viaggio dell'anima.

1963, Mexico, Maine. The Wood family is much like its close, Catholic, immigrant neighbors, all dependent on a father's wages from the Oxford Paper Company. Until the sudden death of Dad, when Mum and the four closely connected Wood girls are set adrift. Funny and to-the-bone moving, When We Were the Kennedys is the story of how this family saves itself, at first by depending on Father Bob, Mum's youngest brother, a charismatic Catholic priest who feels his new responsibilities deeply. And then, as the nation is shocked by the loss of its handsome Catholic president, the televised grace of Jackie Kennedy—she too a Catholic widow with young children—galvanizes Mum to set off on an unprecedented family road trip to Washington, D.C., to do some rescuing of her own. An indelible story of how family and nation, each shocked by the unimaginable, exchange one identity for another.
   “Monica Wood has written a gorgeous, gripping memoir. I don't know that I've ever pulled so hard for a family.”—Michael Paterniti, author of Driving Mr. Albert

A Whole Lot of Inspiration (in a Little Bit of Space!)

The Pocket Muse is your key to finding inspiration when and where you want it. With hundreds of thought-provoking prompts, exercises and illustrations, you'll immediately:

• Get started writing
  
  
• Overcome writer's block
  
  
• Develop a writing habit
  
  
• Think more creatively
  
  
• Master style, revision and other elements of the craft

The rich variety of exercises will help you to create stories, focus on a single aspect of your writing, and encourage you to think about how and why you write in new and surprising ways.

A truly unique book, The Pocket Muse is fun and effective. It will teach you, cheer you and inspire you to write as never before.

Connie has trouble with time. She always has to stop and think a minute: How old is she now? . . . Faith always seems to know, though her life is the same as Connie's: back and forth to theater towns all over. The same dingy food, the same noisy sidewalks, the same cramped suites in the same hotels. . . Sometimes they go to school, sometimes not, though they always have books to read: big packets of books that Armand sends to them in every city. Armand is their parents' lawyer, the only person they know who likes children. . . .

Faith and Connie endured the same childhood as daughters of egocentric, semi-famous actors who can scarcely take care of themselves. But the two sisters could not be more different. Connie learned to beg for attention, clamor for approval, and fill the silence with words. Faith turned inward, shrinking from the tender emotions that make up an ordinary life. Despite their differences, the sisters came to rely on each other exclusively. But lately, after years of quiet connection, Faith and Connie seem to have lost the ties that once held them close. Faith has a home and two growing sons, but is still unable to fathom unconditional love. Connie, a flight attendant, is always searching, ever-expecting to find her true place in life at the end of each long flight. But a series of shocking, revelatory events will bring the sisters back to each other—and forever alter how they define love, fulfillment, and most importantly, family.

He came to me first in a dream, as a crippled dog angling down a country lane, puzzled by his sudden age, his bum paw, the dry stick clamped between his teeth. I'd been expecting this dream for a very long time, and I woke up moving. . . .

Rita Rosario has a gift, a way with people. She listens to them and really sees them for who they are–warts and all. And sometimes, she even knows how to guide them toward a new beginning. Women, even men, come to Rita's beauty shop for perms, town gossip, and the makeovers of their very lives.

John Reed first appears to Rita in one of her dreams. When they meet at a town gathering a few days later, she immediately offers him a haircut, and her heart. As they share their stories, Rita senses she can help John fill a void by reconnecting him to his only family–a young niece he nearly lost in a heartbreaking tragedy. While inspiring John on a journey out of loneliness and into reconciliation, Rita begins to come to terms with events in her past . . . and discovers things about herself she never realized, including her own intimate role in John's unfolding story.

Description is most powerful when it's visible, aural, tactile. Make your descriptions fresh and they'll move your story forward, imbue your work with atmosphere, create that tang of feeling that editors cry for and readers crave.

Monica Wood helps you squeeze the greatest flavor from the language. She segments description like an orange, separating its slices to let you sample each one.

You'll learn about:

• Detail, and how you can use description to awaken the reader's senses of touch, taste, hearing, smell and sight
  
  
• Plot, from advancing story using only relevant description–and how to edit out sluggish, reader-stopping writing
  
  
• Style, and the use of description to create a mood that matches your story's content
  
  
• Point of view, how selecting omniscient, first person or third person limited narrative influences the descriptive freedom you have
  
  
• Creating original word depictions of people, animals, places, weather and movement

Wood teaches by example, developing stories with characters in various situations, to show you how you can apply description techniques.

You'll also see samples of work by such noted writers as Mark Helprin, Anne Tyler and Raymond Carver. And you'll find the dos and don'ts, lists and descriptive alternatives to common verbs and nouns, and tips for editing your work.