A Day Late and a Dollar Short

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Much-heralded and long awaited, Terry McMillan's tour-de-force novel introduces the Price family-matriarch Viola, her sometimes-husband Cecil, and their four adult kids, each of whom sees life-and one another-through thick and thin, and entirely on their own terms. With her hallmark exuberance and cast of characters so sassy, resilient, and full of life that they breathe, dream, and shout right off the page.

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Much-heralded and long awaited, Terry McMillan's tour-de-force novel introduces the Price family-matriarch Viola, her sometimes-husband Cecil, and their four adult kids, each of whom sees life-and one another-through thick and thin, and entirely on their own terms. With her hallmark exuberance and cast of characters so sassy, resilient, and full of life that they breathe, dream, and shout right off the page.

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Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
Equal parts cultural phenom, literary trailblazer, and all-around righteous sister, Terry McMillan inspires hope and devotion, her novels -- including Waiting to Exhale, How Stella Got Her Groove Back, and Disappearing Acts -- celebrated for their affirming vision of empowered women. A Day Late and a Dollar Short delivers this and more, exploring the Price family: matriarch Viola; daughters Paris, Janelle, and Charlotte; husband Cecil; and son Lewis. And as never before, McMillan's men give as good as they take, equal to their feisty, fast-talking feminine relations. The layered characterizations -- revealed through first-person chapters told individually by each family member -- imbue the novel with a rare dimensionality, as the same people and events are viewed from multiple perspectives. And more than the title allows, the Price family in McMillan's A Day Late and a Dollar Short discovers that forgiveness can offer powerful healing, even from beyond the grave.

Any man with a whiff of sense knows better than to express a critical opinion about the work of Terry McMillan in gender-mixed company. McMillan's legion of female readers fiercely protect her, unafraid to speak at length and at the drop of a hat about her gifts and her relevance. Male validation is unnecessary.

Sometimes that level of loyalty gets delightfully loud. Attending an Atlanta screening of the film version of Waiting to Exhale several years ago, I witnessed the largely female audience actively participating, peppering the on-screen dialogue with "Tell the truth!" and "Amen, sister!" Sunday morning church services blended with Friday night cineplex previews. At McMillan's bookstore appearances, too, women have been known to testify during the question-and-answer periods, joyously, tearfully remembering the discovery in McMillan's novels of women like themselves: strong and vulnerable, delicate and determined, flawed and fabulous.

In A Day Late and a Dollar Short, the four Price women are complicated and conflicted, seemingly unable to figure out ways to express their love for one another or the men in their lives without bumping up against family ghosts and assorted personal baggage. Intimacy remains illusory. Echoing the four female voices of Waiting to Exhale, the Price women face some familiar challenges, including health, finances, children, spouses, infidelity, and career options. But a departure awaits, as McMillan flexes her fictional muscles, including several strong male characters who boldly claim equal time.

Although McMillan has employed a male voice before in Disappearing Acts, where Franklin alternated with Zora to tell the tale, it always felt more like a woman's story. In A Day Late and a Dollar Short, family patriarch Cecil Price and his only son, Lewis, are equal to the task of getting a word in edgewise among all those fast-talking women. The male characters are as fully realized, as complex and as capable of growth and transformation, as any of the women.

A Day Late and a Dollar Short is, ultimately, about those transformations. It's about the healing power of family forgiveness, even when it comes to the wounds that go back to when Mama didn't love you enough or Daddy wasn't paying attention or your little sister got to ride in the front seat while you had to squeeze in the back. In McMillan's novel, those old hurts are batted back and forth among the characters so often that sometimes it is a struggle to see the whole picture and, therefore, the whole truth. In this, the reader's journey is similar to the one taken by the Price family itself, requiring us, like them, to take one step back for every two steps forward, but promising great rewards if we just commit.

When Viola's family gathers on Thanksgiving to share the letters she has written each one, absolving them of all crimes, real or imagined, the book signals a transition for McMillan, as well as for her characters. In A Day Late and a Dollar Short, she seems to have decided that forgiveness is preferable to harsher judgments, especially in matters of the heart. Where this kinder, gentler worldview will ultimately lead McMillan's female characters is still a mystery. For the moment, it seems enough that they can simply forgive, forget, and, finally, exhale.

From the Publisher
"A glorious novel...without question, this is McMillan's best." —The Washington Post

"McMillan has the uncanny ability to render family conflict with both humor and compassion...a life-affirming read...a triumph." —The Los Angeles Times

"Touching and funny." —People

"[McMillan] in top form." —The New York Times Book Review

A valentine to the power and beauty of black families and the indestructible bond that holds us together.
...McMillian's assured and empathetic writing brings them so strongly to life...leap off the page...This book is a gift.
From The Critics
Undoubtedly, McMillan's finest novel to date...a delicious family saga...McMillan has an uncanny ability to render family conflict with both humor and compassion...a life-affirming read...a triumph.
Village Voice
McMillan's best book yet. She has a true comic gift.
New York Newsday
[A] slam dunk of a novel...this book is a gift.
Touching and funny.
Chicago Tribune
By the last pages you're weeping. You're laughing. You're hooked. It's oh-so-good.
Toronto Star
Nobody does it better.
Los Angeles Times
Undoubtedly, McMillan's finest novel to date...a delicious family saga...McMillan has an uncanny ability to render family conflict with both humor and compassion...a life-affirming read...a triumph.
From The Critics
McMillan's new novel is her first since the 1996 hit How Stella Got Her Groove Back. Here McMillan introduces a bevy of lively characters, including Viola Price, her estranged husband, Cecil, and their four adult children, Paris, Janelle, Charlotte and Lewis. In their own words, each family member provides a glimpse into his or her life and secrets, as well as the ways they see each other. The book starts out slowly, with an endless series of character sketches, but goes on to successfully weave the characters together into a picture of a fully formed family. The Prices struggle through their fair share of problems: Gambling, pill-popping and sister-envy are but a few. Yet their love for each other takes them through the toughest of times. In the hands of McMillan, the master of edgy, ensemble storytelling, this book, like Disappearing Acts and Waiting to Exhale, has drama and snap. Every time I put it down, I wanted to know what would happen next.
—Andrea King Collier

Publishers Weekly - Publisher's Weekly
Viola Price is the truth-telling, trash-talking Las Vegas matriarch at the center of McMillan's eagerly awaited new novel. As the book begins, Viola is in the hospital recovering from a devastating asthma attack, and she's decided to turn her life around, even if it means causing her large, unruly clan a little discomfort. Lewis, Viola's only son, is a drifter, handicapped both by his genius IQ and his alcoholism. Janelle, the youngest child, is perpetually searching for the perfect career, while ignoring signs that her 12-year-old daughter is in trouble. Viola's relationship with her perpetually angry middle daughter, Charlotte, is so volatile that Charlotte periodically hangs up in the middle of phone conversations, while Paris, Viola's eldest, appears to be brilliantly successful, but is actually desperately lonely and has developed a dependency on pills to maintain her superwoman act. To add to the confusion, Cecil, Viola's husband of 40 years, has moved in with his girlfriend, Brenda, a welfare mother pregnant with a child that may or may not be his. The story of how the family puts it back together is told from the perspective of all six main characters, and McMillan moves easily and skillfully from voice to voice. The characters are not entirely sympatheticDlike Viola, McMillan (How Stella Got Her Groove Back) doesn't sugarcoat the truthDbut knowing their weaknesses does make their acts of courage all the more meaningful. This is a moving and true depiction of an American family, driven apart and bound together by the real stuff of life: love, loss, grief, infidelity, addiction, pregnancy, forgiveness and the IRS. (Jan. 15) Forecast: Gutsier and less glitzy than How Stella Got Her Groove Back, McMillan's latest has perhaps the broadest appeal of any of her novels. A major national advertising campaign, national publicity, a TV and radio satellite tour and a 12-city author tour will get the word out and drive the book toward the top of the charts. Copyright 2000 Cahners Business Information.
McMillan seems to have stepped up her game, her literary funksmanship, with this book. Funny, finely crafted, profound, and pathos-ridden when it needs to be—breezy when it does not—A Day Late has my unlettered vote as her best book yet... is contemporary African American naturalism at its best.
Village Voice
Ruth Coughlin
Viola's feisty yet compassionate voice is the strongest here; she spits out her opinions about everything from the untrustworthiness of men to the allure and durability of Thomasville furniture. Five years after the publication of McMillan's last novel, it is good to see her back in top form. Her breezy yet detailed portrait of this wayward family is both moving and memorable. New York Times Book Review
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Product Details

  • ISBN-13: 9780451211088
  • Publisher: Penguin Publishing Group
  • Publication date: 1/6/2004
  • Edition description: Reissue
  • Pages: 496
  • Sales rank: 782,681
  • Product dimensions: 5.25 (w) x 8.00 (h) x 1.07 (d)

Meet the Author

Terry McMillan

Terry McMillan is the critically acclaimed, award-winning author of five previous novels and recipient of the Essence Award for Excellence in Literature.

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    1. Hometown:
      Danville, California
    1. Date of Birth:
      October 18, 1951
    2. Place of Birth:
      Port Huron, Michigan
    1. Education:
      B.S. in journalism, UC-Berkeley, 1979; M.F.A. in film, Columbia University, 1980

Read an Excerpt

Can't nobody tell me nothing I don't already know. At least not when it comes to my kids. They all grown, but in a whole lotta ways they still act like children. I know I get on their nerves—but they get on mine, too—and they always accusing me of meddling in their business, but, hell I'm their mother. It's my job to meddle. What I really do is worry. About all four of 'em. Out loud. If I didn't love 'em, I wouldn't care two cents about what they did or be the least bit concerned about what happens to 'em. But I do. Most of the time they can't see what they doing, so I just tell 'em what I see. They don't listen to me half the time no way, but as their mother I've always felt that if I don't point out the things they doing that seem to be causing 'em problems, who will?

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Table of Contents

The Way I See It
Cold Keys
Clearing House Sweepstakes
Nothing in Common Except Blood
Behind My Back
Every Shut Eye Ain't Closed
Hot Links
Fish Dreams
Ten Thousand Things
Liquid Jesus
Before I Pop
Hand After Hand
Puff on That
Lucky Strikes
Burnt Toast
A New Life
Why Am I Wearing My Mama's Shoes?
Dreaming in Black and White
Two of Wands, or Hanged Man, Reversed
One Entrance to Another
Old Purses
Sock-It-to-Me Cake
What I'm Fighting For
Loosening the Knots
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Reading Group Guide


"One thing I do know about men and kids is that they always come back. They may be a day late and a dollar short, but they always come back." –Viola, A Day Late and A Dollar Short

When Viola Price returns home from the hospital after a near fatal asthma attack, she comes to an important realization: she may not survive the next one. While keeping her fears a secret from everyone but her best friend, Loretta, Viola shapes a plan for bringing her family—on the verge of breaking apart from numerous petty squabbles and insecurities—together as a supportive, loving unit. Doing so will prove no easy task but one that Viola, who asserts "it's my job to meddle," is more than equipped to tackle. Over the course of the next few months, Viola records her observations and advice to each of them. Meanwhile, Cecil and her four children struggle with the various roles as parents, children, and individuals. Terry McMillan lets each Price speak out in his or her own voice and, in so doing, opens a window onto their respective strengths and weaknesses, hopes and fears.

Lewis, the only son, carries what is, perhaps, the heaviest burden. Sexually abused as a child and suffering from the early onset of arthritis, Lewis—when he's not in jail—seeks solace in the bottle and the easy affections of women. "Sometimes I wish I'da been born white," he laments. "Things probably would'a been a helluva lot easier." But his alcohol-ravaged health, the needs of his son, Jamil, and Viola's illness are on a collision course that he'll need more than crossword puzzle skills and a martyr's attitude to survive.

As the youngest child, Janelle is not accustomed to figuring things out on her own. "She always being led out to some pasture and don't know how she got there," complains Viola. And so, when she stumbles upon her daughter, Shanice, being sexually molested by her second husband, George, she reacts the only way she knows how, "I should kill him. But I don't move." More engaged with her elaborate holiday decorations than her family, Janelle is shocked into virtual paralysis, unable to respond to the situation. She is then confronted by the realization that she must do the one thing she has always found a way to avoid: act on her own, without a man's guidance.

Second-born Charlotte's geographical distance from the rest of the Prices is metaphorical for the wide moat of hostility that separates her from them. She even refuses—can't and won't are identical concepts in Charlotte's logic—to visit when Viola is first hospitalized. The deep and abiding anger that prevents Charlotte from seeing Viola also threatens to permanently alienate her from her siblings and destroy her marriage to her loving husband, Al. She's proud of the fact that she has no confidantes: "I only tell people what I want them to know," she boasts but, like her house, Charlotte might "look good on the outside, but on the inside, its falling apart."

Paris is the quintessential eldest child and a source of both pride and envy within the Price family. She has worked hard for her nice home, doting son, and thriving career but, while her comfortable financial position allows her to help Viola, it draws her less affluent siblings' resentment. And her "I believe when you make a promise, you should keep it" philosophy neither offers nor invites empathy for human weakness. Yet, Paris' own weaknesses grow exponentially with her responsibilities and success. Her increasing dependence on painkillers exaggerates her carefully cultivated emotional detachment—and both are about to disrupt her facade of control.

Alternating and juxtaposing their stories, McMillan weaves together the delicate threads of family that are constantly strained by sibling rivalry and everyday strife but, fortified by Viola, are strong enough to endure the weight of sexual abuse and substance addiction.

Lewis, Janelle, Charlotte, and Paris all have very definite opinions about their siblings but few of them are positive. It is through Viola that they discover a place where they can release the past and see one another and themselves afresh. Viola also helps her beloved but estranged husband, Cecil, become both the father that her children are going to need and a man willing to shoulder the coming responsibilities of his new family. Viola knows one thing about men and kids, "they always come back." And, certainly Cecil and the Price children do unite, at last, but largely through their shared love and respect for the indomitable, unforgettable Viola.

As Paris ultimately realizes the incalculable and priceless value of Viola's love, she reflects, "our history, our lives together as a family, and after looking at our mother and father, I think we . . . realize where we came from and who we are."


Terry McMillan, from Port Huron, Michigan, a working-class community outside of Detroit, is the critically acclaimed and bestselling author of Mama, Disappearing Acts, Waiting to Exhale, How Stella Got Her Groove Back, and her latest, A Day Late and a Dollar Short. She is also the editor of Breaking the Ice: An Anthology of Contemporary African-American Fiction. Before making a living as an author she earned a degree from the University of California at Berkeley in 1979, received a master's degree from Columbia University and taught briefly at the University of Wyoming and the University of Arizona.Waiting to Exhale and How Stella Got Her Groove Back were both released as major motion pictures and did well in the theaters. Disappearing Acts was produced for television by HBO Films. McMillan lives outside of San Francisco.


Unlike your recent fiction, your first novel, Mama, was about a young mother struggling to keep her family together. Are there ways in which A Day Late and A Dollar Short is a revisiting of the themes and issues in Mama? How similar are Mildred and Viola?

I don't think the themes are similar in Mama and A Day Late because in Mama, I was mainly concerned with the hardships one woman endured in trying to raise five children, mostly alone, and how far she was willing to go to give them a good life. In A Day Late, I think Viola, the protagonist shares some of the strengths that Mildred showed in Mama, but Viola is a tad more vulnerable in that she admits her weaknesses. Her concern for her children is, of course, out of love but also because she really doesn't have a life of her own. Further, the themes I tried to address in A Day Late dealt more with missed opportunities, sibling rivalry, misconceptions parents and children have about each other but perceive them as truths, as well as the whole notion and role that birth order plays in a family.

Each of the six narrators possesses a distinct voice. Who was the easiest person for you to "capture"? The most difficult? Who was your favorite Price?

All of the voices were "easy" once I realized who they were and "listened" to them. Once I know all I want to know about them (I do ridiculously extensive biographies in the form of an "exaggerated" job application), I hear how they speak and it's not hard to write what they're thinking or how they might respond. In fact, I get quite a charge from "channeling" the story through each of these characters' eyes.

I would have to say that Janelle was probably the most difficult to capture. She had something to prove but was insecure, yet somewhat confident on some levels. I'd say of all the characters she is the most unsure of her own worth.

A favorite? I loved them all. But I guess I'd have to say my least favorite was Janelle. I wanted to strangle her for being such a ding-bat at times, for not taking a stand. But then again, the reason I wrote a character like her was to try and feel some empathy for her. Maybe I failed!

When you're writing, what's a typical workday like for you? Do you like to get into a routine or do you write when the muse strikes you? Did who that was change over the course of the novel?

I only have typical writing days when I'm really working on a novel and even that has changed over the years because I have a school-age son. For years I scheduled my work day around carpooling, but now he drives, so I've had to readjust again, hallelujah! I usually get up at the crack of dawn, around 5 a.m. and write (no editing whatsoever) for three or four hours. I can do this seven days a week if I'm really on a roll or if real life doesn't intervene. A Day Late was different than the other books in that I started this book a trillion years ago (1993) and then had two difficult years coping with my mother and best girlfriend's deaths, and by accident, in 1995, wrote Stella and then the screenplay, and then finally in 1999 I went back to A Day Late and tackled it again.

Was your experience writing A Day Late similar or different from your other novels? How would you say you've changed since Mama?

I experienced quite a bit of frustration in the writing and completion of A Day Late, unlike my other novels, partly, I'm sure, because of the time issue. I'm a fast writer. My drafts usually come quickly, in a rush. Mama took about a month;Disappearing Acts, two weeks; Exhale, a few months. These are just ROUGH drafts, the version you don't dare show a soul. The rewriting and revisions took close to a year. A Day Late took its own title quite seriously, but the story was important to me and I had to dredge up all the courage I had to finish it.

I just was not accustomed to starting and stopping and that was enough to make me question if I was forcing the story, or, that it was taking the time that it needed to be told. How have I changed since Mama? I don't feel any more confident as a writer except I've read enough really good novels to know what it takes to tell a compelling story. I try to tell an honest story, a plausible one, but each book does not get easier than the last. The people are brand new "friends" or "family" and you have to get to know them, find out what makes them tick, what bothers them, what predicaments you're going to put them in and then get on the bus and go on the journey with them. You never know where it's going to go or how it's going to end up, which is why it's impossible for me to even consider the idea that it could ever get easier. In fact, I don't want it to be easy. I'm doing this because I want to make an emotional investment, and the story, what I experience along with each character, is what makes it worthwhile. If I feel the same when I finish a novel as I did when I started, it means I didn't learn anything; that I've wasted my time, and probably the readers time, too. I'd like to think I'm a more compassionate person and I've come to admit and, in some cases, even appreciate my own (as well as those of others) flaws, weaknesses and strengths.

You've always been very frank about human sexuality; this is no exception but your depiction of Lewis masturbating is hilarious—truly priceless. What inspired it?

I empathized with Lewis, because here was this man with no money, no car, no phone, nothing but a TV and in a little apartment with no company. I just assumed this is what he did on nights like these when he wasn't preoccupied. I didn't set out to make it funny, and while I was writing it, it actually wasn't funny. But when I read it afterwards, I cracked up. I WAS Lewis when he was going through his antics. A friend basically told me about guys in the service who do this kind of thing with the socks, which I'd never heard of, but I guess it makes sense.

As something of a spokesperson for the joys and dilemmas of modern womanhood, which do you think is worse, Paris's prolonged celibacy or Janelle's trapeze artist approach to relationships?

As far as modern womanhood goes, I don't think I'm pro- or con-celibacy, not do I necessarily think that Janelle's 'trapeze artist" approach was smart. But then, how many of us are actually "smart" when it comes to relationships? We do what we want to and suffer the consequences later. I don't think Paris thought much about her celibacy because she was too busy. Her family's concern seemed to loom large in her mind, but I thought she was from that school that something isn't better than nothing. Janelle was grieving after her husband died, and I think she dated married men as a form of protection but it didn't work.

Charlotte feels as if Dr. Greene, as a black woman, can really understand her dilemma in a way that Dr. Simpson never can. Yet Viola's best friend seems to be the lavender-haired, bridge-playing, undeniably white Loretta. What does this say about the role that race plays in human relations?

I don't think that a black person couldn't talk to a white psychologist or psychiatrist. However, in some cases, I think it makes it easier for some people to express themselves more openly because they feel more comfortable knowing that if the doctor is of the same race, there are certain things they don't have to explain. Viola's best friend is white but being white is not the reason she is her best friend. Which, in my mind, is as it should be, as God intended all of us to be.

Why did you choose to open the novel with Viola and close it with Cecil?

I opened the story with Viola because I wanted the reader to "meet" everybody through her eyes and then when you met each of them, to see for yourself how accurate or inaccurate her perception is. I ended it with Cecil to give him a voice, to finally give him a real role in his own life and with his children. This is his second change to be a father to them.

Despite the title's pessimistic tone, each member of the Price family manages to pull their lives together by the end of the novel. What do you think the future holds for them?

I don't think the title is necessarily pessimistic. I thought of it because we, as people, always seem to believe that we'll always have another chance, and sometimes we don't get that chance. So, my feeling was, what if you can't? This is where I came to recognize the notion of "missed opportunities." A lot of us wish we could go back and change things in our lives and the title was meant to convey that maybe we ought to look at what we have and appreciate it before its too late. Hindsight is 20-20, as they say.

What are you working on now?

I had a dream about a new novel in August, 2000, while I was working on the revisions for A Day Late. I don't know if it'll come to light. It probably will. Because it woke me up. But there are a few other things I wanted to tackle before another novel. It all depends on who swims to the surface the fastest. That's who I toss the rope to.


  • Of all the siblings, who had the toughest time growing up? Or did they all start out with more or less the same advantages and disadvantages?
  • Sexual abuse is a very harsh reality that both Lewis and Shanice suffered. What do you think Janelle can do to prevent the experience from further damaging Shanice?
  • Are there parallels between Janelle's relationship with George and Brenda's relationship with Cecil?
  • Lewis picks up lady friends easily and relies heavily upon them when he gets into trouble. To what extent is this a result of his being brought up amidst so many women?
  • Viola and Charlotte share the same birthday, a coincidence that they insist debunks the claims of astrology. Are their personalities completely different or are there characteristics that they share?
  • Paris has a very tolerant attitude about her son's sexual activity. Would she have been as liberal about contraception and abortion if Dingus had been a girl?
  • Viola doesn't have an affectionate or close relationship with either of her sisters. How does this play into her hopes for her own children and grandchildren?
  • Do you agree with Dr. Greene's assessment that Al was justified in hiding the existence of his illegitimate son from Charlotte? Why or why not?
  • Alcohol and drug addiction play a prominent role in the Price childrens' problems. Could the family have done more to help Lewis face up to his alcoholism and Paris, her Vicadin addiction?
  • Would Charlotte have been able to address her anger if she hadn't won the lottery?
  • Cecil claims to love Viola, even when he leaves her for Brenda. How "real" is Cecil's love? How do you feel about Viola's supportive attitude towards Cecil's relationship with Brenda?
  • In light of the turmoil each of her children is still in at the time of Viola's death, what do you think about the novel's title?
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Customer Reviews

Average Rating 4.5
( 217 )
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See All Sort by: Showing 1 – 20 of 217 Customer Reviews
  • Anonymous

    Posted November 13, 2005

    ms. thang got one of the best styles in black literature

    A Day Late and A Dollar Short was my first Terry Mcmillan book and it was ALL THAT! She brings to the table a family known all to well to us: the daughters and the son don't communicate and the parents are on the edge of getting a divorce. The book opens with Viola, the mother, in a hospital for an asthma attack. The husband, Cecil, is with somebody else. The son (their only) is an alcoholic. The oldest and their first daughter, Paris, is a perfectionist. The second oldest, Charlotte, is the disrespectful daughter with a few problems of her own. The youngest, Janelle, is married to an older man. The family has a substratum of mistrust and unspoken secrets which contribute to the lack of communication. But it is in the mother that they all find their love for one another. Terry speaks as though it were her own family which gives me feel comfort reading the book--plus it's spoken in language you can understand.

    3 out of 3 people found this review helpful.

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  • Anonymous

    Posted November 28, 2011

    I Also Recommend:

    Good Read

    This was a good book. I loved it. Every since I read the book, I use the phrase, "You are a day late and a dollar short." Definitely worth checking out.

    1 out of 1 people found this review helpful.

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  • Posted August 17, 2011


    No text was provided for this review.

  • Anonymous

    Posted May 21, 2006

    There's Not Much A Dollar Can Fix Anyway

    Terri McMillan delivers the eventful, and dramatic story of a family whose family tree has much more meaning than realized. This story is broken down in the perspectives of six main characters and allows the readers to gain neutrally biased opinion of each experience this family endures. The moral of the story is valid and invaluable: there's not much a dollar can fix anyway. The message is delivered by way of heartache, headache, disease, discomfort, violation, loneliness and family love. And there's not a dollar bill in this world could make up for the voids in this family's season.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted September 6, 2014

    I need bf

    I need a boyfriend

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  • Anonymous

    Posted July 30, 2014

    not what I expected

    It started out well. By the end,it felt disjointed

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  • Posted May 9, 2014

    Highly recommended

    I thoroughly enjoyed "A Day Late and a Dollar Short", Terry McMillan is one of my favorite authors!!

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  • Anonymous

    Posted January 6, 2014

    Loved it

    This is a great read especially if you're looking for a break from TV and need a good story. I couldn't put this book down every page had me on edge wanting to know more.

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  • Anonymous

    Posted May 8, 2012

    Loved this book!

    One of my favorites from Terry McMillian.

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  • Posted May 24, 2009

    more from this reviewer

    I loved this book!!!

    This book was great read. I just recently purchased it and it kept my attention. I was glued to this book, and I could'nt wait to see what the next chapter was bout until I finally finished the book. I loved it and I even cried a few times while reading it. Very well put together. I will recommend it to all my family members.

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  • Anonymous

    Posted February 16, 2008

    Great Book

    One of my favorite Terry McMillan books. You'll fall in love with the Price family and in A Day Late A Dollar Short, you'll go on their not so smooth journey. It's about life & family and it's very well written. You'll love it.

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  • Anonymous

    Posted February 27, 2006

    Hilariously Funny

    I couldn't put the book down! From begining to end it is a page turner. Although based on an African American family, I saw my own family within the Price family.

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  • Anonymous

    Posted February 17, 2006

    GOOD BOOK!!!

    this was a pretty good book! i read it in about a week and a half...i loved the ending! the mother kinda held the family together and it was like everyone realized that at the end...my favorite character was paris she was the oldest of viola's(the mother) children.

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  • Anonymous

    Posted December 21, 2005

    Terry Keeps it moving

    I was drawn right in as usual with her style of telling it like it is. Very emtional. She is a champion author. No one does it better.

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  • Anonymous

    Posted August 14, 2005

    Definitely one of my favorite...I loved it!!!!

    I totally loved this book. I laughed, I cried. It was written with emotional power. Congrats to Terri because I'm acquiring her latest book this week for sure. She is definitely one of my favorite authors.

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  • Anonymous

    Posted August 2, 2005

    Okay, just too many stories in one setting

    I got this book on tape from my local library and it took me three days to listen to all of it. There were too many stories going on to keep it interesting.

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  • Anonymous

    Posted July 8, 2005

    Have loved every one of her books!!

    A total page turner! I have enjoyed reading every one of her books and am always awaiting the new releases. Her description is amazing, making you feel like you are right there living the story that she is telling. I enjoy how she can bounce back and forth with so many different people but at the same time keep it flowing so smoothly. If you have never read anything by Terry you are truely missing out!

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  • Anonymous

    Posted March 2, 2005

    Family First

    This book is great. Instead of having one person tell the whole story, Terry McMillan allows all of the major characters to tell the story. The mother begins telling the story. She then describes her (family) husband, children, and grandchildren in a way that only a mother, wife, and grandmother can. It was downright hilarious. To my surprise,however, the husband and children tell their opinions on the family and themselves. When you see how the family sees a person as opposed to how the person sees themselves you begin to think about some of the attitudes you have towards members of your own family. The beginning of the book will have you cracking up and by the end you will be in tears. My boyfriend had to read the last chapter to me because I was crying too hard to complete it.

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  • Anonymous

    Posted February 4, 2005

    A Mother's LOVE

    Viola wasn't able to express to her children the unconditional love she felt nor understanding. It took her departure to let everyone know she loved them all. The book hit me straight in the heart, I truly related! Terry keeps it real

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  • Anonymous

    Posted January 18, 2005

    Never Put Off Til Tomorrow What You Can Do Today

    Terry McMillan has continued in her down-to-earth style to which every African-American family can relate. She incorporates themes of the good, the bad, and the stressful. And, of course, she continues to explore the close, and often painful, relationships between mothers and daughters. She also issues a reminder that we should live for today. Enjoy life and take pleasure in our familial ties while our loved ones are still with us. To say we're sorry when we're wrong and to forgive each other rather than bear long, hurtful grudges. All in all, it was a fast read. Always interesting. Great book, if you like her other novels.

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