Emily's Dress and Other Missing Things

Emily's Dress and Other Missing Things

5.0 2
by Kathryn Burak

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When Claire's best friend Richy went missing, he disappeared without a trace. But when Emily Dickinson's dress goes missing from the Amherst museum, she knows exactly where it is: in her closet.
As Claire and her student teacher, Tate, attempt to figure out what do to about the dress, they begin to uncover the truth behind Richy's disappearing act. Following


When Claire's best friend Richy went missing, he disappeared without a trace. But when Emily Dickinson's dress goes missing from the Amherst museum, she knows exactly where it is: in her closet.
As Claire and her student teacher, Tate, attempt to figure out what do to about the dress, they begin to uncover the truth behind Richy's disappearing act. Following a trail of clues across state lines, Claire and Tate attempt to find the person that Claire knows in her gut is responsible for his disappearance.

Editorial Reviews

Publishers Weekly
Claire’s mother committed suicide, and Claire’s best friend, Richy, went missing nine months ago. Now she and her father have moved from Rhode Island to Amherst, Mass., so Claire can repeat her disrupted senior year in fresh surroundings. Claire’s obsession with her mother and Richy is understandable and clear, more so than her emotions toward the living—namely her father; a college-age student teacher named Tate; and a classmate, Tess—who intrude upon Claire’s self-absorbed consciousness in brief, disconnected scenes. Tate in particular is an uncomfortable character. Because he is a teacher, his interactions and eventual romance with Claire come across as harassing, even stalkerish. Their mutual fascination with the poet Emily Dickinson, symbolized by Tate’s distaste for the way her dress is displayed at the Amherst house where she lived, is the crux of the plot. Burak threads her debut novel with snippets of Dickinson’s poetry, which serve as a springboard for Claire’s own writing, but both Dickinson and Claire are lost amid the thicket of literary allusion and overwrought imagery. Ages 13–up. Agent: Elizabeth Kaplan, Elizabeth Kaplan Literary Agency. (Oct.)
From the Publisher

“…a complete portrait of loss, longing, redemption, and love.” —Booklist, starred

“[a] fulfilling read for aspiring writers and fans of literary fiction.” —Kirkus

“…lyrical and refreshing…” —School Library Journal

“Though it deals with entirely different issues, this book will appeal to fans of Laurie Halse Anderson's Wintergirls (Viking, 2009/VOYA April 2009) and Speak (Farrar Straus Giroux, 1999/VOYA December 1999).” —VOYA

Children's Literature - Paula McMillen
Claire is beginning to feel she may never get to college as she repeats her senior year and finds it is not going well this time around either. Her first iteration was a total loss swallowed by the misery of losing her mother to suicide and having her one and only friend Richy mysteriously disappear—a disappearance for which the police suspected she was somehow responsible. Her college professor father has moved them from Providence to Amherst in an effort to help Claire escape the rumors and start over. She does have a new friend, Tess, but Claire reveals nothing of her past for fear that Tess will think her some kind of angel of death and run screaming in the other direction. Instead Claire writes her morbid thoughts into poetry for English writing assignments and this sends up red flags for the teaching assistant, Mr. Tate. So concerned is he, in fact, that he starts following her and just happens to be there on the night that Claire decides to break into Emily Dickenson's house and "accidentally" steals her dress. Although it sounds slightly comic on the surface, this crime is symptomatic of all the pain and guilt that Claire cannot seem to let go, and it initiates a complex series of interactions between her and Tate. Dead mothers are certainly an overused plot contrivance in YA fiction; however, the rest of this story will make up for this lapse. The characters and their relationships are richly developed, and will reward readers who like more challenging fare. The main character's fascination with Emily Dickenson and her work might spark interest in Ms. Dickenson's work, and, more broadly speaking, the options for coping with loss through reading and writing may be useful for teens having similar experiences. Reviewer: Paula McMillen, Ph.D.
VOYA - Anna Foote
Claire seems to have a problem with lies--they just pour out of her--but that is not why her mother committed suicide or her best friend disappeared. After these losses, Claire begins to lie to keep people at a distance; she lies to protect herself from her overwhelming emotions. Having recently moved to Amherst with her father, Claire finds herself drawn to Emily Dickinson’s poetry--and into the poet’s historical home. After Claire and her student teacher unintentionally steal Emily’s dress from the Dickinson house, it becomes time for Claire to start telling the truth. She has got to get Emily’s dress back to where it belongs, and reveal her heart to her father, her friend, and her teacher. First-time novelist Kathryn Burak shares a tense, emotional story that never once veers into the overly sentimental. Teens who have fallen in love with a poet or writer will relate to the comfort and passion Claire finds in Dickinson’s poetry. All teens who have experienced some loss--and maybe even some lies--in their lives will appreciate the deep emotional catharsis this story provides. Though it deals with entirely different issues, this book will appeal to fans of Laurie Halse Anderson’s Wintergirls (Viking, 2009/Voya April 2009) and Speak (Farrar Straus Giroux, 1999/Voya December 1999). Ages 12 to 18.
School Library Journal
Gr 6 Up—Claire and her father have recently moved to Amherst, Massachusetts, in the hope of starting a new life and putting the tragic events of the past behind them. Claire is grieving the death of her mother and the loss of her friend who went missing without a trace and is having trouble moving on. She finds comfort in the poetry of Emily Dickinson and senses her mother's presence in the Dickinson house museum, especially by putting on Emily's dress. When she is discovered wearing it, she is forced to run, leading to an adventure that helps her work through her grief, solve the mystery of her missing friend, and begin to look to the future. Written in first person, the story integrates the poetry of Emily Dickinson with the writings of the main character, which leads to a novel that is lyrical and refreshing in spite of the tragic events. Missing persons and suicide are dealt with in a delicate way, allowing readers to enjoy the action and suspense. Older, more advanced readers will appreciate the imagery, irony, and wit as well.—Denise Moore, O'Gorman Junior High School, Sioux Falls, SD
Kirkus Reviews
Emily Dickinson remains an enigma; this debut featuring her dress offers another mystery. After losing her mother to suicide, being considered a suspect in her best friend Richy's disappearance, relocating from Providence, R.I., to Amherst, Mass., and repeating her senior year for a second time, Claire thinks she should be a recluse, too. Inspired by Dickinson's poetry, the teen writes her own, featured throughout the story, to sort through her troubled world. When Claire's student teacher in English class, Mr. Tate, notices her dark writing and inadvertently triggers her theft of Dickinson's dress from the poet's home, the pair has more to sort out than what to do with the antique garment. Claire's lyrical, first-person narration turns more intense when Richy's body is recovered and as Tate (no longer a "Mr." once student teaching is over) helps her piece together clues about his final moments. In the process of finding Richy's killer, she also discovers how to deal with her grief, move on, make new friends and watch her father date. And of course, there's still the issue of that dress--and each other--in this quick yet fulfilling read for aspiring writers and fans of literary fiction. (Mystery. 13 & up)

Product Details

Roaring Brook Press
Publication date:
Product dimensions:
5.60(w) x 8.40(h) x 1.00(d)
HL550L (what's this?)
Age Range:
13 - 17 Years

Read an Excerpt

Chapter 1



“THIS IS THE WINDOW she looked out of every day,” the tour guide with the white mustache says. Step right up, folks, and see that certain slant of light. Immortality looks like everyday stuff: chairs, doorknobs, Emily Dickinson’s white dress on a mannequin, protected by a Plexiglas box.

If you live in Amherst, I recently learned, your English class is required to go to Emily Dickinson’s house. You might look around at the old furniture with a sincere appreciation of the day off. But for some people who come here, it’s a church. You can see it when they get out of their cars, that they look up the driveway with a light in their eyes. They have come to worship.

“Just look out that window,” the tour guide continues, “and you’ll start to see what was inside her head.”

I look out the window and see trees. Trees were in her head?

“We’ll go inside her bedroom now, to see the window from which she lowered baskets with candies and cake for the children,” the tour guide says.

As if she were fishing for kids, someone whispers. Creepy.

“That’s horrible.”

I look to my left. It’s the student teacher from AP English, Mr. Tate, standing right next to me shaking his head, still looking like he just finished the surfing championship—with his golden tan and honey-colored curls. Just the two of us are left, standing in front of the headless mannequin. He’s so close to me I can almost identify the brand of his shampoo.

“I don’t think it’s right. Putting her clothes on display like that.” He turns from the dress to look at me, his eyes narrowed.

Were we having a conversation?

“I mean, she couldn’t even stand to be in the room with her visitors. She’d have conversations from another room,” he says.

I imagine Emily Dickinson, from the next room, asking about things. How’s the weather, Claire? Is your life like a loaded gun?

“It could be anybody’s,” I hear myself say quietly.


“It’s probably not even her dress,” I say.

“Of course it’s hers. And she would have hated that it’s there for people to see.”

I shrug. “It’s just a dress.”

Mr. Tate is staring at me. He seems to have strong feelings about the dress. “Are you … still upset about that discussion?”

I feel my cheeks heat up. “Discussion?”

“The other day in class?”

It was that poem. I can still hear the real English teacher, Mr. Perzan, reciting it. I close my eyes and I can see his furry beard just slightly open as he speaks.

Because I could not stop for Death—

He kindly stopped for me—”

“I don’t know what you mean,” I say. “Still upset about what?” On purpose I blink my eyes twice. Then I concentrate on the Plexiglas that separates us from Emily Dickinson’s dress.

“I didn’t mean to argue,” he says, “about your comment. But most people…”

I hear myself let out some kind of sound—part laugh, part snort—when I hear him say “most people.”

It must be something about the sound of the snort that stops him. I don’t look over at him, but I can feel his eyes on me again, staring. Behind us, I hear the footsteps of large zoo animals, primates most likely—the type that like to stomp and drag their appendages, making their way down the stairs. They have found a reason to squeal over something I can only assume is highly amusing to primates.

Mr. Tate lets out a sigh.

“You mean, most people,” I hear myself say, “don’t think Emily Dickinson is funny? How is that even possible?” I do manage a voice that’s sincere—like I’m really asking. I manage to overcome overt sarcasm. “Come on,” I say, even sounding like I’m having a reasonable, friendly chat. “The girl in the poem is on a date with death. How is that not funny?” I make what I believe is a neutral gesture, one that indicates I am like most people. I watch my hand as it briefly glides through the air like someone else’s hand.

“I guess if you’re the type of person who thinks horror movies are funny,” he says.

I feel the hair on my arms rise. I squeeze my lips together.

“I mean, the girl in the poem … she’s cold … right?” he says. He seems to have a compulsive need to convince me of something. “And she’s being driven past a cemetery. She knows she’s being led to her own end.”

I continue to look straight ahead, to see nothing but the dress.

And then something—I’m not sure what—about the light outside shifts suddenly, like a curtain dropping over the sky, and the room is a new dim shade. Like it’s a moment from a different, gray day.

“She wants to—” I hear my voice say. “She’s making a decision to go with him. It’s her choice.”

What?” He seems to whisper this. “What do you mean? Do you mean it’s her choice to die?”

Does he step backwards as he asks this?

I swallow. I glance in his direction. He does seem farther away. I take a quick, sharp breath. I let out a fake laugh. It wouldn’t convince anyone. “It’s like a cartoon,” I say. “That’s what I meant the other day. That kind of funny. No big deal.” I seem to be smiling, nodding, or I’m trying to anyway. I’m looking at him, or at least in his direction, but over his shoulder, out the window where things are blurred. My voice is even, so even it’s flat. “Anyway, forget it. We just see the poem in different ways.” Then I feel my feet start to move toward the door. I guess the rest of me follows. I don’t know what happens to Tate.

*   *   *

“Why do you need to empty those boxes?” I ask. “It’s better to have less clutter around.” My father doesn’t seem to hear me over the sound of his tearing tape off box tops. He is ripping dramatically, all arms and elbows. It’s a violent sound that makes me shudder. For some reason, I think of skin.

As I watch him peeling back the top of the box, all the world’s evil starts escaping and entering my bedroom. I can smell it.

I turn to my laptop. I type in Flying Elvises and shift the screen so he can’t see it from where he stands as I’m lying on my bed.

“Everything’s a mystery,” my father says. “Why didn’t we label the boxes when we packed? Now it’s all a surprise.”

“Surprises are bad,” I say, but he doesn’t hear; he’s ripping another one open.

Yesterday, three Elvis impersonators died skydiving in high winds. It was meant to be a stunt to advertise the opening of a club in Springfield. If the Elvises have expressions on their faces in the video, you can’t tell because of the effect of the wind on their cheeks. At first, they are showing off, arms and legs spread. One of them pretends he’s swimming. I am thinking that’s the worst part—the way they were having fun just before the end—and so I don’t hear my father’s question that ends in “cameraman, too?”

By now I see my father has managed to get a glimpse of my laptop as usual, in spite of the fact that it never makes him happy.

“Claire, must you?”

I turn to him. “It’s a cultural artifact,” I say. You’d think that as an archaeology professor he’d see that.

“It’s macabre,” he says.

“So many cultural artifacts are.”

His mouth is in a grim, straight line. I see him wince as the screaming starts on the video, and I turn back quickly and press the MUTE button.

“How did school go today?”

“Average,” I say. “Why do you need to empty the boxes anyway? All this stuff—it’ll just get dusty.”

“Average good?”

I’m not sure in which alternative universe average in regard to high school could be good. “Some interesting—uh—people,” I say.

“You like it, then?”

I know it’s a question, but it sounds more like begging.

I look at the screen. This is the part where things get confusing, where you can see the geometry of the town far below: inside the street grid you can make out twin baseball diamonds alongside a blue public pool.

So that’s what you see when you fall to earth.

“We have enough stuff here already,” I say. “We don’t need the old things.”

“Time to move in,” he says, “and move on. We can’t live in an empty house. I know it’s not easy starting up someplace new in your senior year. But it’s only a year. Think of it that way. Count down the days. Get through. That’s all you have to do.”

I hear him attack another box and its tape. He takes a deep breath, inhaling what’s stored up in there. “Sylvia Plath. Anne Sexton. Randall Jarrell. Emily Dickinson,” he says. “You’re taking American lit, right? You might need—”

“I don’t have room for those,” I say, just barely looking up from my computer, where Springfield is silently flashing by, the blur accumulating.

I hear his feet shuffle. The sound echoes off the walls of this empty place.

“They were your mother’s—”

“I know what they are.” I switch to a new screen. “But I don’t need them, Dad.” My screen now has the picture of the nanny who was found yesterday in a dumpster in Boston—or rather, her torso was.

His feet do more shuffling. “Maybe we should do some exploring this weekend—get to know Amherst,” he says. “What do you think?”

The nanny was Swedish and loved baking, I am reading. She had been dancing all night in a shiny silver top.

“The college has a great natural science museum,” he says. “I can get us in after hours. We can have the place to ourselves.” And just in case I didn’t get the joke about his new job, he says, “I have connections there, you know.”

In the before picture of the nanny, her white-blond hair is being whipped around her face by the wind at the beach. Of course, the children have been cropped out of the picture.

“It could be fun, just us and all those bones and rocks … Have you unpacked all of your clothes?” he asks.

I hear hangers sliding on the pole in my closet. Is my father really browsing through my wardrobe? I also wonder, Where is the rest of the nanny? Where are her dancing feet?

“Do you have some other clothes somewhere? Don’t you have anything pink or yellow?” my father asks. I can hear the slow, deliberate movement of hangers against the metal pole as he examines my clothing, one item at a time. It’s a chilling sound.

“You only said black was out,” I say. “You didn’t say anything about requiring pastels.”

“You could use something bright. That was the problem in Providence, all that black.”

This makes me laugh—that black clothes were my biggest problem in Providence. “A guy broke our door down to get revenge,” I say. “It didn’t have anything to do with my clothes.” I remembered the house shaking. Was I wearing black that day?

Another hanger slowly scrapes across the pole. Note to self: Google torso—see if it means the head, too.

“It was all related,” he says.

“To my clothes?”

“This time we’re going to do it right,” he says. “You’re going to finish high school. Did you see that catalog I found … J. Crew, I think. Does that sound right—J. Crew? I put it on your backpack.” I hear him let out a deep breath. “You’re going to move on,” he says confidently. “Clothes are a start.”

I look up at him. “A glass of water looks exactly like a glass of acid,” I say.

He turns away from the clothes. “What?”

“Why does it matter what I look like?”

“You want this to work out, don’t you?” It seems like a genuine question. Like a mystery even he can’t seem to solve. “I’m just saying play along—get through the year. You didn’t leave the house for months before we left Providence, and now you’ve been thrown right into things. Maybe you could use some help? I have the number of a doctor,” he says. “Maybe some counseling—”

“Let me try,” I say, “by myself.”

He lets out a long breath.

“Can I try to work it out my way?”

*   *   *

Today Mr. Perzan, the real English teacher, is standing in the posture of a proud toy soldier. His suit, shirt, skin, and beard converge into the same shade of neutral. Only the textures distinguish clothing from person. It’s easy to dwell on this coincidence of color in a classroom that’s full of postlunch students, where the boys are sprawled out as if they are required to take up as much room as possible, like downed rain-forest trees, where the girls retract their elbows as you pass by. Like some rain-forest insects with a similar nature, even the most benign contact with them is taboo.

Mr. Perzan’s tan beard opens. “My life closed twice before its close.” The crystal-clear words lift into the air. He seems to have had some theater training, though those skills will be lost forever inside the rain forest. His past will die with him, here.

“What does Emily Dickinson mean—My life closed twice?” Mr. Perzan whispers to add intrigue.

Not one forest creature moves. The pretend teacher, Mr. Tate, is unfortunately seated facing AP English, at a student desk. Though he’s trying awfully hard to imitate a real teacher in his shirt and tie, he fits right in to the forest, and seems to be dozing off. Perhaps the surfing championship did him in.

“Hmmm?” Mr. Perzan hums. “What does it mean?”

I feel my jaw tightening. I hear nothing except scratching, and see the girl next to me doodling in her notebook—a mob of garden gnomes with pitchforks, who all resemble Mr. Perzan.

“How does someone’s life close twice before it really closes?” He’s using another persona for this question—a skeptic. He leans back. He makes his shoulders droop. “It’s not that whole death thing again. Is it?”

Still no response except the sound of pen on paper, etching in the details of many beards.

My eyes focus on the overly prepared football field outside, so bright green you couldn’t help but notice it if you were falling to earth. It could be the last thing you’d see. I take a deep breath. This seems to make a lot of noise.

“It’s not death,” I am surprised to hear myself say. “It could be disappointment … or betrayal or something. You know, she’s into the drama of it all. Saying that those things are like death.” Did I wave my hand through the air, too?

The pretend teacher has awakened. Even from way across the room I can see signs of life.

“Drama?” Mr. Perzan asks. He lifts up his chin.

“Well, Emily Dickinson’s life seems pretty boring,” I say. As I speak, I hear the forest begin to stir. My cheeks get warm. I continue anyway. “It was a small orbit.”

“A small what?” the pretend teacher asks from his corner. His voice is foggy from his nap. I can hear the forest creatures whispering.

“Orbit,” I say quietly, and the room gets silent again. “I mean, her world was limited.”

The pretend teacher is leaning forward, toward the forest. I watch his arm creeping toward the front of the desk. “Emily Dickinson’s life was limited to mundane concerns? Is that what you mean?”

The forest eyes volley to Mr. Tate. You can hear the sound of tree trunks shifting, dragging themselves across the forest floor.

“I’m not saying feeling betrayed or disappointed is mundane,” I say, “especially if you don’t know much about life.”

“You think they are on the same level as death?” Mr. Tate’s voice gets high on the last word. The forest lets go of a single, collective murmur. The front legs of chairs lift and bang down.

“For some people,” I say, though I don’t know why I do. I hear the forest wakelings start to chirp. I close my eyes.

“And that Emily Dickinson didn’t know much about life?” Mr. Tate is sitting very straight, his eyes very wide.

“I’ll have to stop the discussion because we’re out of time,” Mr. Perzan says.

I only just now notice that he has moved off to the side and is leaning against the whiteboard, his arms folded.

“And, Claire,” he starts, his voice sounding different again, more neutral and distant, “you should find out a bit more about that small orbit. See if it’s true.”

*   *   *

I finally find Emily Dickinson’s grave in the cemetery at the center of town, tucked behind a strip of stores and near an apartment building. Her gravestone is surrounded by a wrought iron fence. It says “Born Dec. 10, 1830,” and then it says “Called Back.” It makes death seem so lifelike. Calling to her.

I am thinking of what that might sound like, when I hear his voice. It comes from behind me.

“Hi,” he says. Mr. Tate, pretend teacher.

I glance at him. His face is red and sweaty, and his shirt’s been labeled AMHERST COLLEGE, in case they misplace him. He’s been running.

“Souvenir hunters still manage to climb inside to make rubbings of her gravestone,” he says.

I turn back to the grave. “Makes sense.” I mumble this.

“So you’re really doing it?” he says. “Checking out that orbit?”

Even though I try to smile, I feel only half my mouth curl up. “Why are you here?” My question comes out barbed. “Shouldn’t you be at a fraternity party or something?” I ask, staring at his shirt.

His mouth smiles. I notice his eyes don’t. “Shortcut. To my dorm— Oh, I get it,” he says. He points to the little wooden box on the grave, where people have left things. I can see a note in a ziplock bag, for protection from the rain probably. “You’re part of the club already, aren’t you?”

His tone of voice cuts me. He’s invaded my sector. Lifeguard/surfer, get back to your lookout post.

I scowl at him and then turn to the tombstone. “What club?” I say.

“What’s the measure of your grief?” he asks. I can’t tell whether he’s making fun of me or waiting for me to leap over the fence with some crayons and a paper bag so I can have my very own “Called Back” gravestone. He’s watching my face to see if I got the reference.

I take a deep breath. I grip the fence tightly.

I measure every Grief I meet

With narrow, probing Eyes—

I wonder if It weighs like Mine—

Ah, yes. But none of those griefs ever do weigh like mine. It would be hard to do that. I look straight ahead.

Lifeguard, shoo. Go home. “Fffff.” Air leaves my mouth as I begin to deflate. I’m already tired of this town.

“It’s okay to be in the club,” he says, leaning on the fence. “It’s not a sign of weakness.” His voice seems to come from high above me, even though he’s standing next to me. It has this way of coming down to my level.

I snort. “Lots of assumptions, Tate. You don’t really know anything.”

He starts to drop his wisdom on me. “I know what’s obvious—”

“That I’m another emo high school girl?”

“Wait a—”

Very perceptive,” I say quickly, and turn to leave.

“Claire, I have some advice for you,” he says.

I turn around to see his chin tucked down on his chest and his eyes looking at me from under the shelf of his eyebrows. If he wore glasses, he’d have them at the tip of his nose and he’d be looking over the rim. It’s a look that says, “Listen up, I’m the head librarian.”

Why don’t I keep walking?

“Let me tell you something about senior year—”

I don’t know if it’s his tone of voice, so regulated and smooth—so certain—or the very idea that someone wants to tell me things about senior year, but a tiny rubber band in my head pops. I swear you could hear it ping. I feel the blood surge in my temples. “I already know plenty about senior year,” I blurt out. My head throbs. “How many times did you do senior year, Tate? It’s my second time—”

I stop suddenly and see his face now, the eyebrows lifting on his forehead. His head tilts.

I look at the gravestone. I imagine climbing over the fence and hiding behind it.

“Why? What happened?” he asks.

“What?” I close my eyes. I try to disappear, like a time traveler. There’d just be the slightest evidence of me then, a normal girl’s sweatshirt and jeans left behind on the grass in front of Emily Dickinson’s grave.

“Did you get sick?”


“Why didn’t you finish high school? Did you get mono or something?” His voice is matter-of-fact. He’s even half smiling—doing me a favor, filing my life under Average, or at least somehow within the range of Usual.


Why didn’t you finish high school? It’s a question I’m tired of answering, and I’ve been asked only once. This one time. It was a rough couple of years, I’ll write in my college essay. These people kept disappearing …

I know it’s possible I will be answering for the rest of my life if I don’t get through this year, possible I’ll have to tell the story over and over forever.

I stand up taller and grasp the metal fence bars. I hold on tight. How easy would it be for me to just say I had mono? So easy. Or to just say, “It’s a long story.” I look in his direction. But it’s not him I see. Instead I see my old friend. Richy.


It doesn’t stop hurting, I could say, but I don’t.

“I was a suspect in a missing-person case.” I’ve never said it out loud before. It’s like I’m auditioning for a play, forced to say someone else’s dialogue—not the part I want—and it comes out naturally insincere.

And, believe it or not, that’s just a small piece of the story.

“But … nobody can know,” I say. “I just want to get through this year without it following me around.”


Copyright © 2012 by Kathryn Burak

Meet the Author

Kate Burak's stories and poems have been published in the Missouri Review, Western Humanities Review, Gettysburg Review and Fiction. She currently teaches writing at Boston University. Emily's Dress and Other Missing Things is her first novel.

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Emily's Dress and Other Missing Things 5 out of 5 based on 0 ratings. 2 reviews.
VeraciousRose More than 1 year ago
EMILY'S DRESS AND OTHER MISSING THINGS is a contemporary mystery that weaves together a fast paced plot with beautiful, lyrical prose that would make Emily Dickinson proud. High school senior, Claire is trying to start over after the death of her mother and the mysterious disappearance of her best friend, Richy. Now that's she's living in Amherst, MA, she's discovered she can sneak into the Emily Dickinson museum after hours and it's there she feels closest to her mother. She didn't mean to steal Emily Dickinson's dress, but Tate, a concerned friend who followed her, accidentally set off the alarm. Now they're both on the run! The plot races along with profoundly graceful writing that made me sigh happy little sighs. Claire is a complicated person with a soul-baring voice and Tate has a few secrets of his own. Things get even more complicated when the police reopen the investigation into Richy's disappearance, since they believe Claire was the last person to see him alive ... A brilliant debut by Kathryn Burak that will appeal to a wide range of readers.
Kimmiepoppins More than 1 year ago
AN AMAZING BOOK YOU SHOULD BE READING! Emily's Dress and Other Missing Things is my clear 2012 pick for an amazing book that has flown under the radar. I love the cover, but feel that the book would have benefitted from having an edgier vision to match the story within. There was so much more behind the cover of this book than I had ever expected. There was mystery and romance, but what pulled me in was the way that Burak wrote from Claire's point of view. I was completely immersed in the feelings and emotions of this character. Claire took me on a journey and it wasn't always pretty or easy, but it was authentic and the rewards for going with her were exceptional. If you love Speak by Laurie Halse Anderson, I think that you'll also love Emily's Dress and Other Missing Things.