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Kyra: A Novel

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Overview

From the internationally renowned author of In a Different Voice, a remarkable debut novel: a love story that introduces an unforgettable character in modern fiction, Kyra, and a superb new fiction writer, Carol Gilligan. Kyra is an architect designing a new city, a woman of humor and courage living in a vibrant world of family, friends, and colleagues and determined to break out of old structures. When she meets Andreas, a director staging an innovative production of Tosca, neither wants to fall in love–and yet,...
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Kyra

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Overview

From the internationally renowned author of In a Different Voice, a remarkable debut novel: a love story that introduces an unforgettable character in modern fiction, Kyra, and a superb new fiction writer, Carol Gilligan. Kyra is an architect designing a new city, a woman of humor and courage living in a vibrant world of family, friends, and colleagues and determined to break out of old structures. When she meets Andreas, a director staging an innovative production of Tosca, neither wants to fall in love–and yet, inevitably, they do. Their story takes us from Cambridge and an island off the coast of Massachusetts to Vienna, Thailand, Cyprus, and Wales as Kyra seeks the deepest truths about herself, other people, loyalty, and love. This reaching leads her to commit singular acts that startle and shock, inspiring new freedom for others as well as for Kyra herself. Rich with Carol Gilligan’s signature gifts–emotional wisdom, subtle renderings of the intricacies of human relationship, conflict and choice, and lyrical prose–Kyra is a luminous, magnificent novel by a writer realizing the range of her powers.
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Editorial Reviews

From the Publisher
“A sensuous first novel exploring the permeable boundaries of women’s inner and outer worlds.”—O: The Oprah Magazine


“A rare thing: an engrossing, deeply emotional, thinking person’s love story.”—San Francisco Chronicle

“Both a thought-provoking polemic and a love story.” —New York Times Book Review

“An enthralling novel, tender, scary, and compelling. It crackles with a fierce intelligence and keeps the reader mesmerized throughout.”—Maggie Scarf

“Ambitious . . . full of lyrical passages.”—Los Angeles Times

“The pleasures of this novel are many indeed. . . . Readers will find themselves haunted by [Kyra’s] clear call to push against the boundaries of their lives. Love is a risk that is always worth taking, Gilligan reminds us.”—New Orleans Times-Picayune

Louisa Thomas
Kyra is both a thought-provoking polemic and a love story…[it] is best when Gilligan herself seems quietest, when she allows her fictional creation to emerge as a person in her own right. She may be prone to improbable utopian visions and Deepak Chopra moments, but Kyra is also thoughtful and observant. She comes across as a sensitive journal writer—searching, trying to make sense of her life, polishing her thoughts and words. The writing in her narrative is sometimes turgid…but Kyra is too likable and her quest—to find a little harmony in a broken world—too important to be easily dismissed.
—The New York Times
Publishers Weekly

Psychologist Gilligan's landmark study of gender and moral thinking, In a Different Voice (1982), set off a generation's worth of Mars vs. Venus debates. In Gilligan's poised debut novel, Kyra is a Cambridge-based architect and professor of architecture who meets Andreas, an opera director, at a friend's Thanksgiving dinner. Both have lost spouses to political turmoil. They are intrigued by each other, falling first into companionship as he persuades her to design sets for his nontraditional production of Tosca, and later into an affair. When Andreas leaves suddenly to pursue his work, Kyra spirals downward, bottoming out in a dramatic attempt to find out what is "real." As Kyra begins an unconventional, sometimes combative course of therapy, Andreas floats in and out of her life. The novel's great strength is Kyra's voice, which Gilligan renders with assurance and lyricism. The result is a powerful portrait of a complex character. (Jan.)

Copyright 2007 Reed Business Information
Library Journal

When Kyra Levin, an architect involved in building an experimental city/arts complex on a small island off the Massachusetts coast, meets Hungarian theatrical director Andreas, she is cautious about their attraction. With much respect for each other's professions, they collaborate on staging an unconventional opera and ultimately fall in love. Kyra has loved deeply before; her husband was murdered by her half-brother during the 1975 civil war in Cyprus. There is a depth of sadness in Andreas, too, owing to a similar love-related loss. When these two creative people part suddenly, Kyra experiences a breakdown and turns to a psychotherapist named Greta; their relationship becomes the ground for the novel's richest excavations. This first novel by feminist scholar Gilligan, best known for her groundbreaking 1977 work, In a Different Voice: Psychological Theory and Women's Development,has a rarefied, cerebral quality that may not appeal to wide audiences. Recommended for larger libraries. [See Prepub Alert, LJ9/1/07.]
—Keddy Ann Outlaw

School Library Journal

Psychologist Gilligan's landmark study of gender and moral thinking, In a Different Voice (1982), set off a generation's worth of Mars vs. Venus debates. In Gilligan's poised debut novel, Kyra is a Cambridge-based architect and professor of architecture who meets Andreas, an opera director, at a friend's Thanksgiving dinner. Both have lost spouses to political turmoil. They are intrigued by each other, falling first into companionship as he persuades her to design sets for his nontraditional production of Tosca, and later into an affair. When Andreas leaves suddenly to pursue his work, Kyra spirals downward, bottoming out in a dramatic attempt to find out what is "real." As Kyra begins an unconventional, sometimes combative course of therapy, Andreas floats in and out of her life. The novel's great strength is Kyra's voice, which Gilligan renders with assurance and lyricism. The result is a powerful portrait of a complex character. (Jan.)

Copyright 2007 Reed Business Information
Kirkus Reviews
This first novel from Gilligan (Humanities and Applied Psychology/New York Univ.; The Birth of Pleasure, 2002, etc.) is an erudite but lukewarm romance between an architect, Kyra, and an opera director, Andreas. Kyra and Andreas are both brilliant, both recovering from the loss of a spouse. After Kyra's husband was shot to death, largely due to her half-brother's betrayal, during political upheavals on her native Cyprus, she went on to establish herself as an architect, teaching at Harvard and designing the "Carthage Project" on Nashawena Island near Boston. Andreas's wife was arrested in Hungary for her political resistance and never seen again. Andreas, who escaped the country with their small son, assumes she was killed. He directs opera. The attraction between Kyra and Andreas is evident early on, but their love affair evolves slowly, their intellectual collaborations and conversations laden with sensual undertones that take awfully long to become overt despite neck massages and arms brushing shoulders. Finally, while together on Nashawena, where Kyra is experimenting with a new urban design and Andreas is staging Tosca, their passion blooms along with their creative and intellectual productions. But when Andreas announces he is leaving for a directing job abroad, Kyra feels betrayed. Devastated, she slits her wrists. In recovery, Kyra begins to see a therapist, Greta. Kyra challenges Greta to change the parameters of the traditional therapist-patient relationship by opening herself up in degrees to Kyra. When Andreas reappears and tells Kyra, "My soul lives in the vicinity of you," Kyra gives him another chance. Both still smart from their losses, but each finds redemption throughlove-it's a kind of intellectually charged happily every after. Gilligan's musings on architecture, music, spirituality and art, particularly of the painting "The Kiss," are insightful and provocative. But the plot plods and the lovers lollygag with their noble suffering ad nausea. Offers exquisite turns of phrase, but scholarly and without much fictional pulse.
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Product Details

  • ISBN-13: 9780812971231
  • Publisher: Random House Publishing Group
  • Publication date: 6/9/2009
  • Edition description: Reprint
  • Pages: 272
  • Sales rank: 1,402,940
  • Product dimensions: 5.22 (w) x 8.02 (h) x 0.61 (d)

Meet the Author

Carol Gilligan is a psychologist and writer who lives in New York City and in the Berkshires. Her ground-breaking book, In a Different Voice: Psychological Theory’ and Women’s Development, has been translated into eighteen languages. With her students, she co-authored and co-edited four books on women’s psychology and girls’ development: Meeting at the Crossroads, Between Voice and Silence, Making Connections, and Women, Girls, and Psychotherapy: Reframing Resistance. At Harvard, where she was the first Graham Professor of Gender Studies, her award-winning research led to the founding of the university’s Center on Gender and Education. She is now University Professor at New York University.
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Read an Excerpt

Chapter One

What is the opposite of losing?

It was the Sunday after Thanksgiving, and we were playing chess. Felicia Blumenthal had invited the strays to her home on Francis Avenue—an old habit, hospitality to strangers, made urgent for her generation by the war. He was her cousin, “much removed,” she said, laughing, as she brought him over to where I was standing in the blue dining room balancing a plate of turkey, and when I asked him what he was thankful for, his eyes registered surprise and he said, “This,” meaning the lunch. He had come in from London the night before, he was leaving the next morning for Chicago. I had come from my studio wearing a long black skirt and white shirt. He stepped back and looked at me. “A flutist or an oboe player?” he asked. I had always wanted to play the oboe. He asked if I was cold, the dining room shaded on the north side of the house, Felicia too European to turn up the heat. We left our plates on the sideboard and crossed the hall into the living room, skirting the group standing around the fireplace —men in gray suits, a woman in a red sari—and gravitating instead to the sunny bay window. He sat on one antique blue-velvet chair, I sat on the other, the marble chessboard on the table between us.

I reached into the diagonal of sunlight, my hand momentarily translucent as I moved the white knight into position to capture the black bishop.

Andreas looked, saw, and moved his bishop away. The black bishop glided to safety, the inner recesses of black and white squares. Instead he would sacrifice a pawn: out of the many, this one.

“Your turn,” he said, looking up, his eyes blue-gray, the color of river stones.

My half brother, Anton, had taught me to play, long afternoons at the table in front of the high window looking out to the sea, his face grim. He was the child of our mother’s brief early marriage, the half in half brother a splinter under his skin. “Checkmate,” he would say, explaining that it came from the Arabic sha¯h ma¯t, meaning the king is dead. I said it meant he was her mate, the queen more elusive, more inventive, the one who moves freely in all directions. Who invented this game, I wondered, Andreas waiting. I touched the castle, its evenly chiseled turrets saying harmony, symmetry, even as its straight-line moves—up, down, across—concealed the darker purposes of alignment, the closing in of castle and knight on the unsuspecting (did she know, how did she know, why didn’t she know) queen.

Andreas leaned forward, the lines of his face deepening in concentration, and then he swept his queen across the board. “Check.”

The sun, horizontal now, ignited the yellow leaves on the maple tree outside the window.

He sat back, watching my face.

“Do you know how green your eyes are in this sun?” his voice quiet, as if to himself.

I looked at him, surprised, and at his hand at the edge of the board.

“What is the opposite of losing?” I asked him.

“Finding,” he said.

And so it began.

The next morning it snowed, unexpectedly. Huge flakes hung suspended in a yellow-gray haze, revealing the air, its density, and also gravity, as tumbling slowly and then for a moment resisting, they were pulled inexorably down. The leaves of late fall mingled with the snow of oncoming winter as I crossed the yard holding the university buildings apart, each building standing alone, discrete. This was Puritan New England. No touching, no leaning on one another. It was more or less how I’d been living since Simon was killed, my husband shot by my half brother. I stared at the buildings, stony like Anton’s face, memory rising, anger propelling me through the iron gates and out onto Quincy Street. The morning traffic was stalled, drivers peering through half-moons of windshield, marooned in their iron shells. I threaded my way between the cars, crossed Broadway, and headed for the concrete overhang of the Design School, my wet footsteps trailing me up the stairs to my office, where the phone was ringing.

“I found you,” the voice triumphant.

It took me a moment: “My chess partner,” I said, dropping my keys on the desk, my bag puddling on the floor beside me. Wasn’t he going to Chicago?

We had left Felicia’s together, he saying he wanted to walk, his legs still stiff from the overseas flight. He wanted to know how I knew Felicia, he wanted to know what I was doing. I told him I was an architect, working on a project to design a new city, on a small scale, on an island. It was something of an experiment, I said. He was trying to do operas in a new way, also on a small scale. He had trained as a conductor, was working mostly now as a director. The light faded across the river, the traffic picked up, people returning after the long weekend. We went into Harvard Square looking for coffee. Not much was open. We settled into the bar at Casablanca, at a table in the far corner, relieved to be out of the dankness that had set in with the end of the day.

We talked about our work, how we each were trying in our own way, he with operas, I with cities, to wrest a tradition into the unexpected, so people would actually see what they were seeing, hear what they were hearing. The island, Nashawena, off the coast of Massachusetts, was the site of my project. Richard Livingston, whose family owned it, had been taken by the idea that the structures people live in shape their lives. Andreas’s face lit up, his dark hair and black sweater accentuating the color in his cheeks. I couldn’t quite place him. Felicia was Viennese. He said he was Hungarian. Someone from the Lyric Opera had seen his production of Lulu in London, and he was on his way now to Chicago to meet with their board.

A loud noise from the kitchen. I jumped. I felt him watching me, puzzled. I looked around, no one seemed perturbed.

I told him I had been born on Cyprus, and except for university had lived there until the summer of ’75. I left at the beginning of the civil war, I said, if such a term makes sense.

He raised his eyebrows. It doesn’t, he said. He knew about war, he said.

Suddenly it was late. We ordered steak sandwiches from the bar menu.

Finally I said, “I really have to go.” I stood up and reached for my coat. He stood as well. “It’s been . . .” I began. Our eyes met. “Let’s leave it there,” he said softly, his long face creasing into a smile, then shadowed by a look of concern.

“I’ll be fine,” I said. He didn’t know that a woman professor had been murdered in Longfellow Park, a few blocks away. Or that a graduate student in anthropology was killed just around the corner, in her apartment on Mount Auburn Street, red ochre on her body suggesting a ritual slaying. But I was going in the opposite direction, and anyway, in my life it wasn’t the women who were slain.

I came back to the apartment, saw my face in the mirror, the flush on my cheeks, and said, “I’m not doing this.” I threw my clothes in the hamper, showered quickly, turned off the light, and closed my eyes.

“Where are you?” I asked now, peering through the horizontal pane of plate glass that in this office passed for a window. The snow fell thickly.

“I’m at the airport,” he said, “standing in a phone booth, calling you.”

I retrieved the new drawings from the clutter on my desk and rolled them into a tube, cradling the phone.

“All the flights have been canceled,” he said. “There is no way for me to get to Chicago in time for the meeting. So I was wondering. Do you want to play chess?”

Snow batted against the not-window. Who designed this Design School? A honeycomb of offices stretched out on either side of mine, the concrete walls radiating dampness. I had come in just to pick up the drawings, I was on my way to the island. I checked my watch: twenty to eight. I was wearing old jeans and a black sweater. I ran my fingers through my hair.

“Look,” I said, “I have to meet the surveyor on Martha’s Vineyard, and then we’re going to Nashawena, but why don’t you come. You can see the site, and then afterward, we can get oysters.” What was I thinking? But the answer is, I was thinking just that. He was intrigued by the project, he would like the adventure, I was sure he liked oysters. Why not?

I picked him up at the Aquarium stop on the Blue Line, he wearing a leather jacket, Italian loafers, and gray slacks, his bag slung over his shoulder. He was born in Budapest, had lived with rivers, studied in conservatories, a tall man at ease in his body, impervious to the weather. He threw his bag in the backseat and folded his long frame into the front. The smell of leather infused the car.

We drove south along the expressway, snow gusting against the windshield, erasing everything except a small stretch of road. The intimacy of the car was unsettling, lending a gravity to what had seemed a lighthearted adventure. I turned on the radio—Mozart in the morning. The slow movement of a piano concerto vied with the whirr of the defroster. Andreas took out his handkerchief and wiped the windshield. “Can you see?”

“Much better.” I found myself telling him my dream about driving blindly. In the dream, my eyes are literally shut, but my hands are on the steering wheel, my foot on the gas pedal, and the car is moving forward. I realize in the dream that this is wildly dangerous. I’m bound to hit something, kill someone. And yet nothing bad happens. The car moves ahead, the road goes uphill, the light is dim, sometimes it’s night. Farmhouses line the road. It’s somewhere in the country. I keep having this dream.

“Do you want to interpret it?” he asked, clearing the windshield again.

“Actually not.”

The news came on. Snow light, snow bright, first snow—I decide it’s a snow day, which made this all right.

We turned south onto Route 24 and then east on 25 heading toward the Cape, the sky lightening, gray arms of road surrounded by forest. As we approached the canal, the air became denser, snow drifting now through a haze of salt water, and then on the other side of the bridge the snow stopped.

Andreas took off his jacket and put it in back. I reached into my bag and retrieved an orange, handed it to him to peel.

“We had a lemon tree in our backyard,” I said. “It’s one of the things I miss about Cyprus, the taste of those lemons.”

He placed a section in my mouth, a burst of sweetness.

Tall trees lined the road like sentinels. Beneath them, smaller ash and beech still held their leaves, white-brown, the color that chocolate turns when it’s too hot, when it’s too cold. I could never remember. Mid-morning sun flooded the car. I unzipped my coat, Andreas holding it as I freed my arms from its sleeves. A strand of hair fell across my face. I pushed it back; I felt him watching me. And then we were there.

He took his jacket and his bag, leaving his briefcase in the car. “Do you think it’s safe?” he asked. I said sure.

We bought coffee in the lunchroom of the ferry and took it out on the deck as the boat headed through the channel into the Vineyard Sound. The line of the Cape receded to the left, the wind sweeping everything behind us. We rode in silence, standing at the rail.

As the string of islands appeared off to the right, he said, “Tell me about these islands.” I turned, my hair blowing across my face. “Or tell me,” his voice quiet, “is this as strange for you as it is for me?”

I didn’t want to put it into words, this feeling of being carried, like a riptide sweeping you out from the shore, and if you grow up by the sea, you know to let it take you, and then when its force subsides, you can swim back to safety.

“Do you know the Beckett novel,” he asked, seeing I could not respond, “where one character asks another, ‘Do you feel like singing?’ and the other says, ‘Not that I know of’?” I laughed, and we split the turkey sandwich that Felicia had insisted I take home with me, the rye bread, only slightly stale, rescuing the turkey from blandness.

Kevin was waiting at the dock in his red truck, his face impassive as I introduced Andreas. Kevin glanced at him, but he wanted to talk about site lines and wetlands, the new restrictions passed by the commission having necessitated changes in the plans. The three of us crowded into the front seat, the gearshift pressing on my left, Andreas’s leg on my right, my body registering his long bones, tensile muscles. I had grown up on Cyprus, where touching was commonplace. He was Hungarian. I rested my leg against his and talked with Kevin about the new location of the building at the north end of the site—an eddy where the design flowed back to the periphery. We stopped at his office, went over the wetland restrictions, examined the drawings to be sure they complied. Then we drove to Lake Tashmoo, where Frank, Kevin’s assistant, was waiting, tripods and flags loaded into the Boston Whaler for the trip across the Sound.

The harbor on Nashawena is on the north side, shallow, rocky, facing the Massachusetts coast. A strip of farmland lines the shore, rising sharply to pastures with low stubby growth, boulders laced with lichen, meandering stone walls. I tell Andreas the history, how the islands, once part of the mainland, were separated when the Ice Age receded, inhabited by the Wampanoags, members of the great Algonquin nation, who called them Nashanow, meaning between. In 1602, Bartholomew Gosnold sailed into the Vineyard Sound. He named them the Elizabeth Islands for Queen Elizabeth, although some claimed it was for his sister. These small islands were included in the territorial grant of the king to the Council of New England. When the Council dissolved, Thomas Mayhew bought them, along with Nantucket and Martha’s Vineyard. He paid two coats for Naushon, the island now owned by the Livingston family, who also own Nashawena and Pasque.

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Reading Group Guide

1. Kyra says, “I don’t think you can fall in love with a man unless you fall in love with his work.” Does Andreas have to fall in love with Kyra’s work?

2. Kyra tells Anna that with Andreas she feels a freedom she has never felt with a man before. Andreas’s feelings for Kyra are also new (“I love you in a way I have never loved anyone before”). Does the strength of their feelings also, paradoxically, explain some of their reluctance to become involved with each other? 

3. In their conversation about love, Kyra, Anna, and Roya each say things that surprise them. Did anything they said surprise you? 

4. From the beginning, Greta intuits that in cutting herself Kyra was seeking emotional integrity. How do you understand the cutting scene? Do you believe Kyra when she says that she did not want to die but to cut through the surface to see what was real? 

5. After Kyra reads the letter from her mother, Greta says, “So you know what love is.” Does this change your understanding of Kyra’s responses to Andreas? 

6. Referring to therapy, Greta says, “You can’t do this work without love.” How do you think about love in the context of a therapy relationship? 

7. As an architect, Kyra is guided by the vision that to change the way people live, you have to change the structures they live in. When she casts her eye on the structure of therapy, Greta takes her concerns to heart, coming to see that people need to feel free to challenge structures that are not of their own making. At one time or another, most of the characters in the story wrestle with this question. Does this issue come up in your life? 

8. When Kyra hesitates to break her vow and open herself to Andreas, Anna encourages her to do so. Why do you think she does this? 

9. What do Andreas’s letters to Kyra tell you about him? 

10. Abe, Andreas’s father, plays a key role in the life of Jesse, Andreas’s son. What do you make of this three-generational family? At critical points, both Jessie and Abe express their feelings for Kyra to Andreas. Do you see it as a strength in Andreas that he allows himself to be moved by what they say? 

11. When he returns to Budapest, Andreas realizes that “what loyalty meant was no longer simple.” How does his understanding of loyalty change, and how does this alter his response to Kyra and also to his work? 

12. Do you imagine the relationship between Kyra and Andreas continuing? How do you envision their future? How would you resolve the issues of love and work raised in the novel? When Andreas tells Kyra, “I want to be with you,” and then thinks how difficult this would be to arrange, can you see a good way for them to arrange it? 

13. What function do dreams play in this story? Why do Kyra and Greta decide to begin their post-therapy relationship by writing each other their dreams? Do you imagine their relationship continuing? What form do you think it might take? 

14. In her letter to Greta, Kyra writes, “What’s always said about my work is that I saturate my buildings with natural light. I think of Louis Kahn, ‘the shadow belongs to the light.’ ” Does this apply to the novel as a whole? 

15. The characters in this story love to think; they give lectures, go to faculty meetings, direct operas, design cities, talk about paintings, and are passionately engaged with their projects. The history of Europe in the twentieth century has played a central role in their lives. What is the relationship between their experiences as survivors of huge historical traumas and their passion for their work and for each other? 

16. The action of the story takes place on three islands– Nashawena, Cyprus, and Bardsey–as well as in the urban centers of Cambridge, Budapest, and Vienna. Do the mood and action of the story on the islands differ from those in the cities? Does being on an island affect how the characters see and feel? 

17. From the opening scene at Felicia’s to the midnight supper on Bardsey, food is a recurring theme. What does this tell you about the characters and their way of living in the world? 

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Customer Reviews

Average Rating 5
( 7 )
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Sort by: Showing all of 7 Customer Reviews
  • Anonymous

    Posted September 7, 2014

    To brian

    What happened to mel? And scarlet?

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted September 7, 2014

    Brian

    Smiles back

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted September 7, 2014

    To Kyra

    Why were you and Carter snuggling at ethics?!

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted September 14, 2014

    Kyra

    Walks in

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  • Anonymous

    Posted March 2, 2013

    Kyra

    Kyra is my name and i now the ather he is my dads best friend

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 3, 2008

    Kyra speaks for all who have loved

    What a wonderful weekend read. The book spoke of love and loss and letting go. I loved the weaving of Opera and Architecture and different cultures and cities. It will be a book club pick. Great characters.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 25, 2010

    No text was provided for this review.

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