La's Orchestra Saves the World (DO NOT ORDER Canadian Sales Only)

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Overview

La's Orchestra Saves the World is another delightful story celebrating friendship and the healing power of music, told with the warmth and charm we've come to love from this favourite storyteller.

It's 1939 and the war in Europe casts a long, all-encompassing shadow. In a sleepy town in Suffolk, La, the generous and determined widow, forms an amateur orchestra to entertain the locals and soothe her own broken heart. She recruits Feliks, a refugee from Poland, to play the flute, ...

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La's Orchestra Saves the World

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Overview

La's Orchestra Saves the World is another delightful story celebrating friendship and the healing power of music, told with the warmth and charm we've come to love from this favourite storyteller.

It's 1939 and the war in Europe casts a long, all-encompassing shadow. In a sleepy town in Suffolk, La, the generous and determined widow, forms an amateur orchestra to entertain the locals and soothe her own broken heart. She recruits Feliks, a refugee from Poland, to play the flute, and a touching friendship emerges. When the war is over and the orchestra disbands, La is left pondering her next move. What role can she play in her community now that the war is over? And can she let herself love again?

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Editorial Reviews

Eugenia Zukerman
Set in England at the onset of World War II, McCall Smith's new tale is a metaphor for the transformative power of music…La's Orchestra Saves the World is crafted with the author's usual wit, wisdom and grace. Like a pianist putting listeners at ease with the opening phrase, McCall Smith immediately makes us feel confident that this is a true and resonant tale.
—The Washington Post
Publishers Weekly
Set mainly during WWII in England, this quiet story about a woman who makes a new life for herself falls short of bestseller Smith's best work. After La Stone's husband leaves her for another woman in France, La retreats to a small cottage in Suffolk given to her by her mortified in-laws. The isolation and peacefulness suit La, who joins the Women's Land Army soon after the outbreak of war. When Feliks Dabrowski, an attractive Polish ex-pat, is assigned to the same farm where La is assisting with chores, La is attracted to him, despite her suspicions that Feliks hasn't been fully truthful about his past. La's idea to launch an amateur local orchestra to boost morale proves an unexpected success and helps give her purpose during the war's darkest days. While the understated prose appeals, La just isn't as interesting a creation as the author's two female sleuths, Precious Ramotswe (The No. 1 Ladies' Detective Agency) and Isabel Dalhousie (The Sunday Philosophy Club). (Dec.)
Library Journal
After her husband leaves her for another woman, Lavendar, or La, leaves London for the Suffolk home generously provided by her in-laws. Soon after, war with Hitler is declared, and La begins gathering eggs for a farmer, organizes an orchestra of servicemen and townspeople, and finds work for Feliks, a Polish airman who can no longer fly. After Feliks is wrongly accused of theft, La shares her concern that he is actually German, and he isn't seen in the village again until La's VE Day concert. As a dedicated fan of Mma Ramotswe, this reader was disappointed with the scattered nature and bland characters of Smith's latest. La never truly comes alive, and the details of her life don't add up to a cohesive picture explaining her choices. Elements of interest, such as wartime life in the English villages, how music can inspire, rebuilding life after the loss of a marriage, or options for a single woman with means and opportunity, are only skimmed. VERDICT The author's name will make this a strong seller, but readers hoping for another Guernsey Literary and Potato Peel Pie Society will be left wanting. [See Prepub Alert, LJ 8/09.]—Stacey Hayman, Rocky River P.L., IL
Kirkus Reviews
Gravely charming stand-alone from the chronicler of Mma Precious Ramotswe and Isabel Dalhousie (The Lost Art of Gratitude, 2009, etc.) sees an aggressively ordinary English widow through the dark days of World War II. Despite being warned by her tutor that too many women leave Cambridge with a husband instead of a career, that's exactly what Lavender Ferguson does. Even worse, the man who presses her to marry him, wine-merchant scion Richard Stone, soon presses on to greener pastures-i.e., France with another woman. Deeply sad but matter-of-fact about her failed marriage, La retreats to Sussex, where she is financially secure but very much at loose ends. After war is declared, she casts about for some way to help the war effort in this isolated rural area where she's never made the friends she rather naively expected. At length she volunteers to help arthritic chicken farmer Henry Madder feed the troops and the nation. While she's working as a freelance Land Girl, a conversation with Squadron-Leader and amateur trumpeter Tim Honey prompts La to take the lead in forming an amateur orchestra that can keep up the locals' spirits and perhaps even show Hitler a thing or two. Her plans put her into close contact with wounded Polish airman Feliks Dabrowski, a flutist who lacks both an eye and an instrument. La falls in love with Feliks. A thief relieves Henry of £800. Suspicion is confined to an uncomfortably small circle. As in Chekhov, such incidents constantly portend decisive developments that somehow never come to pass. Like Chekhov, Smith shows his heroine, who believes that "music could make a difference in the temper of the world," triumphing over the details of everyday life byimmersing herself in them so completely that she achieves an apotheosis in the reflection, "I have been a handmaiden."
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Product Details

  • ISBN-13: 9780307398116
  • Publisher: Knopf Canada
  • Publication date: 2/10/2009
  • Pages: 256
  • Product dimensions: 5.70 (w) x 8.80 (h) x 0.92 (d)

Meet the Author

Alexander McCall Smith

Alexander McCall Smith is the author of the international phenomenon The No. 1 Ladies’ Detective Agency series, the Isabel Dalhousie Series, the Portuguese Irregular Verbs series, and the 44 Scotland Street series. He is professor emeritus of medical law at the University of Edinburgh in Scotland and has served on many national and international bodies concerned with bioethics. He lives in Scotland.

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Read an Excerpt

One

Two men, who were brothers, went to Suffolk. One drove the car, an old Bristol drophead coupé in British racing green, while the other navigated, using an out-of-date linen-backed map. That the map was an old one did not matter too much: the roads they were following had been there for a long time and were clearly marked on their map — narrow lanes flanked by hedgerows following no logic other than ancient farm boundaries. The road-signs — promising short distances of four miles, two miles, even half a mile — were made of heavy cast-iron, forged to last for generations of travellers. Some conscientious hand had kept them freshly painted, their black lettering sharp and clear against chalk-white backgrounds, pointing to villages with names that meant something a long time ago but which were now detached from the things to which they referred — the names of long-forgotten yeoman families, of mounds, of the crops they grew, of the wild flora of those parts. Garlic, cress, nettles, crosswort — all these featured in the place-names of the farms and villages that dotted the countryside — their comfortable names reminders of a gentle country that once existed in these parts, England. It still survived, of course, tenacious here and there, revealed in a glimpse of a languorous cricket match on a green, of a trout pool under willow branches, of a man in a flat cap digging up potatoes; a country that still existed but was being driven into redoubts such as this. The heart might ache for that England, thought one of the brothers; might ache for what we have lost.

They almost missed the turning to the village, so quickly did it come upon them. There were oak trees at the edge of a field and immediately beyond these, meandering off to the left, was the road leading to the place they wanted. The man with the map shouted out, ‘Whoa! Slow down,’ and the driver reacted quickly, stamping on the brakes of the Bristol, bringing it to a halt with a faint smell of scorched rubber. They looked at the sign, which was a low one, almost obscured by the topmost leaves of nettles and clumps of cow parsley. It was the place.

It was a narrow road, barely wide enough for two vehicles. Here and there informal passing places had been established by local use — places where wheels had flattened the grass and pushed the hedgerows back a few inches. But you only needed these if there were other road-users, and there were none that Saturday afternoon. People were sleeping, or tending their gardens in the drowsy heat of summer, or perhaps just thinking.

‘It’s very quiet, isn’t it?’ remarked the driver when they stopped to check their bearings at the road end.

‘That’s what I like about it,’ said the other man. ‘This quietness. Do you remember that?’

‘We would never have noticed it. We would have been too young.’

They drove on slowly to the edge of the village. The tower of a Norman church rose above a stand of alders. In some inexplicable mood of Victorian architectural enthusiasm, a small stone bobble, rather like a large cannonball, had been added at each corner of the tower. These additions were too small to ruin the original proportions, too large to be ignored; Suffolk churches were used to such spoliation, although in the past it had been carried out in a harsh mood of Puritan iconoclasm rather than prettification. There was to be no idolatry here: Marian and other suspect imagery had been rooted out, gouged from the wood of pew-ends and reredoses, chipped from stone baptismal fonts; stained glass survived, as it did here, only because it would be too costly to replace with the clear glass of Puritanism.

Behind the church, the main street, a winding affair, was lined mostly by houses, joined to one another in the cheek-by-jowl democracy of a variegated terrace. Some of these were built of stone, flinted here and there in patterns — triangles, wavy lines; others, of wattle and daub, painted either in cream or in that soft pink which gives to parts of Suffolk its gentle glow. There were a couple of shops and an old pub where a blackboard proclaimed the weekend’s fare: hotpot, fish stew, toad-in-the-hole; the stubborn cuisine of England.

‘That post office,’ said the driver. ‘What’s happened to it?’

The navigator had folded the map and tucked it away in the leather pocket in the side of the passenger door. He looked at his brother, and he nodded.

‘Just beyond the end of the village,’ said the driver. ‘It’s on the right. Just before . . .’

His brother looked at him. ‘Just before Ingoldsby’s Farm. Remember?’

The other man thought. A name came back to him, dredged up from a part of his memory he did not know he had. ‘The Aggs,’ he said. ‘Mrs Agg.’

She had been waiting for them, they thought, because she opened the door immediately after they rang the bell. She smiled, and gestured for them to come in, with the warmth, the eagerness of one who gets few callers.

‘I just remember this house,’ the driver said, looking about him. ‘Not very well, but just. Because when we were boys,’ and he looked at his brother, ‘when we were boys we lived here. Until I was twelve. But you forget.’

His brother nodded in agreement. ‘Yes. You know how things look different when you’re young. They look much bigger.’

She laughed. ‘Because at that age one is looking at things from down there. Looking up. I was taken to see the Houses of Parliament when I was a little girl. I remember thinking that the tower of Big Ben was quite the biggest thing I had ever seen in my life — and it might have been, I suppose. But when I went back much later on, it seemed so much smaller. Rather disappointing, in fact.’

She ushered them through the hall into a sanctum beyond, a drawing-room into which French windows let copious amounts of light. Beyond these windows, an expanse of grass stretched out to a high yew hedge, a dark-green backdrop for the herb - aceous beds lining the lawn. There was a hedge of lavender, too, grown woody through age.

‘That was hers,’ said the woman, pointing to the lavender hedge. ‘It needs cutting back, but I love it so much I can’t bring myself to do it.’

‘La planted that?’

‘I believe so,’ said the woman.

‘We played there,’ said one of the brothers, looking out into the garden. ‘It’s odd to think that. But we played there. For hours and hours. Day after day.’

She left them and went to prepare tea. The brothers stood in front of the window.

‘What I said about things looking bigger,’ one said. ‘One might say the same about a person’s life, don’t you think? A life may look bigger when you’re a child, and then later on . . .’

‘Narrower? Less impressive?’

‘I think so.’

But the other thought that the opposite might be true, at least on occasion. ‘A friend told me about a teacher at school,’ he said. ‘He was a very shy man. Timid. Ineffectual. And children mocked him — you know how quick they are to scent blood in the water. Then, later on, when he met him as an adult, he found out that this same teacher had been a well-known mountaineer and a difficult route had been named after him.’

‘And La’s life?’

‘I suspect that it was a very big one. A very big life led here . . .’

‘In this out of the way place.’

‘Yes, in this sleepy little village.’ He paused. ‘I suspect that our La was a real heroine.’

Their hostess had come back into the room, carrying a tray. She put it down on a table and gestured to the circle of chintzy sofa and chairs. She had heard the last remark, and agreed. ‘Yes. La was a heroine. Definitely a heroine.’

She poured the tea. ‘I assume that you know all about La. After all . . .’ She hesitated. ‘But then she became ill, didn’t she, not so long after you all left this place. You can’t have been all that old when La died.’

One of the men stared out of the window. The other replied, ‘I was seventeen and my brother was nineteen. She was a big part of our lives. We remember her with . . .’

The older man, still looking out of the window, supplied, ‘Love. We remember her with love. And pride, too, I suppose. But you know how people fade. We wanted to hear what people here thought. That’s why we’ve come.’

‘Of course.’

She looked at them over the rim of her tea-cup. ‘By the time I came to this part of the world you had all gone,’ she said. ‘I lived over on the other side of the village. You might have seen the house as you came in. A bit of a Victorian mistake, now fortunately mostly covered with ivy. It hides such a multitude of sins, ivy. So forgiving.’

‘I don’t remember . . .’

‘Look for it on your way out. The person who bought this house from La — it was a Mrs Dart — came to see me in that house when I first moved to Suffolk. She welcomed me to the village. Of course La’s orchestra was already a thing of the past then, but people still talked about it. It was something the village had done, and they were proud of it.’

‘I bought this house from Mrs Dart’s estate. They hadn’t put it on the market, and I went to the solicitor who handled her affairs. He was in Newmarket, so I went there to speak to him about it. I remember it very well, going into town that morning when they were exercising the race-horses, a long line of them, and their breath . . . was like little white clouds. It’s a very clear memory, that has stayed with me.

‘I still think of this as La’s house, you know. And that’s what some people in the village still call it — even people who never met La. It’s still La’s house to them.’

‘And her garden,’ said the driver.

‘Yes. That was so important. And he was responsible for that, you know. During the War, La dug up the lawn and planted whatever it was that she grew. Potatoes, I suppose. Beans. All of that formal garden was taken up, except for a small bit round the side of the house. She kept that as an ornamental garden. Feliks helped.’

‘And afterwards, when all the fuss was over and people didn’t have to grow so many vegetables, she put that lawn back in, and replaced all the shrubs that she had taken up. She put them all back, in their original spot, working from memory and from photographs.’

They talked. Then, when they had finished their tea, she suggested that they walk the short distance to the church hall.

‘It’s a tin hall,’ she said, as they approached it. ‘Made entirely of corrugated tin. You occasionally get that in this county — little tin halls that have withstood the weather, and the years. It was a way of making something reasonably durable on the cheap.’

They stood still for a few minutes and admired the modest building from the end of its path. The walls of tin had been painted in a colour somewhere between ochre and cream, and the roof was rust-red. At one end of the building — the one facing them — there was a small veranda, dominated by a green door. The door, the thin casements of the windows, and the supports under the eaves, were the only wood on the outer surface of the building.

‘I have a key,’ she said, reaching into a pocket. ‘It’s a privilege of being on the parish council. We can look inside — not that there’s much to see.’

They walked down the path. The lock, an old-fashioned one, was stiff, and had to be coaxed into opening, but at last the door was pushed open and they found themselves standing in a vestibule. There was a notice-board, a square of faded baize, criss-crossed with tape; but no notices; a boot-scraper with bristle and a metal bar. That was all.

She pushed open the inner door, which was unlocked. The air inside was cool, but with a slight musty smell. Light filtered in through small windows that needed cleaning, bars of weak sunlight slanting across the benches stacked along the side of the wall.

‘Nowadays,’ she said, ‘it’s used for the school play and the occasional dance. We still have a village dance, you know, in spite of everything. And everybody goes.’

‘And the orchestra?’

She gestured about her. ‘Under this very roof. Right here. This is where the orchestra played — so I’m told.’ She pointed at the windows. ‘They were covered, of course. Black-out curtains.’

The driver detached himself and walked to the far end of the hall. The floor underfoot was red-polished concrete of a sort that for some reason he associated with hospitals in foreign countries. He had become sick once as a student, travelling in India, and the hospital ward, with its red concrete floor, had been a little like this.

She spoke to him from the other end of the hall. ‘I met somebody who had played here,’ she said. ‘The orchestra sat over there, where you are now, and when they gave a concert the audience sat at this end. It would have been the whole village, then. Everybody would have come to listen. Everybody.’

He turned round. He looked up at the ceiling, which was made of large expanses of white board nailed onto the roof-beams. The board was discoloured here and there from leaks, brown rings spreading out in concentric circles. He did not think that anything had been painted recently, perhaps not since La’s time.

‘If you’ve seen enough,’ she said. ‘Perhaps we should go back.’

She locked the door behind them, and they walked back in silence, until they had almost reached the house.

‘Could you tell me more?’ the driver asked. ‘About the orchestra?’

He looked up at the sky, which was wide and empty. High above them a line of stratus moved quickly in the air-stream. She followed his gaze. She loved the skies of East Anglia; she loved this flat landscape, which she thought of, in a curious way, as a holy place.

‘A bit. Not very much. If you don’t mind my being a bit vague.’

‘Not at all.’ He paused. ‘If you have the time.’

She smiled at him. ‘In this village, there’s not a great deal to do. But remembering is something we’re rather good at in these places. Have you noticed that? Go to any small village anywhere in the world, and see what they remember. Everything. It’s all there — passed on like a precious piece of information, some secret imparted from one who knew to one who yearns to know. Taken good care of.’

They walked towards the house. The driver touched the Bristol as he passed it, let his fingers brush against the cool of the metal, in a gesture of appreciation that came close, he thought, to talismanic. He had rebuilt the Bristol, part by part, and now he loved it with that very intensity a man might feel for a machine he created himself out of metal, and the things that bind metal.

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Foreword

1. Who are the two brothers in the beginning of the novel? Why are they visiting La's former house in Suffolk? And why does Alexander McCall Smith commence the novel with them? Why does he purposely make their background vague?

2.   Why does La marry Richard? Are they compatible in any way? How does time and place influence their decision to get married? Do you think they would have gotten married if they were dating in 2009? At one point later in the novel, La says to Mrs. Agg, "People are the products of their time." What does this mean? Do you agree?

3.  In this novel, what are the differences, both obvious and subtle, between life in the city and life in the country in the days before and during World War II? Where would you have preferred to live?

4. Why is Suffolk life so therapeutic for La when she's single again? Do you think she really likes gardening? How is a wartime garden different from a peacetime garden, according to La?

5. There are many references in the novel to suffering in life and the power of music to heal and to provide hope and joy. What is it about music that gives it these properties—and in this novel, particularly classical music? How is different music good for different things, according to the novel? Do you agree?

6.  How is music the antithesis of war?

7. How does La's orchestra raise morale and provide a diversion and hope to those playing instruments as well as to the townspeople in the audience?

8. What is the importance of Henry Madden in the novel? Why is he so stubborn and bitter? After being blamed by his wife for the death of his son, why does he, in the absence of any proof, accuseFeliks of being a thief?

9. What do you think the author is saying about xenophobia— the suspicion and hatred of foreigners and "others"—especially during wartime? How do you think things have changed from the 1940s to the present?

10. How did the war transform lives in this novel, turning some upside down in a negative way and others in a positive way?

11. Do you think this is an antiwar novel or do you think it says that war is inevitable?

12. Why does La betray Feliks although she acknowledges that she is in love with him? Do you think she was scared of her feelings for him and this exacerbated her suspicions?

13. Why is La also suspicious of Lennie (who is different from most boys his age), and why does she accuse him to the police with no proof? Does the heightened atmosphere of war cause her to not trust anyone?

14.  Describe La's relationship with her Cambridge tutor, Dr. Price. Why is it so fraught with tension? Do you think if La hadn't married, she would have turned out more like Dr. Price?

15. Why does the author, near the end of the book, suddenly switch from the third person to the first person, so that we suddenly hear the story in La's voice? How does this affect your reading of the novel?

16.  In the book, "people took pleasure where they could find it, and with gratitude." How are people able to do this, especially when things are in short supply?

17. By the end of the novel, how does music bring love back into La's life?

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Reading Group Guide

1. Who are the two brothers in the beginning of the novel? Why are they visiting La's former house in Suffolk? And why does Alexander McCall Smith commence the novel with them? Why does he purposely make their background vague?

2.   Why does La marry Richard? Are they compatible in any way? How does time and place influence their decision to get married? Do you think they would have gotten married if they were dating in 2009? At one point later in the novel, La says to Mrs. Agg, "People are the products of their time." What does this mean? Do you agree?

3.  In this novel, what are the differences, both obvious and subtle, between life in the city and life in the country in the days before and during World War II? Where would you have preferred to live?

4. Why is Suffolk life so therapeutic for La when she's single again? Do you think she really likes gardening? How is a wartime garden different from a peacetime garden, according to La?

5. There are many references in the novel to suffering in life and the power of music to heal and to provide hope and joy. What is it about music that gives it these properties—and in this novel, particularly classical music? How is different music good for different things, according to the novel? Do you agree?

6.  How is music the antithesis of war?

7. How does La's orchestra raise morale and provide a diversion and hope to those playing instruments as well as to the townspeople in the audience?

8. What is the importance of Henry Madden in the novel? Why is he so stubborn and bitter? After being blamed by his wife for the death of his son, why does he, in the absence of any proof, accuse Feliksof being a thief?

9. What do you think the author is saying about xenophobia— the suspicion and hatred of foreigners and "others"—especially during wartime? How do you think things have changed from the 1940s to the present?

10. How did the war transform lives in this novel, turning some upside down in a negative way and others in a positive way?

11. Do you think this is an antiwar novel or do you think it says that war is inevitable?

12. Why does La betray Feliks although she acknowledges that she is in love with him? Do you think she was scared of her feelings for him and this exacerbated her suspicions?

13. Why is La also suspicious of Lennie (who is different from most boys his age), and why does she accuse him to the police with no proof? Does the heightened atmosphere of war cause her to not trust anyone?

14.  Describe La's relationship with her Cambridge tutor, Dr. Price. Why is it so fraught with tension? Do you think if La hadn't married, she would have turned out more like Dr. Price?

15. Why does the author, near the end of the book, suddenly switch from the third person to the first person, so that we suddenly hear the story in La's voice? How does this affect your reading of the novel?

16.  In the book, "people took pleasure where they could find it, and with gratitude." How are people able to do this, especially when things are in short supply?

17. By the end of the novel, how does music bring love back into La's life?

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Customer Reviews

Average Rating 4
( 35 )
Rating Distribution

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(12)

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See All Sort by: Showing 1 – 20 of 35 Customer Reviews
  • Posted January 3, 2010

    more from this reviewer

    I Also Recommend:

    A great read!

    I thoroughly enjoyed this book from start to finish! The author has a fantastic way of enticing you to want to read more and more. The layout of the book is what makes the story come together and the plot is one that any person from various generations can relate to. It is truly talent when a writer can combine a tale of journey(s), love, betrayal, adversity, friendship, desire, generational differences, and culture all in one story so fluently and seamlessly that when it all comes together in the end you find yourself longing for the story to continue. Bravo!

    2 out of 2 people found this review helpful.

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

    Posted July 28, 2012

    Anonymous

    I enjoyed this book very much, although it was very bitter-sweet. It had a bit of a slow start but picked up further on.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted January 19, 2012

    Delightful. Fun and serious at the same time!

    La's Orchestra Saves the World is a lovely addition to Alexander McCall Smith's impressive list of wonderful books. Set in England during and after WWII, it describes the personal journeys of a set of interesting characters in the framework of a historic time about which all of us, especially Americans I would say, would do well to learn more. Read it. It's one that you'll want to keep.

    1 out of 1 people found this review helpful.

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  • Posted September 24, 2012

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    Large and small betrayals and the gift of love in war-torn Brita

    Large and small betrayals and the gift of love in war-torn Britain during WWII.

    London, Cambridge and Suffolk all play their part in this historical novel by Alexander McCall Smith. Set in the time around World War II, it builds a convincing picture of war-torn Britain where human kindness wars with the darkness of suspicion and fear. Real characters fill the village streets, farm the fields, and feed the airmen stationed nearby. But if foreigners are dropping bombs, can a Polish pilot with a German accent really be worthy of trust?

    Betrayed by her husband, Lavender—called La—has settled into the routine of a quiet life, comfortable enough, rich enough and insulated enough from what goes on around her. But the war intrudes and this new betrayal leads her to live again, signing on to volunteer, meeting strangers, and even, finally, starting an orchestra. Like the war, her orchestra won’t last long—just a temporary diversion she thinks. And, like the war, it lasts till the fighting’s done.

    Lawns turn to potato plots, neighbors to friends, and the Polish airman awakens La’s heart with his gentle formality. But when suspicions of wrong-doing grow, will honest truth turn into betrayal of love?

    La’s Orchestra Saves the World is a beautifully evocative novel of Britain at war, and of hearts warring with themselves. I can vouch for the truth of the countryside drawn by the author. My Mum can vouch for the honest depiction of the people. And readers will quickly be drawn into La’s world with its love and complications, delighting in her music and looking forward to her redemption.



    Disclosure: I borrowed this book from a generous friend.

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  • Posted February 27, 2011

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    Highly Recommended - you will enjoy this book!

    This is a tender story of courage and love during World War II: love and loyalty for one's country; love, trust and dependence upon one's neighbors and local community; and of course, the heart's yearnings that are beyond our control whether in wartime or peace. The characters are true, full of quirks and actions that are completely believable. As in our own lives, there is a parallel between the personal and the world view; we have love, betrayal, hope.

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  • Anonymous

    Posted March 20, 2010

    A beautifully written book set in England in WWII.

    The story has a mysterious beginning that holds the reader's attention until the very end. One gets a sense of the English people and of their fortitude during the difficult times of WWII. It is a book that captures one's heart.

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  • Posted February 20, 2010

    La's Orchestra Saves The World

    I love Alexander McCall Smith's "Number 1 Ladies' Detective Agency" series, so I thought I would give this book a try. While I didn't love this book, it was a worthwhile read. I learned about life during WWII in England. This book has sadness, but also warmth and human caring. I felt parts of it were a bit trite, but I enjoyed reading it and liked how it ended.

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  • Posted February 12, 2010

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    La's Orchestra Had an Okay Sound

    This book was okay. I liked the message of community involvement and that music can and does calm tensions. However, the book starts with a flashback so that the reader knows that La is dead. Also, Henry was too bitter for my taste. I have read better Alexander MCCall books

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  • Posted February 7, 2010

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    Orchestral Hit

    Alexander McCall Smith's writing transports the reader to another time and place. It's a gentle reminder of the hardship endured during the war and the determined way the English people carried on with life and tried to make their lives better despite their circumstances. This is a quiet, gentle story. A very good read.

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  • Posted February 6, 2010

    I Also Recommend:

    La Stone, you have to meet Precious Romatswe!

    McCall Smith has a gift for understanding the woman's psyche, as evidenced in his characters in the #1 Ladies' Detective Agency book series. Sadly, the central character of this book lacks the grit of Precious and Grace. While the "lady detectives" take matters into their own hands, La Stone waits for things to happen. Set in Suffolk during World War II, the young widow, La Stone, who is rich and bored, brings together an orchestra--most of the work done by others. She falls in love, but does nothing to assure that romance will follow. La should spend some time with Precious--her life would certainly improve.

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  • Posted February 2, 2010

    La's Orchestra Saves the World: Testimony to ordinary decency and the impact of small actions on those in our world.

    McCall Smith has a tremendous ability to translate the everyday into a story and commentary that spells out the underlying values and philosophy of the characters, and, inevitably, the author. This story reminds me that the little things do count. The fact that there are so many little things in a life sometimes causes us to discount their value, even to ourselves. The outcome of this story speaks to the improvement in the quality of life by simple gestures. In a day of increasing emphasis on minimalism to counteract the overwhelming influx of information, and the complexity of relationships, McCall Smith reminds us that everything that makes life bearable, and sometimes, enjoyable, comes back to personal growth and the values of kindness and doing what can be done by one.

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  • Posted February 1, 2010

    Disappointing

    I picked up this book because I usually enjoy reading about events in that era and in that place. While it is an easy read, I must say that the main character had a pretty boring life even in the middle of WWII. It never got more interesting either. I also don't appreciate being left hanging with what happens to certain characters. Two were minor but one was pretty major and one never finds out what happened to them or where they went or why.

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  • Posted January 30, 2010

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    I Also Recommend:

    La, de, dah

    I am a huge fan of McCall Smith's No. 1 Ladies Detective Series and eagerly await new books in the series. I've read a few other books by him, but wasn't nearly as impressed with them. I decided to buy this on a whim after reading the summary of the plot. I was, sad to say, disappointed. The idea of people coming together to make music to escape the reality of WWII bombing in England made me curious, but the book just never reached the promise for plot and characterization. It's a quick read, but it left me empty. There are so many other GOOD books on this time period that one can read.

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  • Posted January 30, 2010

    I Also Recommend:

    I like just about everything he writes.

    My wife and I listened to the book in our car and really enjoyed it. I would have liked to know a little more about why the young boys only lived with La for 3 or 4 years (I couldn't figure out exactly how long they stayed with her). What happened to La's relationship with their father? I wanted to know.

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  • Posted January 30, 2010

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    La's Orchestra Saves the World

    As always, McCall Smith is very, very entertaining.

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    Posted January 3, 2010

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    Posted June 19, 2011

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    Posted November 23, 2011

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