The Last Time They Met

( 170 )

Overview

From the last time Linda and Thomas meet, at a charmless hotel in a distant city, to the moment, thirty-five years earlier, when a chance encounter on a rocky beach binds them fatefully together, this hypnotically compelling novel unfolds a tale of intense passion, drama, and suspense. The Last Time They Met is a singularly ambitious and accomplished work by one of today's most widely celebrated novelists.

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The Last Time They Met

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Overview

From the last time Linda and Thomas meet, at a charmless hotel in a distant city, to the moment, thirty-five years earlier, when a chance encounter on a rocky beach binds them fatefully together, this hypnotically compelling novel unfolds a tale of intense passion, drama, and suspense. The Last Time They Met is a singularly ambitious and accomplished work by one of today's most widely celebrated novelists.

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Editorial Reviews

From Barnes & Noble
In The Last Time They Met, Anita Shreve, author of Fortune's Rocks and the bestselling Oprah pick The Pilot's Wife, shows how the decisions we make can affect the course of our lives. It is with mixed emotions that poet Linda Fallon greets her old lover, fellow poet Thomas Janes, when they bump into each other at a literary festival. Devastated by their breakup years before, Janes chose this moment to reconnect and, if possible, reignite their romance.
Chicago Tribune
...a flat-out, can't-put-it-down pageturner...a riveting story that teases and confounds...
Publishers Weekly
The latest work by this versatile novelist may be her most mature to date...demonstrates new subtleties...Shreve's compassionate view of human frailties...is at its most affecting here, as she meticulously interweaves past and present with total credibility.
USA Today
Shreve's cleverly designed act of prestidigitation is dazzling.
People
...a mystery, and one so astonishingly well-constructed that when you're finished you'll want to reread it at once.
Newsday
...a fluid weave of past and present, subtly mounting suspense, an unabashed insistence on the primacy of love.
USA Today
Shreve's cleverly designed act of prestidigitation is dazzling.
From The Critics
This eighth novel from the bestselling author of The Pilot's Wife bucks the standard progression of time in both clever and problematic ways. Fifty-two-year-old poet Linda Fallon attends a literary festival and encounters her former lover, Thomas Janes. The two reacquaint themselves, sharing stories of the lives they've built in their years apart. As the festival closes, so too does the present-day time period. The next section of the book opens in Africa, twenty-six years earlier. Thomas and Linda, both married to other people, bump into each other at a fruit market; the chance meeting ignites their relationship. In the book's last section, set in Hull, Massachusetts, in the mid-'60s, the couple meets for the first time, and the intricacies of the story line abruptly unravel. Though the prose often sings, it can't transcend what is essentially a sentimental romance with a somewhat confusing plot contrivance; until the final pages, the reader must accept on faith the depth of Thomas and Linda's feelings. Still, the story is magnetic enough to engage one's interest through at least one reading—though possibly more.
—E. Beth Thomas

Publishers Weekly - Publisher's Weekly
The latest work by this versatile novelist (The Pilot's Wife; Fortune's Rocks) may be her most mature to date, as she demonstrates new subtleties in the unfolding of a complex plot. Proceeding in reverse chronological order, Shreve recounts the obsessive love between poets Linda Fallon and Thomas Janes; theirs is a highly charged affair, though they connect only three times in 35 years. The novel's three sections ("Fifty-Two," "Twenty-Six" and "Seventeen") refer to Linda's ages when she meets and later encounters Thomas first (last in the book's structure) as a troubled teen near Boston with "only indistinct memories of her mother and no real ones of her father"; then in Kenya, where Linda has joined the Peace Corps and Thomas's wife, Regina, is working with UNICEF; and finally at a literary festival in Toronto where both characters, unbeknownst to each other, are guest speakers. Though each of the novel's segments is intensely powerful, the cumulative effect is especially wrenching, as the reader knows what Linda and Thomas have yet to experience. Their Africa encounter is especially gripping, since both characters are torn between their mutual passion and their love for their spouses. (Linda has also married, and Regina's announcement of her pregnancy adds further tension.) Shreve's compassionate view of human frailties a recurring theme in much of her work is at its most affecting here, as she meticulously interweaves past and present with total credibility. Her fluid narrative perfectly mirrors her protagonists' evolving temperaments and viewpoints, while her overall restraint serves to intensify the novel's devastating conclusion. Copyright 2001 Cahners Business Information.
Library Journal
Shreve is one of those rare novelists whose prose is just as remarkable as her storytelling. This new work picks up the character Thomas Janes from Shreve's The Weight of Water. (He is the husband of narrator Jean.) We learn the history of Thomas's great love with fellow poet Linda Fallon. The novel is told in reverse time, starting with the present, when Linda and Thomas, now in their fifties, reconnect at a literary festival. The middle section takes place in Africa, where the couple, then age 26, had a disastrous affair that horribly affected a number of loved ones and changed their own lives forever. The intensity of Africa's vibrant texture and color heightens the passionate drama. And the last section, during high school, takes place in New England, where Thomas and Linda launched their life-long obsession with each other. While the backwards progression is confusing at times and can necessitate some rereading, it is time well spent. The tragic relationship of these two connected souls will stick with you for days. Oprah-pick Shreve does it again with this achingly emotional novel. Stock up. [Previewed in Prepub Alert, LJ 12/00.] Beth Gibbs, formerly with P.L. of Charlotte & Mecklenburg Cty., NC Copyright 2001 Cahners Business Information.
Kirkus Reviews
Bestselling Shreve (The Pilot's Wife) reuses a character from a previous novel in this new work tracing a doomed love affair backwards in time. We meet 52-year-old Linda Fallon checking into a Toronto hotel for a literary conference, at which she meets fellow American poet Thomas Janes, whom she hasn't seen since the disastrous denouement of their adulterous affair in Africa 25 years earlier. Since then, as readers of The Weight of Water already know, he's seen his five-year-old daughter drown and gotten a second divorce. Thomas still carries the torch Linda first ignited when she was a working-class Catholic teenager recently returned from a Magdalene home for "wayward girls" and he was an Episcopalian from the right side of the tracks dazzled by her boldness and individuality. During the conference they fall into bed again, and Part One ends with a parting at the airport that offers hope of long-delayed happiness for this star-crossed pair. Part Two depicts their encounter in Kenya: both married to other people but retaining tender memories of the adolescent romance cut short by a car accident, they're briefly happy until Thomas's wife finally achieves her desperate desire to get pregnant, triggering an ugly confrontation the author inexplicably doesn't allow us to witness. Part Three finally gets us back to Hull, Massachusetts, but the story of Linda's abuse by her aunt's boyfriend and her sexual healing through Thomas's love is overshadowed by an outrageous final plot twist. It's fine to fool the reader if you play fair-for example, as Rebecca Goldstein did in Properties of Light. Shreve, by contrast, doesn't suggest that her solid (if not especially gripping) storyline is anything other than what it seems until she tears the entire premise to shreds in the book's two last pages. The shock ending and pretentious elements, such as Linda's unconvincing struggle with her faith, can't disguise the fact that the author is very short of fresh ideas here.
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Product Details

  • ISBN-13: 9780316781145
  • Publisher: Little, Brown and Company
  • Publication date: 5/11/2004
  • Pages: 320
  • Sales rank: 1,316,716
  • Product dimensions: 6.00 (w) x 9.00 (h) x 0.88 (d)

Meet the Author

Anita Shreve
Anita Shreve is the author of the novels The Pilot's Wife, The Weight of Water, Eden Close, Strange Fits of Passion, Where or When, and Resistance. She teaches writing at Amherst College and divides her time between Massachusetts and New Hampshire.

Anita Shreve began writing fiction while working as a high school teacher. Although one of her first published stories, "Past the Island, Drifting," was awarded an O. Henry Prize in 1975, Shreve felt she couldn't make a living as a fiction writer so she became a journalist. She traveled to Africa, and spent three years in Kenya, writing articles that appeared in magazines such as Quest, US, and Newsweek. Back in the United States, she turned to raising her children and writing freelance articles for magazines. Shreve later expanded two of these articles -- both published in the New York Times Magazine -- into the nonfiction books Remaking Motherhood and Women Together, Women Alone. At the same time Shreve also began working on her first novel, Eden Close. With its publication in 1989, she gave up journalism for writing fiction full time, thrilled, as she says, with "the rush of freedom that I could make it up."

Biography

For many readers, the appeal of Anita Shreve’s novels is their ability to combine all of the escapist elements of a good beach read with the kind of thoughtful complexity not generally associated with romantic fiction. Shreve’s books are loaded with enough adultery, eroticism, and passion to make anyone keep flipping the pages, but the writer whom People magazine once dubbed a “master storyteller” is also concerned with the complexities of her characters’ motivations, relationships, and lives.

Shreve’s novels draw on her diverse experiences as a teacher and journalist: she began writing fiction while teaching high school, and was awarded an O. Henry Prize in 1975 for her story, “Past the Island, Drifting.” She then spent several years working as a journalist in Africa, and later returned to the States to raise her children. In the 1980s, she wrote about women’s issues, which resulted in two nonfiction books -- Remaking Motherhood and Women Together, Women Alone -- before breaking into mainstream fiction with Eden Close in 1989.

This interest in women’s lives -- their struggles and success, families and friendships -- informs all of Shreve’s fiction. The combination of her journalist’s eye for detail and her literary ear for the telling turn of phrase mean that Shreve can spin a story that is dense, atmospheric, and believable. Shreve incorporates the pull of the sea -- the inexorable tides, the unpredictable surf -- into her characters’ lives the way Willa Cather worked the beauty and wildness of the Midwestern plains into her fiction. In Fortune’s Rocks and The Weight of Water, the sea becomes a character itself, evocative and ultimately consuming. In Sea Glass, Shreve takes the metaphor as far as she can, where characters are tested again and again, only to emerge stronger by surviving the ravages of life.

A domestic sensualist, Shreve makes use of the emblems of household life to a high degree, letting a home tell its stories just as much as its inhabitants do, and even recycling the same house through different books and periods of time, giving it a sort of palimpsest effect, in which old stories burn through the newer ones, creating a historical montage. "A house with any kind of age will have dozens of stories to tell," she says. "I suppose if a novelist could live long enough, one could base an entire oeuvre on the lives that weave in and out of an antique house."

Shreve’s work is sometimes categorized as “women’s fiction,” because of her focus on women’s sensibilties and plights. But her evocative and precise language and imagery take her beyond category fiction, and moderate the vein of sentimentality which threads through her books. Moreover, her kaleidoscopic view of history, her iron grip on the details and detritus of 19th-century life (which she sometimes intersperses with a 20th-century story), and her uncanny ability to replicate 19th-century dialogue without sounding fusty or fussy, make for novels that that are always absorbing and often riveting. If she has a flaw, it is that her imagery is sometimes too cinematic, but one can hardly fault her for that: after all, the call of Hollywood is surely as strong as the call of the sea for a writer as talented as Shreve.

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Read an Excerpt

She had come from the plane and was even now forgetting the ride from the airport. As she stepped from the car, she emerged to an audience of a doorman in uniform and another man in a dark coat moving through the revolving door of the hotel. The man in the dark coat hesitated, taking a moment to open an umbrella that immediately, in one fluid motion, blew itself inside out. He looked abashed and then purposefully amused—for now she was his audience—as he tossed the useless appendage into a bin and moved on.

She wished the doorman wouldn't take her suitcase, and if it hadn't been for the ornate gold leaf of the canopy and the perfectly polished brass of the entryway, she might have told him it wasn't necessary. She hadn't expected the tall columns that rose to a ceiling she couldn't see clearly without squinting, or the rose carpet through those columns that was long enough for a coronation. The doorman wordlessly gave her suitcase—inadequate in this grandeur—to a bellman, as if handing off a secret. She moved past empty groupings of costly furniture to the reception desk.

Linda, who had once minded the commonness of her name, gave her credit card when asked, wrote her signature on a piece of paper, and accepted a pair of keys, one plastic, the other reassuringly real, the metal key for the minibar, for a drink if it came to that. She followed directions to a bank of elevators, noting on a mahogany table a bouquet of hydrangeas and daylilies as tall as a ten-year-old boy. Despite the elegance of the hotel, the music in the elevator was cloying and banal, and she wondered how it was this detail had been overlooked. She followed signs and arrows along a wide, hushed corridor built during an era when space was not a luxury.

The white paneled door of her room was heavy and opened with a soft click. There was a mirrored entryway that seemed to double as a bar, a sitting room with heavily draped windows and French doors veiled with sheers that led to a bedroom larger than her living room at home. The weight of unwanted obligation was, for the moment, replaced with wary acceptance of being pampered. But then she looked at the ivory linen pillows on the massive bed and thought of the waste that it was only herself who would sleep there—she who might have been satisfied with a narrow bed in a narrow room, who no longer thought of beds as places where love or sex was offered or received.

She sat for a moment in her wet raincoat, waiting for the bellman to bring her suitcase to her. She closed her eyes and tried to relax, an activity for which she had no talent. She had never been to a yoga class, never meditated, unable to escape the notion that such strategies constituted a surrender, an admission that she could no longer bear to touch the skin of reality, her old lover. As if she would turn her back against a baffled husband, when once she had been so greedy.

She answered the door to a young bellman, overtipping the man to compensate for her pathetically small suitcase. She was aware of scrutiny on his part, impartial scrutiny simply because she was a woman and not entirely old. She crossed to the windows and drew back the drapes, and even the dim light of a rainy day was a shock to the gloom of the room. There were blurred buildings, the gleam of wet streets, glimpses of gray lake between skyscrapers. Two nights in one hotel room. Perhaps by Sunday morning she would know the number, would not have to ask at the front desk, as she so often had to do. Her confusion, she was convinced (as the desk clerks clearly were not), a product simply of physics: she had too much to think about and too little time in which to think it. She had long ago accepted her need for extravagant amounts of time for contemplation (more, she had observed, than others seemed to need or want). And for years she had let herself believe that this was a product of her profession, her art, when it was much the other way around. The spirit sought and found the work, and discontent began when it could not.

And, of course, it was a con, this art. Which was why she couldn't help but approach a podium, any podium, with a mantle of slight chagrin that she could never quite manage to hide, her shoulders hunched inside her jacket or blouse, her eyes not meeting those in the audience, as if the men and women in front of her might challenge her, accuse her of fraud—which, in the end, only she appeared to understand she was guilty of. There was nothing easier nor more agonizing than writing the long narrative verses that her publisher put in print—easy in that they were simply daydreams written in ink; agonizing the moment she returned to consciousness (the telephone rang, the heat kicked on in the basement) and looked at the words on the blue-lined page and saw, for the first time, the dishonest images, the manipulation and the conniving wordplay, all of which, when it had been a good day, worked well for her. She wrote poetry, she had been told, that was accessible, a fabulous and slippery word that could be used in the service of both scathing criticism and excessive praise, neither of which she thought she deserved. Her greatest wish was to write anonymously, though she no longer mentioned this to her publishers, for they seemed slightly wounded at these mentions, at the apparent ingratitude for the long—and tedious?—investment they had made in her that was finally, after all these years, beginning to pay off. Some of her collections were selling now (and one of them was selling very well indeed) for reasons no one had predicted and no one seemed to understand, the unexpected sales attributable to that vague and unsettling phenomenon called "word of mouth."

She covered the chintz bedspread with her belongings: the olive suitcase (slim and soft for the new stingy overheads); the detachable computer briefcase (the detaching a necessity for the security checks); and her microfiber purse with its eight compartments for her cell phone, notebook, pen, driver's license, credit cards, hand cream, lipstick, and sunglasses. She used the bathroom with her coat still on and then searched for her contact lens case so that she could remove the miraculous plastic irritants from her eyes, the lenses soiled with airplane air and smoke from a concourse bar, a four-hour layover in Dallas ending in capitulation to a plate of nachos and a Diet Coke. And seeping around the edges, she began to feel the relief that hotel rooms always provided: a place where no one could get to her.

She sat again on the enormous bed, two pillows propped behind her. Across from her was a gilded mirror that took in the entire bed, and she could not look into such a mirror without thinking of various speakable and unspeakable acts that had almost certainly been performed in front of that mirror. (She thought of men as being particularly susceptible to mirrors in hotel rooms.) Her speculation led inevitably to consideration of substances that had spilled or fallen onto that very bedspread (how many times? thousands of times?) and the room was immediately filled with stories: a married man who loved his wife but could make love to her but once a month because he was addicted to fantasizing about her in front of hotel mirrors on his frequent business trips, her body the sole object of his sexual imaginings; a man cajoling a colleague into performing one of the speakable acts upon him, enjoying the image of her subservient head bobbing in the mirror over the dresser and then, when he had collapsed into a sitting position, confessing, in a moment that would ultimately cost him his job, that he had herpes (why were her thoughts about men today so hostile?); a woman who was not beautiful, but was dancing naked in front of the mirror, as she would never do at home, might never do again (there, that was better). She took her glasses off so that she could not see across the room. She leaned against the headboard and closed her eyes.

She had nothing to say. She had said it all. She had written all the poems she would ever write. Though something large and subter-ranean had fueled her images, she was a minor poet only. She was, possibly, an overachiever. She would coast tonight, segue early into the Q&A, let the audience dictate the tenor of the event. Mercifully, it would be short. She appreciated literary festivals for precisely that reason: she would be but one of many novelists and poets (more novelists than poets), most of whom were better known than she. She knew she ought to examine the program before she went to the cocktail party on the theory that it sometimes helped to find an acquaintance early on so that one was not left stranded, looking both unpopular and easy prey; but if she glanced at the program, it would pull her too early into the evening, and she resisted this invasion. How protective she had recently grown of herself, as if there were something tender and vulnerable in need of defense.

From the street, twelve floors below, there was a clanging of a large machine. In the corridor there were voices, those of a man and a woman, clearly upset.

It was pure self-indulgence, the writing. She could still remember (an antidote to the chagrin?) the exquisite pleasure, the texture, so early on, of her first penciled letters on their stout lines, the practiced slant of the blue-inked cursive on her first copybook (the lavish F of Frugality, the elegant E of Envy). She collected them now, old copybooks, small repositories of beautiful handwriting. It was art, found art, of that she was convinced. She had framed some of the individual pages, had lined the walls of her study at home with the prints. She supposed the copybooks (mere schoolwork of anonymous women, long dead) were virtually worthless—she had hardly ever paid more than five or ten dollars for one in a secondhand book store—but they pleased her nevertheless. She was convinced that for her the writing was all about the act of writing itself, even though her own penmanship had deteriorated to an appalling level, nearly code.

She stood up from the bed and put her glasses on. She peered into the mirror. Tonight she would wear long earrings of pink Lucite. She would put her lenses back in and use a lipstick that didn't clash with the Lucite, and that would be that. Seen from a certain angle, she might simply disappear.

Copyright © 2001 by Anita Shreve


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Reading Group Guide

1. "She peered into the mirror. Tonight she would wear long earrings of pink Lucite. She would put her lenses back in and use a lipstick that didn't clash with the Lucite, and that would be that. Seen from a certain angle, she might simply disappear" (page 8). How would you characterize Linda's self-image at age fifty-two? What events and circumstances in her life have contributed to Linda's sense of self and, in particular, to her impulse toward self-effacement?

2. Speaking about love, Linda says, "I believe it to be the central drama of our lives. For most of us, that is.... It's something extraordinary that happens to ordinary people." Do you agree? To what extent is love the central drama of your life? Of the lives of the people around you?

3. What is the significance of Linda's success as a poet? How does it color Thomas's response to her when they meet again at the writers' festival?

4. Linda and Thomas feel an abiding passion for each other over many years. And yet Linda is also deeply in love with Vincent; her marriage to him was ostensibly happy and of profound importance to her. Do you believe it's possible to be passionately in love with two people at the same time?

5. Discuss Linda's relationship with her children. Do you consider her a good mother? Is there more she could or should have done to help Marcus? Why does Linda feel that every conversation with one's child, even one's adult child, must be a "mix of truth and lies" (page 58)?

6. Why is Thomas ambivalent about living in Kenya? How and why is his response to Africa different from Linda's? From Regina's?

7. Linda and Thomas have very different family backgrounds. Why is the teenage Thomas immediately drawn to Linda when she walks into his high school English class? Why, soon after, is she drawn to him? Is this a case of opposites attracting?

8. Thomas's most celebrated collection of verse is entitled The Magdalene Poems. Why do you think he chose this title?

9. How do you interpret the novel's ending? Identify passages throughout the novel that might have prepared you for what is fully revealed only at the very end of the book.

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Customer Reviews

Average Rating 3.5
( 170 )
Rating Distribution

5 Star

(57)

4 Star

(39)

3 Star

(39)

2 Star

(17)

1 Star

(18)

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See All Sort by: Showing 1 – 20 of 170 Customer Reviews
  • Anonymous

    Posted January 4, 2012

    Pretty good

    I like this author. I had read "all i ever wanted" in the past and gave this a shot. I like where the book went but i was not too impressed. I will give another one of her books a try though.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted March 28, 2010

    more from this reviewer

    Wistful pleasure

    You must read "The Weight of Water" before reading this fabulous book. Ms. Shreve once again take you beyong your normal surroundings and brings you characters that you'll remember for a long time to come.

    The description of Africa and the political unrest and culture was fantastic. I felt as if I'd gotten to take a trip to a tortured country and yet see the beauty amongest the ugly.

    I'll definitely share this book with family and friends.

    1 out of 1 people found this review helpful.

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

    Posted June 9, 2009

    A beautiful and elegaic novel

    This novel of love and loss is beautifully written. The plot device is original and very well done. The ending will haunt you.

    1 out of 1 people found this review helpful.

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

    Posted August 18, 2013

    I loved this book! Althought the reader might think that the p

    I loved this book! Althought the reader might think that the plot is similar to many other love stories - the ending is so unique and amazing that it left me dazed and shaking my head; "wow - I didn't see that one coming"! Well done, Anita!

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

    Posted June 3, 2013

    Personally, I liked the book very much. It was a "real lif

    Personally, I liked the book very much. It was a "real life" story - not sugarcoated - and I totally understood how and why the book ended the way it did.

    Was this review helpful? Yes  No   Report this review
  • Posted March 19, 2013

    Strange Book

    Loved parts of the book, the love letters were very romantic and real. But the end of the book threw me for a loop - completely unexpected and still have no idea what the heck happened.

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

    Posted March 16, 2013

    Super sluggish read!

    I have been trying to finish this book for two months now. It's confusing as it flashes into the past with no gap so you end up rereading pages just to figure out what is going on. I have read other books by this author and enjoyed them. Disappointing!

    Was this review helpful? Yes  No   Report this review
  • Posted March 10, 2013

    An excellent read.

    The chracters were real and presented an intreseting story holding the readers's attendtion even if the book went back and forth in the time. They were raw and vulnerable.

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

    Posted March 8, 2013

    A bit confusing

    Jumps in time frequently. Slow and confusing at times.

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  • Posted March 8, 2013

    Worth your time to read this book!

    It was a very good read. Ilike this author's style. I have read many of her books.h

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  • Anonymous

    Posted March 8, 2013

    Slow, slow read

    I found this book very hard to get into. I kept waiting for it to get better, more interesting, plot move a little quicker. But it never did. To be honest, I got 1/2 way thru and stopped reading. Something that rarely happens. It just didn't grab and hold my attention enough to want to find out the ending. The lead female character was good, but the lead male character is blah.

    Was this review helpful? Yes  No   Report this review
  • Posted November 6, 2012

    I too was taken by surprise at the end, I wondered what I had ju

    I too was taken by surprise at the end, I wondered what I had just read. I went back to the beginning and wasn't sure what I had just read. This is my first book by this author and still weeks later I am still wondering about the ending, I am reading it again because I feel like I missed something. It was a slow read usually it takes me a week reading a couple of hours a nite but this one took about a month. I do plan on getting another book from this author.

    Was this review helpful? Yes  No   Report this review
  • Posted February 8, 2012

    One of my favorites

    The book narrates a story of two lovers, who meets after many years, under unusual circumstances but with overwhelming love for each other. The novel flashes back in time in a very intriguing fashion, recording the chance encounters of the protagonists at the age of fifty-two, twenty-six and seventeen, in the same order…
    The story reveals the undying love between two persons despite the various turn of events in the course of their lives, which are not similar for the two. The novel weaves brilliantly the anticipation and promises on one hand and the pathos, constraints and heartbreak on the other. The last chapter discloses the first meeting of the two and what happened afterwards and relates to the upheavals in the lives of the two people in love..
    Shreve wraps up the whole narration in the last page of the book so masterfully casting a rare magic spell of storytelling, compelling the reader to remain maddened as well as satisfied and with an assured longing to read the story all over again. ..
    The novel gets its hypnotic and suspenseful side thanks to the reasons and chances due to which the lovers meet in wonderful coincidences but could not remain together for life...

    This book will definitely touch the hearts of those who believe in the magic called life.. its miracles and hypnotism...
    Anita Shreve's is definitely going to be the work I would look out for in my next visit to a bookstore or to the public library..

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  • Posted February 8, 2011

    must read

    favorite book by my favorite author

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  • Anonymous

    Posted January 16, 2011

    Excellent writing - good read!

    This book was a surprise from beginning toend. I had not read Shreve before and her style is compellingly real.

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  • Anonymous

    Posted February 25, 2010

    lovely book

    from the woman who read the book to the final words, this book draws you in, you become part of their world

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  • Posted October 25, 2009

    more from this reviewer

    It was weird.

    I had a hard time reading this book. But I didn't give up. I finished the book till the end. Even though, I read the paragraphs over and over again. I continued to read this book.I enjoyed it.

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  • Anonymous

    Posted September 10, 2009

    Last Time They Met, Very disturbing.

    I'm not sure I would recommend this book to anyone. It took me a long time to read it, a very slow read. I was really surprised by the ending but still not enthused by the overall story.

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  • Posted September 7, 2009

    Interesting and easy ready

    I love the author's writting. She went back in time which kept me intrigued. There is an unexpected ending. It's a great book. I recommend it for a pool-side read.

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  • Posted August 22, 2009

    An Inconsistent Author

    Ms. Shreve writes as a different person from book to book. One who expects the same level of writing from an author will surely be disappointed by this author. The characters in this book need some help though the ones in some of her other pieces stand and shine on their own. It is still a good piece and worth reading but not an easy book to get finished. I seemed to be reading it for weeks instead of hours as in her other works.

    0 out of 1 people found this review helpful.

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