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Rhythm of the Road

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The mesmerizing debut novel about driving trucks, loving music, and growing up.

A truck driver's daughter who grows up in the front seat of her father's truck, Jo shares her father's love of country music, junk food, and the open highway. Jo's life is a perfect slice of Americana, except that their "open road" is in England, and her father—the gentle, melancholy Bobby Pickering—is from Northern Ireland. The only truly American thing about Jo is...

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2007 Hard cover New in new dust jacket. New, unread book. Book is clean & tight, text unmarked. Sewn binding. Cloth over boards. With dust jacket. 320 p. Contains: ... Illustrations. Audience: General/trade. (KMC-116) Read more Show Less

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The Rhythm of the Road: A Novel

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Overview

The mesmerizing debut novel about driving trucks, loving music, and growing up.

A truck driver's daughter who grows up in the front seat of her father's truck, Jo shares her father's love of country music, junk food, and the open highway. Jo's life is a perfect slice of Americana, except that their "open road" is in England, and her father—the gentle, melancholy Bobby Pickering—is from Northern Ireland. The only truly American thing about Jo is her mother, whom she has never met.

Jo is twelve when she and Bobby pick up hitchhiker Cosima Stewart, an American country singer whose band is touring England. They become dedicated fans, and Cosima, touched by the unlikely duo, comes to regard Jo with an indulgent, even sisterly, eye.

But when Jo is sixteen, Bobby sinks into serious despair and Jo seeks refuge in Cosima and the band. When Bobby disappears, Jo's adoration becomes obsessive as she follows her idol all to the way to California. Here, in the sweltering Mohave Desert and alone for the first time, Jo must face the painful truths of her own life, the mother she has never known, and the father she can't force from her mind. With shades of Zadie Smith and Mark Haddon, Albyn Leah Hall's powerful debut is a page-turning study of what frightens us about one another and ourselves; of how we run away and what we can't, ultimately, escape from.

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Editorial Reviews

From the Publisher
Praise for The Rhythm of the Road:

"I have not stopped thinking about Hall's beautiful and engrossing novel. Her chronicle of a young woman's descent into madness is so rich in compassion...it should be required reading. A memorable and moving work of art."—Arthur Golden, author of Memoirs of a Geisha

"One of those rare literary novels—a fascinating story that keeps you gripped to the end, written in some of the finest prose I have read in a long time."—Andrea Levy, author of Small Island

"Stunning. Hall unfolds with marvelous authority a vivid, funny, touching, and suspenseful world of wonders."—Valerie Martin, author of The Unfinished Novel and Other Stories

"Albyn Leah Hall has written a wonderful, full-hearted story, with one of the most memorable heroines in recent fiction. Everyone deserves to read this fine book, and this book deserves to be widely read."—Hilma Wolitzer, author of The Doctor's Daughter

Publishers Weekly
Raised on the road, Josephine Pickering loves her truck-driving daddy, Bobby, even though his sometimes-dark moods make him go silent. The only parent she's ever known (her mother abandoned the family shortly after Jo's premature birth), he lives and breathes country music and takes her with him on his truck routes though the U.K. where he picks up pretty hitchhikers, like singer Cosima Stewart. Jo, now a teenager, is discovering her sexuality and her independence, which isn't the easiest thing to do without a mother. She nurtures an infatuation with Cosima and her band, gets Bobby to take her to their shows and glows under their kindly attentions. When Bobby bottoms out the day after Jo loses her virginity to Cosima's boyfriend, Jo falls apart: she follows Cosima to California and spirals dangerously out of control. Her crackup, though, has its bonuses. Despite her violent outbursts, Jo is never malicious, and her most shocking acts are, in the end, a cry for love and for help. With its echoes of memories, country music and the love between a father and a daughter, Hall's debut manages to be both poignant and unsettling. (Jan.) Copyright 2006 Reed Business Information.
VOYA - Catherine Gilmore-Clough
Jo was just days old when her mother, Rosalie, returned to America, leaving behind her baby and Bobby, her truck-driving husband of several months. Bobby and Jo spend the next twelve years traversing Great Britain, deeply enmeshed by proximity, love, and a shared passion for country music-especially that of Cosima, an American country singer touring England who occasionally crosses paths with the pair. An adolescent Jo struggles against the confines of family bonds, attempting to ingratiate herself into Cosima's group of band mates and fans. Bobby, struggling with depression, becomes more unreliable and despondent as Jo, his reason for keeping himself together, seems to be deserting him. An eighteenth birthday fueled by drugs, alcohol, and sex causes a final rift between father and daughter, and Bobby disappears-a suspected suicide. The grieving and desperate Jo stalks Cosima: sending gifts, breaking into her apartment, and even following the band to America in an effort to replace the family she has lost. Hall's writing is captivating and rhythmic-one can almost hear the hum of wheels on asphalt as the story speeds along. The emotions of the story ring true even as events spiral into the unbelievable. Jo's struggles are those that everyone faces: learn to be independent, learn that parents are imperfect people, figure out what family means. It is not a light read and Jo is often difficult to champion, but mature readers may take away powerful lessons on growing up.
Library Journal
Packed with road trips, truck drivers, country music, and junk food, Hall's second effort (after Deliria) has all the ingredients of a great American road novel-except it's set in the United Kingdom and Ireland. Sixteen-year-old Jo regularly accompanies Bobby, her Northern Irish father, on his long hauls. Together they travel along the A1 (not interstate 95), drive lorries (not trucks), and eat crisps (not potato chips). Jo's obsession with country singer Cosimo and her band begins not long after father and daughter give the rising star a lift. As the band's popularity develops, so does the young girl's fixation, disrupting the rhythm of her trips with Bobby and forcing his depression to deepen. His eventual disappearance compels Jo to take the road trip of her life: she follows the band on its first tour of the United States-home of Cosimo and Jo's birth mother, Rosalie. At this point, Hall begins skillfully pulling together all the details of her absorbing story. Though she effectively explores the theme of a lost or absent parent throughout, she doesn't pummel readers with it. Highly recommended.-Faye A. Chadwell, Univ. of Oregon Libs., Eugene Copyright 2006 Reed Business Information.
School Library Journal

Adult/High School
Jo Pickering was abandoned by her mother at birth and raised by her father. Bobby, a truck driver, takes his daughter with him everywhere as he attends to his routes in England and Ireland. Once a guitar player, he has a habit of picking up hitchhiking musicians. When he picks up Cosima Stewart, a country-western singer from Texas, the impressionable 12-year-old becomes infatuated with her and her band. Jo convinces Bobby to attend one of the woman's performances and becomes starstruck when Cosima and another performer take her under their wing and teach her how to apply makeup and dress like they do. But Jo's attachment soon becomes a compulsion. She is desperate in her search for something that Cosima and even Bobby can't give her, and she spirals downward into increasingly destructive behavior. Events come to a head when Bobby mysteriously disappears and Jo must find ways to deal with her feelings of total abandonment. This is a compelling read about a strong girl determined to survive in a world that has not been kind to her. As Jo makes some serious mistakes in her search for love, she begins to see herself in a different light. This impressive first novel is strongly written—the characters' emotions feel genuine, the dialogue is believable, and readers will care about Jo.
—Catherine GilbrideCopyright 2006 Reed Business Information.

Kirkus Reviews
From this American author and longtime London resident, a second novel (Deliria, 1994) about the crack-up of an Irish trucker and his daughter. Bobby Pickering, a Catholic from a Protestant town in Northern Ireland, started to "go dark," or experience depression, after his beloved mother died of cancer. He moved to London to play bass guitar with an easy-listening band. In 1985, he met Rosalie, an art student from California. Bobby was a sweet but utterly passive guy, whom Rosalie seduced and then, after becoming pregnant, insisted on marrying; yet she had no interest in her baby, Josephine, and returned stateside, leaving Bobby to raise her while driving his newly acquired truck. All this is flashback. The story opens in 1998, when Jo is 12; she has no friends and seldom attends school, accompanying Bobby on his long-distance rides. They stop for a hitchhiker, an up-and-coming American country singer/songwriter, Cosima Stewart (her lyrics punctuate the novel), and Jo becomes a groupie of Cosima and her band. A crisis occurs at the novel's midpoint, five years later. Jo, having wormed her way into the band's favor, has had drug-fueled sex with band member Rick, Cosima's boyfriend. Relishing her new status (ex-virgin!), she flirts with passengers on a ferry ride to Ireland and is horrible to Bobby, who feels rejected and jumps overboard. The story now speeds up (no more flashbacks) while becoming increasingly implausible. In denial about her father's suicide, Jo starts stalking Cosima, even following her to California. Hall is less interested in examining Jo's possibly shattered though seemingly robust psyche than in sketching a contemporary Wild West, letting the cliches about guns raindown. After a violent confrontation with Cosima, Jo is sent to a nuthouse before being sheltered by her mother Rosalie (now an upright observant Jew) and eventually returning to England. Damaged parent, damaged child, but Hall's writing is not urgent or focused enough to make us care about their fates.
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Product Details

  • ISBN-13: 9780312359447
  • Publisher: St. Martin's Press
  • Publication date: 1/9/2007
  • Edition description: First Edition
  • Pages: 320
  • Product dimensions: 6.55 (w) x 9.47 (h) x 0.99 (d)

Meet the Author

ALBYN LEAH HALL was born in New York and lives in London. This is her U.S. debut novel.

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Read an Excerpt

Chapter One

1998

I was twelve years old when Cosima first rode with us.

I hadn't heard of her then. Nobody had. She was just another girl, a hitchhiker with a name you might not remember.

A few things were different about her. She was American, but it wasn't just that. On the road, we met just about everybody: Welsh people and Irish people and Scots, German people and Spanish people and Americans and, of course, people from every part of England. The American hitchhikers were mostly the natural-looking kind, all denim and well-brushed hair, who could have been English apart from flat, unfunny voices and a dislike of our food, like beans on toast or Marmite. More than one of them tried to tell me that pretzels were better than Twiglets and that the Little Chef wasn't like a real American coffee shop. I told them it wasn't trying to be.

Cosima was a cowgirl, at least to look at. She wore a cowboy hat and a belt with a brass buckle. She wore a suede jacket, its fringe damp and tangled from being sat on in so many cars and lorries (or trucks, because they didn't say lorry in the U.S.A.). Her accent wasn't broad, but her voice had gaps in it wide enough to park a lorry in. I'd ask her a question and she wouldn't say anything and I'd think she hadn't heard me. Just when I was about to ask it again, she would answer. Cosima always kept you waiting, even when she was right there next to you.

The second thing was her fiddle. The road had its musicians—it was full of them in summer—but they were mostly boys with guitars or the occasional girl with a guitar. Bobby used to play the guitar once, and he liked to ask what kind of guitar he or she was carrying and maybe have a look at it if we stopped for a cup of tea. We'd met boys with fiddles, but not many girls.

It was six years ago, but I remember everything about that day. We had eaten our lunch. We were seventeen miles north of Birmingham. We were listening to Charlene Sweeney, our favorite country singer. The cars were like slugs all around us, creeping along in the warm, grimy rain. I had that feeling I had in my stomach that I got when we weren't moving. It was a stuck and heavy feeling, as if I'd eaten bricks.

She stood with her thumb out, a slim, neat, cowgirl-looking girl, sandy hair to her shoulders. I turned down the volume on Charlene Sweeney.

"Stop, Bobby."

He stopped. I shifted over to the flat area between the seats. A boy sat on the grass behind her, or a kind of a boy. He had bleached hair and he wore eye makeup. Sometimes girls pretended to hitch alone, when really there was a boy just behind them. But this boy didn't seem interested in us. He got up to read our registration plates and he wrote something on a piece of paper.

She climbed up beside me. She had green eyes, wide lips, and a flat nose—a little too flat, which is what kept her from being an absolute beauty. She was about twenty-four years old, maybe twenty-five.

Bobby leaned across our laps to open her door again and shut it properly because there was a knack to it that nobody got except for him and sometimes me. He loosened her seat belt to give it more slack. She watched his hand as he did this. She sucked her stomach in so that it didn't touch his hand.

"I'm Cosima Stewart," she said. "Thanks for the lift. My friend's got your license-plate number in case anything happens."

It was a funny way to say hello. What did she think would happen? There were bad men on the road, but they didn't have kids with them. Bobby was in no way dodgy, and he was the safest driver she would ever meet.

"Right enough." Bobby wove us into the middle lane. "It's nice to meet a girl who takes care of herself. Not like that poor wee thing in July."

Cosima Stewart looked confused.

"He's talking about a girl who was found in a bag in a ditch in Oxfordshire," I explained. "We knew that girl, or we knew her when she was alive. We gave her a lift once."

"Did you." She clutched her handbag to her lap.

There wasn't much talking after that. The rush hour cleared and we were quiet with just the motorway sounds. Her jacket smelled nice, like trees after rain. I wanted to ask her about the boy with the eye makeup, if he was her boyfriend. He didn't look like a boyfriend to me.

But it was she who asked me a question first.

"Do you go to school?"

I was disappointed. This was the one they all asked.

"Sometimes."

"And yourself, Cosima?" asked Bobby. "What do you do?"

"I'm a singer-songwriter. I'm in a country-and-western band."

He took his eye off the road just long enough to look at her. "Aye?"

"Listen." I turned Charlene up just as our favorite song came on, "I Ain't Makin' No Hay."

"Charlene!" said Cosima. "She's the best! I love that harmonica intro."

Though we had listened to "I Ain't Makin' No Hay" more times than I could count, I'd never thought, Oh, I love that harmonica intro. But now that she'd said it, I could see that it was very much a thing to be loved, wailing happy and sad through the drums in a happy wail. Cosima strummed her fingers on the dashboard and Bobby drummed his fingers on the steering wheel. We sang along, the three of us:

I ain't the kind of girl

To sit around all day

Waiting for a boy to pick me up

In some old Chevrolet . . .

I got wheels of my own and I'm never at home

And I live my life on the road.

So if you wanna fuel my desire

Don't change my tire

You just gotta love my highway . . .

'Cos unless you got power

A hundred miles an hour

I ain't makin' no hay!

I thought of Cosima before she met us, driving on the wrong side of the road like they did over there, playing the song over and over until she had all the words. I thought of us doing the same thing, here on the M1 or M6, maybe even on the same day.

"Do you like Alison Krauss?" I asked her.

She seemed to shake her head, as though she was about to say no. "Alison's the best."

"What's your favorite album of hers?"

"That's hard."

"I like Too Late to Cry the best."

"Jo," said Bobby, "you told me that So Long, So Wrong was your favorite at the minute."

"I did not."

"You did."

We passed a sign: manchester, 36 miles.

"I'll get off at Manchester," said Cosima.

I started going through all the CDs, as if I could make her stay by finding the other good ones.

Usually, when we picked up girls, I enjoyed them for a while. I liked sitting next to someone different for an hour or two. One thing I particularly liked was being near to the hair of other girls. I had hair like my dad's—brown, gloppy hair that just sat there, neither short nor long—and I was always interested in how older girls wore their hair, even when the girls themselves weren't so pretty. Most girls had more definite hair than mine: straight or curly, long or short, a pure color like black or ginger or yellow, even if it was dyed to make it that way.

And yet we usually ran out of things to say pretty quickly. Most of them didn't like country music, which made me feel funny when Bobby put it on. My bum would begin to hurt from sitting on the hard seat. By the time we dropped them off, I was ready to see them go.

Every now and again they stayed the night. There was one who rode all the way to Inverness with us. We didn't sleep in the lorry that night, or even in the truck stop. We slept in the Trusthouse Forte Hotel, which was too expensive really, and I didn't notice her paying anything toward the bill. I had my own room and Dad shared a room with her. In the morning she had breakfast with us. I didn't talk at all then, not out of shyness but because I didn't want to. The morning made her look whiter and fatter. She dipped her toast in her tea and dribbled her eggs with tomato catsup. She kept staring at Bobby and I felt sick looking at her.

After that we'd see her sometimes, at the same junction we'd picked her up at, near Wakefield. She was there so much I wondered why we'd stopped for her when so many drivers didn't. Each time we'd swing round the roundabout, she'd be looking my way, but it wasn't me she was looking for. She was standing up tall, trying to look at Bobby.

"Poor thing," he said. "Every time we see her, she's holding a different sign."

"Why?"

"Going nowhere, I suppose."

Cosima was definitely going somewhere. She had gigs and places to go to, and another country waiting for her to come on home.

Twelve miles south of Manchester, Bobby's hand was tight on the wheel. His knuckles were white, and I could hear him breathe. He wanted a cigarette, but he never smoked with girls in the cab, unless they were smoking as well. When Bobby wanted to smoke and couldn't, he asked more questions.

"From the states, Cosima, aye?"

"Texas . . . I live in London, though."

"What is it that brings you here? The band, is it?"

"Yes, and my boyfriend's English—we're in the band together."

"Fancy that, eh? Coming to England to play country music!"

"We're kind of 'alternative' country. People like that sort of thing in Europe. I couldn't get arrested in Texas."

"What do you mean, 'get arrested'?" I asked.

"She means they couldn't get a gig," said Bobby.

"What does that have to do with being arrested?"

Cosima looked at me. "You're cute," she said.

"She's not a bad wee thing," said Bobby.

We came up to a roundabout. Bobby let three cars go before him. When a driver finally let him go, Bobby raised his hand to thank him. I looked at Cosima to see if she'd noticed. "Sure, it only takes an extra two seconds to show a little courtesy," he'd say sometimes, though he didn't say it now.

"Do you have any of your music with you?" I asked her.

At first I thought she didn't hear the question. It was only when we turned into Manchester that she dug the CD out of her bag and handed it to me. I started to stick it in, but she held my hand to stop me.

"Not until I leave," she said. "I don't want you to lie if you don't like it."

Bobby smiled. "Josephine never lies."

I didn't know if this was true. I thought it probably wasn't, but I liked it when he said things like that. It made me feel older, like a person who has her own ideas about how things should be done.

"Why don't the two of you come to our gig tonight?" asked Cosima.

"Gig?" We'd seen bands before, mostly at village halls, but we'd never been to anything I thought of as a "gig."

"Can we, Bobby?"

"We'd love to," he said, to her. "But we've a ferry to catch."

"Please, Dad . . ."

"Sorry, pet."

Actually, I was relieved. The word gig shook me up as if I'd been asked to jump out of an airplane. It seemed the right moment for her to leave us after all, before we had time to stop liking each other so much.

We dropped her off in Bridge Street. Cosima tried the door, but it stuck. Bobby leaned across her to open it for her. As he looked up at her, his eyes were big, as if he had one last question to ask, but he didn't ask it. She thanked him and shook his hand. She shook my hand as well.

"Stay cute," she said to me, and jumped down.

She walked away with her fiddle slung over her shoulder. I put my hand on Bobby's arm and waited for him to wink at me, the way he did after we'd let the other girls out, but he didn't. He tilted his head to read the CD in my hand.

"Cosima Stewart and Her Goodtime Guys," he read. "Swooning, Drinking, Loving, Lying, Getting Back on the Road." He looked at me. "Put it on."

Apart from the label, the cover had no pictures on it.

"It could be a bomb, Dad." I was only joking, but I could see it all the same—inserting the CD, the explosion, and us turned into a crazy ball of fire in the middle of Manchester.

"Go on," he said.

I pushed it in.

Copyright © 2007 by Albyn Leah Hall. All rights reserved.

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  • Posted December 9, 2008

    more from this reviewer

    Heartwrenhing

    Not long after Josephine was born, her mother disappeared leaving behind the newborn with her father to raise her. Her daddy, Bobby Pickering, drives a truck taking her on the road with him since she was born. Bobby has always stopped to pick up lovely hitchhikers over the years charming many of them to warm his bed when he stops for the night. The years have moved on Jo is now a teen starting to desire males with a fierce need for more freedom. Bobby recently picked up singer Cosima Stewart. Jo turns to Cosima as a mother surrogate persuading Bobby to take her to the singer¿s shows. However, a band member has sex with Jo just before Cosima leaves to tour California. Jo mentally collapses ignoring her father she follows Cosima to the West Coast where her emotional collapse becomes obvious. THE RHYTHM OF THE ROAD is not an easy tale to read as the angst of the teen will disturb the audience because it seems so genuine. The cast makes this a powerful relationship drama as Jo though loving her father and knowing he loves her too falls apart anyway. Her plea for help especially from Cosima will touch all readers as Albyn Leah Hall provides a deep look at a people in trouble. Harriet Klausner

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