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Stella Bain

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Overview

"Shreve's 17th novel is a tragic yet hopeful story of love, memory, loss, and rebuilding....The novel is both tender and harsh....Shreve's thoughtful, provocative historical tale has modern resonance." ?-Publishers Weekly

Stella Bain has no memory of her past when she wakes up in a hospital bed in Marne, France. It is 1916, and she wears the uniform of a British war nurse but speaks with an American accent. As soon as she is able, Stella sets out for London, where she hopes to ...

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Stella Bain

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Overview

"Shreve's 17th novel is a tragic yet hopeful story of love, memory, loss, and rebuilding....The novel is both tender and harsh....Shreve's thoughtful, provocative historical tale has modern resonance." —-Publishers Weekly

Stella Bain has no memory of her past when she wakes up in a hospital bed in Marne, France. It is 1916, and she wears the uniform of a British war nurse but speaks with an American accent. As soon as she is able, Stella sets out for London, where she hopes to find answers. What she discovers-with the help of Dr. August Bridge, who takes an interest in her case-both shocks and startles. As Stella's memories come racing back, she must undertake a journey across the ocean to confront the haunted past of the woman she used to be.

In this gripping historical drama that transports us from Europe to America and back again, Anita Shreve weaves an engrossing tale about love and memory, set against the backdrop of a war that devastated an entire generation.

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Editorial Reviews

Publishers Weekly
08/26/2013
Shreve’s 17th novel is a tragic yet hopeful story of love, memory, loss, and rebuilding. A young woman wakes up with amnesia in a battlefield hospital tent in Marne, France, in 1916. She thinks her name is Stella Bain, and she thinks she knows how to nurse and drive an ambulance. As she recovers, she returns to duty in this new environment, caring for the wounded and dying. When she arrives in the city exhausted and destitute, she’s discovered in a park by a doctor’s wife, who takes her in. The doctor, Augustus Bridge, is a cranial surgeon with an interest in psychiatry. Stella becomes a “quasi-patient”; he finds a way to get her into the Admiralty, and, when a former friend recognizes her by name, her memories return, including the fact that she has children—and the reason why she left them. The amnesia and its cause are only part of the story; the lack of understanding at the time of the consequences of witnessing the horrors of war, for both men and women, also plays a key role. The novel is both tender and harsh, and the only false note is the use of present tense, which prevents the reader from being pulled in more closely. Shreve’s thoughtful, provocative, historical tale has modern resonance. Agent: Jennifer Rudolph Walsh, WME Entertainment. (Nov.)
People
"Engrossing...With the insistent thrum of life-and-death EMT calls as background, Shreve's vividly told tale captures the deep-seated fears of mortality and loneliness that can drive us to test the bounds of family and forgiveness."
Dennis Lehane
PRAISE FOR RESCUE:

"A beautiful novel about the limits of forgiveness and the fragility of family. Pitch-perfect all the way to the final line."

Olivia Barker - USA Today
"Riveting....The prose is characteristically Shreve-spare."
Kirkus Reviews
2013-09-01
A wife risks every chance of domestic happiness by heading to the front long before America's entry into the Great War. A woman awakens in a field hospital in Marne, France, in 1916. Fragments of memory surface: She recalls that she was serving near the front as a nurse's aide and ambulance driver before suffering a shrapnel wound and shell shock and that her name is Stella Bain. Driven to seek answers about her identity from the Admiralty in London, she travels there and, ill, is taken in by August Bridge, a cranial surgeon, and his wife, Lily. Experimenting with the new field of psychoanalysis, August strives to restore Stella's memory: She draws a series of scenes that provide clues, not least to the fact that she is an accomplished artist. At the Admiralty, she is recognized by Samuel, an officer there, and her past floods back--she is Etna Van Tassel, not Stella Bain. A flashback reveals that Etna and Samuel were young lovers in New Hampshire and that she begged Samuel, in front of his brother Phillip, not to marry another, to no avail. She married a dour Dutch professor, until a baseless scandal he fomented involving their teenage daughter and Phillip drove Etna--and Phillip--to France as a volunteer. Phillip and Etna's affinity blossoms into affection as the duo, both ambulance drivers, steal moments together amid the carnage and horror of trench warfare. Although the novel's structure is somewhat disjointed, and the preliminary amnesiac chapters seem gratuitous in light of the full revelations that follow, the characters are well-drawn and sympathetic. Many surprises are in store. An exemplary addition to Shreve's already impressive oeuvre.
Associated Press Staff
"[Rescue] is Shreve at her best, looking at a family tragedy and the events that caused those involved to reevaluate their past and to find the courage to possibly change their lives."
Entertainment Weekly
PRAISE FOR RESCUE:

"Fans of Anita Shreve will likely devour this new novel..."

From the Publisher
PRAISE FOR RESCUE:

"Fans of Anita Shreve will likely devour this new novel..."—Entertainment Weekly

"[Rescue] is Shreve at her best, looking at a family tragedy and the events that caused those involved to reevaluate their past and to find the courage to possibly change their lives."—Associated Press

Library Journal
11/01/2013
Shreve is back with a period piece that will keep readers thinking. In the midst of World War I, a woman finds herself lost and alone in London with no idea of who she is or how she got there. After being taken in by a kind, wealthy couple, Lily Bridge and her doctor husband, August, slowly a few memories return to her. Her name is Stella Bain, and she needs to go to a military location called The Admiralty to find the person who has the key to unlock the rest of her memories. As the story unfolds, Stella does find her identity and the reasons that made her abandon her American family and head off to Europe to help in the war. She ends up in a nasty court battle and eventually meets back up with Dr. Bridge in an emotional conclusion. VERDICT With period pieces on television such as Downton Abbey and Call the Midwife becoming so popular, Shreve has chosen a timely setting. As usual, her plotlines and domestic drama do not disappoint. The masses of Shreve fans will line up for this one, as will some Downton Abbey enthusiasts. [See Prepub Alert, 6/1/13; five-city tour.]—Beth Gibbs, Davidson, NC
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Product Details

  • ISBN-13: 9780316098861
  • Publisher: Little, Brown and Company
  • Publication date: 11/12/2013
  • Pages: 272
  • Sales rank: 345,504
  • Product dimensions: 6.20 (w) x 9.30 (h) x 1.00 (d)

Meet the Author

Anita Shreve is the acclaimed author of 16 previous novels, including Rescue, A Change in Altitude; Testimony; The Pilot's Wife, which was a selection of Oprah's Book Club; and The Weight of Water, which was a finalist for England's Orange prize. She lives in Massachusetts.

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

Stella Bain


By Anita Shreve, Hope Davis

Hachette Audio

Copyright © 2013 Anita Shreve Hope Davis
All rights reserved.
ISBN: 978-0-316-09886-1



CHAPTER 1

Marne, March 1916


Sunrise glow through canvas panels. Foul smell of gas gangrene. Men moaning all around her. Pandemonium and chaos.

She floats inside a cloud. Cottony, a little dingy. Pinpricks of light summon her to wakefulness. She drifts, and then she sleeps.

Distinct sounds of metal on metal, used instruments tossed into a pan. She tries to remember why she lies on a cot, enclosed within panels of canvas, a place where men who die are prepared for burial away from the rest of the wounded, a task she has performed any number of times.

She glances down and finds that she is wearing mauve men's pajamas. Why do her feet hurt?

A small piece of cloth with a question mark on it is pinned to a uniform hanging from a hook. For several minutes, she studies the uniform before realizing that she does not know her own name. She receives this fact with growing anxiety.

The name Lis floats lightly into her thoughts. But she does not think Lis is her name. Elizabeth ...? No. Ella ...? Ellen ...? Possibly, though there ought to be a sibilant. She ponders the empty space where a name should be.

The name Stella bubbles up into her consciousness. Can Stella be it? She examines the letters as they appear in her mind, and the more she studies them, the more certain she is that Stella is correct.

Again, she drifts into a half sleep. When she comes to, she cannot remember the name she has decided upon. She lets her mind empty, and, gradually, it returns.

Stella.

Such a small thing.

Such a big thing.

Stella has no idea where she has come from. She senses it might be an unhappy place, a door she might not want to open. But no one's entire past can be unhappy, can it? It might contain unhappy events or a tendency toward melancholy, but the whole cannot be miserable.

All around her, the hum of flies and the beat of fast footsteps. Orders are shouted; a new batch of wounded is coming in; the staff will want her bed, of course they will. There is nothing wrong with her, and she has simply been allowed to sleep a long time.

She rubs her feet together. A sharp pain through the muffling of bandages. How has she injured her feet?

A panel is moved aside, and she hears a woman speak in French. Seconds later, a nurse, a nun, enters the small canvas compartment. As she moves toward the bed, she looms large in her starched uniform and wimple. She scrutinizes Stella's eyes, scanning, the patient knows, for dilated pupils. "You are British?" the sister asks.

"I am not sure," Stella answers.

"You have been unconscious for two days," the sister explains, stepping back and fussing with the sheets as she slides Stella's feet from under the covers. "Your feet had bits of shrapnel in them when you arrived. Someone with a cart left you outside the tent in the middle of the night. I should like to examine your feet."

This is someone else's story, Stella thinks, not hers.

"What is your name?"

"Stella." She pauses. "Where am I?"

"Marne."

"Marne is in France?"

"Yes," the sister answers, pursing her mouth. "My name is Sister Luke. I am British, but almost everyone else at the camp is French. We believe your boots blew off when you were knocked unconscious by the first shell and that a second shell injured your feet. You had not a scratch on you otherwise, apart from some bruises from falling."

"Will I be able to walk?" Stella asks.

Sister Luke studies her. "I think you are American."

"Am I?"

"From your accent. But you were found in a British VAD uniform."

Stella cannot explain this.

"You are a VAD?"

"I don't know."

Stella can see that the sister is annoyed and has other, more pressing matters to attend to.

"But I know how to drive an ambulance," she blurts out.

Is this true? If not, why does she think it is?

"You know this, and yet you do not know your posting?" the sister asks with barely concealed disbelief.

Yes, the paradox is bewildering but does not seem urgent. Beyond the canvas, Stella knows, everything is urgent.

The sister moves toward the opening in the compartment. "Apart from your feet, I can find nothing wrong with you. You will have them examined and dressed on a regular basis. Then you will rest and eat and drink while we ascertain your identification. We will contact all the nearby hospital camps. You cannot have come very far. When your feet are better, you can work. Perhaps we will see if you can drive that ambulance after all. In the meantime, you are to remain here. What is your last name?"

Stella simply shakes her head.

Orders are given, and a nurse's aide arrives with a tray. The dressing of Stella's wounds is more painful than she would have thought possible. The aide, who looks exhausted, helps Stella drink two glasses of water. Stella feels sorry for the young woman and does not ask questions because she knows the effort it will take to answer them.

Stella's last name comes to her the way a bird takes flight. She tells the aide, "I am Stella Bain."

When the aide leaves, Stella closes her eyes and then opens them. She repeats this exercise several times. But no matter how often she does it, she cannot remember what regiment she was attached to or what she was doing on a battlefield.

A month later, Stella has recovered from her wounds and serves as a nurse's aide in a French uniform. Again, she puzzles over the way her skills have returned to her, even though she does not know where she learned them.

Stella is appalled by her surroundings: the soil thick with manure; mud-laced wounds causing suppurating infections; compound fractures imposing a death sentence. A swab of Lysol along with gauze dipped in iodine is all the medicine on offer. A gas-gangrenous wound, not to be confused with the effect of poisoned gas, balloons up to grotesque proportions. Stella watches a doctor play an idle beat upon a man's flesh with his fingers. The sight is awful, the sound hollow. Almost all the men die.

Sometimes, the doctors' screams are louder than the patients'. The surgeon's job is beyond belief, a hell on earth worse than any hell imagined. Stella wants to know how many of them go mad, all sensibility and religion violently stripped away during the endless succession of amputations.

Always look a man in the eye, no matter how terrible the wound. This the English sister teaches, orders, her to do. The wounded's journey is long: from the trenches of no-man's-land to the aid post to the field dressing station to the casualty-clearing station, only to die on the train on the way to the base hospital.

In her off-hours, Stella mends tears in her skirt, brushes mud off her hem, and searches for lice in the seams of her clothing. She washes collars and cuffs and the cloth of her cap, and if there is water left over, she tries to clean her body.

One day, she asks the sister on duty if she might have a piece of paper and a pencil. In her tent, Stella begins to sketch what she can see around her: a lantern, a canvas table, a cot in the corner. Her roommate, Jeanne, catches her at this activity and marvels at Stella's ability. In broken English and using a kind of sign language, she asks if Stella will draw her portrait so that she might send it back to her family. Jeanne has hollow eyes and a vocation. As she draws the young woman, Stella wants to ask her how her religion has survived the sights they have both witnessed, but Stella's grasp of French is not good enough for any sort of meaningful conversation.

When Jeanne brings a fellow aide to the tent and asks Stella if she will draw her friend's portrait, Stella agrees on the condition that Jeanne find her more paper and pencils and a knife for sharpening the pencils. This Jeanne happily does. Jeanne's friend insists on paying Stella for her sketch. Gradually, a number of nurses and their aides line up to have their portraits done as well.

But between the portraits, when Stella is alone, the private drawings she makes disturb her. She sketches the exteriors of unknown houses, surrounded by grotesque trees and bushes. When she tries again, the drawings are nearly the same, but the atmosphere of claustrophobia grows even more pronounced. The sketches produce a keen sense of distress, but she cannot stop herself from continuing to make them.

Stella does not know how she came by her skill at drawing. It seems to have appeared simply out of a desire to do so.

The English sister must have remembered Stella's statement that she can drive an ambulance, for she receives her first assignment on a June night.

"Over and up," the French orderly beside her says. The ambulance bucks, but does not stall. Stella has to feel her way along the road, since no lights can be used. Her eyes strain and water. In the distance, rockets throw a greenish light over the countryside.

Stella screams when a shell bursts two hundred feet ahead. First, a large splash of earth, and then a ball of smoke, which drifts away. The orderly swears, French words that she understands. The orderly is fluent in English, which is, Stella supposes, the reason he has been assigned to her.

"It's going to get rough," the man explains. "Especially when we pull in. That is where we are most vulnerable. As soon as I jump off, you turn the truck around and keep the engine running. Someone will help me load. When I pound the back here, you start driving, no matter what is happening. You find a way to get back."

Physical fear begins to climb Stella's spine, and yet she has done this before, has she not? Her hand shakes on the gearshift. She squeezes her shoulder blades together, expecting a direct hit to the Croix Rouge symbol on the roof. She has no idea where the road begins. She struggles to see the slightest indication of tracks, but smoke clouds the path. How will she find her way back to camp with the wounded inside? Regulations prohibit her from stopping at any point, even if the men behind her start to shout.

She senses the bump of each stretcher as it is loaded into the back of the bus. She waits for the pounding on the wooden panel.

Stella does not know how many are in the back, how badly wounded they are. She cannot even be sure it is the orderly himself who has signaled to her. She wishes he were up front so that she could talk to him.

"Left," she says aloud to herself as she finds and follows the tracks. And later, "Slow down."

When she arrives back at camp, she slides like a reptile from the driver's seat. Despite the cold, she has perspired through to her coat. She counts the wounded as they are unloaded. She is struck by their apparent freedom from pain. Stranger still, she can hear one of them whistling. She feels stronger and lighter than she has in months.

One day, walking through the camp, Stella hears a man curse the institution that assigned his brother to a ship that sank. Her mind snags on the word Admiralty in the sentence. She puzzles over it so much in the days that follow that Admiralty becomes a kind of mythic goal, a monolith drawing her toward it. She believes that she will one day reach it, and she hopes that once she sees the building or the landscape, she will remember why it seems to be so important. But how strange, because to her knowledge she has never been in England. Can her quest be the result of an event in her former life?

Admiralty hums in its own layer, the one behind the present moment and before the void that is her memory. A word. A title. A note. It presses and troubles her, even when she actively tries to think of something else.

Stella learns that the Admiralty, headquarters to the British Royal Navy, stands in central London. She begins to cherish the word because she believes it comes from her previous life, perhaps the first chink in the armor of her inner mind, where memory and identity lie. Has she ever worked at the Admiralty? Lived close to it? Did she once have a husband who worked there? The notion threatens her, because she cannot imagine having forgotten something as basic as a man she loved and the intimacy they shared. Often she studies her fingers, searching for a tiny circle that might signal the previous presence of a wedding band. But she has found nothing. In the privacy of her tent, shortly after her arrival, she conducted a physical examination. A husband or a lover is a possibility.

Throughout the summer, Stella's life consists of tending to the wounded, driving an ambulance, and drawing on paper with a pencil. In this way, she sometimes forgets that she cannot remember.

In October, Stella is granted leave. She thinks this might be her one chance to get to England. She must find the Admiralty and discover its importance. Jeanne tells her she should go to Paris.

Stella asks for and is given a canvas satchel in which she packs her British uniform, her sketches, and the money she has earned from making portraits of nurses and their aides.

Once in Paris, she catches a train for the coast, where, she has heard, English hospital ships carrying wounded men are setting out for home. But the train, due to heavy bombardment, has to stop before it reaches Étaples. Even from a distance of ten miles, the shelling can be heard. The hospital personnel are urged to stay in their seats; the train will be rerouted.

With her satchel, Stella slips from the train and makes her way into the woods. If her exit has been seen, will they bother to look for her? She cannot imagine a doctor or a train conductor trying to find her. Stella remains, for the moment, a stateless woman in a lawless country.

The journey through the forest is arduous and frightening, but gradually the woods thin out to reveal the coastal village. Along the way, she encounters a chaos such as she has never seen before. She begins to cough, whether from the smoke or illness she cannot tell. In Étaples, Stella discovers that the large Red Cross hospital ship to which the wounded were headed has partially sunk.

She ducks inside a tent and changes into her British VAD uniform. "I've lost my way," she tells the first official-looking British man she meets.

"They're using smaller ships now to get across the Channel. There's a dock at the eastern end you might try."

Stella locates a ship that was perhaps a ferry or a pleasure boat. There is no pleasure aboard it now. When she sees the cargo, she gasps. The wounded and the dead have not been separated. The calls of the injured sound as if they come from an underworld she has only dreamed about. Here and there, she observes nurse's aides like herself comforting men and applying dressings.

No one asks to see her identity card. No one cares. She does what she has been doing for months in Marne, tending to the wounded and assisting with operations that cannot wait until they reach the shore.

When in England, Stella boards a train with the most seriously hurt, the ones who might not, even with a doctor's ministrations, make it to Victoria station. En route, the men are sick and their bowels loosen. There is a priest on board to deliver last rites, and it is one of Stella's duties to make sure she can find the man at any given moment.

In London, Stella silently wishes the wounded well and then leaves them. Trading with the soldiers heading toward the front, she exchanges her French money for English money. Exhausted, Stella follows a crowd along what looks to be a main thoroughfare. She walks in a direction she thinks will lead to the Admiralty, but after a while senses that she has made a mistake. Finding herself on a narrow lane, she tries to retrace her steps. She walks without food or water, fingering the unfamiliar British coins inside her pocket. She moves forward until she can walk no more, but still she keeps trudging. She walks until she comes to a stop against a wrought-iron fence. A woman in a rose-colored suit asks her a question.


London, October 1916

A woman in a rose-colored suit, which strikes Stella as both odd and beautiful because she has seen little color on anyone in London, asks her if she is unwell.

"My name is Lily Bridge. From my window across the garden, I saw you leaning against the fence. Pardon my candor, but you seem to be overwrought."

Who, Stella would like to know, is not overwrought in this time and place?


(Continues...)

Excerpted from Stella Bain by Anita Shreve, Hope Davis. Copyright © 2013 Anita Shreve Hope Davis. Excerpted by permission of Hachette Audio.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Customer Reviews

Average Rating 4
( 32 )
Rating Distribution

5 Star

(8)

4 Star

(13)

3 Star

(7)

2 Star

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(1)

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See All Sort by: Showing 1 – 20 of 32 Customer Reviews
  • Posted November 13, 2013

    An interesting look at memory loss. I received a free copy of t

    An interesting look at memory loss.

    I received a free copy of this book from a Goodreads, First Reads giveaway in exchange for my honest opinion.

    Stella Bain is an American woman who is found wandering in an exclusive garden in London in 1916. She only has memories going back a few months. Surgeon August Bridge and his wife Lily selflessly take her into their home and try to help her regain her memory.

    The premise of this story is very good. The slow development of the main character as well as the revelations of her past intrigued me.

    The problem that I did struggle with was it was written in the third person. Yet whenever it went into a long period of dialogue it seemed odd to me, like it had an uneven flow to it. I’m not sure if it switched from the third person or not. It just felt awkward.

    I do recommend this book based on the quality of the storyline. The distraction from the third person presentation/dialogue issue is the reason that I only give it 4 stars.

    7 out of 7 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted November 21, 2013

    more from this reviewer

    In the novel, Stella Bain, author Anita Shreve takes us back int

    In the novel, Stella Bain, author Anita Shreve takes us back into the turbulence of World War I, the declining Edwardian era, and the gender restrictions imposed on women. This absorbing story is about a young woman who worked as an ambulance driver in France. She is discovered shell-shocked and suffering from amnesia; all she can tell anyone is that her name is Stella Bain. But is it? Day by day, as Stella begins to heal, tiny recollections of memories, of locations, of names, flash into her mind. Determined to answer the questions of her past, she is compelled to unravel the secrets of her past, who she really is, and where she came from. What follows is a compelling, engrossing mystery.




    The novel embraces strong topics such as post-traumatic stress syndrome, especially as it affected women at the time, the rights of women and societal expectations and norms, while delivering a poignant love story of pain and loss and healing.  




    Anita Shreve excels at drilling down deep into the human spirit, of unleashing great emotion, and all while telling a riveting story. This is very much a character driven novel, but it also has a touching mystery at its roots that definitely keeps the reader turning the pages. I highly recommend this novel for anyone wishing to cozy up to a deep, insightful story of ultimate triumph. 

    5 out of 5 people found this review helpful.

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

    Posted November 18, 2013

    I always look forward to Anita Shreve's new book and usually rea

    I always look forward to Anita Shreve's new book and usually read it in a day, as I did this one. It grabbed me from the beginning
    - a good story of a lost woman and how she comes around to finding out who she is. I did not like the last part of the book .
    I feel like the last part was just a series of long sentences used to tie it all together and let you know what happens to the
    characters. I liked the story line, loved Stella Bain but was disappointed in how it came together in the end. 
    I will still look forward to the nest book but this one will not be my favorite.

    4 out of 5 people found this review helpful.

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  • Anonymous

    Posted February 25, 2014

    Slow reading

    Bought this book because of the author. Very slow moving. Story about a woman who loses her memory during her time as a nurse in ww I. The charactets were not well developed. Lots of loose ends. Disappointing

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 6, 2014

    A disappointing book

    I have loved all of Anita Shreve's books, but Stella Bain was disappointing. It ended very abruptly.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 2, 2013

    Not Shreve's best

    I felt that this was a premise that Shreve did not have the commitment to develop. The ending was weak.

    1 out of 1 people found this review helpful.

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  • Posted November 9, 2014

    I listened to this riveting story on audiobook, and despaired wh

    I listened to this riveting story on audiobook, and despaired when the book ended. The sequence of events proved a little confusing, and the ending seem too rushed. The character of Stella/Etna shows the glimmer of an independent woman emerging from World War I. Stella buys her own cottage, supports herself and her children by drawing medical scenes, hires a lawyer to win custody of her son, and even drives an ambulance during the war. Her determination seems a little too much for this time in our history, but many writers are portraying strong and innovative women. The book also relates the horrors witnessed by the soldiers, doctors, and nurses; and the problems these horrors presented at later times. The new field of psychology trickles into the story.

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  • Anonymous

    Posted June 22, 2014

    I listened to this book as I was driving on vacation. The book's

    I listened to this book as I was driving on vacation. The book's story captured me right away. I will recommend the book to my book club for next year.

    As others have said, the ending came with some surprise on my part. I was anxious to find out, but then disappointed.

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  • Posted February 17, 2014

    more from this reviewer

    Not impressed. This is the first book I've read by Anita Shreve

    Not impressed.

    This is the first book I've read by Anita Shreve and it will probably be the last. I didn't care for her style of writing. It was stiff and at times seemed more like an outline rather than a story. There were also a number of places where the story would jump from one topic to another without any clue as to the transition or rationale. The story concept was good, but just didn't arrive in my view.

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  • Anonymous

    Posted February 2, 2014

    So disappointed

    Stilted and boring. What a disappointment!

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  • Posted January 17, 2014

    Only 200 pages, yet cost $11.99

    Really enjoyed reading this book. Written quite well. I was disappointed that the book was only 200 pages, yet cost $11.99. I wasn't aware of this at the time of purchase.

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  • Anonymous

    Posted January 4, 2014

    Very thought provoking

    Shreves work is always compelling and a poetic read.

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  • Anonymous

    Posted January 3, 2014

    interesting book overall

    Stella Bain by Anita Shreve is an interesting book that holds your attention. In it the author tells the story of a woman who loses and regains everything life holds precious to her. However, it is almost too difficult to believe the situations the woman finds herself in given the period in history the book supposedly takes place. For this reason, I gave the book 4 instead of 5 stars.

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  • Anonymous

    Posted December 29, 2013

    To author and all

    Lov it a bit short but awesome! Read my fanfic at 'mark' result one!

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  • Anonymous

    Posted December 29, 2013

    Silverwish's Secret Prologue

    A kit stumbles around in the forest blind. Her eyes are not yet open. Something hits her and she is knocked out. She wakes up in a den, but this was no ordinary den. It was a fox den she knew that smell very well her mother had taught her. A fox looks at the kit "You are awake" she barks softly. The kit looks at the fox in horror. "It is okay little one" the fox murmers. " My name is Spark". The kit relaxes. "Do you have a name?" Spark asks. The kit shakes her head. "Well then you need one." "What about Silverkit for your silver colored pelt?" The kit nods "I like it" she mews.---------- Please comment

    0 out of 4 people found this review helpful.

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  • Posted December 22, 2013

    Interesting read

    I always read Anita Shreve's new books. "Stella Bain" is very good, but not in the great category, of which I know Shreve is capable of. You definitely want to keep reading once you start, but it's not totally riveting. I like the historical info about WWI, much of which I didn't know too much about. The characters are likable but don't get into your heart and soul the way Shreve has done with characters in other books she has written. Please write more, Anita!

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  • Posted December 14, 2013

    recommended

    This was an easy, quick book to read. It was interesting that women suffered shell shock from WW1 just like the men did. It was interesting the way they treated her.

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  • Anonymous

    Posted December 11, 2013

    Very Good

    Not Anita best book, but worth reading because of the time period it is written about. I have read many of her books and have loved all of them.

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  • Posted December 11, 2013

    Interesting

    Though not a page turner, this story kept my interest. Anita Shreve is a fairly consistant author who always delivers an interesting story.

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  • Anonymous

    Posted December 10, 2013

    A good read

    Stella is a good read but not "stellar" like some novels by Shreve. It's good for people who like history, especially history of WWI, and for those who enjoy a psychological plot. And, yes, there is the customary "twist" at the end. But for me, there are a few too many "coincidences" or too facile changes in characters. I somewhat doubt the ending of the story, too, based on knowledge of mores in the 20's. Can't say more as I don't want to give anything away. For me, it was an easy read and so relaxing.

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