Still Life with Bread Crumbs

( 83 )

Overview

A superb love story from Anna Quindlen, the #1 New York Times bestselling author of Rise and Shine, Blessings, and A Short Guide to a Happy Life
 
Still Life with Bread Crumbs begins with an imagined gunshot and ends with a new tin roof. Between the two is a wry and knowing portrait of Rebecca Winter, a photographer whose work made her an unlikely heroine for many women. Her career is now descendent, her bank balance shaky, and she has ...

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Still Life with Bread Crumbs: A Novel

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Overview

A superb love story from Anna Quindlen, the #1 New York Times bestselling author of Rise and Shine, Blessings, and A Short Guide to a Happy Life
 
Still Life with Bread Crumbs begins with an imagined gunshot and ends with a new tin roof. Between the two is a wry and knowing portrait of Rebecca Winter, a photographer whose work made her an unlikely heroine for many women. Her career is now descendent, her bank balance shaky, and she has fled the city for the middle of nowhere. There she discovers, in a tree stand with a roofer named Jim Bates, that what she sees through a camera lens is not all there is to life.
 
Brilliantly written, powerfully observed, Still Life with Bread Crumbs is a deeply moving and often very funny story of unexpected love, and a stunningly crafted journey into the life of a woman, her heart, her mind, her days, as she discovers that life is a story with many levels, a story that is longer and more exciting than she ever imagined.
 
Praise for the novels of Anna Quindlen
 
“Packs an emotional punch . . . Quindlen succeeds at conveying the transience of everyday worries and the never-ending boundaries of a mother’s love.”The Washington Post, about Every Last One
 
“New friends await readers . . . characters you will delight in getting to know and miss once you’ve finished the book.”—St. Louis Post-Dispatch, about Rise and Shine
 
“[Quindlen] writes passionately . . . painstakingly uncovering all the intensity, suspicion and primitive love that bonds mothers and daughters.”The Boston Globe, about One True Thing
 
“A polished gem of a novel . . . lovingly crafted, beautifully written.”—The Miami Herald, about Blessings
 
“Mesmerizing . . . impossible to put down.”—St. Louis Post-Dispatch, about Black and Blue
 
“A small triumph . . . elaborate and playful . . . honest and deeply felt . . . Here is the Quindlen wit, the sharp eye for details of class and manners, the ardent reading of domestic lives.”—The New York Times, about Object Lessons

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Editorial Reviews

The New York Times Book Review - Joanna Rakoff
There comes a moment in every novelist's career when she sloughs off the weight of the past—the conventions and obsessions, the stylistic fallbacks and linguistic tics, the influence of early masters—and ventures into new territory, breaking free into a marriage of tone and style, of plot and characterization, that's utterly her own. Anna Quindlen's marvelous romantic comedy of manners is just such a book. In Still Life With Bread Crumbs, Quindlen achieves something distinctive, a feminist novel for a post-feminist age…which proves all the more moving because of its light, sophisticated humor. Quindlen's least overtly political novel, it packs perhaps the most serious punch.
Publishers Weekly
10/14/2013
Quindlen’s seventh novel, following Lots of Candles, Plenty of Cake, is a detailed exploration of creativity and the need for connection. Rebecca Winter is a 60-year-old photographer, once revered as a feminist icon, whose work isn’t selling as briskly as it used to. She needs a fresh start after her marriage falls apart because her husband trades her in for a younger model (as he does every 10 years). She rents a cabin in the country while subletting her beloved New York City apartment, needing both the money and the space in which to find her creative spark again. Jim Bates, a local roofer who helps her with the challenges of moving into the cottage, becomes a new friend, as does a dog that seems to prefer living with her rather than with its neglectful owner. Rebecca also finds new objects to photograph in the series of homemade wooden crosses she discovers during hikes in the surrounding woods, without realizing their connection to a tragedy in Jim’s life. Quindlen has always excelled at capturing telling details in a story, and she does so again in this quiet, powerful novel, showing the charged emotions that teem beneath the surface of daily life. Agent: Amanda Urban, ICM. (Feb.)
From the Publisher
Praise for the novels of Anna Quindlen
 
“Packs an emotional punch . . . Quindlen succeeds at conveying the transience of everyday worries and the never-ending boundaries of a mother’s love.”The Washington Post, about Every Last One
 
“New friends await readers . . . characters you will delight in getting to know and miss once you’ve finished the book.”—St. Louis Post-Dispatch, about Rise and Shine
 
“[Quindlen] writes passionately . . . painstakingly uncovering all the intensity, suspicion and primitive love that bonds mothers and daughters.”The Boston Globe, about One True Thing
 
“A polished gem of a novel . . . lovingly crafted, beautifully written.”—The Miami Herald, about Blessings
 
“Mesmerizing . . . impossible to put down.”—St. Louis Post-Dispatch, about Black and Blue
 
“A small triumph . . . elaborate and playful . . . honest and deeply felt . . . Here is the Quindlen wit, the sharp eye for details of class and manners, the ardent reading of domestic lives.”—The New York Times, about Object Lessons
Kirkus Reviews
2013-11-03
A photographer retreats to a rustic cottage, where she confronts aging and flagging career prospects. Rebecca Winter is known for her Kitchen Counter series, black-and-white photographs capturing domestic minutia, taken as her marriage to a philandering Englishman is foundering on the shoals of mistaken assumptions. But, as her laconic and un-nurturing agent, TG, never fails to remind her, what has she done lately? Her photo royalties are in precipitous decline. Divorced, living in a high-priced Manhattan apartment, Rebecca, 60, finds herself unmoored. Her filmmaker son, Ben, still requires checks from Mom. Her mother, Bebe, is in the Jewish Home for the Aged and Infirm, where she spends her days playing piano pieces on any available surface, except an actual piano. Since the collapse of the family business, Rebecca has supported both her parents and now pays Bebe's nursing home bills. She figures that it will be cheaper to sublet her apartment and rent a ramshackle woodland cabin upstate than to continue to ape the NYC lifestyle of her formerly successful self. She meets the usual eccentrics who people so many fictional small towns, although in Quindlen's hands, these archetypes are convincingly corporeal. Sarah runs the English-themed Tea for Two cafe, not exactly to the taste of most locals. Until Rebecca came to town, Sarah's only regular was Tad, ex–boy soprano, now working clown. Sarah's ne'er-do-well husband, Kevin, sells Rebecca subpar firewood and is admonished by Jim, an upstanding local hero. After helping Rebecca remove a marauding raccoon, Jim helps her find work photographing wild birds. Like Rebecca, Jim is divorced and has onerous family responsibilities, in his case, his bipolar sister who requires constant surveillance. As Rebecca interacts with these townsfolk--and embarks on a new photo series--she begins to understand how provisional her former life--and self--really was. Occasionally profound, always engaging, but marred by a formulaic resolution in which rewards and punishments are meted out according to who ranks highest on the niceness scale.
From the Publisher
“There comes a moment in every novelist’s career when she . . . ventures into new territory, breaking free into a marriage of tone and style, of plot and characterization, that’s utterly her own. Anna Quindlen’s marvelous romantic comedy of manners is just such a book. . . . Taken as a whole, Quindlen’s writings represent a generous and moving interrogation of women’s experience across the lines of class and race. [Still Life with Bread Crumbs] proves all the more moving because of its light, sophisticated humor. Quindlen’s least overtly political novel, it packs perhaps the most serious punch. . . . Quindlen has delivered a novel that will have staying power all its own.”The New York Times Book Review
 
“[A] wise tale about second chances, starting over, and going after what is most important in life.”—Minneapolis Star Tribune

“Quindlen’s astute observations . . . are the sorts of details every writer and reader lives for.”—Chicago Tribune

“[Anna] Quindlen’s seventh novel offers the literary equivalent of comfort food. . . . She still has her finger firmly planted on the pulse of her generation.”—NPR

“Enchanting . . . [The protagonist’s] photographs are celebrated for turning the ‘minutiae of women’s lives into unforgettable images,’ and Quindlen does the same here with her enveloping, sure-handed storytelling.”People

“Charming . . . a hot cup of tea of a story, smooth and comforting about the vulnerabilities of growing older . . . a pleasure.”USA Today
 
“Quindlen has made a home at the top of the bestsellers lists with novels that capture the grace and frailty of everyday life, and her latest work is sure to take her there again. With spare, elegant prose, she crafts a poignant glimpse into the inner life of an aging woman who discovers that reality contains much more color than her own celebrated black-and-white images.”Library Journal

“Quindlen has always excelled at capturing telling details in a story, and she does so again in this quiet, powerful novel, showing the charged emotions that teem beneath the surface of daily life.”Publishers Weekly

“A Pulitzer Prize–winning columnist and star in the pantheon of domestic fiction (Every Last One, 2010), Quindlen presents instantly recognizable characters who may be appealingly warm and nonthreatening, but that only serves to drive home her potent message that it’s never too late to embrace life’s second chances.”Booklist

“Profound . . . engaging.”Kirkus Reviews

From the Hardcover edition.

Library Journal
11/01/2013
Formerly a world-famous photographer, Rebecca Winter is past her prime and out of her element. Her photographs are yesterday's news, her family has fallen apart, and her bank balance is inching toward negative numbers. When she can no longer afford her luxurious Manhattan apartment, Rebecca sublets and moves to a small cabin in the middle of nowhere, on a road that has no name. Away from the noise and clatter of the city, she finds peace in a quiet country life, inspiration in the form of mysterious shrines she discovers hidden deep in the woods, and unexpected love with a husky roofer 30 years her junior. VERDICT Pulitzer Prize winner Quindlen has made a home at the top of the best sellers lists with novels that capture the grace and frailty of everyday life (Object Lessons; Blessings), and her latest work is sure to take her there again. With spare, elegant prose, she crafts a poignant glimpse into the inner life of an aging woman who discovers that reality contains much more color than her own celebrated black-and-white images. [See Prepub Alert, 8/26/13.]—Jeanne Bogino, New Lebanon Lib., NY
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Product Details

  • ISBN-13: 9781400065752
  • Publisher: Random House Publishing Group
  • Publication date: 1/28/2014
  • Pages: 272
  • Sales rank: 10,037
  • Product dimensions: 6.40 (w) x 9.30 (h) x 1.20 (d)

Meet the Author

Anna Quindlen

Anna Quindlen is a novelist and journalist whose work has appeared on fiction, nonfiction, and self-help bestseller lists. Her book A Short Guide to a Happy Life has sold more than a million copies. While a columnist at The New York Times she won the Pulitzer Prize and published two collections, Living Out Loud and Thinking Out Loud. Her Newsweek columns were collected in Loud and Clear. She is the author of seven novels: Object Lessons, One True Thing, Black and Blue, Blessings, Rise and Shine, Every Last One, and Still Life with Bread Crumbs.

Biography

Anna Quindlen could have settled onto a nice, lofty career plateau in the early 1990s, when she had won a Pulitzer Prize for her New York Times column; but she took an unconventional turn, and achieved a richer result.

Quindlen, the third woman to hold a place among the Times' Op-Ed columnists, had already published two successful collections of her work when she decided to leave the paper in 1995. But it was the two novels she had produced that led her to seek a future beyond her column.

Quindlen had a warm, if not entirely uncritical, reception as a novelist. Her first book, Object Lessons, focused on an Irish American family in suburban New York in the 1960s. It was a bestseller and a Times Notable Book of 1991, but was also criticized for not being as engaging as it could have been. One True Thing, Quindlen's exploration of an ambitious daughter's journey home to take care of her terminally ill mother, was stronger still—a heartbreaker that was made into a movie starring Meryl Streep. But Quindlen's fiction clearly benefited from her decision to leave the Times. Three years after that controversial departure, she earned her best reviews yet with Black and Blue, a chronicle of escape from domestic abuse.

Quindlen's novels are thoughtful explorations centering on women who may not start out strong, but who ultimately find some core within themselves as a result of what happens in the story. Her nonfiction meditations—particularly A Short Guide to a Happy Life and her collection of "Life in the 30s" columns, Living Out Loud—often encourage this same transition, urging others to look within themselves and not get caught up in what society would plan for them. It's an approach Quindlen herself has obviously had success with.

Good To Know

To those who expressed surprise at Quindlen's apparent switch from columnist to novelist, the author points out that her first love was always fiction. She told fans in a Barnes & Noble.com chat, "I really only went into the newspaper business to support my fiction habit, but then discovered, first of all, that I loved reporting for its own sake and, second, that journalism would be invaluable experience for writing novels."

Quindlen joined Newsweek as a columnist in 1999. She began her career at the New York Post in 1974, jumping to the New York Times in 1977.

Quindlen's prowess as a columnist and prescriber of advice has made her a popular pick for commencement addresses, a sideline that ultimately inspired her 2000 title A Short Guide to a Happy Life. Quindlen's message tends to be a combination of stopping to smell the flowers and being true to yourself. Quindlen told students at Mount Holyoke in 1999, "Begin to say no to the Greek chorus that thinks it knows the parameters of a happy life when all it knows is the homogenization of human experience. Listen to that small voice from inside you, that tells you to go another way. George Eliot wrote, 'It is never too late to be what you might have been.' It is never too early, either. And it will make all the difference in the world."

Studying fiction at Barnard with the literary critic Elizabeth Hardwick, Quindlen's senior thesis was a collection of stories, one of which she sold to Seventeen magazine.

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    1. Hometown:
      New York, New York
    1. Date of Birth:
      July 8, 1952
    2. Place of Birth:
      Philadelphia, Pennsylvania
    1. Education:
      B.A., Barnard College, 1974
    2. Website:

Read an Excerpt

9781400065752|excerpt

Quindlen / STILL LIFE WITH BREAD CRUMBS

No Outlets

A few minutes after two in the morning Rebecca Winter woke to the sound of a gunshot and sat up in bed.

Well, to be completely accurate, she had no idea what time it was. When she had moved into the ramshackle cottage in a hollow halfway up the mountain, it had taken her two days to realize that there was a worrisome soft spot in the kitchen floor, a loose step out to the backyard, and not one electrical outlet in the entire bedroom. She stood, turning in a circle, her old alarm clock in her hand trailing its useless tail of a cord, as though, like some magic spell, a few rotations and some muttered curses would lead to a place to plug it in. Like much of what constituted Rebecca’s life at that moment, the clock had been with her far past the time when it was current or useful.

Later she would wonder why she had never owned one of those glow-in-the-dark battery-operated digital clocks, the ones available so cheaply at the Walmart squatting aggressively just off the highway a half hour north of town. But that was later.

As for the gunshot: Rebecca Winter had no idea what a gunshot actually sounded like. She had grown up almost entirely in New York City, on the west side of Manhattan, with vacations on the shores of Long Island and the occasional foray to Provence or Tuscany. These were the usual vacations of the people she knew. Everyone always talked about how marvelous those places were, how beautiful the beaches, how splendid the vineyards. Marvelous, they said, rolling the word around in their mouths the way her husband, Peter, did with that first tasting of wine, pretending he knew more about it than he did, occasionally sending a bottle back to make a point.

But for her family, which she had felt when she was a child hardly deserved the name, being composed of only a father, a mother, and a single child, the trips were never pleasant. Her parents were deeply suspicious of anything that smacked of nature; her mother was almost pathologically afraid of bugs, was always calling down to the doorman to deal with spiders or recalcitrant bees sneaking in from the park outside. Her father had various pollen allergies and from March until October carried an enormous handkerchief, like a white flag of surrender for his sinuses.

Certainly it did happen from time to time that there would be a noise on Central Park West or Riverside Drive or Broadway, and someone might say, Was that a gunshot? This happened especially during that period after Rebecca graduated from college, when it was agreed by people who would never dream of living elsewhere that the city, dangerous and dirty, was becoming unlivable. It was always eventually decided that the gunshot was a car backfire, or a bottle being smashed, or a door slamming to the building’s basement, where the trash was stored.

This was always, without fail, true.

Nevertheless Rebecca was almost certain that it was a gunshot that had awakened her now as she lay stiffly in the bed in the room without outlets. She tried to look at her watch, but it was a small flat gold watch, like a superannuated dime, that her parents had given her when she married, as though her marriage was a retirement of some kind. It had the initials R.W.S. on the back, what her mother called her new monogram, although Rebecca had never changed her name. Still, she had great sentimental attachment to the watch, mainly because of her father, who had selected it and had taken an enormous amount of pleasure in giving it to her. “That’s a beauty!” he said when she removed it from the mahogany box. “It’s not waterproof,” her mother added.

Under the best of conditions it was a difficult watch to read, never mind now, in a bedroom fringed with large pine trees and with the heavy cloud cover of a muggy May night, a thunderstorm moving in overhead. The room was so dark you could not see your hand in front of you. To test this, Rebecca held her hand in front of her, where it glimmered whitely, faintly. She could see it, but just barely.

She was not sleeping soundly in the strange bed, which had a well in the center into which she fell whenever she rolled over, a well like the one used for drainage along the side of the road. Rebecca still didn’t know the name of the road the cottage was on. It was the second right off 547. That’s all she knew. Then the driveway past the pump house. What did the pump house pump? She had said it aloud as she turned in. No answer.

Who lives in a house on a road whose name she does not know? Who moves into a place she has seen only in flattering photographs on the Internet? It reminded her of what she had heard a woman telling a friend at the next table when she was waiting to have lunch with an art book editor. “You walk in and you can’t pick them out at the bar because they look nothing like their picture on the website,” the woman had said. “Nothing. Not. A. Thing.” The cottage was the real estate version of online dating, built atop lies, leading downhill to disenchantment. Or capitulation. “We were so happy here,” the owner had said in an email, attaching a photo of two men with their arms around one another in front of a large tree. They were so happy here, and then they left, and took all the comfortable furniture with them, and replaced it with bits and pieces from the Salvation Army.

A true child of New York, Rebecca thought she felt the bites of bedbugs.

She rolled over and fell into the well in the mattress, the gunshot just a memory, perhaps only an illusion. It was quiet now. There was a smell. There were so many smells. Mildew, damp linen, trampled plants. The bananas in the glass bowl on the drainboard. A whiff of what might be skunk, or skunk cabbage. In the backyard she had taken a deep breath. It had smelled as though the entire forest around her was rotting by inches.

She sniffed audibly, or it would have been audible if there had been anyone to hear. Rebecca was entirely alone. She told herself that she was surprised she wasn’t more frightened by the sound of the gunshot. In truth she was terrified but her body acknowledged the fear without her mind’s concurrence, the way she had developed a bad back after her divorce when she was absolutely sure she was getting along fine. Instead of pajamas she was wearing an old T-shirt that commemorated an exhibition of daguerreotypes at the New-York Historical Society and a pair of very old cotton panties. Her legs were like walking sticks beneath the wool blanket, stiff and tense. The quiet of the country was unnerving. She didn’t find it peaceful in the least, more like the TV with the mute button pressed on the remote. Empty. Her cellphone would not work in the house. Neither would her computer. She had made a terrible mistake.

That was her conclusion even before the nominal gunshot, and then the noise overhead that followed.

It sounded like an elevated subway train making a turn while going too fast. Or like a drawerful of heavy silverware being emptied into a large metal bucket. Or like the pots-and-pans cabinet of a kitchen when the contents are stacked precariously and the door is opened unthinkingly. Benjamin had loved to sit on the floor and play with the lids. “Are we certain those were washed thoroughly?” her husband would say drily. Peter was English. He said everything drily. He never offered to wash the lids, and Rebecca never thought to suggest it. She was the daughter of her father, an avatar of peace at any price.

The train or the silver or the pots or whatever it was overhead crashed again, and again. The smell grew stronger. Rebecca sat up further, with some difficulty, and looked toward the ceiling. She felt as though it might come down around her, blanketing her with plaster and lath, a snowstorm of ceiling. She could see herself in her mind’s eye, the flimsy blue blanket covered with chunks of white and wood. “Fully furnished” the ad for the cottage had said. Ha. Two bedrooms, one blanket, and not a good one, either.

She of all people, to be seduced by a series of photographs, snapshots really, none of the kitchen and bath, two of the view. That should have been the tip-off, that vista of trees with what looked like a stream snaking through them in the distance. You couldn’t sleep in the view, or take a hot shower in it, or make coffee. Nor could you do any of those in this godforsaken house. Fully furnished. Four forks.

Not a gunshot, she realized suddenly, recalling the events of the day. She must have been sleeping more soundly than she thought not to have realized what was happening above her. She reconstructed it as best she could, given her utter ignorance of the situation. First a wire trap snapping shut hard as the lever was tripped with a sound like a gunshot. Now the noise of an angry animal thrashing around in the trap, turning the metal cage over and over like an amusement park ride. Bam bam bam. Finally she was certain she had gotten it right. As for the smell, her imagination failed her. She made a faint sound, somewhere between a prayer, an exclamation, and an obscenity.

Skitter skitter skitter. That’s how it had started. “There’s something in my attic,” she had told the exterminator in town, but he was too busy with a tick outbreak at the nursing home. (False alarm: a squashed engorged mosquito on the top sheet of a woman with an excitable niece.) Instead he’d suggested Rebecca call a roofer. “If you got something in your attic, it’s because you got some way into your attic,” said the exterminator, who was wearing a T-shirt that said you bug me, except that the bug was an image of an insect and not a printed word. “No point me getting it out, then you having to call somebody anyhow to fix the hole.”

“There’s something in my attic,” she had told the roofer. He’d stood on a metal ladder as the sunlight faltered in late afternoon, a small flashlight in one hand. “Would you like me to hold the ladder?” Rebecca had asked. “I spend a lot of time up on ladders,” he’d said, shifting the flashlight to his other hand. “Is there a hatch in your hall?”

“Pardon?” Rebecca had said.

“Well, we’ve got two related problems here,” he’d said when he emerged from the attic crawl space through the hatch in the hall. “The first is that there’s a coon living up there. The second is that he’s got easy access and egress. There’s a corner of your flashing with a big hole in it. He’s climbing that pine tree in the back and using the hole to get in. I don’t think he’s got a way out of the attic and down into the house. No scat, right?”

“I don’t believe so,” Rebecca had said vaguely. The roofer’s conversation was full of mysteries. What precisely was flashing? Scat she thought she had divined from context. The idea that a raccoon was living above her was deeply unsettling.

“Oh, you’d know,” the roofer had said. Rebecca couldn’t remember his name. He was big, with fair hair and a ruddy tone to his skin. His eyelashes and eyebrows were so light they were practically invisible. There was a line of pink skin along his part as he bent his head to put the flashlight in his tool bag. The exterminator had recommended him. “Roofers are thieves,” he’d said. Apparently this one was not a thief.

He’d taken a card from a banged-up metal case in his back pocket. Rebecca thought his hands cried out to be photographed. They had light hair on the backs, and were covered with scars—small lines, larger circles, a big snaky one that was a pale pink and covered the side of his palm. On his left hand his index finger was missing the last joint. In black-and-white the scars would be more prominent, Rebecca knew, the hairs a kind of faint cross-hatching.

“Bates Roofing,” the card said. “Family Owned Since 1934.” Grandfather, father, son. Someday this man would be too old to climb a ladder and a young fair-haired man would show up to check the flashing in his stead. By then she would be long gone. Maybe by next month she would be long gone. Her apartment in the city had been sublet for a year. She’d signed a lease for the cottage for a year, too. She sighed and let her eyes close. An uncomfortable bed, a room with no outlets, a raccoon overhead. Surely she could get a visiting position at a college in San Francisco, Seattle, Chicago. Someplace where a super worried about the condition of the flashing, whatever flashing was.

“Give me a minute,” the roofer had said, opening the back of his truck.

He’d baited the trap with one of her bananas. He’d wanted peanut butter, but she had none in the house. In the refrigerator there was cream cheese, two bagels she’d brought from the city now hardening into a food artifact, a six-pack of Diet Coke, a cold chicken, and some lettuce. In the pantry there was canned soup and tuna fish and a half loaf of bread with a faint rime of mold around the edge of the last slice. She had to find a supermarket, she thought as he put the baited trap into the attic.

The trap, she thought now, staring up at the ceiling in the dark. Overhead the crashing stopped, then started again. She lay in bed in the unyielding darkness wondering what time it was, whether it was too early to get up. (It was 2:08, too early to get up.) The roofer’s card was on the kitchen counter, next to a list: bottle opener. Scissors. Trash bags. Spaghetti. He’d said to call if she thought the trap had been sprung. “How will I be certain?” she’d asked. “You’ll know,” he’d said. He’d been right. The trap had been sprung, in her muscles, her nerves, her fingertips, the soles of her feet. The house was nothing but the darkness, the odors, and the noise of a trapped raccoon thrashing his way from one end of the attic to another.

Maybe the roofer was imagining all that when he’d looked at her and added, “You know what? I’ll just stop back in the morning in case we get him overnight. Let’s hope it’s not a mom with a couple of babies.”

Was the roofer’s name Joe?

There was a long silence, and she shut her eyes. Then the crashing began again. It sounded as though it was over the living room now. How did I wind up here? Rebecca thought. How on earth did I wind up here?

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See All Sort by: Showing 1 – 20 of 83 Customer Reviews
  • Anonymous

    Posted February 3, 2014

    Beautifully written story

    It made me think of life as possibilities, with both beginnings and endings as never black or white. It was well written and entertaining and I found meaning, true to life, on every page. Brilliant!

    20 out of 22 people found this review helpful.

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  • Posted February 7, 2014

    I rarely rate the books I am reading or have read.  I make this

    I rarely rate the books I am reading or have read.  I make this an exception.  I found the writing to be beautiful...at times like poetry.  The last time i read a book a second time, it was A Tree Grows in Brooklyn when I was 12.  This book I will read again...Thank you, Anna...

    18 out of 21 people found this review helpful.

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  • Posted February 8, 2014

    Anna Quindlen is a gifted author.  She understands life and I fi

    Anna Quindlen is a gifted author.  She understands life and I find her writing inspirational.  The writing is so well crafted  and both  meaningful and a fun read.  She just makes you feel better. I will be reading this book many times.

    9 out of 10 people found this review helpful.

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  • Anonymous

    Posted February 25, 2014

    Happy Endings

    Written artistically. It is rare to read a book where the narrative style matches the creativity of the characters. Would have given 5 stars if Quindlen had not contrived to let everyone overcome adversity and live "happily ever after".

    3 out of 4 people found this review helpful.

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  • Posted April 11, 2014

    more from this reviewer

    So , I agree with Amanda. Why did Jim kill the raccoon? This b

    So , I agree with Amanda.
    Why did Jim kill the raccoon? This book is overrated. It is a lame story with some self-absorbed people who are insensitive to others. Really, how did this book get to be so popular?

    2 out of 2 people found this review helpful.

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  • Posted March 4, 2014

    at 60 life sometimes slows down....gets quiet...while internally

    at 60 life sometimes slows down....gets quiet...while internally there is a constant movement of purpose...of upheaval...a change that becomes necessary...persistent in thought...not physically hurried, but mentally and emotionally looking ahead...as far as you can......for as long as you can live...sometimes with fear, dread, question, concern.....while others around you become smaller, sometimes disappearing..leaving, dying...and leaving behind some hope....some thing that gathers you up and propels you...into the rest of your life.....good for rebecca...for jim...for benji, for sarah, for tad.....for me and for you

    2 out of 2 people found this review helpful.

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  • Posted March 1, 2014

    Enjoyable book

    I enjoyed this story and Anna Quindlen's style of writing. It was a very enjoyable ready.

    2 out of 2 people found this review helpful.

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  • Posted February 28, 2014

    Excellent read

    I liked this book a lot - There are so many possibilities in life and this novel by Ms. Quindlen underlines this in a beautifully written way.

    2 out of 2 people found this review helpful.

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  • Posted February 21, 2014

    A good read

    I was a little concerned when I first read some reviews on this book; but bought it anyway. The book takes off a little slow, it does jump back and forth, however keep reading it gets better as it goes, and besides you really want to find out how it all comes out in the end. I would recommend it.

    2 out of 2 people found this review helpful.

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  • Posted April 30, 2014

    As with everything else Ms. Quindlen does, the book is well writ

    As with everything else Ms. Quindlen does, the book is well written and plotted.   Am I alone in being tired of novels
    portraying a woman (usually one who is outwardly successful) finding in her sixth or
    seventh decade that her life has  lacked meaning?  That the simple things, usually found in some
    rural setting, are the most important?
    Frankly, I don't see much wrong with the life Rebecca led prior to exiling herself in East of Nowheresville.  
    It seems she has lived her entire life (one, it appears, she freely chose) without being happy.  IMO, authenticity 
    can live anywhere.   I'm really getting tired of being told through fiction that the only reality that matters is
    in someplace back of beyond, with people who live "authentic" lives. What is so inauthentic about living in a city?

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 4, 2014

    Highly recommended

    Very good book would recommended it to anyone. Would read more of her books

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 28, 2014

    A wonderful, well-written story

    As usual, Anna Quindlen's use of the English language and imagery is beautiful. Her understated development of Rebecca's story is both poignant and amusing. It is a book to be savored.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 22, 2014

    Boring

    Not worth your tim

    1 out of 8 people found this review helpful.

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  • Anonymous

    Posted February 21, 2014

    excellent as Quindlen always is

    well written

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted February 17, 2014

    Excellent

    Love the epiphanies

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted February 14, 2014

    Still Life with Bread Crumbs Very poorly Written

    I couldn't get past thde first three chapters. I really didn't think it deserved one star but I felt I needed to place a rating down
    Kloe Oregon

    1 out of 4 people found this review helpful.

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  • Posted August 23, 2014

    more from this reviewer

    ***Giveaway*** What a poetic work of art. It moved me in ways a

    ***Giveaway***
    What a poetic work of art. It moved me in ways a book hasn't in a long while. Anna Quindlen is talented and it shows in "Still life with Breadcrumbs"

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  • Anonymous

    Posted July 26, 2014

    good book

    just not one of my favorites this year

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  • Posted July 20, 2014

    more from this reviewer

    I really enjoyed Rebecca¿s story. At age 60, her life is in tran

    I really enjoyed Rebecca’s story. At age 60, her life is in transition. She’s moved from the hustle and bustle of city life into a modest cottage on the outskirts of a small town.  Rebecca has made a name for herself with her photographic collection called the “Kitchen Counter Series,”  but years later, her fame is beginning to pass.  She now finds herself in a reversal of fortune with less income and more bills and responsibilities piled on. Unlike what others may think, she hasn’t moved to the country for artistic inspiration but because it is financially necessary.  For her the change in setting and circumstances is dramatic, but it also gives Rebecca the opportunity to slow down and really reflect upon her past failures and successes. 

    Rebecca is a woman who thinks her life has already been defined and she has grown stagnant.  Through her journey she learns to break out of the box that she and everyone around her has placed her in.  Our lives do not move in a linear direction, where we find one career and stay with it, we find love once, and that’s it.  No, life is full of twists and turns, but if we can embrace these unexpected detours and open ourselves up to change, then new, exciting, paths await us.   

    Quinlan has written a powerful, poignant, beautifully moving love story about transition, loss, adaptation, and change.   The story moves slowly but it’s an excellent read!

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  • Anonymous

    Posted July 14, 2014

    great book

    I really enjoyed it. I recommend it for older women.

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