The Little Friend

The Little Friend

by Donna Tartt
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Overview

The Little Friend by Donna Tartt

The second novel by Donna Tartt,  bestselling author of The Goldfinch (winner of the 2014 Pulitzer Prize),  The Little Friend  is a grandly ambitious and utterly riveting novel of childhood, innocence and evil.


The setting is Alexandria, Mississippi, where one Mother’s Day a little boy named Robin Cleve Dufresnes was found hanging from a tree in his parents’ yard. Twelve years later Robin’s murder is still unsolved and his family remains devastated. So it is that Robin’s sister Harriet—unnervingly bright, insufferably determined, and unduly influenced by the fiction of Kipling and Robert Louis Stevenson--sets out to unmask his killer. Aided only by her worshipful friend Hely, Harriet crosses her town’s rigid lines of race and caste and burrows deep into her family’s history of loss. Filled with hairpin turns of plot and “a bustling, ridiculous humanity worthy of Dickens” (The New York Times Book Review), The Little Friend is a work of myriad enchantments by a writer of prodigious talent.


From the Trade Paperback edition.

Product Details

ISBN-13: 9780307873484
Publisher: Knopf Doubleday Publishing Group
Publication date: 10/19/2011
Series: Vintage Contemporaries
Sold by: Random House
Format: NOOK Book
Pages: 640
Sales rank: 44,181
File size: 3 MB

About the Author

 Donna Tartt was born in Greenwood, Mississippi, and is a graduate of Bennington College. She is the author of the novels The Goldfinch and The Little Friend, both of which are international bestsellers.




From the Hardcover edition.

Date of Birth:

December 23, 1963

Place of Birth:

Greenwood, Mississippi

Education:

Attended University of Mississippi; B.A., Bennington College, 1986

Read an Excerpt

For the rest of her life, Charlotte Cleve would blame herself for her son’s death because she had decided to have the Mother’s Day dinner at six in the evening instead of noon, after church, which is when the Cleves usually had it. Dissatisfaction had been expressed by the elder Cleves at the new arrangement; and while this mainly had to do with suspicion of innovation, on principle, Charlotte felt that she should have paid attention to the undercurrent of grumbling, that it had been a slight but ominous warning of what was to come; a warning which, though obscure even in hindsight, was perhaps as good as any we can ever hope to receive in this life.

Though the Cleves loved to recount among themselves even the minor events of their family history–repeating word for word, with stylized narrative and rhetorical interruptions, entire death-bed scenes, or marriage proposals that had occurred a hundred years before–the events of this terrible Mother’s Day were never discussed. They were not discussed even in covert groups of two, brought together by a long car trip or by insomnia in a late-night kitchen; and this was unusual, because these family discussions were how the Cleves made sense of the world. Even the cruelest and most random disasters–the death, by fire, of one of Charlotte’s infant cousins; the hunting accident in which Charlotte’s uncle had died while she was still in grammar school–were constantly rehearsed among them, her grandmother’s gentle voice and her mother’s stern one merging harmoniously with her grandfather’s baritone and the babble of her aunts, and certain ornamental bits, improvised by daring soloists, eagerly seized upon and elaborated by the chorus, until finally, by group effort, they arrived together at a single song; a song which was then memorized, and sung by the entire company again and again, which slowly eroded memory and came to take the place of truth: the angry fireman, failing in his efforts to resuscitate the tiny body, transmuted sweetly into a weeping one; the moping bird dog, puzzled for several weeks by her master’s death, recast as the grief-stricken Queenie of family legend, who searched relentlessly for her beloved throughout the house and howled, inconsolable, in her pen all night; who barked in joyous welcome whenever the dear ghost approached in the yard, a ghost that only she could perceive. “Dogs can see things that we can’t,” Charlotte’s aunt Tat always intoned, on cue, at the proper moment in the story. She was something of a mystic and the ghost was her innovation.

But Robin: their dear little Robs. More than ten years later, his death remained an agony; there was no glossing any detail; its horror was not subject to repair or permutation by any of the narrative devices that the Cleves knew. And–since this willful amnesia had kept Robin’s death from being translated into that sweet old family vernacular which smoothed even the bitterest mysteries into comfortable, comprehensible form–the memory of that day’s events had a chaotic, fragmented quality, bright mirror-shards of nightmare which flared at the smell of wisteria, the creaking of a clothes-line, a certain stormy cast of spring light.


From the Hardcover edition.

Reading Group Guide

NATIONAL BESTSELLER

"The Little Friend seems destined to become a special kind of classic. . . . It grips you like a fairy tale, but denies you the consoling assurance that it's all just make-believe." —The New York Times Book Review

The introduction, discussion questions, suggested reading list, and author biography that follow are intended to enhance your group's reading of The Little Friend, the long-anticipated and widely praised bestseller by Donna Tartt, author of the critically acclaimed The Secret History.

1. The prologue offers glimpses of the household before Robin's body is discovered. What do the descriptions of Charlotte, Edie, the great-aunts, and Ida Rhew show about the individual characters and the family dynamics? Do the reactions of Charlotte and Edie to the tragedy simply reinforce an established pattern or does a more profound change occur? How do their stories about Robin—their "exquisite delineation of his character—painstakingly ornamented over a number of years" [p. 19]—differ from their embellished and often improvised memories of life at Tribulation and other family stories?

2. Tartt writes "From the time she was old enough to talk, Harriet had been a slightly distressing presence in the Cleve household. . . . Harriet was not disobedient, exactly, or unruly, but she was haughty and somehow managed to irritate nearly every adult with whom she came in contact" [pp. 27–28]. Does Harriett live up to this description? Does she change over the course of the novel?

3. "She did not care for children's books in which the children grew up, as what ‘growing up' entailed (in lifeas in books) was a swift and inexplicable dwindling of character" [p. 157]. How do the adventure stories Harriet prefers inform her notions of what "growing up" entails? What does her choice of books reveal about her perceptions of how the world works and the things she will need to survive? Does she have a greater understanding of the adult world than most children her age?

4. The elderly Cleve sisters all have clear places in the family's self-portrait. Edie, for example, "was both field marshal and autocrat, the person of greatest power in the family and the person most likely to act" [p. 28]. Do the other sisters fall as easily into general characterizations? Are Charlotte, Allison, and Harriet contemporary versions of the older generation? How do Tartt's descriptions of minor characters like Mrs. Fountain [pp. 33–35] and Hely's mother [pp. 212–14] help to bring the central female figures into sharper focus?

5. "Because her father was so quarrelsome and disruptive, and so dissatisfied with everything, it seemed right to Harriet that he did not live at home" [p. 68]. Why does Harriet see her father in such a stark, uncompromising way? What insight does this offer into Harriet's approach to her emotions and her experiences? Are there incidents in the novel that present a different, more sympathetic view of Dix?

6. Harriet pieces together her case against Danny Ratliff from conversations with Pemberton Hull [pp. 105–108] and Ida Rhew [pp. 143–50], information she's gleaned from local newspapers, and "random little scraps she'd picked up here and there over the years" [p. 119]. Does the evidence Harriet collects provide convincing proof of Danny's guilt? What factors contribute to Harriet's confidence that she has solved the mystery of Robin's death? What makes Harriet decide to track down Robin's killer? Does Harriet understand the emotions that trigger her need to find Robin's killer? Why is she so sure that Danny is guilty of the crime? How valid is her reasoning and where does it fall apart?

7. How do the physical settings help to establish the social landscape of the novel? Why does Tartt call Tribulation an "extinct colossus" [p. 43], for example? What is the significance of the mounting chaos and disarray in Harriet's own home? What does the new housing development, Oak Lawn Estates [pp. 165–66], represent?

8. The account of Harriet and Hely's attempt to steal a poisonous snake from Eugene's apartment and their confrontation with the Ratliff brothers [pp. 300–330] is almost unbearably frightening and intense. What devices does Tartt use to build and sustain the suspense?

9. A collection of misfits, fanatics, and criminals, the Ratliff family seems to embody Edie's view of the white underclass: "The poor white has nothing to blame for his station but his own character. Well, of course, that won't do. That would mean having to assume some responsibility for his own laziness and sorry behavior" [p. 146]. Do the portraits of the Ratliff brothers reinforce or belie Edie's assumptions? What redeeming characteristics do Danny and Eugene have and how does Tartt make them apparent? Why has Tartt included Curtis in the family? How does his presence add to our understanding of the family?

10. A strong matriarch presides over both Harriet's family and the Ratliffs. What qualities do Edie and Gum have in common? How does each exercise her power? To what extent are their approaches to life defined by their social status and personal experiences? Does Gum's own life, for example, justify "the main lesson she had drilled into her grandsons: not to expect much from the world" [p. 357]? In what ways do the lessons Edie imposes, either explicitly or implicitly, reflect her own strengths and weaknesses? What comparisons can be drawn between Danny and Harriet's families and, in particular, between Danny and Harriet themselves?

11. Why does Ida Rhew play such a critical role in Harriet's life? How does Ida's position in the household illuminate the shortcomings not only of Charlotte, but of the other adults in Harriet's life? How do the family's reaction to her departure and Ida's response to being fired [pp. 357–67] undermine Harriet's vision of her world? In what ways do the emotions she experiences reflect both her perspective as a child and her emerging awareness and acceptance of adult uncertainties and moral ambiguities?

12. What do you make of the end of the novel? Hely thinks, "The mission was accomplished, the battle won; somehow—incredibly—she had done exactly what she said she would, and got away with the whole thing" [p. 624]. Harriet decides "She'd learned things she never knew, things she had no idea of knowing, and yet in a strange way it was the hidden message of Captain Scott, the part of the story she's never seen until now: that victory and collapse were sometimes the same thing" [p. 544]. What do you think of these two very different assessments? How do they reflect the natures of the two characters? Does it matter that Robin's murder remains unsolved or do you accept, as Libby says, that "the world is full of things we don't understand" [p. 140]?

13. The Little Friend explores the relationships between blacks and whites in Alexandria from several perspectives. The blatant racism of the Ratliffs is clearly shown in such incidents as the shooting at the river [p. 142]. In which ways does Harriet's family also exhibit a deep-seated, if more subtle, strain of racial prejudice? Is Harriet's shocked reaction to Ida's story about the church burning [pp. 146–47] a sign of her naiveté or does it reveal a sense of morality that distinguishes her (and by extension, her peers) from past generations?

14. The novel begins with stretches of long, languorous prose but later the pace quickens. What techniques does Tartt use to achieve this?

15. The term "Southern Gothic" is often used to describe writing set in the American South, from Tennessee Williams' and Carson McCullers' tales of families shaped by tragedy, insanity, and alcoholism to Anne Rice's Vampire Chronicles. Are there elements in The Little Friend that can be described as Southern Gothic and, if so, what are they? Were you reminded of other literary styles or authors while reading the book?

16. The novel's epigraphs come from St. Thomas Aquinas and Harry Houdini. Why is this rather odd coupling of a religious scholar and saint and a magician appropriate to the story Tartt tells? What lesson is implicit in both quotations? Has Harriet gained "the slenderest knowledge of the highest things" by the novel's end?

Interviews

Q: Relieved?
A: About what?

Q: That you can finally tell people your novel is done.
A: Actually, I enjoy the process of writing a big long novel. Melville came up with the best metaphor for it: a deep-sea dive. “I love all men who dive,” he says. “Any fish can swim near the surface, but it takes a great whale to go down stairs five miles or more; & if he dont attain the bottom, why, all the lead in Galena can't fashion the plumet that will.” He's talking here not about Moby Dick, as you might think, but about writers—about “thought-divers,” as he calls them, “the whole corps that have been diving & coming up again with bloodshot eyes since the world began.”

Anyway, it gets into one's blood, this long lonely way of writing, like a long sea-voyage. Men used to come back from three-year whaling voyages sunburnt and emaciated and vowing never to go on another one, yet something would draw them back to the water again. And it's the same with me. I've written only two novels, but they're both long ones, and they each took a decade to write. It's a slow, quiet, gorgeous drift, with its own pleasures and difficulties and dangers, completely removed from whatever storms are going on up on the surface, and there's a slight sense of decompression when I come back up and into the regular old noisy world again. So I'm rather anxious to get back to work on something else. Not preliminary dives—not the little shallow ones, where you're only getting ready—but the kind where you don't come up again for years.

Q: It's been ten years. Inevitably, people are going to ask, why so long?
A: There's anexpectation these days that novels—like any other consumer product—should be made on a production line, with one dropping from the conveyor belt every couple of years. But it's for every writer to decide his own pace, and the pace varies with the writer and the work. The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story. Taking on challenging projects is the way that one grows and extends one's range as a writer, one's technical command, so I consider the time well-spent.

When I was young, I was deeply struck by a piece of advice that John Gardner gave to beginning writers: “Write as if you have all eternity,” he says. This is the last thing a publisher or an agent or an accountant would tell you, but it's the best advice in the world if you want to write beautiful, well-made books. And that's what I want to do. I'd rather write one good book than ten mediocre ones.

Q: Like its predecessor, The Little Friend opens with a murder and deals ostensibly with crime and punishment. Why are you fascinated with these subjects?
A: I'm interested less in the act of murder itself than in what drives people to it, and the echoes and repercussions of the act.

Q: What prompted you to adopt the point of view of a young girl?
A: Actually, the novel isn't from the point of view of a young girl—a good deal of the novel is seen through her eyes, but by no means all of it. We also see into the hearts and minds of her grandmother, her mother and sister, her best friend—and we see too across town, into the hearts and minds of the people who are her sworn enemies. It's the viewpoint some critics call “authorial omniscient” and for reasons which are probably obvious, it's much more technically difficult to write than first-person.

I think that any writer will tell you that it's extremely hard to write about children, but the trick is to resist the temptation to make them “lovable.” Children have very sharp powers of observation—probably sharper than adults—yet at the same time their emotional reactions are murky and much more primitive. They see things quite clearly, but they don't entirely understand what they see, and they don't understand the full consequences of their actions.

Q: Ultimately, The Little Friend is an adventure story in the vein of classic tales by Stevenson and Dickens.
A: Well, Dickens didn't really write adventure stories, not the way that Stevenson did. They are very different writers, though something they share is a sharp visual perception and an even sharper eye for human nature, the character-betraying detail. But what mainly makes them both so delightful is that they are natural storytellers who have a wonderful command of style—even though their styles are very different.

Storytelling and elegant style don't always go hand in hand. The storytelling gift is innate: one has it or one doesn't. But style is at least partly a learned thing: one refines it by looking and listening and reading and practice—by work. When one finds the two together—storytelling and style—it's the most wonderful thing in the world to me. These are the books I never tire of. Too often, writers only think that one aspect or the other is important. If I was forced to choose between the two of them, I would have to choose style: I love Proust, who's an exquisite stylist, but sometimes a lax storyteller. Whereas I'm not so crazy about a writer like Theodore Dreiser, who's a crack storyteller with no sense of style at all. But the books I love best marry the two elements, and I try to marry the two in my own work.

Q: Did the work of Dickens and Stevenson exert any influence over you while you were working on The Little Friend?
A: In a subliminal sense, mostly. The books I loved in childhood—the first loves—I've read so often that I've internalized them in some really essential way: they are more inside me now than out.

Q: How prominently do innocence and the loss of innocence figure in The Little Friend?
A: That's not really an issue of the book, as far as I'm concerned—which is to say, I don't think about abstract concepts such as “innocence” or “loss of innocence” while I'm working. That's something that readers come in and find (or don't find) in the finished work, much later. It doesn't figure at all in the making of the work.

When I'm writing, I am concentrating almost wholly on concrete detail: the color a room is painted, the way a drop of water rolls off a wet leaf after a rain. Then—once one captures the detail itself—there's the work of getting the sound right, the particular rhythm of a sentence or a paragraph or a line of dialogue. But almost never, in writing a novel, do I find myself thinking about themes or symbols or things of that nature. They either occur naturally within a story—which is to say, spontaneously and unconsciously, as they do in a dream—or else they seem a bit forced.

Q: Do you feel that you are a Southern writer?
A: People always want to call me a Southern writer but though I grew up in the South, I don't feel that the label quite fits my work. My first book was written in New England, about New England. And I'm working on two projects at the moment—one a novella, the other a new novel—neither of which has anything at all to do with the South. So I'm not a Southern writer in the commonly held sense of the term, like Faulkner or Eudora Welty, who took the South for their entire literary environment and subject matter.

Q: What was it like for you to write a novel so immersed in Mississippi culture? Was there a lot of research involved, or did you draw more from personal experience?
A: Well, this is the nice thing about being a novelist, as opposed to a non-fiction writer (who has to do a lot of research) or an autobiographer (who relies on personal experience). The job of the novelist is to invent: to embroider, to color, to embellish, to entertain, to make things up. The art of what I do lies not in research or even recollection but primarily in invention. If a novel is merely a presentation of documentary facts then it isn't very interesting reading. You might as well read a travel guide or look at old photographs.

Introduction

NATIONAL BESTSELLER

The Little Friend seems destined to become a special kind of classic. . . . It grips you like a fairy tale, but denies you the consoling assurance that it’s all just make-believe.” —The New York Times Book Review

The introduction, discussion questions, suggested reading list, and author biography that follow are intended to enhance your group’s reading of The Little Friend, the long-anticipated and widely praised bestseller by Donna Tartt, author of the critically acclaimed The Secret History.

Customer Reviews

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Little Friend 3.1 out of 5 based on 0 ratings. 101 reviews.
steamyfan More than 1 year ago
I sort of want to scream when I read lukewarm reviews of this book. Admittedly, people may get the wrong idea when they read the back jacket, or the first few pages, and anticipate some sort of murder mystery thrill. The death of Harriet's brother is merely background for her character. The skill with which Tartt explores the inner workings and thought processes of a virtually abandoned 12 year old girl whose older brother's murder has never been solved cannot be praised highly enough. Do you remember what your thought processes were like when you were 12? I sure as hell don't. But Tartt seems to have magically leaped over that crevasse that separates us from our youth, and from understanding the mysterious social workings of 12 year olds. I found this book, though lengthy, to be absolutely riveting. Donna Tartt uses her extensive knowledge of the South to create a book that isn't so much a story as a look into someone else's culture (me not being from the South). The book mainly focuses on a little girl growing up in the aftermath of her dear brother's unsolved murder, and the impact that level of tragedy can have on a family. It took me a little while to get into it, but once I did I really enjoyed this book. It took me about a month to read it, but overall I found it very satisfying. Tartt has a nice way with words, able to explain and detail things at length but in an easy-flowing kind of way. I would recommend this book to anyone looking for a long comfortable summer read.
Lunahumming More than 1 year ago
I've read both of Tartt's books (and eagerly await the 3rd), and while both are beautifully written, I am surprised by the number of people who prefer The Secret History to The Little Friend. This one I want to read over and over and over. Tartt has the ability to make each page lush, vibrant and moving.
DearReader More than 1 year ago
With this book Donna Tartt simply throws down the gauntlet on character development. This, her second, book was a long time coming and you can see why...these characters have been simmered and cooked down to the kind of flavor meld of a spaghetti sauce that has been on the stove all day. As a voracious reader I am so happily suprised when a book like this falls into my hands. It's long, the story is compelling, I adore the characters, and I lose DAYS to reading. Harriet easily makes it to the top of my alltime favorite hot 100 characters. I highly recommend this book. Be forewarned if you have a small child that the first part of the book is definately a punch to the gut. But don't let it deter you -- it's fiction, and it's a fantastic book.
Guest More than 1 year ago
You feel you are in this book and don't want it to end. this is a book to lose yourself in.
Anonymous More than 1 year ago
Started with Tartt's The Goldfinch and was motivated to read her 2 earlier works. The middle one, The Little Friend, was tedious, a pseudo Southern Gothic and I found myself skipping pages just to see if it would improve by the end. Grotesque characters, contorted plotting and situations that strained credulity in a book that wasn't billed as science fiction. Skip it unless you are a masochist.
Guest More than 1 year ago
I was extremely disappointed in this book. i can usually read a book in 2-4 days, this one took me 3 weeks because i was so not interested in finishing. The only reason i did complete it was because i had to work 2 hours to afford it. This book reminds me of a little kid with ADD. This book constantly goes off on tangents that have no relation to the story: girl trying to find brother's killer. THe above is the plot which is basically lost in the book. i would almost say this was a high school essay that required 600 pages and the content was only 300, so extra stuff was thrown in to meet the quota. I had a friend read it because she couldn't believe it was as bad as i said. she got as far as page 50 and quit.I DO NOT recommend this book to anyone.
Guest More than 1 year ago
Wow! From the first sentence I was hooked. I thought I would be reading to solve the mystery of the lynching, but I became so engrossed in the characters and the subplots that the mystery became secondary. This is a great Southern gothic novel -- a combination of To Kill a Mockingbird and Huckleberry Finn. I'm giving this to everyone on my Christmas list.
Guest More than 1 year ago
This is in my top 10 list of all time best stories. Every character described is a whole, complex and complete individual. It is a fascinating character study and the prose is a pleasure to savor. Have no preconceived notions before you start. Don't try to rush through it. If this was a movie, it would deserve an Academy Award. Thank you Donna Tartt!
cloggiedownunder More than 1 year ago
“It was the last picture they had of him. Out of focus. Flat expanse of green cut at a slight diagonal, with a white rail and the heaving gloss of a gardenia bush sharp in the foreground at the edge of the porch. Murky, storm-damp sky, shifting liquescence of indigo and slate, boiling clouds rayed with spokes of light. In the corner of the frame a blurred shadow of Robin, his back to the viewer, ran out across the hazy lawn to meet his death, which stood waiting for him – almost visible – in the dark place beneath the tupelo tree” The Little Friend is the second novel by American author, Donna Tartt. Harriet Cleve Dufresnes is twelve. Her best friend, (Duncan) Hely Hull is eleven. It is the summer of 1976, Alexandria, Mississippi, and they have managed to avoid being sent to camp. Having exhausted their usual activities, Harriet becomes interested in the murder of her brother Robin, who at age nine was found hanging from the black tupelo tree on Mother’s Day, twelve years earlier. It’s something nobody talks about. Tartt expertly captures feel of a never-ending Mississippi summer during vacation time. Her portrayal of twelve-year old Harriet beautifully illustrates the naivete and the single-minded self-absorption of youth which, coupled with the allure of a taboo topic, facilitates a fixation borne of an absolute conviction based on hearsay. Tartt brings together in one tale the genteel class who still have black servants and the residents of the seedier side of town, the poor “White Trash”. The poverty mindset is well depicted, as is that of the more fortunate classes: “She possessed, to a singular and uncomfortable degree, the narrowness of vision which enabled all the Cleves to forget what they didn’t want to remember, and to exaggerate or otherwise alter what they couldn’t forget; and in restringing the skeleton of the extinct monstrosity which had been her family’s fortune, she was unaware that some of the bones had been tampered with; that others belonged to different animals entirely; that a great many of the more massive and spectacular bones were not bones at all, but plaster-of-paris forgeries” At over five hundred pages, this is no fast-paced murder mystery, but rather, a slow burn Southern drama, in which the tension builds to an exciting climax. This novel is filled with some deliciously black humour and a good dose of irony as characters navigate their war through meth labs and drug-fuelled paranoia, snakes and preachers, summer camp and funeral parlours, trailers and decaying elegance, grief and guilt. Tartt treats the reader to some marvellous descriptive prose: “The view had captivated her: washing fluttering on lines, peaked roofs like a field of origami arks, roofs red and green and black and silver, roofs of shingle and copper and tar and tin, spread out below them in the airy, dreamy distance. It was like seeing into another country. The vista had a whimsical, toy quality which reminded her of pictures she’d seen of the Orient - of China, of Japan” and “This isn’t real, he told himself, not real, no it’s just a dream, and indeed, for many years to come – well into adulthood – his dreams would drop him back sharply into this malodorous dark, among the hissing treasure-chests of nightmare” are examples. A brilliant read.
Anonymous More than 1 year ago
It seems many readers wanted the usual story line where all of the loose ends are neatly tied up with a big bow at the end and you are left with nothing to ponder. If that is what you are looking for you won't get it in this book. This story is told through twists and turns, flashbacks and real-time drama. It is layered with all of the crap life can throw at you all at once, told through the eyes of a child who is unprepared to handle it all. I must admit it took me a bit to get into this story but once I made that connection I was hooked. I loved all of the characters and how they were all woven into one big tapestry of life, each one having a small or large impact on the other, whether intentionally or unintentionally. Real life doesn't always give us all of the answers and neither does this story but I loved it all the same.
verysmart More than 1 year ago
I read "The Goldfinch" and "The Secret History" by Donna Tartt and I absolutely loved them. This was awful. I can't believe it's the same author.
WillMorgan More than 1 year ago
well i just finished this book , i really liked everything except the ending I thought maybe she would sujm it all up or something, it just ends is there another book to this. have so many questions. ugg but i did enjoy reading it.
Anonymous More than 1 year ago
If John Irving, Charles Dickens, and Stephen King had together written about small town Mississippi from the point of view of a 12 year old girl, this is the book they would have written• There are odd characters, a longing to be finally happy, & a thread of real menace running through the story• It's A Prayer for Owen Meany meets David Copperfield, with a bit of Breaking Bad, in a southern Castle Rock•
Anonymous More than 1 year ago
Longest, most boring book ever. Took me over a month. I was determined and didn't want to be a quitter. I am an avid reader, reading many off the wall books, best sellers, crime, romance....This is the second book Of Tartts I have read, in my opinion a waste
Guest More than 1 year ago
Ok, yeah, I am really ready to fight. Why did I spend all this effort forcing myself to read this book when the ENDING WAS JUST RANDOM??? If it had had a spectacular ending, I may have felt justified. I just wish I could get the 2 days I spent reading this blather back!
Evelina_AvalinahsBooks 27 days ago
I truly loved Donna Tartt's The Goldfinch, so I started reading this one with high expectations - but it was the biggest disappointment ever. The book is incredibly hard to get into, and even when you do, it just doesn't seem to go anywhere up to the last pages. And if you think the mystery will be resolved? Well, I hate to disappoint you, but that's not what the book is about.
Anonymous 9 months ago
I gave up on this very tedious book!
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Readinng this book reminded me what a well written book is. Such a winderful way with lanuage and the story was goid and dark too.
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