Picoult bangs out another ripped-from-the-zeitgeist winner, this time examining a condemned inmate's desire to be an organ donor. Freelance carpen
ter Shay Bourne was sentenced to death for killing a little girl, Elizabeth Nealon, and her cop stepfather. Eleven years after the murders, Elizabeth's sister, Claire, needs a heart transplant, and Shay volunteers, which complicates the state's execution plans. Meanwhile, death row has been the scene of some odd events since Shay's arrival—an AIDS victim goes into remission, an inmate's pet bird dies and is brought back to life, wine flows from the water faucets. The author brings other compelling elements to an already complex plot line: the priest who serves as Shay's spiritual adviser was on the jury that sentenced him; Shay's ACLU representative, Maggie Bloom, balances her professional moxie with her negative self-image and difficult relationship with her mother. Picoult moves the story along with lively debates about prisoner rights and religion, while plumbing the depths of mother-daughter relationships and examining the literal and metaphorical meanings of having heart.
ter Shay Bourne was sentenced to death for killing a little girl, Elizabeth Nealon, and her cop stepfather. Eleven years after the murders, Elizabeth's sister, Claire, needs a heart transplant, and Shay volunteers, which complicates the state's execution plans. Meanwhile, death row has been the scene of some odd events since Shay's arrival—an AIDS victim goes into remission, an inmate's pet bird dies and is brought back to life, wine flows from the water faucets. The author brings other compelling elements to an already complex plot line: the priest who serves as Shay's spiritual adviser was on the jury that sentenced him; Shay's ACLU representative, Maggie Bloom, balances her professional moxie with her negative self-image and difficult relationship with her mother. Picoult moves the story along with lively debates about prisoner rights and religion, while plumbing the depths of mother-daughter relationships and examining the literal and metaphorical meanings of having heart. June Parker's life is meandering along until a freak car accident leaves Marissa, her 24-year-old passenger, dead and June wracked with guilt. June disco
vers a list Marissa had been keeping of 25 things she wanted to do by the time she turned 25. After a run-in with Marissa's brother, June resolves to complete the list. Kissing a total stranger and throwing away her scale prove far easier than pitching an idea at work or changing someone's life. But June approaches the list with aplomb, daring to speak up about being passed over for a manager position, and becoming a Big Sister to a quiet, studious Latina teen named DeeDee. But when June uncovers a secret of DeeDee's, she realizes changing someone else's life might involve changing her own as well. Clever and winning, Smolinski's novel will have readers rooting for June as they eagerly turn the pages to keep up with her progress on the list.
vers a list Marissa had been keeping of 25 things she wanted to do by the time she turned 25. After a run-in with Marissa's brother, June resolves to complete the list. Kissing a total stranger and throwing away her scale prove far easier than pitching an idea at work or changing someone's life. But June approaches the list with aplomb, daring to speak up about being passed over for a manager position, and becoming a Big Sister to a quiet, studious Latina teen named DeeDee. But when June uncovers a secret of DeeDee's, she realizes changing someone else's life might involve changing her own as well. Clever and winning, Smolinski's novel will have readers rooting for June as they eagerly turn the pages to keep up with her progress on the list.There are two heroines here: Vida Winter, a famous author, whose life story is coming to an end, and Margaret Lea, a young, unworldly, bookish girl who is a bookseller in her father's shop. Vida has been 
confounding her biographers and fans for years by giving everybody a different version of her life, each time swearing it's the truth. Because of a biography that Margaret has written about brothers, Vida chooses Margaret to tell her story, all of it, for the first time. At their initial meeting, the conversation begins:
"You have given nineteen different versions of your life story to journalists in the last two years alone."
She [Vida] shrugged. "It's my profession. I'm a storyteller."
"I am a biographer, I work with facts."
The game is afoot and Margaret must spend some time sorting out whether or not Vida is actually ready to tell the whole truth. There is more here of Margaret discovering than of Vida cooperating wholeheartedly, but that is part of Vida's plan. The transformative power of truth informs the lives of both women by story's end, and The Thirteenth Tale is finally and convincingly told.
confounding her biographers and fans for years by giving everybody a different version of her life, each time swearing it's the truth. Because of a biography that Margaret has written about brothers, Vida chooses Margaret to tell her story, all of it, for the first time. At their initial meeting, the conversation begins:"You have given nineteen different versions of your life story to journalists in the last two years alone."
She [Vida] shrugged. "It's my profession. I'm a storyteller."
"I am a biographer, I work with facts."
The game is afoot and Margaret must spend some time sorting out whether or not Vida is actually ready to tell the whole truth. There is more here of Margaret discovering than of Vida cooperating wholeheartedly, but that is part of Vida's plan. The transformative power of truth informs the lives of both women by story's end, and The Thirteenth Tale is finally and convincingly told.
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