©2002 Jennifer Claverini; (P)2008 Recorded Books,LLC
"Chiaverini manages to impart a healthy dollop of history in a folksy style, while raising moral questions in a suspenseful narrative." (Publishers Weekly)
When Sylvia realized that she didn't know who was her direct blood related ancestor. The boys were raised as twins and the secret was not disclosed. What happened to all their descendants? We know a little about Sylvia 's branch what happened to the other branches?
Overall I am really enjoying this series. I am learning how to quilt myself and these stories have sparked that interest even more. Can't wait to get started on the next one.
Sylvia is still my favorite character. I admire her determination and resolve. Looking forward to her next step with Andrew.
Yes I have. Christina has many voices that make her books "come alive" for me.
I would love take take Sylvia out to dinner to hear some of her stories in person.
My only comment is this novel was a little slow getting into the story line, but did change to become extremely interesting and once again hard to put down.
This audio performance of the Runaway Quilt enhances the print version through the use of dialect and emotion in the reading.
The most memorable moment in this audio was the section where the slave catchers come to the house and the runaway must quickly hide in the safe hole while they search the house, finding her baby.
Christina Moore brings dialect and emotion to the story that would be more difficult with the written word.
The Runaway Quilt: History in Stitches
This book was about quilters that discover a mystery and then search for documents and quilts that will explain what happened in the pre-Civil War era. Much of the story is told by Gerta in her journal and what is found there affects the lives of the present day quilters. I thoroughly enjoyed this book and there was plenty of excitement throughout. I highly recommend this title.
One of the most memorable was when Sylvia found the journal and the quilts.
Christina did a wonderful job differentiating between characters and Sylvia sounded just like she should - an older skeptical woman.
I don't think I would change the name. As a history buff, this title caught my attention right away.
Loved this and didn't want it to end. Great story and one that keeps the reader enthralled.
I live on an island off the coast of Maine. Since I installed a "doggie door" I am now retired from "Letting The Dogs In and Out"!
It was like listening to two separate stories, both interesting.
The Runaway Quilt is a good title, I'd keep that.
I have recommended this book to several friends and family members. I bought a copy for someone who prefers to read.
No vampires. No zombies. No self-help. Find me on BookLikes. Audible Member since 2002!
I just don't know. Haven't decided.
This one has been sitting in my wish list for a while and when some sale came up, I decided it was time to give it a try. I'm glad I did. I enjoyed the story. Although not perfectly factual in its depiction of the era, it does give us a small glimpse into the times. Actually it is two stories but the one that stuck with me was the historical portion of the tale. As far as the modern part of the story went, I felt like I had picked up a series in the middle and I didn't know the people or the back-stories. I just have to keep in mind that these are stories written for modern readers and not start yelling at every anachronism I encounter or wincing every time some modern sensibility rears its ugly head.
I so wanted to like this book. It has much that appealed to me - strong women, quilting, a bit of history and the courage of all who participated in the underground railway.
But the characters are uniformly predictable. No one evolves or develops; there are no moral quandaries or moments of self-doubt and enlightenment. No one's beliefs, character or behavior veers off the path of stereo-type.
The two primary characters are the same unpleasant, judgmental, self-righteous and selfish personality, living 150 years apart. The colorless characters who surround them are generic and almost disposable. Silva's gentleman friend appears to be added as a total after thought when an editor noted there were no men portrayed in modern times. Scenes with Andrew should have been pruned entirely as he adds nothing to the novel.
This might be forgivable if the story were credible, but it isn't. No matter how much we may wish it were not so, a black family, slave or free, would never have received the same treatment at the hand of society and the law as a white family would. Discussions of "held without charge" and "due process" were laughable in the context of a rural community in mid-19th century. They would be lucky to see a circuit-riding judge once a year for proper trials. An immigrant with no money and no husbandry experience would not gain prominence and wealth as a horse breeder in just a few years. Gerda talks about being isolated and far from any resources on the farm, but she is able to drive her sister-in-law to and from work in the carriage every day. The only time she complains about being overworked, there are 3 women in the home full-time.
Anachronisms abound. One of the most telling to me was that when a dirty, rough stranger touched one of the women in the early period, there was not a hue and cry over the sacrilege, but when a modern woman accidentally brushed the back of a man's hand in the library, she was mortified.
The narrator was not horrible except in the way she voiced a female slave from Virginia. But I kept imagining Angela Lansbury as Jessica Fletcher (in "Murder She Wrote") with her thin lips pursed in disapproval when someone behaves in a way she finds deplorable. I do not know if the women would have been less unpleasant with a different narrator, but Christina Moore certainly reinforced my already negative opinion of them
Finally, Silva is obsessed with her ancestors and how noble they were. A few problems with this are obvious. Noble ancestors do not a noble offspring make. No one is wholly noble - something Silva seems to find unimaginable. And as the last in this noble line, just who is Silva preserving this heritage for? She should be finding a research university to curate everything, not hoarding it for herself.
This book could have unfolded with new discoveries about history and all that we cherish and value, but instead it bores with no whiff of nuance or ambiguity. That is sad.
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