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Too late for Haight-Ashbury but too early for middle age, two women fall into an impromptu bicycle ride. Too soon we have one continuing character, a quiet, natural follower who doesn't seem up to the task of leading a conversation, let alone a whole book. Events and supporting players take us quickly up California's coast, where she gets stuck in a small, weekend-getaway town.
She floats between a farming community with its solid values, traditions, security and celebrations, and the resort town, with its eccentric locals and well-fed tourists. While there are today more tractors than limousines in California, most farmers concede the growing need for bedrooms, and their cost.
With growing confidence, our heroine earns some local fame, presenting opportunities that, as someone who is much more passive than aggressive, she may not follow. Ostensibly seeking adventure, soon security and familiarity become more attractive, drawing her to the simplicity and dependability of the farm and her dreams.
There is of course a girl-meets-boy, girl-loses-boy, girl-finds-boy theme, but this love story is about the seduction of summer's golden evenings in the field.
This is perhaps a very long novelette. It is about as much genuine personal growth and humor as one could expect to see in the passage of little more than one week and 107,000 words.
We slip into fantasy at nightfall, and then in broad daylight as time goes on. In some ways, it is a nineteen-eighties tribute to the sixties, with a nineteenth century propriety and style. It is often sad or funny in the wrong places, but given a choice it would much rather be fun than a downer.
Recurring themes and patterns draw us through the chapters, making connections as we go. It has the pace of a shorter book, but it is not quick to read. Some may take their time, following the textures and rhythms and humor, and then beginning again, when they've finished reading.
The working title is “Dream Cycles,” but there aren't all that many bicycles. Perhaps a more descriptive title would be “Dream Sequence,” because many chapters end at close of day, while the following chapter begins a new day. Between some chapters is the night, sometimes expressed as the main character's dreams — vignettes of a page or so — that fall outside of the storyline. These offer back-story about the lead character, replay key happenings, and presage events. Let's not get bogged down in the dreams, though, since they represent around 1,600 words, or around 1.5% of the book.
The next book planned in this series is set several years later, with some familiar characters in a different location. The book title, “The Towering Tower,” was selected to let the reader know that it is more abstract and fanciful, and less introspective. That book will be involved in technological change, which is quite a contrast from this one.
This book is in many ways targeted at an adult female audience. I see the reader as someone who enjoyed “Forrest Gump” (the movie), “Bridget Jones' Diary,” “Bridges of Madison County,” and who remembers fondly “Alice In Wonderland” and “The Wizard of Oz,” but doesn't feel the need to read updated versions. This could be a counterpoint to, or a break from, Harry Potter, Lord Of The Rings, most by Steven King or Tom Clancy, and that sort of thing.
Early drafts of the first nine chapters were posted on a Web site that attracts graphic artists; all visitors were people I do not know. It has received extremely enthusiastic support from professional women and men. These people have reading tastes varying from romance to horror, to hating fiction, or not having enough time to read fiction. Readers frequently commented about reading chapters multiple times, crying, and laughing out loud. They often expressed great loss when chapters ended.
Lily Pond in San Diego's Balboa Park
Every scene in this book begins with a subtitle. There are more than two hundred scene and chapter titles.
This is a lighthearted history of California, and a reminiscence of the times in which our story takes place. And then the earth cools, just in time for our story to begin.
This first chapter introduces the Southern California setting and main characters. Miètte and her husband Roy are colorful and dominant personalities.
This book is told in third-person. We begin here as narrative with dialog, but in later chapters it becomes more reflective or dreamy, occasionally off on tangents about things like how great it is to take a shower or to eat tamales.
Roy may at times seem gruff or callous, but he never swears. While not a book for children, we never use stunts like gratuitous violence or profanity, we do not depend on contrived action, or abuse of characters — or the reader — to keep it moving.
Two-thirds through the first chapter, we meet Jennie, an introspective woman with a bicycle and a tendency to say, “Umm,” and very little else. We know that she isn't very tall or very young, and she may not dress as well as she might like, but while not perfect, she isn't too damaged — just, umm, quiet.
A flat tire ends this chapter fairly abruptly (chapters generally end quickly), but it is not until much later that we realize how this chapter truly ends. This is one of the first of many themes to ripple through the book. Themes return, with new information or viewpoints, and we begin to see correlations.
Jennie has the final line in the chapter, “I'm confident enough.”
Miètte offers a halfhearted sales pitch about taking a serious bicycle trip, while we tour Encinitas. Miètte and Jennie are simply two people who have known each other, off and on, for much of their lives; they were very close when young, but they have grown to become quite different people.
We begin to hear Jennie's internal dialog; she often thinks much better than she speaks. At times it may feel voyeuristic, but never suggestive.
We meet, for just a moment, a scruffy man and woman, unnamed. We will meet a similar couple every now and then, at different stages in their lives. This later becomes an important theme, even though most readers will probably not recognize this meeting on their first reading.
We are on a US Marine base, where Miètte has decided to start their adventure in taxicab, which is much easier than riding bicycles.
The afternoon is hot and sticky, and by late in the day Miètte and Jennie have watched parades of tanks, talked about old movies, been stopped at gunpoint, watched buzzards picking at carcasses, and have seen Miètte give up and go home.
Now that we've lost Miètte, we're stuck with Jennie, who has said and done fairly little so far, and is apparently incapable of carrying the story very far. Fortunately this chapter introduces an eccentric character to get us through.
It's nighttime when Jennie is picked up by an old DeSoto, and hauled all over creation, while discussing how to drive several hundred miles per hour without getting hassled by cops.
Perhaps we will notice that as Jennie changes, so does the book; both become less inhibited and more expressive.
Here we tour the Northern Californian coastal town of Santa Cecilia, which is quite different from Encinitas. We will spend large chunks of the book here, visiting a hundred year old bicycle shop, along with its original clerk, meet a huge man named Geo, get a demonstration of his huge custom bicycle, and drop Geo, never to be seen again, even though he will be an important theme.
We should realize by now that focus always follows Jennie, even if she isn't doing anything. We may be wondering if there are enough eccentric characters in this town to keep her going.
By now Jennie is feeling some confidence, which is a very good thing, since she has found herself abandoned in a strange town four hundred miles up the coast, with no friends, and no idea what to do next.
Jennie meets “a lovely elderly woman, dressed well from her time, and with a creamy milk chocolate complexion and a smile as warm as that afternoon's sun,” who promises to show her the way. The way includes an improvised Baptism, mending her Southern California Ways, and going on a bicycle ride with her son (who is younger than Jennie, but really not all that young). We also learn about catalpa trees, which are another recurring theme.
Martin and Jennie ride north of town to meet his father, and to tour the family corn field. A farm represents security, freedom, accomplishment, independence, privacy and history, all without being cocky about it. That corn field's personality becomes an important character for the rest of the book.
It's Friday, and while Martin has left, Jennie decides to spend this one last night in the field, watching shooting stars.
Here we begin to see that nighttime is different on farms. Jennie finds herself drifting dreamily through a field.
There is just something about windbreaks — they are there for a reason, after all. At the edge of this windbreak, Jennie witnesses a car accident; no screaming or explosions, a car simply slides across the road. This scene is jarringly different from the rest of the book so far; it's harsh and cold and at times too realistic, and it lets us know that it's not all light and fun. However, it is real, and it is part of the rhythm of the field.
We introduce Officer Larson, who attempts to grill Jennie about the car accident, but she ends up running away.
Perhaps a reward for making it through the car accident (and for the reader making it, too), Jennie is invited to an informal dance and party, far out in the fields. Well, she isn't exactly uninvited. It's in a little shanty town, with a golden courtyard surrounded by trees that may or may not be full of sleeping children. Entertainment and food are provided by participants, none of whom are especially prosperous; in fact many are likely illegal aliens and social dropouts, working as day laborers.
Here we are formally introduced to, and entertained by, Sarah and Josh, a middle-age hippie couple. We briefly met them, or some folks much like them, back in Chapter Two. We also meet Carlos, a farm worker who is smitten with Jennie, even offering to run back to town in the middle of the night, just in case she might like a piece of fruit.
Jennie is talked into entertaining the guests. She tells a story or two, but she probably won't remember any of it, since her head has been spinning the whole night. We may start thinking that her problem isn't simply shyness.
After the party, Jennie sails back to her bicycle and her field, where she discovers that Martin has been waiting for her. They snuggle in the back of his pickup truck, talking about shooting stars.
It's Saturday morning, but waking on farm time, it's barely sunrise. Jennie has had a dream about a large man in a white shirt, carrying a sack of corn; this is a precursor to events that ripple through the rest of the book, but for now it is ignored.
This is a day with Martin and a promise of a ride to San José, then back to Encinitas. It's more about waiting for Martin, who is busy with farm chores.
Jennie rides up the coast road, meets Sarah II and Josh II, decides it wasn't a good idea after all, so she goes back to the farm to wait for Martin. They spend midday together, getting to know each other, and having lunch in the field.
It's Saturday afternoon, and while nobody really wants to go to San José and end this all, they concede that it's the right thing to do, anyway.
On the road, they meet Dennis, an eccentric crop duster pilot who disrupts their day and dispassionately helps them to reevaluate their priorities. There is just something about a free spirit, a self-absorbed social misfit who spends all day long doing things for himself, yet still manages to earn a living.
Actually, meeting Dennis is more like driving along innocently, while he dive-bombs your truck, just because that's his way, or he's showing off, or he thinks it's groovy. The truck and Jennie's bicycle are covered in a thick cloud of baking flower. As his way of apologizing for what he didn't see as doing anything wrong, Dennis promises to buy dinner at The Hogg.
There is now some issue in Jennie's mind about Martin, who is more like a younger but protective brother. She thinks about solid and devoted Carlos, and bad-boy Dennis.
Martin and Jennie do eventually get out of the field and away from Dennis. They stop at a self-serve car wash, where they slowly, sensuously, clean the bicycle and truck. It seems that years of whitewash fall from the bicycle, revealing hopes and memories, and reviving Jennie's desire to continue. After all, she can go to San José, any time she wants.
Across the street from the car wash is The Hogg, an ugly pink building with a dirty pink gravel parking lot, and an endless stream of cars stopping by for huge helpings of barbecued meat. This, Jennie remembers, is where Dennis promised to buy dinner.
In the restaurant, we see an item on the menu named for Denis, and we realize that his name has been spelled wrong, all along. This book is all about themes, and rhythms that ripple through chapters. One of those themes is names. For instance, Miètte changes both her first and last name when she marries; Jennie can't get anybody to spell her name right; several characters have no names, or at best only first names; father and son have the same name; several characters ask you to call them by different names, but nobody does; one character has no name at the start, then he gets a name, and then they take the name away. Of course Dennis becomes Denis, right here, but as time goes on, we realize that Geo may have been called other names.
Martin and Jennie spend the rest of the afternoon sitting on a curb — Jennie likes sitting on curbs — eating some very good food from The Hogg, talking, and waiting for Denis. Ever since they first met, Martin and Jennie have been quite comfortable together; they often have long discussions, with one interrupting the other or finishing a line with a little joke. Denis never shows up.
This chapter includes several long discussions about cultural stereotyping, prejudice, and green socks. By the end of the day, though, the pressure is on, it's time to take her to San José, to abandon this folly, so that Martin can get on with his farm life. In the end, Martin leaves her in the parking lot, while he returns to his own responsibilities.
Jennie is standing alone, abandoned, isolated in darkness, much like we found her at the beginning of Chapter Four. All the time we've spent bolstering Jennie's confidence, and it's kicked out from under her by a single act. It's time for a big old DeSoto to cruise by and save her, but it never does.
In the parking lot, Jennie meets an eccentric old cat lady, who reminds her of what she too might become, if she continues on aimlessly. Well, there aren't really any cats. Mainly, though, the woman reveals the secret of the restaurant: push a knee against the restroom door jamb, tug up on the doorknob with both hands, and the door will open. That secret is shared by an assortment of misfit vans, cars and buses, that seem to hang around the back of Pinkstone Park.
Back in the restaurant, Jennie meets the cook named Augustus, and the nameless restaurant owner. Perhaps it's the promise of Denis' return that convinces her to stay.
Late that night after the restaurant closes, Jennie is across the street, in shadows, watching cars driving in and out of the restaurant parking lot. Even later, Martin parks his truck in the parking lot; he waits and watches. When wind has calmed in this little valley, the DeSoto finally pulls up near the restaurant; there appears to be a lively exchange. Action and contrived tension are easy to invent and write. But for Jennie, if there is anything hugely dramatic to happen, she will likely not be there. I suppose some may be yelling, “Would you please get up and walk over there! Yes, you, the main character… get involved, please!” We don't. It's keeping true to the Preface and honest to the characters.
Not quite zoning-out but not truly in-synch with the world, Jennie wakes early, across the street from the restaurant. Martin and the DeSoto are gone. A lively exchange with another eccentric character, the restaurant's janitor, helps Jennie to see her values in context. She shares a short soliloquy with the cars in Pinkstone Park.
She discovers that there was something about her in the local newspaper, which helps explain how people seem to know her. This is a turning point for Jennie, but she's had so many of them, that we only hope this one will stick.
It's training day in the restaurant. Augustus hasn't seen the newspaper, but a repairman, likely Geo, has told stories about her.
The large man almost gets a name we can call him. He also brings in a newspaper, with drawings made of Jennie by children from the local elementary school; it was apparently a slow news day. The large man pastes those newspaper clippings on a restaurant wall, as had been done with other memorable clippings, on other walls, for generations; a major theme, we see events in perspective.
It's show time! The restaurant opens, and Jennie gets through the day.
Somewhere along the way, a large sign shows up near the street, announcing to passersby that Jennie is here.
Working in a restaurant, time passes very quickly, and this is a very quick chapter.
Nothing ever happens in a restaurant on Monday. This is the shortest chapter in the book.
Even less happens in restaurants on Tuesdays than on Mondays.
This day begins with a simple trip to the grocery store, to stock-up the restaurant; it ends up as the longest chapter in the book. It is both a training day, and total immersion in the deep end.
We see that lobsters have been a theme since the beginning of the book, and that they will continue to be. Jennie learns public speaking in the aisles of the grocery store, subjects herself to humiliation on the streets out front, and again confronts Officer Larson.
There is another newspaper article, this one with illustrations made by a photographer on that day we met Denis. It, too, will become another layer on a restaurant wall.
Still at the grocery store, there is some kind of interaction between the unnamed man from the restaurant and Larson, but Jennie returns to the darkened aisles of the grocery store, so we never see it. There might have been shouting or fisticuffs, or a large mob pushing and throwing things, or explosions and gunfire and hostage situations, with space aliens and teleportation… it really doesn't matter, since that's not what this book is about.
A senseless car accident in front of the store involves Larson. After their earlier meeting, she wants nothing more to do with Larson, but she sits with him and comforts him, much to his protestations, until help arrives.
Finally back at the restaurant, Jennie is confronted by a reporter who accuses her of duping the townspeople by concocting the story about being a great athlete who rode up the coast alone. Jennie handles the situation with strength, grace and humor.
This chapter is separated from the last to give the reader a break. It's still Tuesday, but not like any day this restaurant has ever seen. And Jennie handles it well, with skill and joy.
Evening after the restaurant closes, Jennie reads more of the newspaper clippings on the walls. One article is about an elderly couple, much like Sarah and Josh, who have lived long, prosperous and happy lives.
Her bicycle and that corn field draw her from the restaurant. Nothing is more important than that field; it is all about security and rhythms of that corn field. She falls into its comforting embrace.
Wednesdays in restaurants are unpredictable. We do know that with all the publicity and that “Jennie” sign out front, this will be a busy one.
It's a day of memorable food, happy customers, and stories. And in the warm afternoon, Denis returns. Finally. He tells a story or two, mooches a meal from Augustus, and tells Jennie to meet him the following morning.
There is a motel right across the street, but at the end of this day, Jennie can hardly wait to get back to the warm caress of her corn field.
Jennie rises early in her field.
Rushing to meet Denis, she first finds Martin; it is his farm, after all. It seems that Martin has been in another part of the field on most nights, but their paths have not crossed. And then Denis' airplane settles down to interrupt the reunion.
It is a memorable flight, full of dials and buzzers and odd smells, but not a lot of sightseeing. It isn't until the airplane lands on a desert plateau, that Jennie really pays attention to it. In long, uncomfortable monologs and propositions, Denis makes it clear that he is in charge. This is not a place where Jennie can move away from the action, so she has no choice but to avert it, to talk her way out of it, and to for the first time become the dominant character.
The flight resumes, with actual scenery this time. And then it ends, quickly, without another word between them. Jennie is again standing on the road by her field. Did she really spend much of a week, waiting for that?
The rest of the day is spent with Martin, sharing stories and meals. At day's end, they return to their corn field, together, to share its rhythms and sights and textures.
We resolve the connections between catalpas and crop dusters, and see that many themes share multiple connections.
If you know restaurants, you know about Fridays. Jennie can't miss this one. By the time there's little left to serve but salad, the restaurateur, Augustus and Jennie, turn off the lights, and they congratulate each other for a memorable day. It's been another Friday in a place that is a living record of weeks and restaurant years and generations.
At the end of the day, Martin and Jennie return to their field. The love they share is for that field.
Martin seems to want to compare this story to “Alice In Wonderland” or “The Wizard Of Oz;” that's his opinion. Besides, what if Alice had been a very different person, one for whom Wonderland might offer a better life than the one she left behind? Why was Alice in such a hurry to leave, anyway?
We finally find that Jennie's flat tire in the first chapter, introduced her to the man in the big house, who gave her the impetus or confidence to take this bicycle ride with Miètte.
If there is a plot twist anywhere, it's now; it seems like we might not get back to the Friday night celebration, or perhaps it wasn't real to begin with, so we imagine what it will be like when we do get there. Of course we do get back to Friday night — it wouldn't be fair to the reader if we didn't.
There is no huge surprise ending, since we've been building the mood for quite some time, and readers should be pleased that it ends well. It does end too quickly, with some questions unanswered, and while we know that she will return to her field for the night, there is an opportunity for us to consider where we might be on Saturday morning.
In some ways, this chapter is a guilty pleasure, or a reward for getting all the way through. You may want to sit back in your chair and reflect on connections and themes that brought us here. Knowing details and how they fit together, you may want to begin again, to match the pieces.
Told in first-person by Jennie, several years after the story ends, this explains her point of view. Many parts of the book are true, and this shares some of those truths.
Jennie's panic and anxiety attacks, a recurring theme, are finally addressed directly, without being preachy. You have to recognize the problem before you can work with it — that's an adventure that can last a lifetime.
A year earlier, President Carter spoke to this country: “I want to talk to you right now about a fundamental threat to American democracy… I do not refer to the outward strength of America, a nation that is at peace tonight everywhere in the world, with unmatched economic power and military might. The threat is nearly invisible in ordinary ways. It is a crisis of confidence. It is a crisis that strikes at the very heart and soul and spirit of our national will. We can see this crisis in the growing doubt about the meaning of our own lives and in the loss of a unity of purpose for our nation. … It's clear that the true problems of our Nation are much deeper — deeper than gasoline lines or energy shortages, deeper even than inflation or recession.”
Mr. Carter came to office with hopes of bringing ’60s ideals and optimism to fruition. This is proving to be an impossible task, when just about every economic and social trend is bottoming-out at the same time.
Our story takes place during President Carter's last year in office, often called a malaise. We were not living lives dreamt of in the ’60s, but of lowered expectations and simple pleasures.
NASA's Space Shuttle, caught in delays and derision, has never flown. The Apple ][ computer has about 75-percent of the computer market, and IBM has not yet released their Personal Computer. Economically, times are tough; U.S. bankruptcy rates are reaching new highs, the prime interest rate is 21.5-percent, and we are stuck in recession and 13-percent inflation, and remarkable unemployment levels. We are well on our way to a devastating national Savings and Loan crisis. In spite of yeoman efforts and 444 days of international headlines, President Carter never will rescue the 55 American hostages from Iran.
We aren't getting along well with the Soviets, either. There are grain embargoes, Moscow Olympics boycotts, jamming our Eastern European radio broadcasts. It will take another decade before Mr. Gorbachev tears down that wall.
And then we have Mount St. Helens erupting, prison riots, transit strikes, Love Canal, Iraq/Iran war, Cuban Freedom Flotilla, the death of many world leaders, including John Lennon.
Let's look at the conclusion of President Carter's speech: “I have seen the strength of America in the inexhaustible resources of our people. In the days to come, let us renew that strength in the struggle for an energy secure nation. … In closing, let me say this: I will do my best, but I will not do it alone. Let your voice be heard. Whenever you have a chance, say something good about our country. With God's help and for the sake of our nation, it is time for us to join hands in America. Let us commit ourselves together to a rebirth of the American spirit. Working together with our common faith we cannot fail.”
Fortunately, in this book we don't dwell on all of those things. Back then, most people didn't. They dreamed of escape from it all.
Preface
Chapter One: Californians
Miette
Royal
Oceanside
Coasters
Planning
Jennie
Tangled Up In Blue
Centuries
Chapter Two: Master Planned
Lost In Time
Doing A Meeting
Asylum
Break Time
Real Change
Out To Lunch
Meeting Again
Dream 2-3
Chapter Three: Soldiering On
Move Out
Sight-Searing
Things Are Looking Uphill
Sergeant At Arms
Reconnoitering
Cajun Dreaming
Road Rash
Eating Like Birds
Best Said Plans
Recess
North Gate
Chapter Four: The Adventurer
Black And White
Your Ride's Here
The Meter's Running
It's Alive
Packing For The Trip
Meet The Gang
Buckle Up For Safety
Master Of Illusion
Meet 'Alice'
DeSoto, The Explorer
Have We Met Before?
When The Bluster Meets The Road
The Secret Of My Excess
Pin 'Em Down
Drifting Away
Rise And/Or Shine
Last Call
In The Old By And Bye
Chapter Five: Cityscape
Gypsy Pedaler
Pairs And Repairs
Better Living Through Sophistry
Ablutions
Pure Food
High Tea
Everything Old Is New Again
Chapter Six: The Road North
Santa Cecilia
Awakening
Cast Away
Sons And Doubters
Truckin'
Chivalry
Maze
Corn
Dinner
Timeless
New Moon
Fielding Dreams
Dream 6-7
Chapter Seven: Maginot Line
Syncopation
Pacing
Authority Figures
Questioning
Chapter Eight: Watching Corn Grow
Invitation
Dogtown
Flashback
Gypsies
Solstice
Supper
Tales
Encore
Changeling
Dreams
Solitude
Dream 8-9
Chapter Nine: Windbreaks
Daybreaks
Business
Pleasure, Almost
Business, Again
The Other Road North
You Say You Want A Revolution
And a Hank of Hair
Winding Up
Winding Down
Wind... Breaks
Unwinding
Some Dreams We Share
Chapter Ten: A Flight Of Fancy
Retracing The Maze
Yet Another Road North
The Tail Dragger
Over-Exposure
An Artist Emerges
Intermission
Chapter Eleven: Pigg And Pepper
Intermission Over
On The Highway
Miracle Glaze
More Dreams We Share
On The Highway, Again
Appetizer
Cleansing The Palate
Main Course
Off Course
Valet Service
Chapter Twelve: Smoke And Mirrors
Ablutions Room
Retreat
Convictions
The Grill
The King Of Hearts
Night For Day
A California Dream
Chapter Thirteen: The Lot
Some Dreams We Don’t Share
Morning Analyzer
Pinkstone Park
Jennie's Soliloquy
In Time
Act Three
Breaking Another Day
Chapter Fourteen: Workaday World
Yesterday’s News
Good Morning, Captain
Training Day
Taproots
The Funny Pages
Chapter Fifteen: Sunday
Bard Of The Barbecue Pit
Sideshow
Dream 15–16
Chapter Sixteen: Monday
Dream 16–17
Chapter Seventeen: Tuesday
Shopping Esprit
Mock Lobster
Canned Goods
Two Part Harmony
Beautiful Hussy
Sir Lancelot
Into The Cookpot
Turning Up The Heat
Simmering
The Lion And The Unicorn
The Same Road North
Release The Hounds
Your Bill
Chapter Eighteen: Catenary Climbing
Plastic Sturgeon
It Was Magic
On Time
Plain Vanilla
Nothing And Nobody
Waxing Crescent
The Right Path
Dream 18-19
Chapter Nineteen: The Great Lacuna
Morning Rush
Some Times
Memories Refreshed
The Driveway Not Taken
A Formal Invitation
Show Time
Breechloader
Showdown
A Roll Of The Dice
Flight Plan
The Night Cashier
The Busker
That's A Wrap
What Really Matters
Dream 19-20
Chapter Twenty: Thor’s Day
Prettified 'n Properfied
Hammer Down
In Flight Feature
South By Southeast
The Blue Side
Adagio And Fugue
The Last Road North
Roundabout
Roots
Occluded Front
The Right Path
Dream 20-21
Chapter Twenty-One: Friday
Commitment
Happy Friday
Resolution
Lobster Quadrille
Wind In The Valley
Chapter Twenty-Two: Beginnings
Which Dreamed It?
A Tupperware Moon
Golden Blues
Iceplant
Goslings
Sarahbande
Chapter Twenty-Three: Afterword
Lily Pond in San Diego's Balboa Park
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