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  • Milk Glass Moon
  • Written by Adriana Trigiani
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  • Written by Adriana Trigiani
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Milk Glass Moon

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A Novel

Written by Adriana TrigianiAuthor Alerts:  Random House will alert you to new works by Adriana Trigiani



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List Price: $11.99

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On Sale: September 17, 2002
Pages: | ISBN: 978-1-58836-284-1
Published by : Random House Random House Group

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Read by Adriana Trigiani
On Sale: May 15, 2012
ISBN: 978-0-449-01156-0
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Read by Adriana Trigiani
On Sale: July 09, 2002
ISBN: 978-0-553-75688-3
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Synopsis|Excerpt

Synopsis

Milk Glass Moon, the third book in Adriana Trigiani's bestselling Big Stone Gap series, continues the life story of Ave Maria Mulligan MacChesney as she faces the challenges and changes of motherhood with her trademark humor and honesty. With twists as plentiful as those found on the holler roads of southwest Virginia, this story takes turns that will surprise and enthrall the reader.

Transporting us from Ave Maria's home in the Blue Ridge Mountains to the Italian Alps, from New York City to the Tuscan countryside, Milk Glass Moon is the story of a shifting mother-daughter relationship, of a daughter's first love and a mother's heartbreak, of an enduring marriage that contains its own ongoing challenges, and of a community faced with seismic change.

All of Trigiani's beloved characters are back: Jack Mac, Ave Maria's true love, who is willing to gamble security for the unknown; her best friend and confidant, bandleader Theodore Tip-ton, who begins a new life in New York City; librarian and sexpert Iva Lou Wade Makin, who faces a life-or-death crisis. Meanwhile, surprises emerge in the blossoming of crusty cashier Fleeta Mullins, the maturing of mountain girl turned savvy businesswoman Pearl Grimes, and the return of Pete Rutledge, the handsome stranger who turned Ave Maria's world upside down in Big Cherry Holler.

In this rollicking hayride of upheaval and change, Ave Maria is led to places she never dreamed she would go, and to people who enter her life and rock its foundation. As Ave Maria reaches into the past to find answers to the present, readers will stay with her every step of the way, rooting for the onetime town spinster who embraced love and made a family. Milk Glass Moon is about the power of love and its abiding truth, and captures Trigiani at her most lyrical and heartfelt.

Excerpt

Chapter One

The Wise County Fair is my daughter’s favorite event of the year, and I think it’s safe to say that includes Christmas. Etta has been on her best behavior for the past two weeks, so perfect down to the smallest detail (including unassigned chores like making my bed and weeding my garden) that I’m worried.

We have the window flaps of the Jeep down, and the warm August air whipping through is sweet with honeysuckle. Still, it is no match for Iva Lou’s perfume, which wafts up to the front seat whenever we peel around a curve. Etta looks out the window for road signs, searching for proof that we’re almost there. I’ve taken the quicker route, the valley road out of Big Stone Gap up to Norton. As we ascend the mountains in twilight, we pass Coeburn nestled in the valley below, where the cluster of lights twinkles like a scoop of emeralds. Etta smoothes her braids and settles back in her seat.

“Here’s the plan. First we eat,” Iva Lou announces as she unfolds the special to the newspaper. “I myself am having a jumbo caramel apple with nuts, and if I have to go see Doc Guest for a bridge on Monday, then so be it. Them caramel apples are worth a molar.”

“I want the blue cotton candy,” Etta decides.

“I want a chili dog with onions,” I reply.

“I have a lot of money,” Etta says proudly as she sifts through her change purse.

“Ask Dad to spring for dinner. That will leave you more money for the games of chance.”

Etta smiles and carefully counts her money without lifting it out of the purse. I see a five-dollar bill folded neatly into a small square (some lucky clay-pigeon operator is about to score a windfall).

“What if we can’t find him?” she asks.

“We’ll find him.”

“Just go straight to the outdoor the-a-ter. He’s up there with all them men checking out the rehearsal for Miss Lonesome Pine.”

“He built the stage,” I remind Iva Lou in a tone that says, Don’t start with that again.

“That’s as good a reason as any, then.” Iva Lou meets my eye in the rearview mirror and winks.

We find a parking spot under a tree overlooking the fairgrounds and climb out of the Jeep. Iva Lou checks her hair in the driver’s side mirror and then smiles at us, ready to go. She’s wearing a pair of dark blue denim pedal pushers and a red bandanna-print blouse tied at the waist. Her Diamonelle hoop earrings peek out from under her platinum bob like giant waterwheels. Iva Lou is ageless; you would never know she is fifty-something. Her look, however, is best viewed from a distance, like a fine painting. You don’t want to get so close that you get lost in the details.

Etta looks at the fairgrounds with a clinical eye, surveying the faded striped tents surrounded by torches like birthday candles. She smiles when she spots the Ferris wheel. “Ma, will you go on the rides with me?”

“Sure.” But Etta knows that at the last second in line, when we’re ready to go up the metal plank, I’ll send her father with her instead.

“Do we have to go to the beauty pageant?” she asks.

“I thought you liked it.”

“I like the dresses all right. The talent’s always terrible.” Etta shrugs. She’s right. Last year, leggy blond Ellen Tierney, representing Big Stone Gap, did a dance routine to “Happy to Keep Your Dinner Warm”; her tap shoe flew off when she did a high kick, clocked a man in the first row, and knocked him out. The victim was rushed to the hospital and revived, but he may have the imprint of the metal tap on his forehead for life. “And I hate the physical-fitness part when they come out and jump around in bathing suits. Anybody can do that stuff.”

“Etta, hon, it don’t take a lot of talent to look good in a bathing suit. That you’re born with.” Iva Lou breathes deeply and straightens her shoulders. “I ought to know.”

“I’m never gonna be in a beauty pageant,” Etta announces.

“Me neither.” I give my daughter a quick hug.

The benches in the outdoor theater are filling up fast. The aisles are covered in Astroturf runners; the stage is banked in garlands of red paper roses; the backdrop is a cutout of a giant pine tree with miss lonesome pine written in gold leaf.

School starts in a few weeks. I can’t believe Etta is twelve years old and going into the seventh grade. My mother would have been sixty-six this year. I feel oddly lost between them: not old yet, not young anymore. I thought motherhood was a job with security, but it’s not. It’s the least permanent job in the world, the only job in which your skills become obsolete overnight. It was that way from the beginning. When I finally got a handle on breast-feeding, it was time for solid food. I worried that Etta wasn’t turning over in the crib on her own, but soon she was crawling, and then, before I knew it, walking. When she went to school, I thought she’d need me more, but all of a sudden she had a life apart from me and was just fine. And now, after we’ve established a routine as a family, in which Etta has responsibilities, she’s developed a newfound independence and her own opinions. This is, of course, the point of all of it—preparing your children to leave you—yet I’m so afraid to let go. I don’t know how I’ll handle it when she’s eighteen and leaves for college. How did my mother do it? I wish she were here to lead me through these changes.

“Dad!” Etta waves to Jack, who waves back to her from a platform at the side of the stage. He finishes helping the spot operator set the light levels, then climbs down the ladder to join us. My husband is still agile; his strong arms hook down the ladder rhythmically. His jeans are faded to dusty blue, and his white T-shirt frames his gray hair beautifully. Sometimes, when I see him in the distance, I forget he’s mine and think, What a fine-looking man. He still makes my heart race—quite a feat after all these years. His straight nose and lips are surrounded not by wrinkles but by expression lines. He’s damn cute, my husband. I try not to hate him for aging so well.

Otto Olinger approaches, wiping his face with a bandanna. “We barely got that stage up in time. Ain’t that right, Worley?” Otto turns to his son, whose white hair makes him look around the same age as his father.

“It was rough,” Worley agrees.

“ ’Cause you ain’t got your minds on your work. Too busy ogling the girls,” Iva Lou tells them.

“We did us some looking.” Worley smiles.

Otto shrugs. “Can’t hardly help it, they’s so purty. Of course, I ain’t never seen me no ugly women, just some that’s purtier than others.”

Jack gives me a kiss and takes Etta’s hand. “You want to watch from up there?” he asks her.

“Yeah!”

“We’ve got a couple of seats down front for you.”

I turn to Iva Lou. “Do you want to stay?”

“What do you want to do?”

“I’d rather wander around.”

“Let’s wander, then.” Iva Lou turns to go up the ramp.

“Okay, we’ll catch up with you later.” Jack Mac takes Etta to the ladder and helps her to the top. She kneels on the platform as her father explains something about the equipment. She listens and nods. I can’t believe she’s my kid and not afraid of heights. In fact, she’s fearless about everything—picking up stray animals, speaking in public, boys. Etta cares about how things work; in that way, she is just like her father. She is all MacChesney, and that’s not always easy for me to accept.

“What are we gonna do?” Iva Lou asks.

“We’re going to see Sister Claire.”

“Who the hell is that? A Catholic?”

“No. She’s a fortune-teller.”

“No voodoo for me, girlfriend.”

“Come on. After she makes you drink a cocktail of eye of newt and puts a spell on you, it’s all uphill.”

Sister Claire has a small dark green tent by the edge of the grounds. Two folding chairs are set up outside the flap. I’m surprised there isn’t a line of people waiting. Sister Claire is well known in these parts; she’s from the mountains of North Carolina near Greensboro. A pharmaceutical salesman out of Raleigh who traveled through Big Stone encouraged me to see Sister if she was ever in the area. He told me that she was the genuine article, a true mystic. I’m surprised when a small, gentle woman of sixty, with a heart-shaped face and skin the color of strong tea, emerges from the tent to greet us.

“Are you here to see me?” she asks. “I’m Sister Claire.”

Iva Lou turns away and grabs my arm to return to the hub of the fair, where no one knows the future, not even the judges of the Miss Lonesome Pine Contest.

“Yes ma’am. We are.” Iva Lou shoots me a look, so I correct myself. “I am,” I say earnestly, not knowing exactly how to address a psychic.

“Welcome.”

“I think most of the people are at the beauty pageant,” I tell her, apologizing for her lack of clientele.

Sister Claire turns to Iva Lou and looks her straight in the eye. “I understand if the idea of a reading makes you uncomfortable. I don’t like to have my cards read.”

“Really?” Iva Lou squeaks.

“Really. It’s a commitment to believe. It takes blind faith. Sometimes not even I have that.”

“Well, it’s not that I’m scared, and I certainly believe in the comings and goings of the spirit world. It’s just that I, well, I live my life a certain way, and I don’t want to know where it’s all going.”

“I understand.”

“Wait here, then. Okay?” I give Iva Lou a wink and follow Sister Claire inside. The tent is sparsely furnished with two folding chairs and a small red lacquer table between them. An electric cord attached to a small generator runs up the side of the tent to a low-wattage bulb, which dangles in a protective metal sleeve overhead. Sister Claire motions for me to sit, then pours us each a glass of water. She sits down at the table and rests one hand on a deck of large tarot cards.

“I hear you’re a Native American,” I say as she shuffles the cards.

“Cherokee. Descendant of the great Chief Doublehead. ’Course, all of us that’s Cherokee claim that.” She smiles.

“Mother and father both?”

“Yes. But I’m mixed. I also had a grandmother who was African-American and a grandfather who was Irish.”

“The green eyes give you away.”

“Every time.”

“How did you discover your talent for this?”

“It’s not so much a talent as a way of being. It tends to run in families. My mother read cards and had visions, and so do I.” She stops shuffling the cards and asks me to pick one. “How can I help you?”

I was prepared with an answer—I have lots of questions about the future—but suddenly I can’t speak. “I’m sorry.”

“Don’t be sorry. Let’s look at you.” Sister Claire shuffles again and places twelve cards on the table, creating a sunburst pattern.

“What is your name?”

“Ave Maria.”

“That’s unusual.”

“Especially in these parts.”

“That’s the name of the Blessed Mother. You can tell a lot by a person’s name.”

“What does my name tell you?”

“You’re named after a strong woman, some would say a goddess. You’ve been surrounded by strong women since the day you were born. You’re very lucky. You are loved and protected, and I see many women around you, almost making a fence. Your mother passed?”

“Yes.”

“She did and she didn’t. She’s with you always.” Sister Claire sits back in the chair and closes her eyes. “She’s wearing purple.”

“My mother?”

“Yes.”

“I buried my mother in a purple suit. She made it herself out of crepe silk she bought on one of her husband Fred Mulligan’s buying trips to New York. She told me that, for the longest time, she didn’t want to make anything out of the fabric because it was so beautiful she couldn’t bear to cut it into pieces.”

“Fred Mulligan was not your father.”

“No ma’am.”

“And it caused you great pain when you learned the truth.”

“It did. But in a way, it was also the great blessing of my life. I found my real father in Italy, and my whole family.”

Sister Claire leans back and closes her eyes. “Your mother is showing me a house with many rooms. She is hanging curtains in the windows.”

“She used to make curtains.”

“There’s a boy in the room. He just walked in. He has brown eyes and curly brown hair. Who is he?”

“My son.”

“He passed?” she asks me quietly.

“Yes ma’am.”

“Very young?”

“He was four years old.”

Sister Claire laughs. “He’s funny. He’s happy with her. She is looking out for him.” She opens her eyes and looks at me.

Sister Claire goes on to tell me lots of things—about my job, about Jack, about Etta. She sees us traveling together, and she sees Etta taking a new path, which validates my feeling that my daughter is going where she wants to go, with or without my blessing.

“Sister, how does the afterlife work?”

“What do you mean?”

“Will my son always be four years old and my mother the age she was when she died? And when I die . . .”

“What do you think?”

“I thought that they were in a holding pattern, waiting for Judgment Day.”

Sister Claire laughs, though I wasn’t trying to be funny. “That’s a possibility, and it all depends. Your mother and son wanted you to know they’re okay, so they came to me in a way you would recognize them. This doesn’t happen every time.”

“So they are . . . somewhere, right?”

“I like to think the idea of them is somewhere, but that their energy is eternal and that it’s very possible they’ll return to life as different people to learn new things.”

“So they could be here?”

“Anywhere.”

“Should I be looking for them?”

“You won’t have to look for them; they’ll find you.” Sister Claire shuffles the cards and this time lines them up in a single row. She asks me to pick another from the deck. “Now for your future.”

I take a deep breath. “I’m ready.”

“You’ve set many goals for yourself in your lifetime. And you’ve met most of them. But what I see here is that you have to begin anew. You have to decide where your life is going; you must redream.”

“Redream?”

“You have to reinvent your life. You have to think about what you want to accomplish in the second half of your life. Do you understand?”

I nod that I do, but I don’t really, or maybe I’m not ready to think about the rest of my life. My present path is so clear—I want to raise my daughter, nurture my husband, and keep working. I don’t think much beyond that, though I know it is dangerous not to. “Sister Claire? I never think about what I want anymore, or about what the future holds. I barely have time to get everything done in the present. How do I redream?”

“There are two times a day when the soul is open to new ideas. The first is when you rise, in the stillness of morning. The second is at night, when you’re in that hazy place between being awake and going to sleep. At those times, ask your inner voice to guide you. Your intuition will lead to the answers you’re looking for.”

“My mother used to say that all the answers were inside me.”

“She was right. The problem is, we don’t trust our inner voice. But that voice will guide us in the right direction every time. It really is the key to happiness: just listen.” Sister Claire slides the cards into a single deck once more.

I pay her and quickly review all she said to me. There’s so much to think about. I am a little stunned that my mother and son could be looking for me but I might not know them. What good will that do? The smell of Iva Lou’s cigarette brings me back. She’s sitting on one of the folding chairs outside the tent, puffing away. “All set,” I tell her.

“Well, honey-o, since we’re here, maybe I’ll get a reading too.” Iva Lou turns to Sister Claire and points with her pinkie finger. “But I’m warnin you, Sis, don’t tell me when I’m gonna die, even if you know. Okay, I amend that. You can tell me when I’m gonna die if it’s at a hundred and one with all my faculties intact and a young man up in the bed next to me who thinks I’m better than pepper jelly.”

Sister Claire laughs. “You got a deal.”

They go inside the tent, and I can hear the quiet muttering between them. I sit down, stretching my legs and leaning back in the chair. From this angle, I can see the spotlight at the beauty pageant make a tunnel of silver light against the black mountain. It is a smoky beam, barely visible as it competes with the Ferris wheel spinning streaks of pink glitter. The mountains funnel the sound of the applause and the wolf whistles up into the night sky; the way the sound carries in these hills, the pageant could be a thousand miles from here. How easy it is to get lost in the noise of this world, to find yourself leading a life of acceptance and resignation. When will I find the time to question my life again? Is there anything new ahead of me, or is this it? Being a wife, a mother, a pharmacist? What does Sister Claire mean when she tells me I have to invent myself all over again? To be what? And how?

After what seems like a much longer time than my reading took, Iva Lou emerges from the tent, fishing in her purse for another cigarette.

“So?”

“Oh, honey, I’ve never heard such good news. Sister Claire was chock-full of all kinds of information. I just hope I can remember it all so I can write it down. She said I’m an eagle.”

“Is that a good thing?”

“Absolutely. I’m regal and self-possessed and all that. But of course, tell me something I didn’t already know for fifteen bucks. How about you?”

“Mama and Joe came to me.”

“What did they say?”

“They didn’t say anything. But it’s okay. They showed up; that’s all I needed.”

Iva Lou puts her arm around me as we head back into the lights and the noise, but I don’t see them or hear it. My mind is in that house with many rooms.


From the Hardcover edition.
Adriana Trigiani|Author Q&A

About Adriana Trigiani

Adriana Trigiani - Milk Glass Moon

Photo © Tim Stephenson

ADRIANA TRIGIANI is an award-winning playwright, television writer, and documentary filmmaker. The author of the bestselling Big Stone Gap trilogy and the novel Lucia, Lucia, Trigiani has written the screenplay for the movie Big Stone Gap, which she will also direct. She lives in New York City with her husband and daughter.

Author Q&A

An author interview with Adriana Trigiani, conducted by Etta McChesney, age 11.

Etta: This is the first time I've ever interviewed anybody unless you count the time that I interviewed Mr. Zackie Wakin for the school paper.

Adriana: How did that go?

Etta: He gave me a tour of his store which was interesting.  He was very funny.  I hope you will be funny.

Adriana: I'll do my best.

Etta: Also at the end of the interview he gave me a free pair of silver flip flops.

Adriana: Let me see if I can't come up with some sort of parting gift.

Etta: It would only be right.  Okay.  My first question: do you feel you got all of your facts straight about the time that we ordered coal delivered to Miss Benton's yard?

Adriana: I'm pretty sure I did. What do you think?

Etta: You did pretty good.

Adriana: Thanks.

Etta: What's it like to write three books about the same person?

Adriana: Your mother is a very compelling character to me.  So, it's a very fulfilling process to take the reader on a twenty year journey over three books.  In Big Stone Gap, when we meet her for the first time, she is just beginning to open up her heart to the possibility of love, in Big Cherry Holler, she has to reinvent her marriage and her life, and in Milk Glass Moon, it's all about you, how she parents and juggles work and family.  In a trilogy, the reader gets a long range view. Also, Ave Maria had a lot of deep experiences that my readers can relate to, and it was fun for them to see her grow over the long haul.

Etta: What does my mom learn in "Milk Glass Moon"?

Adriana: One of the hardest lessons we learn as grown ups is how to deal with change. Now, there are all kinds of change, some good, some very hard.  When you have a baby, that changes your life, and though there are challenges, that's a good change.  When there is death of a loved one, the process of that loved one's death and then the grieving are emotionally challenging.  It is hard to adjust to the loss of someone you love.  These are the themes of the book, and your mother as the central character takes us through these changes.

Etta: My mom hates change!  It took her three and a half years to pick a new rug for the living room.

Adriana: So imagine how hard it is for her to see you growing up, each day you are moving towards the ultimate sacrifice of parenthood, which is turning to your child and saying goodbye as she makes her way out into the world.  That's got to be tough, don't you think?

Etta: Probably.  But I can't stay a kid forever either.  That wouldn't work.

Adriana: No, it wouldn't.   I have a question for you, if you don't mind.

Etta: Sure, but I'm probably not going to put it in the article.

Adriana: Fine.  My question is: if you had to choose one thing about Italy that you like the best, what is it?

Etta: Straichetella gelato.  It's soft vanilla ice cream with hunks of dark swiss chocolate in it.  Kind of like if you smashed a brown mule ice cream bar they sell in the school cafeteria.  

Adriana: Sounds delicious.

Etta: And you can only get it over there which makes it even better once you're over there and can have it. Can I have two things I like the best?

Adriana: Sure.

Etta: My grandpop.  He's very cool and takes me everywhere when I visit.

Adriana: Excellent.

Etta: Thanks for the interview. If I think of anything else?

Adriana: You can email me.

Etta: Right!

Praise

Praise

Praise for Big Cherry Holler

"Trigiani is a wonderful storyteller. . . . Readers will enjoy Big Cherry Holler immensely." –USA Today

"Fans of the first novel will rejoice. . . . Ave heads to Italy to find strength and healing in her ancestry. . . . Trigiani deftly juxtaposes the culture of the Appalachian mountains with that found in the Italian Alps."–Southern Living

"Heartwarming . . . Everything that really matters is here: humor, romance, wisdom, and drama." –The Dallas Morning News

"Trigiani can make you laugh in one sentence then break your heart the next. Her Big Stone Gap series is sure to become the next Mitford."–The Clarion-Ledger (Jackson, Mississippi)

Praise for Big Stone Gap

"As comforting as a mug of chamomile tea on a rainy Sunday." –The New York Times Book Review

"Delightfully quirky . . . chock-full of engaging, oddball characters and unexpected plot twists."–People

"In this delightful tale of intimate community life in the hamlet of Big Stone Gap, the characters are as real as the ones who live next door."–The Sunday Oklahoman


From the Hardcover edition.
Discussion Questions

Discussion Guides

1. Milk Glass Moon is the final book in the Big Stone Gap trilogy. Does it stand on its own as an individual novel? Which themes from Big Stone Gap and Big Cherry Holler carry over into Milk Glass Moon?

2. What does the symbol of the milk glass moon signify? Also, through Etta’s interest in astrology, Trigiani presents stars as prominent reoccurring images. What significance do the stars have in the novel?

3. Why does Ave Maria experiences so much friction with Etta, when they have had such a good relationship in the past? Do you think their problems arise from normal adolescence angst, or do they stem from deeper issues? How do you think Ave Maria and Etta’s relationship would be if Ave Maria’s own mother were still alive?

4. Is Ave Maria too hard on Etta for her mistakes, in particular the coal and drinking incidents? Do you think she overreacts, given the fact that she had very different perceptions from the other characters, or is she justified in her decisions? How do you think Ave Maria’s actions would appear to the reader if she were portrayed in third person, without the inner dialogue we are privy to?

5. Ave Maria and Jack’s display apparent differences in their reactions and outlooks throughout Milk Glass Moon, especially in the area of parenting. How do you think they have sustained their marriage? What sacrifices have they made for each other? Why does their marriage work?

6. When Ave Maria sees Pete in New York City, old feelings stir within her. Why does Trigiani bring Pete back into the picture? What do you think would have happened if Ave Maria had chosen Pete over Jack? How would their marriage be different? Do you think Ave Maria’s physical reactions to Pete are problematic?

7. Ave Maria describes Pete as being the only person who can see the girl in her. What does she mean? Which qualities in particular does Pete pull out of her? Would you pick comfort over excitement, like Ave Maria ultimately does, or vice-versa?

8. Ave Maria believes that it’s easier for women to have close relationships and intimate friendships than men. Do you agree with her? Given the history between Ave Maria and Pete, what do you think about Pete and Jack’s friendship?

9. Ave Maria is presented with choices throughout the course of Milk Glass Moon; she is tugged between locations, men, and time frames. How do you think she goes about making decisions? If you were her, would you have made the same choices?

10. Ave Maria sometimes seems to be torn between her desire to live in a small town and her wish to explore the allure and excitement of places like New York City and Italy. Throughout the novel, Ave Maria explores the downsides as well as the upsides of living in a small town, and in certain moments, it appears that Ave Maria hasn’t quite gotten over the difficulties she long ago experienced in her transition to a small town. Where do you think she ultimately belongs and feels most comfortable? Do you think she and Jack would be happy living in Italy, as their plan at the end of the novel suggests? What kind of environment are you most comfortable in, and why?

11. Does Ave Maria’s personality change when she’s in a location other than Big Stone Gap? Which hidden qualities we don’t usually see in her persona emerge?

12. Etta tells her mother that she knew she was meant to marry Stefano when she was eight years old. How do issues of fate and destiny play out in Milk Glass Moon? In general, do you think every event has a reason for happening?

13. According to Etta, Ave has trouble getting attached to people. Do you think her statement is true? What are some examples that either support or disagree with it?

14. Three different kinds of marriages are explored throughout the novel … those of Ave Maria and Jack, Iva Lou and Louis, and Etta and Stefano. How do they compare?

15. Throughout the course of three books, Ave clearly progresses through various encounters she never planned on facing. How do you think she has changed from the beginning of the trilogy? Which kind of strengths has she gained? Which personality traits has she held onto?

16. Does Trigiani wrap up everything neatly, or does she leave room for any future developments in Big Stone Gap world? Is there anything from these characters that you would like to see more of? Do the themes and characters’ situations in Milk Glass Moon come full circle or is anything left unresolved?


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