The second daughter of Greek immigrant parents, Maria found herself in the grasp of an overwhelmingly ambitious mother who took her away from her native New York and the father she loved, to a Greece on the eve of the Second World War. From there, we learn of the hardships, loves and triumphs Maria experienced in her professional and personal life. We are introduced to the men who marked Callas forever—Luchino Visconti, the brilliant homosexual director who she loved hopelessly, Giovanni Battista Meneghini, the husband thirty years her senior who used her for his own ambitions, as had her mother, and Aristotle Onassis, who put an end to their historic love affair by discarding her for the widowed Jacqueline Kennedy. Throughout her life, Callas waged a constant battle with her weight, a battle she eventually won, transforming herself from an ugly duckling into the slim and glamorous diva who transformed opera forever, whose recordings are legend, and whose life is the stuff of which tabloids are made.
Anne Edwards goes deeper than previous biographies of Maria Callas have dared. She draws upon intensive research to refute the story of Callas's "mystery child" by Onassis, and she reveals the true circumstances of the years preceding Callas's death, including the deception perpetrated by her close and trusted friend. As in her portraits of other brilliant, star-crossed women, Edwards brings Maria Callas—the intimate Callas—alive.
After she overhears Foster making fun of her to his friends, she’s devastated. And not even chocolate can take away the pain. She intends to wallow in grief for a boy that was never hers to begin with, but Austen, her eccentric new neighbor has other ideas.
The strange boy down the street always wears a black fedora, walks barefoot, and focuses all his energy on building a treehouse in his backyard. For some reason, he’s elected Bree to help him. At first, she turns him down because he acts too awkward and takes everything she says literally. But after learning of his autism, she decides to help with his construction (forgiving him for not being a chocolate fan), even though she doesn’t know a think about power tools.
As Bree and Austen grow closer, Foster notices Bree no longer worships the ground he walks on. He wants her to go back to that doting version of Bree, but Austen has become more important to her than she’s ready to admit.
Austen may just be the one to help her move on from Foster.
Like two pieces of a puzzle, they fit together perfectly.