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To Love Again
Isabella and Amadeo were the toast of international society and the undisputed leaders of Rome couture, bound together by a deep love. Then suddenly their dream was shattered and Amadeo was gone forever. Could Isabella say goodbye to the past and dare to love again?
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First published January 1, 1980
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About the author
Danielle Steel
921 books17.1k followersDanielle Steel has been hailed as one of the world's bestselling authors, with almost a billion copies of her novels sold. Her many international bestsellers include All That Glitters, Royal, Daddy's Girls, The Wedding Dress, The Numbers Game, Moral Compass, Spy, and other highly acclaimed novels. She is also the author of His Bright Light, the story of her son Nick Traina's life and death; A Gift of Hope, a memoir of her work with the homeless; Expect a Miracle, a book of her favorite quotations for inspiration and comfort; Pure Joy, about the dogs she and her family have loved; and the children's books Pretty Minnie in Paris and Pretty Minnie in Hollywood.
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Displaying 1 - 30 of 94 reviews
May 29, 2015
This story is about a middle aged couple who are on top of the world, living the high life. They own a fashion business in Rome. They like to go out to parties and show all their ritz and bling. theyre good friend Bernardo warns them to not be so showy with their riches because some day it might cause some problems. Sure enough, one day her husband is kidnapped and held for ransom and when Isabella cant liquidate enough stuff into cash to pay the ransom, the kidnappers kill her husband. her and her 5 year old son get threats for several months after her husbands death. Then she gets a kidnap scare that someone has taken her son, thankfully it was a false alarm. Bernardo convinces her to take her son to the states for awhile until the kidnappers are caught. at first she refuses, but then changes her mind when the threats become more numerous.
while in the states she tries to run her fashion business by checking in daily over the phone. ( no computers or internet in this time period). Bernardo tries to convince her to sell the business but she wont have no part of that. she wants to pass the business down to her son when he is older. one guy is putting pressure on Bernardo to get Isabelle to sell. after several months in New York Isabelle becomes stir crazy and comes out of hiding where the poparattzi discover her and blow her cover. she is scared that the threats will start again. she meets a nice guy who doesnt know who she is and he tries to help her. they start to fall in love then she discovers who he really is.
Isabelle has to decide if she wants to make changes in her life that will help her and her son move forward or if she wants to stay in the past with her husbands memories. she has to decide if she is open to the possibility of finding love again and where she wants to run her company.
a sweet love story. a nice one to cuddle up with.
while in the states she tries to run her fashion business by checking in daily over the phone. ( no computers or internet in this time period). Bernardo tries to convince her to sell the business but she wont have no part of that. she wants to pass the business down to her son when he is older. one guy is putting pressure on Bernardo to get Isabelle to sell. after several months in New York Isabelle becomes stir crazy and comes out of hiding where the poparattzi discover her and blow her cover. she is scared that the threats will start again. she meets a nice guy who doesnt know who she is and he tries to help her. they start to fall in love then she discovers who he really is.
Isabelle has to decide if she wants to make changes in her life that will help her and her son move forward or if she wants to stay in the past with her husbands memories. she has to decide if she is open to the possibility of finding love again and where she wants to run her company.
a sweet love story. a nice one to cuddle up with.
May 20, 2020
A must-read for anyone who's ever been in love!
December 16, 2015
Definitivno voljeti nanovo! Bez ljubavi se ne moze!
May 19, 2022
Would’ve been 5 stars except that Bernardo low key deserved better. His pining was touching and proved unrequited… but Isabella was a pretty strong badass mother and businesswoman. Her misguided actions and unreasonable attitude at some points were still understandable and relatable to me personally
October 29, 2011
It's really hard to be Isabella. In her life which sound so perfect turn directly after Amadeo gone. The story write so nice but, I don't like the ending part. It sound like not finished, or force to finish.
August 19, 2007
Sad story but touching, that is love
October 23, 2008
I read this many years ago (early 80's), so I could not give an accurate review. One of Danielle Steel's earlier books when all of her ideas were new & fresh.
August 28, 2024
Novel ini published pertama kali tahun 1980. Jadi jangan heran aura tahun 70an sangat melekat dalam alur, setting maupun karakternya.
Female MC disini adalah Isabella, awalnya adalah istri dan ibu seorang anak balita. Tapi mendadak mjd janda krn kenaifan pasutri ini. Awalnya sudah bikin jengkel juga sih koq bisa ya ada orang yg notabene kaya raya tapi menerapkan asas praduga tak bersalah pd orang asing yg kemudian menculiknya?
Sudahlah. Singkatnya Isabella mendapatkan dirinya tak berdaya dan suaminya sudah tiada. Isabella hrs move on. Tapi gangguan-gangguan di Roma, Italia ini tak tertahankan, membuatnya kudu menyembunyikan diri di Amrik, tinggal bersama sahabat karibnya, Natasha.
Novel ini menceritakan bangkitnya Isabella kurang lebih selama setahun di Amrik, dimana Isabella juga menemukan cinta keduanya. Namun ternyata adalah musuh dalam selimut. Cenderung bertele-tele sih ceritanya. Tapi yg bikin sebel adalah karakter Isabella yg naif, impulsif, emosional parah dan kelewat judgmental. Gak usahlah aku memberikan contohnya soalnya hampir setiap scene yg melibatkan Isabella sudah mencerminkan 4 personality nya itu. Tentu saja Isabella ada sisi bagusnya, dia rela jatuh bangun demi bisnisnya.
Baca novel ini santai saja, gak usah mikir, cuma hrs menahan sabar aja krn kenaifan dan emosional Isabella yg gak stabil. Sekian review saya.
Female MC disini adalah Isabella, awalnya adalah istri dan ibu seorang anak balita. Tapi mendadak mjd janda krn kenaifan pasutri ini. Awalnya sudah bikin jengkel juga sih koq bisa ya ada orang yg notabene kaya raya tapi menerapkan asas praduga tak bersalah pd orang asing yg kemudian menculiknya?
Sudahlah. Singkatnya Isabella mendapatkan dirinya tak berdaya dan suaminya sudah tiada. Isabella hrs move on. Tapi gangguan-gangguan di Roma, Italia ini tak tertahankan, membuatnya kudu menyembunyikan diri di Amrik, tinggal bersama sahabat karibnya, Natasha.
Novel ini menceritakan bangkitnya Isabella kurang lebih selama setahun di Amrik, dimana Isabella juga menemukan cinta keduanya. Namun ternyata adalah musuh dalam selimut. Cenderung bertele-tele sih ceritanya. Tapi yg bikin sebel adalah karakter Isabella yg naif, impulsif, emosional parah dan kelewat judgmental. Gak usahlah aku memberikan contohnya soalnya hampir setiap scene yg melibatkan Isabella sudah mencerminkan 4 personality nya itu. Tentu saja Isabella ada sisi bagusnya, dia rela jatuh bangun demi bisnisnya.
Baca novel ini santai saja, gak usah mikir, cuma hrs menahan sabar aja krn kenaifan dan emosional Isabella yg gak stabil. Sekian review saya.
August 27, 2023
I’ve never read a book which made me feel and reflect as much as this book did.
Every chapter delivered a rollercoaster of emotions with plenty of twists and turns. It made me laugh, smile, cry. It is filled with love, drama, family, friendship, and loss - covering the importance of each of them.
After the loss of her husband, it was about a woman not only learning to love someone else again, but learning to love herself again. And it was so beautifully written.
Every chapter delivered a rollercoaster of emotions with plenty of twists and turns. It made me laugh, smile, cry. It is filled with love, drama, family, friendship, and loss - covering the importance of each of them.
After the loss of her husband, it was about a woman not only learning to love someone else again, but learning to love herself again. And it was so beautifully written.
June 20, 2024
Always love a good romance novel! 😍
February 27, 2022
May be i am too old for this type of books. Either way it could have been a small story rather than a whole book.
March 10, 2022
Este libro me ha encantado. De los que he leído de Danielle Steel, es mi favorito. Cuenta una historia dura, ya que la protagonista pierde a su marido y lo pasa fatal. El final me ha parecido perfecto porque a pesar de las adversidades se ha llevado bien con todos.
October 29, 2025
This review was written in that dim corridor of days between the 22nd and 28th of October, 2025 — a week blurred by the hiss of oxygen and the slow drip of IV lines at Bellona Nursing Home & Diagnostic Centre Pvt. Ltd. I was then a reluctant guest of illness, recovering from an infection that had seized both lungs and kidneys. Forgive, therefore, the infrequent tremor in my language; it bears the soft delirium of painkillers and the fragile clarity of a mind half-dreaming between fever and thought.
Some books speak in words, and some books hum in silence. To Love Again belongs to the latter. Written at that delicate intersection where mourning becomes muscle memory, it’s Danielle Steel’s most sustained meditation on widowhood, grief, and the terrifying grace of starting over. Though marketed as romance, it is, in essence, a philosophical novel disguised as a love story — a text where absence is the true protagonist.
Diana, the widowed Countess von Reicher, wanders through the novel like a living palimpsest — her every gesture inscribed with layers of the life she’s lost. She is both haunted and haunting, a ghost in her own home, elegant and undone. Steel’s narrative, often dismissed as simple, hides an intricate architecture of echoes and returns.
Derrida would call it the hauntology of affection: the persistence of what should have disappeared.
In the fluorescent hush of Bellona’s corridors, this novel struck me with unnerving intimacy. The hum of the oxygen machine felt like the soft, mechanical breathing of grief itself. Diana’s pain was not melodrama; it was a mirror. Each page seemed to flicker with the same pulse as my monitors — a faint insistence that life, even in its quietest state, still insists on continuing.
Barthes once wrote in A Lover’s Discourse that “the lover’s fatal identity is precisely: I am the one who waits.” Diana waits — not for another man, but for the moment when waiting itself transforms into possibility.
Steel understands that grief is not a static condition but a process of translation. The language of loss gradually evolves into the language of living again. To “love again,” then, is not an act of betrayal but of semiotic renewal — love as re-narration, love as rewriting.
Kristeva’s concept of the abject lingers here — the state in which the self confronts what it has expelled yet cannot fully detach from. For Diana, the abject is memory: the life she had, the husband who died, the aristocratic certainties now emptied of meaning. Her eventual romance with a younger man is not a plot twist but an experiment in self-translation. Through him, she learns to speak her identity anew, in a vocabulary that mixes guilt and grace, age and awakening.
There’s a scene midway through the novel where Diana walks through her late husband’s study and touches the objects left behind — books, glasses, a pen that no longer writes. Steel’s prose here takes on a tenderness so precise it feels surgical. The room becomes an archive of presence, a Derridean text in miniature: every object a trace, every trace a deferral. The pen that won’t write stands as both symbol and symptom — language interrupted by loss.
And yet, Steel does not succumb to despair. Her genius lies in her refusal to treat emotion as pathology. She gives Diana the right to feel fully, to oscillate between nostalgia and need, between the comfort of memory and the desire for touch. That oscillation — that trembling — is what makes To Love Again so resonant. It’s a book about the body remembering what it means to be alive.
From the perspective of theory, one could argue that Steel performs a subtle deconstruction of romantic temporality. The past is never past; it bleeds into every new encounter. Each kiss contains echoes of those before it. Each gesture of affection bears the ghost-hand of someone gone. Derrida’s différance plays out not in language alone, but in the mechanics of love itself. Diana’s new relationship is not a replacement but a reverberation — the same emotion re-signified, re-timed.
In those dim Bellona evenings, I found myself tracing my own memories like she traced her husband’s belongings. The hospital bed became a space of recollection, a site where time folded. To read Steel then was to understand recovery as an act of reinterpretation. The body heals not by forgetting the wound, but by teaching itself to live beside it. That’s what Diana learns, and what I too was learning — the art of inhabiting damage without becoming it.
There’s a breathtaking tenderness in how Steel writes about age. She doesn’t romanticize youth or condemn maturity. Instead, she locates beauty in the rhythm of survival. Love, for Diana, becomes an act of courage — not the fiery leap of passion but the steady, conscious decision to remain open despite everything. “To love again” is to confront the fragility of the heart and choose it anyway. It’s to walk barefoot through memory’s shards and still call it grace.
Kristeva might describe this as reconciliation with the semiotic body — the moment when the symbolic (society’s expectations of grief) collapses, and the self reclaims its raw, pre-linguistic energy. Steel, writing through sentimentality, performs something radical: she normalizes the coexistence of love and loss. She refuses the binary of fidelity versus forgetting. The human heart, she insists, is polyphonic — capable of mourning and desire simultaneously.
The novel’s structure reflects this philosophy. Its pacing is gentle, recursive, built on echoes rather than climaxes. Each emotional beat returns, slightly altered, like a refrain in a piece of chamber music. That’s the postmodern elegance of Steel’s craft — she writes repetition not as redundancy, but as rhythm. Love itself becomes an iterative process, endlessly rehearsed, never completed.
When Diana finally surrenders to new love, it’s not a triumph but a quiet surrender — a recognition that to love again is to risk again, to reenter the labyrinth of language where every word might betray or save you. The final chapters feel like breath returning to a body long deprived of air. It’s not catharsis; it’s circulation.
From my own bedside, the parallel felt almost too clear. My lungs, bruised by infection, were relearning their work. Each deep inhalation felt like an act of faith. Diana’s emotional respiration mirrored my literal one — breath by breath, memory by memory, the body insisting on life.
Steel’s closing pages resist resolution. The future remains uncertain, but the willingness to live it is what matters. That refusal of closure aligns her, oddly, with modernists like Woolf — though her style is plainer, her intent commercial, her affect sincere. Beneath her simplicity lies a radical softness: the belief that emotion, when honestly rendered, is its own form of resistance against time’s erasure.
When I reached the last line, I felt that familiar Bellona silence — the one that arrives when all the machines seem to pause for a heartbeat. In that hush, I realized that To Love Again is not just about romance; it’s about the continuity of consciousness. About how we, frail and wounded, keep returning to the world, not because it deserves us, but because it needs our tenderness.
Steel’s heroine finds love again. I, meanwhile, found the courage to breathe again. Both acts felt miraculous in their ordinariness. Perhaps that’s what all great sentimental fiction teaches: that survival is not a spectacle but a whisper, and that every whisper is already a prayer.
So I close this reflection with the same gratitude I felt for my breath — for Diana’s quiet dignity, for Steel’s gentle insistence that the heart’s work is never finished, and for the impossible, shimmering truth that to love again is not to forget, but to forgive time itself.
Give it a go.
Some books speak in words, and some books hum in silence. To Love Again belongs to the latter. Written at that delicate intersection where mourning becomes muscle memory, it’s Danielle Steel’s most sustained meditation on widowhood, grief, and the terrifying grace of starting over. Though marketed as romance, it is, in essence, a philosophical novel disguised as a love story — a text where absence is the true protagonist.
Diana, the widowed Countess von Reicher, wanders through the novel like a living palimpsest — her every gesture inscribed with layers of the life she’s lost. She is both haunted and haunting, a ghost in her own home, elegant and undone. Steel’s narrative, often dismissed as simple, hides an intricate architecture of echoes and returns.
Derrida would call it the hauntology of affection: the persistence of what should have disappeared.
In the fluorescent hush of Bellona’s corridors, this novel struck me with unnerving intimacy. The hum of the oxygen machine felt like the soft, mechanical breathing of grief itself. Diana’s pain was not melodrama; it was a mirror. Each page seemed to flicker with the same pulse as my monitors — a faint insistence that life, even in its quietest state, still insists on continuing.
Barthes once wrote in A Lover’s Discourse that “the lover’s fatal identity is precisely: I am the one who waits.” Diana waits — not for another man, but for the moment when waiting itself transforms into possibility.
Steel understands that grief is not a static condition but a process of translation. The language of loss gradually evolves into the language of living again. To “love again,” then, is not an act of betrayal but of semiotic renewal — love as re-narration, love as rewriting.
Kristeva’s concept of the abject lingers here — the state in which the self confronts what it has expelled yet cannot fully detach from. For Diana, the abject is memory: the life she had, the husband who died, the aristocratic certainties now emptied of meaning. Her eventual romance with a younger man is not a plot twist but an experiment in self-translation. Through him, she learns to speak her identity anew, in a vocabulary that mixes guilt and grace, age and awakening.
There’s a scene midway through the novel where Diana walks through her late husband’s study and touches the objects left behind — books, glasses, a pen that no longer writes. Steel’s prose here takes on a tenderness so precise it feels surgical. The room becomes an archive of presence, a Derridean text in miniature: every object a trace, every trace a deferral. The pen that won’t write stands as both symbol and symptom — language interrupted by loss.
And yet, Steel does not succumb to despair. Her genius lies in her refusal to treat emotion as pathology. She gives Diana the right to feel fully, to oscillate between nostalgia and need, between the comfort of memory and the desire for touch. That oscillation — that trembling — is what makes To Love Again so resonant. It’s a book about the body remembering what it means to be alive.
From the perspective of theory, one could argue that Steel performs a subtle deconstruction of romantic temporality. The past is never past; it bleeds into every new encounter. Each kiss contains echoes of those before it. Each gesture of affection bears the ghost-hand of someone gone. Derrida’s différance plays out not in language alone, but in the mechanics of love itself. Diana’s new relationship is not a replacement but a reverberation — the same emotion re-signified, re-timed.
In those dim Bellona evenings, I found myself tracing my own memories like she traced her husband’s belongings. The hospital bed became a space of recollection, a site where time folded. To read Steel then was to understand recovery as an act of reinterpretation. The body heals not by forgetting the wound, but by teaching itself to live beside it. That’s what Diana learns, and what I too was learning — the art of inhabiting damage without becoming it.
There’s a breathtaking tenderness in how Steel writes about age. She doesn’t romanticize youth or condemn maturity. Instead, she locates beauty in the rhythm of survival. Love, for Diana, becomes an act of courage — not the fiery leap of passion but the steady, conscious decision to remain open despite everything. “To love again” is to confront the fragility of the heart and choose it anyway. It’s to walk barefoot through memory’s shards and still call it grace.
Kristeva might describe this as reconciliation with the semiotic body — the moment when the symbolic (society’s expectations of grief) collapses, and the self reclaims its raw, pre-linguistic energy. Steel, writing through sentimentality, performs something radical: she normalizes the coexistence of love and loss. She refuses the binary of fidelity versus forgetting. The human heart, she insists, is polyphonic — capable of mourning and desire simultaneously.
The novel’s structure reflects this philosophy. Its pacing is gentle, recursive, built on echoes rather than climaxes. Each emotional beat returns, slightly altered, like a refrain in a piece of chamber music. That’s the postmodern elegance of Steel’s craft — she writes repetition not as redundancy, but as rhythm. Love itself becomes an iterative process, endlessly rehearsed, never completed.
When Diana finally surrenders to new love, it’s not a triumph but a quiet surrender — a recognition that to love again is to risk again, to reenter the labyrinth of language where every word might betray or save you. The final chapters feel like breath returning to a body long deprived of air. It’s not catharsis; it’s circulation.
From my own bedside, the parallel felt almost too clear. My lungs, bruised by infection, were relearning their work. Each deep inhalation felt like an act of faith. Diana’s emotional respiration mirrored my literal one — breath by breath, memory by memory, the body insisting on life.
Steel’s closing pages resist resolution. The future remains uncertain, but the willingness to live it is what matters. That refusal of closure aligns her, oddly, with modernists like Woolf — though her style is plainer, her intent commercial, her affect sincere. Beneath her simplicity lies a radical softness: the belief that emotion, when honestly rendered, is its own form of resistance against time’s erasure.
When I reached the last line, I felt that familiar Bellona silence — the one that arrives when all the machines seem to pause for a heartbeat. In that hush, I realized that To Love Again is not just about romance; it’s about the continuity of consciousness. About how we, frail and wounded, keep returning to the world, not because it deserves us, but because it needs our tenderness.
Steel’s heroine finds love again. I, meanwhile, found the courage to breathe again. Both acts felt miraculous in their ordinariness. Perhaps that’s what all great sentimental fiction teaches: that survival is not a spectacle but a whisper, and that every whisper is already a prayer.
So I close this reflection with the same gratitude I felt for my breath — for Diana’s quiet dignity, for Steel’s gentle insistence that the heart’s work is never finished, and for the impossible, shimmering truth that to love again is not to forget, but to forgive time itself.
Give it a go.
December 11, 2010
Thanks to Mas Ade yang udah ngebeli-in buku ini.
"Tiada yang abadi. Baik hal-hal yang baik, maupun hal-hal yang buruk"
Waktu terus berjalan membawa perubahan demi perubahan di dalam kehidupan. Apa yang kemudian membekas di hati kita adalah bagaimana cara kita menyikapi setiap peristiwa tersebut. Hidup yang tampak sempurna dalam sekejap dapat berubah bagaikan di neraka. Namun..., tak ada badai yang tak reda, tak ada penderitaan yang tidak berakhir.
Isabella dan Amadeo, pasangan suami istri pemilik House of San Greogorio, sebuah rumah mode terkenal di Roma. Kehidupan mereka tampak sempurna. Mereka saling mencintai, bisnis mereka yang sukses dan kekayaan yang berlimpah. Sayang..., kebahagiaan mereka harus berakhir saat Amadeo hilang diculik dan akhirnya tewas dibunuh.
Isabella memasuki tahap paling sulit dalam kehidupannya. Rasa kehilangan yang dalam menjadikannya seorang yang paranoid. Dalam ketakutannya, Ia kemudian membawa anak mereka, Alessandro bersembunyi di New York. Beruntung ia mempunyai orang-orang terdekat yang sangat menyayanginya, Bernardo, Natasha dan Corbett.
Manusia adalah mahluk sosial yang selalu butuh tempat untuk berbagi. Isabella pada akhirnya jatuh cita pada Corbett, namun sikap paranoidnya telah membutakan matanya akan suatu kenyataan yang ditemuinya dan mengalahkan akal sehatnya.
Berlatar belakang suasana romantis kota Roma dan New York yang spektakuler, alur ceritanya terasa biasa saja (cenderung mudah ditebak) tanpa kejutan-kejutan yang berarti. Tapi kemampuan Steel dalam membangun dan menghidupkan cerita membuat buku ini cukuplayak untuk mendapat 3 bintang.
"Tiada yang abadi. Baik hal-hal yang baik, maupun hal-hal yang buruk"
Waktu terus berjalan membawa perubahan demi perubahan di dalam kehidupan. Apa yang kemudian membekas di hati kita adalah bagaimana cara kita menyikapi setiap peristiwa tersebut. Hidup yang tampak sempurna dalam sekejap dapat berubah bagaikan di neraka. Namun..., tak ada badai yang tak reda, tak ada penderitaan yang tidak berakhir.
Isabella dan Amadeo, pasangan suami istri pemilik House of San Greogorio, sebuah rumah mode terkenal di Roma. Kehidupan mereka tampak sempurna. Mereka saling mencintai, bisnis mereka yang sukses dan kekayaan yang berlimpah. Sayang..., kebahagiaan mereka harus berakhir saat Amadeo hilang diculik dan akhirnya tewas dibunuh.
Isabella memasuki tahap paling sulit dalam kehidupannya. Rasa kehilangan yang dalam menjadikannya seorang yang paranoid. Dalam ketakutannya, Ia kemudian membawa anak mereka, Alessandro bersembunyi di New York. Beruntung ia mempunyai orang-orang terdekat yang sangat menyayanginya, Bernardo, Natasha dan Corbett.
Manusia adalah mahluk sosial yang selalu butuh tempat untuk berbagi. Isabella pada akhirnya jatuh cita pada Corbett, namun sikap paranoidnya telah membutakan matanya akan suatu kenyataan yang ditemuinya dan mengalahkan akal sehatnya.
Berlatar belakang suasana romantis kota Roma dan New York yang spektakuler, alur ceritanya terasa biasa saja (cenderung mudah ditebak) tanpa kejutan-kejutan yang berarti. Tapi kemampuan Steel dalam membangun dan menghidupkan cerita membuat buku ini cukuplayak untuk mendapat 3 bintang.
March 10, 2020
Now this is definitely Ms Steel getting into the 'romance; intrigue' of things .. yep I enjoyed the storyline - young vibrant woman with a son, loving husband, both who enjoy the competitiveness of haute couture 'high fashion' in the wonderful Rome, Italy.. and then disaster strikes leaving her as a frightened widow who flees to America. How can one run a fashion empire in hiding? Feeling claustrophobic Isabella ventures out to get some 'fresh air' to be finally found out by the press and public at large. She thought she had a close friend, with whom she could share her inner fears; a new found friend that could open her heart again; and then a business partner that could help her through new beginnings with her company - but no, was everyone conspiring against her? She had her business and her son and 'nothing is forever'... or is it?
June 18, 2021
Ohhhh!!!!!! This books is from 1980s but i read it in 2021. I really can't believe what Danielle has put in here. It has transformed alot of things in my mind. I can't say anything more.
February 27, 2018
this is more like the Steel I know! Written with the poise and culture that Steel is known for , To Love Again is an unforgettable journey of a woman who had it all: wealth, fame, beauty, an adoring husband and a business that made them the royalty of Rome. But, sometimes that can be a bad thing. Notoriety makes you noticable. And when the wrong person or persons notice you, it can all fall apart. What can a woman do who is used to servants, nannies, and other amenities she can now no longer trust. She starts anew in a new country, in hiding until the fragile bird who is used to being noted for her beauty can no longer hide in the gilded cage. will the risks she takes be worth the truths that she finds. and Can she risk it all To Love Again?
February 18, 2022
I am reading all of Danielle Steel’s early books in order for kitschy, trashy fun while heading into year three of pandemic isolation. So far, they haven’t been great (maybe she didn’t hit her stride until the mid 80s?!) but this one is really AWFUL. One thing happens in the entire book and the character development is horrible at best. Moving on, but thinking I might need to do a Jackie Collins next as a palate cleanser. One star. Barely.
September 10, 2014
One thing what I see is, whatever, a woman can be brilliant, business magnate, international celebrity, commanding & passionate etc., She would always need a man for support. And funny is it can be anyone a business rival, an employee or family members!
April 20, 2017
Al haber leído un libro de esta autora que me encantó, tal vez esperaba que me gustara y me emocionara del mismo modo. No obstante, no fue eso lo que sucedió, la historia me pareció vacía y, aunque pasaban muchas cosas, no me llegaban a afectar mucho.
February 10, 2010
good old 80's glamour - what else do you expect from Danielle.
October 12, 2014
an ok read
November 2, 2021
Era aproape imposibil de ajuns pe Lexington și pe strada Șaizeci și trei. Fulgii de zăpadă purtați de vântul care urla înghițiseră totul, cu excepția mașinilor mai mari. Autobuzele renunțaseră la cursele lor și se înghesuiau unele în altele ca niște dinozauri înghețați; doar rareori părăseau turma aventurându-se pe cărarea făcută de plugurile de zăpadă pentru a-i culege pe cei câțiva călători îndrăzneți care alergau agitându-și înnebuniți brațele, alunecând periculos pe trotuar, izbindu-se de nămeții de zăpadă, grăbiți să se urce în autobuz. Aveau ochii umezi, fețele roșii și, ca în cazul lui Bernie, țurțuri de gheață pe barbă.
Îi fusese imposibil să găsească un taxi. Renunță, după o așteptare de cincisprezece minute, și apoi porni spre sud pe strada Șaptezeci și nouă. Mergea deseori pe jos la lucru. Erau doar opt blocuri de parcurs. Însă astăzi, când traversă Madison spre Park și o luă la dreaptă spre Lexington Avenue, constată că vântul mușcător era neașteptat de brutal în furia lui, și de-abia trecuse de trei blocuri când fu obligat să se dea bătut. Un portar înțelegător îi permise să aștepte în holul unei clădiri. Doar câteva suflete mai dârze așteptau un autobuz căruia îi trebuiseră mai multe ore ca să vină dinspre nord pe Madison Avenue, să întoarcă și să se îndrepte spre sud, pe Lexington Avenue, ducându-i spre locurile lor de muncă. Alte suflete mai realiste capitulaseră după ce îi aruncaseră o singură privire viscolului de afară, și se hotărâseră să nu mai meargă la lucru. Bernie era convins că magazinul va fi pe jumătate gol. Însă el nu era omul care să rămână acasă și să piardă vremea de pomană, urmărind serialele de televiziune.
Nu mergea la slujbă pentru că era constrâns să o facă. Adevărul era că Bernie mergea la slujbă de șase ori pe săptămână, deseori chiar și atunci când nu era absolută nevoie, așa ca astăzi, pentru că iubea magazinul. Mânca, dormea, visa și respira pentru tot ce se întâmpla de la primul la al optulea etaj al magazinului Wolff’s. Iar anul acesta era în mod deosebit un an important. Se pregăteau să lanseze noile linii ale modei, patru dintre ele aparținând unor prestigioși creatori de modă europeni și asta urma să schimbe întreaga imagine a modei americane atât pentru femei, cât și pentru bărbați. Se gândea la toate astea privind pe geam în timp ce autobuzul se mișca greoi prin zăpada răscolită de vânt, deși acum nu o mai vedea, așa cum nu-i vedea nici pe cei care veneau clătinându-se spre autobuz. Cu ochii minții vedea noile colecții de primăvară așa cum le văzuse în noiembrie la Paris, Roma și Milano; femei superbe purtând toalete deosebite, alunecând pe podium ca niște splendide păpuși, punând în evidență fiecare detaliu al îmbrăcămintei lor, și brusc se bucură că venise la lucru. Voia să le mai arunce o privire modelelor pe care le vor folosi pentru marea paradă a modei de săptămâna viitoare. După ce alesese și aprobase rochii și costume, dorea să se asigure că și modelele alese erau cele mai potrivite. Lui Bernard Fine îi plăcea să fie la curent cu tot, de la cheltuielile pentru cumpărarea hainelor, selectarea modelelor, până la felul cum vor arăta invitațiile care urmau să fie trimise celor mai deosebiți clienți ai lor. Pentru el totul conta. În ceea ce-l privea, munca lui nu se deosebea de a celor de la U.S. Steel sau Kodak. Se ocupau de un produs, de fapt de mai multe, și impresia pe care o făcea acest produs depindea de el.
Partea incredibilă era că dacă cineva i-ar fi spus acum cincisprezece ani, când încă mai juca fotbal la Universitatea din Michigan, că își va face probleme în privința lenjeriei de corp pe care o vor purta modelele, și cum vor fi prezentate rochiile de seară, ar fi izbucnit în râs… sau și-ar fi folosit pumnul pentru a-i muta falca din loc. Acum i se părea amuzant și uneori stătea în biroul lui uriaș, zâmbind, amintindu-și de vremurile de atunci. Fusese un student foarte bun, cel puțin în primii doi ani, apoi își găsise refugiul în literatura rusă. Dostoievski fusese idolul său încă din prima jumătate a anului al treilea, egalat doar de Tolstoi, urmat imediat de Sheila Borden. O întâlnise la cursul de rusă, pentru că ajunsese la concluzia că nu-i poate onora pe marii clasici ruși citindu-i în traducere, așa că se înscrisese la un curs rapid de învățare a limbii, aflând astfel cum să întrebe unde e poșta, hotelul și să găsească un tren, cu un accent care o impresionase enorm pe profesoara lui. Însă rusa îi încălzise sufletul. Ca și Sheila Borden. Era așezată în primul rând, cu părul negru și drept atârnându-i romantic până la talie, sau cel puțin așa își imagina el, cu un corp suplu și drept. Ceea ce o adusese la orele de rusă era fascinația ei pentru balet. Dansa de la cinci ani, îi explicase ea când discutaseră pentru prima oară, și nu poți înțelege baletul până nu-i înțelegi pe ruși. Era o tânără nervoasă, încordată, cu ochi mari, iar trupul îi era un poem de simetrie și de grație, care îl vrăjise când o urmărise a doua zi dansând.
Îi fusese imposibil să găsească un taxi. Renunță, după o așteptare de cincisprezece minute, și apoi porni spre sud pe strada Șaptezeci și nouă. Mergea deseori pe jos la lucru. Erau doar opt blocuri de parcurs. Însă astăzi, când traversă Madison spre Park și o luă la dreaptă spre Lexington Avenue, constată că vântul mușcător era neașteptat de brutal în furia lui, și de-abia trecuse de trei blocuri când fu obligat să se dea bătut. Un portar înțelegător îi permise să aștepte în holul unei clădiri. Doar câteva suflete mai dârze așteptau un autobuz căruia îi trebuiseră mai multe ore ca să vină dinspre nord pe Madison Avenue, să întoarcă și să se îndrepte spre sud, pe Lexington Avenue, ducându-i spre locurile lor de muncă. Alte suflete mai realiste capitulaseră după ce îi aruncaseră o singură privire viscolului de afară, și se hotărâseră să nu mai meargă la lucru. Bernie era convins că magazinul va fi pe jumătate gol. Însă el nu era omul care să rămână acasă și să piardă vremea de pomană, urmărind serialele de televiziune.
Nu mergea la slujbă pentru că era constrâns să o facă. Adevărul era că Bernie mergea la slujbă de șase ori pe săptămână, deseori chiar și atunci când nu era absolută nevoie, așa ca astăzi, pentru că iubea magazinul. Mânca, dormea, visa și respira pentru tot ce se întâmpla de la primul la al optulea etaj al magazinului Wolff’s. Iar anul acesta era în mod deosebit un an important. Se pregăteau să lanseze noile linii ale modei, patru dintre ele aparținând unor prestigioși creatori de modă europeni și asta urma să schimbe întreaga imagine a modei americane atât pentru femei, cât și pentru bărbați. Se gândea la toate astea privind pe geam în timp ce autobuzul se mișca greoi prin zăpada răscolită de vânt, deși acum nu o mai vedea, așa cum nu-i vedea nici pe cei care veneau clătinându-se spre autobuz. Cu ochii minții vedea noile colecții de primăvară așa cum le văzuse în noiembrie la Paris, Roma și Milano; femei superbe purtând toalete deosebite, alunecând pe podium ca niște splendide păpuși, punând în evidență fiecare detaliu al îmbrăcămintei lor, și brusc se bucură că venise la lucru. Voia să le mai arunce o privire modelelor pe care le vor folosi pentru marea paradă a modei de săptămâna viitoare. După ce alesese și aprobase rochii și costume, dorea să se asigure că și modelele alese erau cele mai potrivite. Lui Bernard Fine îi plăcea să fie la curent cu tot, de la cheltuielile pentru cumpărarea hainelor, selectarea modelelor, până la felul cum vor arăta invitațiile care urmau să fie trimise celor mai deosebiți clienți ai lor. Pentru el totul conta. În ceea ce-l privea, munca lui nu se deosebea de a celor de la U.S. Steel sau Kodak. Se ocupau de un produs, de fapt de mai multe, și impresia pe care o făcea acest produs depindea de el.
Partea incredibilă era că dacă cineva i-ar fi spus acum cincisprezece ani, când încă mai juca fotbal la Universitatea din Michigan, că își va face probleme în privința lenjeriei de corp pe care o vor purta modelele, și cum vor fi prezentate rochiile de seară, ar fi izbucnit în râs… sau și-ar fi folosit pumnul pentru a-i muta falca din loc. Acum i se părea amuzant și uneori stătea în biroul lui uriaș, zâmbind, amintindu-și de vremurile de atunci. Fusese un student foarte bun, cel puțin în primii doi ani, apoi își găsise refugiul în literatura rusă. Dostoievski fusese idolul său încă din prima jumătate a anului al treilea, egalat doar de Tolstoi, urmat imediat de Sheila Borden. O întâlnise la cursul de rusă, pentru că ajunsese la concluzia că nu-i poate onora pe marii clasici ruși citindu-i în traducere, așa că se înscrisese la un curs rapid de învățare a limbii, aflând astfel cum să întrebe unde e poșta, hotelul și să găsească un tren, cu un accent care o impresionase enorm pe profesoara lui. Însă rusa îi încălzise sufletul. Ca și Sheila Borden. Era așezată în primul rând, cu părul negru și drept atârnându-i romantic până la talie, sau cel puțin așa își imagina el, cu un corp suplu și drept. Ceea ce o adusese la orele de rusă era fascinația ei pentru balet. Dansa de la cinci ani, îi explicase ea când discutaseră pentru prima oară, și nu poți înțelege baletul până nu-i înțelegi pe ruși. Era o tânără nervoasă, încordată, cu ochi mari, iar trupul îi era un poem de simetrie și de grație, care îl vrăjise când o urmărise a doua zi dansând.
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May 10, 2025O livro narra a envolvente história de Isabella, uma mulher de elegância incomparável e proprietária de uma boutique renomada no mundo da moda. Sua residência está localizada na belíssima Itália, onde vive em harmonia ao lado de seu marido Amadeo e seu adorado filho Alessandro. Além disso, eles têm a sorte de contar com a presença constante de Bernardo, um amigo leal que também trabalha na empresa da família, embora seus experimentos com fórmulas de produtos nem sempre obtenham os resultados desejados. A vida da família de Isabella é repleta de momentos maravilhosos, desfrutando de todos os privilégios que um casamento amoroso pode oferecer. No entanto, tudo muda drasticamente quando seu esposo é sequestrado e, para sua imensa tristeza, acaba sendo brutalmente assassinado. A fim de escapar das constantes ligações telefônicas indesejadas, Isabella toma uma decisão drástica: ela parte para Nova York, onde irá morar temporariamente com sua amiga Natasha, uma escritora incrivelmente divertida. É nesse novo cenário que Isabella tem a oportunidade de conhecer Corbett, o melhor amigo de Natasha. Encantada com a gentileza e cavalheirismo desse homem, ela se vê inevitavelmente apaixonada por ele. A partir desse ponto, a trama se desenrola em uma sequência de reviravoltas emocionantes e surpreendentes.
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Trechos sublinhados: "...Durante dias, agora, ele ficara observando-a e ouvindo-a, levando-a de volta para a San Gregorio todas as tardes e conversando com ela até a noite. Mas não dissera nada de natureza intima, nunca a tocara, exceto gentilmente com os olhos. Ele viera a Roma como amigo, sabendo que esses dias seriam os mais dolorosos, que, ao reviver o acontecimento, finalmente ela ficaria livre. Mas sabendo também que esse julgamento poderia abatê-la, que ela poderia não querer nada com ele mesmo se sobrevivesse à prova... Quando Roma ficou reduzida lá embaixo, Corbett observava silenciosamente, olhando pela janela, por cima da asa do aparelho. Finalmente, ela virou-se para ele e introduziu sua mão na dele. Mas ele não podia esperar mais. Contemplou-a com uma expressão preocupada nos olhos. - É muito cedo para lhe dizer que a amo? - Sua voz era apenas um sussurro que mal chegava aos ouvidos dela. Enquanto o olhava, Isabella esboçou um sorriso que foi se espalhando lentamente até seus olhos. - Não, querido, nunca foi cedo demais..."
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Trechos sublinhados: "...Durante dias, agora, ele ficara observando-a e ouvindo-a, levando-a de volta para a San Gregorio todas as tardes e conversando com ela até a noite. Mas não dissera nada de natureza intima, nunca a tocara, exceto gentilmente com os olhos. Ele viera a Roma como amigo, sabendo que esses dias seriam os mais dolorosos, que, ao reviver o acontecimento, finalmente ela ficaria livre. Mas sabendo também que esse julgamento poderia abatê-la, que ela poderia não querer nada com ele mesmo se sobrevivesse à prova... Quando Roma ficou reduzida lá embaixo, Corbett observava silenciosamente, olhando pela janela, por cima da asa do aparelho. Finalmente, ela virou-se para ele e introduziu sua mão na dele. Mas ele não podia esperar mais. Contemplou-a com uma expressão preocupada nos olhos. - É muito cedo para lhe dizer que a amo? - Sua voz era apenas um sussurro que mal chegava aos ouvidos dela. Enquanto o olhava, Isabella esboçou um sorriso que foi se espalhando lentamente até seus olhos. - Não, querido, nunca foi cedo demais..."
February 10, 2023
What a wonderful life Isabella has. Amadeo, a thriving business, Bernardo and Alessandro. All of a sudden it is full of worry, shock, grief, fear, anger. What can she do? Her husband had just been murdered. She can't go anywhere, sleep, eat, but she has to be brave. She finds safety with her friend Natasha and her son, Jason, in New York where she takes her son, Alessandro, and they stay for almost a year. Isabella makes acquaintance with Corbett Ewing, the one person she finds his words echoing in her head and can't shake out. She has her good days and her bad days but every day is a living nightmare! This is a thrilling story and one that will have you gripping the pages to find out what happens next.
December 5, 2021
After years of painful separation, Colin and Jana finally have what they always wanted: an eternal marriage. They begin building a happy future with their son, Matthew, and soon welcome two infant daughters into their home. Life couldn't be better until the ghosts of Janna's tortured past threatens to tear this family apart. In a single blinding moment of pain, her life begins a downward spiral that threatens the very foundation of their marriage Suddenly everything in their lives has gone terribly wrong.
Colin and Jana, battling their own personal demons, must prove to themselves and to each other that their love can transcend human frailty and emerge stronger than ever.
Colin and Jana, battling their own personal demons, must prove to themselves and to each other that their love can transcend human frailty and emerge stronger than ever.
July 11, 2023
Isabella and Amadeo San Gregorio are the heads of a huge couture fashion house and very much in love.
The business is thriving, they have a son Allesandro, life is very good.
Then one day Amadeo is kidnapped and held to ransom.
Unable to raise the money in time, the worst happens and Isabella is left grief stricken and in fear for herself and Allesandro in case the same thing happens again.
They both flee Roma to go to America where they try to slowly rebuild their lives.
But can Isabella ever let go of the trauma of what happened and move on with her life?
A really tough, gritty novel from Steel.
The business is thriving, they have a son Allesandro, life is very good.
Then one day Amadeo is kidnapped and held to ransom.
Unable to raise the money in time, the worst happens and Isabella is left grief stricken and in fear for herself and Allesandro in case the same thing happens again.
They both flee Roma to go to America where they try to slowly rebuild their lives.
But can Isabella ever let go of the trauma of what happened and move on with her life?
A really tough, gritty novel from Steel.
October 8, 2022
Isabella and Amadeo are soulmates and have a beautiful marriage. They have one child, are a wealthy business owning family and have the best life has to offer with a beautiful home, servants, nannies and chaperones. Tragedy strikes and Isabella has to make some drastic decisions.
This book is enjoyable, and the characters are likeable. I liked how Isabella comforts herself with walks in the fresh air and focuses on her work to help adjust to all the changes in her life. The main theme of this book is to love, and appreciate, because nothing lasts forever.
This book is enjoyable, and the characters are likeable. I liked how Isabella comforts herself with walks in the fresh air and focuses on her work to help adjust to all the changes in her life. The main theme of this book is to love, and appreciate, because nothing lasts forever.
July 13, 2023
Um dos maiores sucessos de Danielle Steel no Brasil trata de luto e recomeços.
Isabella, marcada por um evento trágico, se refugia nos Estados Unidos para tentar reconstruir sua vida e salvaguardar seus filhos. Há romance nesse caminho, mas o principal é a forma como ela lida com o luto mesmo em situações adversas.
Como muitas pessoas, a personagem se vê arrastada em um processo judicial que reabre feridas, atrapalhando o desenrolar natural da vida e impossibilitando um recomeço. Apesar de tudo, é uma obra otimista.
Isabella, marcada por um evento trágico, se refugia nos Estados Unidos para tentar reconstruir sua vida e salvaguardar seus filhos. Há romance nesse caminho, mas o principal é a forma como ela lida com o luto mesmo em situações adversas.
Como muitas pessoas, a personagem se vê arrastada em um processo judicial que reabre feridas, atrapalhando o desenrolar natural da vida e impossibilitando um recomeço. Apesar de tudo, é uma obra otimista.
February 26, 2018
Copyrighted 1980.
I read this in the early 90s and this book has remained in my mind even now. The kidnapping was awful, and what happened after was even worse for Isabella and her son.
I confessed upon rereading, the kidnapping bits and trial hit me even harder than I remembered. I ugly cried. Poor Isabella!
Isabella was kind of stubborn and rash when she found out about Corbett and the business. If she can forgive Natasha why not Corbett?
I read this in the early 90s and this book has remained in my mind even now. The kidnapping was awful, and what happened after was even worse for Isabella and her son.
I confessed upon rereading, the kidnapping bits and trial hit me even harder than I remembered. I ugly cried. Poor Isabella!
Isabella was kind of stubborn and rash when she found out about Corbett and the business. If she can forgive Natasha why not Corbett?
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