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The narrator, John Ames, is 76, a preacher who has lived almost all of his life in Gilead, Iowa. He is writing a letter to his almost seven-year-old son, the blessing of his second marriage. It is a summing-up, an apologia, a consideration of his life. Robinson takes the story away from being simply the reminiscences of one man and moves it into the realm of a meditation on fathers and children, particularly sons, on faith, and on the imperfectability of man.

The reason for the letter is Ames's failing health. He wants to leave an account of himself for this son who will never really know him. His greatest regret is that he hasn't much to leave them, in worldly terms. "Your mother told you I'm writing your begats, and you seemed very pleased with the idea. Well, then. What should I record for you?" In the course of the narrative, John Ames records himself, inside and out, in a meditative style. Robinson's prose asks the reader to slow down to the pace of an old man in Gilead, Iowa, in 1956. Ames writes of his father and grandfather, estranged over his grandfather's departure for Kansas to march for abolition and his father's lifelong pacifism. The tension between them, their love for each other and their inability to bridge the chasm of their beliefs is a constant source of rumination for John Ames. Fathers and sons.

The other constant in the book is Ames's friendship since childhood with "old Boughton," a Presbyterian minister. Boughton, father of many children, favors his son, named John Ames Boughton, above all others. Ames must constantly monitor his tendency to be envious of Boughton's bounteous family; his first wife died in childbirth and the baby died almost immediately after her. Jack Boughton is a ne'er-do-well, Ames knows it and strives to love him as he knows he should. Jack arrives in Gilead after a long absence, full of charm and mischief, causing Ames to wonder what influence he might have on Ames's young wife and son when Ames dies.

These are the things that Ames tells his son about: his ancestors, the nature of love and friendship, the part that faith and prayer play in every life and an awareness of one's own culpability. There is also reconciliation without resignation, self-awareness without deprecation, abundant good humor, philosophical queries--Jack asks, "'Do you ever wonder why American Christianity seems to wait for the real thinking to be done elsewhere?'"--and an ongoing sense of childlike wonder at the beauty and variety of God's world.

Over Max's narration of the preceding decades of his life, he offers outsider's snapshots of San Francisco and all of America across the late 19th and early 20th centuries. Throughout, Greer uses the literary device of reverse aging to interrogate the evolution of social conventions, the finitude of a human life, and the decay of memory. Max wants love. But his curse destines him to deception. He loses his wife, Alice, changes his name, and remains hidden from his own son to keep his true identity secret. Only his lifelong friend, Hughie, stands by Max and can see the person inside the anachronistic body. Like the best science fiction and myth, the novel uses its central conceit to reveal human prejudice and explode all assumptions of normalcy to profound effect.

Join the Elm Creek Quilters on their continuing adventures through American history past and present, told from the unique perspective of the creative artists known as quilters.

The Runaway Quilt: Alerted that her family may have had ties to the slaveholding South, Sylvia Bergstrom Compson searches her attic for her great-grandmother's quilt, a log cabin with black central squares that, according to legend, was a sign of sanctuary to escaping slaves. She also discovers the memoir of her great-grandfather's spinster sister, Gerda Bergstrom. The record reveals not only the founding of Elm Creek Manor, but also a Pennsylvania farming community divided by the issue of slavery. With the help of the Elm Creek Quilters and the clues in her ancestors' quilts, Sylvia grapples with hard truths in coming to terms with her family's past.

The Quilter's Legacy: Resolving to locate her mother's heirloom quilts, Sylvia embarks on a cross-country investigation of antiques shops, quilt museums, and some unexpected places, where offers of assistance are not always what they seem. As Sylvia recovers some of the missing quilts and accepts others as lost forever, she reflects on the woman her mother was and mourns the woman she never knew.

The Master Quilter: Wedding bells are ringing in the ears of the Elm Creek Quilters. Their own Sylvia planned her holiday wedding with sweetheart Andrew in complete secrecy. Eager to honor the newlyweds, the Elm Creek Quilters hasten to stitch a bridal quilt for their favorite Master Quilter. As the quilt blocks accumulate, the Elm Creek Quilters celebrate the joys of new beginnings and the ongoing success of their business -- until forces conspire to threaten their happiness and prosperity. Will the burden of closely guarded secrets strain the bonds of friendship?

Thirty years ago, the two Bethany sisters, ages 11 and 15, disappeared from a Baltimore shopping mall. They never returned, their bodies were never found, and only painful questions remain. How do you kidnap two girls from a busy mall on a Saturday afternoon without leaving behind a single clue or witness? Now, decades later, in the aftermath of a rush-hour hit-and-run accident, a clearly disoriented woman is claiming to be Heather, the younger Bethany sister. Not a shred of evidence supports her story, and every lead she reluctantly offers takes the police to another dead end—a dying, incoherent man; a razed house; a missing grave. But there is something she knows about that terrible day . . . and about a family that disintegrated long ago, torn apart by an unthinkable tragedy and the fissures it revealed in a seemingly perfect household.