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Contents ( 61)
  1. Long Winter
  2. Rachel Ember
  3. Mailing List
  4. Contents
  5. Chapter One
  6. Lance
  7. Chapter Two
  8. Robbie
  9. Chapter Three
  10. Lance
  11. Chapter Four
  12. Robbie
  13. Chapter Five
  14. Lance
  15. Chapter Six
  16. Robbie
  17. Chapter Seven
  18. Lance
  19. Chapter Eight
  20. Robbie
  21. Chapter Nine
  22. Lance
  23. Chapter Ten
  24. Robbie
  25. Chapter Eleven
  26. Lance
  27. Chapter Twelve
  28. Robbie
  29. Chapter Thirteen
  30. Lance
  31. Chapter Fourteen
  32. Robbie
  33. Chapter Fifteen
  34. Lance
  35. Chapter Sixteen
  36. Robbie
  37. Chapter Seventeen
  38. Lance
  39. Chapter Eighteen
  40. Robbie
  41. Chapter Nineteen
  42. Lance
  43. Chapter Twenty
  44. Robbie
  45. Chapter Twenty-One
  46. Lance
  47. Chapter Twenty-Two
  48. Robbie
  49. Chapter Twenty-Three
  50. Lance
  51. Chapter Twenty-Four
  52. Robbie
  53. Chapter Twenty-Five
  54. Lance
  55. Chapter Twenty-Six
  56. Robbie
  57. Chapter Twenty-Seven
  58. Lance
  59. Author’s Note
  60. About the Author
  61. Also by Rachel Ember

“Hi, Mr. Dale,” Lance replies politely, and then he takes a deep breath and stares down the aisle at the seats, which are already more than half-full.

He does spy one empty seat and makes a beeline for it like it could disappear. When he slides across the hot, sticky vinyl, a rush of air escapes him. The bus jerks as Mr. Dale puts it in gear, and off they go.

Lance rests his forehead against the window, staring out at the grass meadow bordering the gravel road, the blades beginning to burn red at the tips to signal fall. The bus sways as Mr. Dale takes the sharp turn just before the one-lane bridge. As they cross it, Lance holds his breath like always, sure the ancient boards and crossbeams will split under the strain of the bus’s weight. The river bridge looks like something built for horses and carriages, not heavy vehicles.

But like always, they make it. In reality, nothing is quite as fragile as it feels in Lance’s imagination.

As the bus rumbles over the gravel on the far side of the bridge, Lance sits up in his seat, anxiousness forgotten in favor of eagerness to see the Chases. Their driveway is winding and gravel-surfaced like Lance’s, but it’s also much better groomed—a level stretch of fresh white rock curving to disappear toward a house not visible from the road.

The Chases don’t walk out to meet the bus. Their older brother, Robbie, drives them. They’re waiting in the bed of an old truck, its pale blue paint making it stand out like a robin’s egg on the backdrop of verdant oak trees that hedge the Chases’ long driveway. As the boys see the bus pulling around, they spill out of the back of the truck one at a time.

First is Danny, who’s Lance’s age, sliding off the tailgate. Robbie hovers beside him, his hands outstretched but not quite touching, like he’s worried Danny will fall. But Danny lands on his feet and bats his brother’s hands away.

Then, there’s Johnny, who’s four years older than Lance. He clambers out after Danny and tousles his hair, which makes Danny scowl.

Unlike his golden-haired brothers, Robbie, the eldest Chase, has black hair and a black, untidy beard. He pushes his hands into his jeans pockets while Danny and Johnny rush up the bus steps.

Lance doesn’t know why he’s so fascinated by the Chases. Maybe because he’s heard his father grumble about them since before Lance could talk. Maybe because, in class, Danny knows every answer and quickly becomes every teacher’s favorite. Which, incidentally, makes him most of the other kids’ least favorite. Maybe it’s because Johnny is so popular that even kids in grade school know who he is. He’s a football quarterback and plays some of the leads in the school plays. He can even sing.

But the main reason that Lance watches the Chases is for glimpses of their quiet older brother, Robbie; Robbie, who always seems a little sad and a little tired, but watches the younger boys with warm protectiveness. It’s an expression Lance has never seen anyone turn in his own direction. He watches Robbie Chase so that he knows exactly what to picture when he closes his eyes and imagines mattering enough to someone that they look at him that way.