READ EXCERPT: 'If I Stay,' by Gayle Forman

I lean my head against the car window, watching the scenery zip by, a tableau of dark green fir trees dotted with snow, wispy strands of white fog and heavy gray storm clouds up above. It's so warm in the car that the windows keep fogging up, and I draw little squiggles in the condensation.

When the news is over, we turn to the classical station. I hear the first few bars of Beethoven's Cello Sonata No. 3, which was the very piece I was supposed to be working on this afternoon. It feels like some kind of cosmic coincidence. I concentrate on the notes, imagining myself playing, feeling grateful for this chance to practice, happy to be in a warm car with my sonata and my family. I close my eyes.

You wouldn't expect the radio to work afterwards. But it does.

The car is eviscerated. The impact of a four-ton pickup truck going 60 miles an hour plowing straight into the passenger side had the force of an atom bomb. It tore off the doors, sent the front-side passenger seat through the driver-side window. It flipped the chassis, bouncing it across the road and ripped the engine apart as if it were no stronger than a spider web. It tossed wheels and hubcaps deep into the forest. It ignited bits of the oil tank, so that now tiny flames lap at the wet road.

And there was so much noise. A symphony of grinding, a chorus of popping, an aria of exploding, and finally, the sad clapping of hard metal cutting into soft trees. Then it went quiet, except for this: Beethoven's Cello Sonata No. 3, still playing. The car radio somehow still is attached to a battery and so Beethoven is broadcasting into the once-again tranquil February morning.

At first I figure everything is fine. For one, I can still hear the Beethoven. Then there's the fact that I am standing here in a ditch on the side of the road. When I look down, the jean skirt, cardigan sweater and the black boots I put on this morning all look the same as they did when we left the house.

I climb up the embankment to get a better look at the car. It isn't even a car anymore. It's a metal skeleton, without seats, without passengers. Which means the rest of my family must have been thrown from the car like me. I brush off my hands onto my skirt and walk into the road to find them.

I see Dad first. Even from several feet away, I can make out the protrusion of the pipe in his jacket pocket. "Dad," I call, but as I walk toward him, the pavement grows slick and there are gray chunks of what looks like cauliflower. I know what I'm seeing right away but it somehow does not immediately connect back to my father. What springs into my mind are those news reports about tornadoes or fires, how they'll ravage one house but leave the one next door intact. Pieces of my father's brain are on the asphalt. But his pipe is in his left breast pocket.

I find Mom next. There's almost no blood on her, but her lips are already blue and the whites of her eyes are completely red, like a ghoul from a low-budget monster movie. She seems totally unreal. And it is the sight of her looking like some preposterous zombie that sends a hummingbird of panic ricocheting through me.

I need to find Teddy! Where is he? I spin around, suddenly frantic, like the time I lost him for ten minutes at the grocery store. I'd been convinced he'd been kidnapped. Of course, it had turned out that he'd wandered over to inspect the candy aisle. When I found him, I hadn't been sure whether to hug him or yell at him.

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