When Lucy discovered that her charming, cheating husband was dying, she came home, opened up his little black book, and decided she wasn’t going through this alone. After all, Artie’s sweethearts were there for the good times—is it fair that Lucy should have to manage the hard times herself? In this wise, wickedly funny new novel, Lucy dials up the women in Artie’s black book and invites them for one last visit. The last thing she expects is that any will actually show up.
But one by one, they do show up: The one who hates him. The one who owes her life to him. The one he turned into a lesbian, and the one he taught to dance. And among them is a visitor with the strangest story of all: the young man who may or may not be Artie’s long-lost son.
For Lucy, the jaw-dropping procession of women is an education in the man she can’t forgive and couldn’t leave. And as the women find themselves sharing secrets and sharing tears, they start to discover kindred spirits—and even something that’s a lot like family. But Lucy knows one thing for certain: the biggest surprises are yet to come….
Full of heart, Bridget Asher’s unforgettable novel is about mothers and daughters, fathers and sons, and the deep friendships between women. It’s about sweet liars and tenderhearted cheaters—about loving those we love for reasons we can’t always fully rationalize, and about the sort of forgiveness that can change someone’s entire life in the most unexpected and extraordinary ways.
"synopsis" may belong to another edition of this title.
Bridget Asher lives on the Florida panhandle with her husband, who is lovable, sweet, and true of heart—and has given her no reason to inquire about his former sweethearts.Excerpt. © Reprinted by permission. All rights reserved.:
Don't Try to Define Love Unless
You Need a Lesson in Futility
Careening past airline counters toward the security check-in, I'm explaining love and its various forms of failure to Lindsay, my assistant. Amid the hive of travelers—retirees in Bermuda shorts, cats in carry-on boxes perforated with air holes, hassled corporate stiffs—I find myself in the middle of a grand oration on love with a liberal dose of rationalizations. I've fallen in love with lovable cheats. I've adored the wrong men for the wrong reasons. I'm culpable. I've suffered an unruly heart and more than my share of prolonged bouts of poor judgment. I have lacked some basics in the area of control. For example: I had no control over the fact that I fell in love with Artie Shoreman—a man eighteen years my senior. I had no control over the fact that I am still in love with him even after I found out, in one fell swoop, that he had three affairs during our four-year marriage. Two were lovers he'd had before we got married, but had kept in touch with—held on to, really, like parting gifts from his bachelorhood, living memorabilia. Artie didn't want to call these affairs because they were spur-of-the-moment. They weren't premeditated. He trotted out terminology like fling and dalliance. The third affair he called accidental.
And I have no control over the fact that I am angry that Artie's gotten so sick—so deathbedish—in the midst of this and that I blame him for his dramatic flair. I have no control over the compulsion I feel to go back home to him right now, bailing out of a speech on convoluted SEC regulations—because my mother has told me in a middle-of-the-night, bad-news phone call that his health is grave. I have no control over the fact that I'm still furious at Artie for being a cheat just when one might, possibly, expect me to soften, at least a little.
I'm telling Lindsay how I left Artie shortly after I found out about the affairs and how that was the right thing to do six months ago. I tell her how all three affairs were revealed at once—like some awful game show.
Lindsay is petite. Her jacket sleeves are always a bit too long for her, as if she's wearing an older sister's hand-me-downs that she hasn't quite grown into. She has silky blond hair that swings around like she's trapped in a shampoo commercial, and she wears small glasses that slip down the bridge of a nose so perfect and narrow I'm not sure how she breathes through it. It's as if her nose were designed as an accent piece without regard to function. She knows this whole story, of course. She's nodding along in full agreement. I forge on.
I tell her that this hasn't been so bad, opting for business trip after business trip, a few months hunkered down with one client and then another, every convention opportunity—a life of short-term corporate rentals and hotel rooms. It was supposed to allow me some time and space to get my heart together. The plan was that when I saw Artie again, I'd be ready, but I'm not.
"Love can't be ordered around or even run by a nice-enough democracy," I tell Lindsay. My definition of a democracy consists of polling the only two people I've chosen to confide in—my anxiety-prone office assistant, Lindsay, who at this very moment is clipping along next to me through JFK airport's terminal, and my overwrought mother, who's got me on speed dial.
"Love refuses to barter," I say. "It won't haggle with you like that Turkish man with the fake Gucci bags." My mother insists I get her a fake Gucci bag each time I'm in New York on business; my carry-on is bulging with fake Gucci at this very moment.
"Love isn't logical," I insist. "It's immune to logic." In my case: my husband is a cheater and a liar, therefore I should move on or decide to forgive him, which is an option that I've heard some women actually choose in situations like this.
Lindsay says, "Of course, Lucy. No doubt about it!"
There's something about Lindsay's confident tone that rattles me. She's often overly positive, and sometimes her high-salaried agreement makes me double-think. I try to carry on with the speech. I say, "I have to stick by my mistakes, though, including the ones that I came by naturally through my mother." My mother—the Queen of Poor Judgment in Men. I flash on an image of her in a velour sweat suit, smiling at me with a mix of hopeful pride and pity. "I have to stick by my mistakes because they've made me who I am. And I'm someone that I've come to like—except when I get flustered ordering elaborate side dishes in sushi restaurants, in which case I'm completely overbearing, I know."
"No kidding," Lindsay agrees, a little too quickly.
And now I stop in the middle of the airport—my laptop swinging forward, my little carry-on suitcase wheels coming to a quick halt (I've only packed necessities—Lindsay will ship the rest of my things later). "I'm not ready to see him," I say.
"Artie needs you," my mother had told me during last night's phone call. "He is your husband still, after all. And it's very bad form to leave a dying husband, Lucy."
This was the first time that anyone had said that Artie was going to die—aloud, matter-of-factly. Until that moment it had been serious, surely, but he's still young—only fifty. He comes from a long line of men who died young, but that shouldn't mean anything—not with today's advances in medicine. "He's just being dramatic," I told my mother, trying to return to the old script, the one where we joke about Artie's dire attempts to get me back.
"But what if he isn't just being dramatic?" she said. "You need to be here. Your being away now, well, it's bad karma. You'll come back in your next life as a beetle."
"Since when do you talk about karma?" I asked.
"I'm dating a Buddhist now," my mother said. "Didn't I tell you that?"
Lindsay has grabbed my elbow. "Are you okay?"
"My mother is dating a Buddhist," I tell her, as if explaining how terribly wrong everything is. My eyes have filled with tears. The airport signs overhead go blurry. "Here." I hand her my pocketbook. "I won't be able to find my ID."
She leads me to a set of phones near an elevator and starts digging through my purse. I can't root through it right now. I can't because I know what's stuffed inside—all the little cards that I've pulled from little envelopes stuck in small plastic green forks accompanying the daily deliveries of flowers that Artie's ordered long distance. He's found me no matter what hotel room I'm in or apartment I'm put up in anywhere I happen to be in the continental U.S. (How does he know where I am? Who gives him my itinerary—my mother? I've always suspected her, but have never told her to stop. Secretly, I like Artie to know where I am. Secretly, I need the flowers, even though part of me hates them—and him.)
"I'm glad you kept all of these," Lindsay says. She's been in my hotel rooms. She's seen the flowers that collect until they're all in various stages of wilt. She hands me my license.
"I wish I hadn't kept them. I'm pretty sure it's a sign of weakness," I tell her.
She pulls one out. "I've always wondered," she says, "you know, what he has to say in all of those cards."
Suddenly I don't want to find my way into the line at security with a herd of strangers. The line is long, but still I have plenty of time—too much. In fact, I know I'll be restless on the other side, feel a little caged myself—like one of those cats in the carry-ons. I don't want to be alone. "Go ahead."
"Are you sure?" She raises her thin eyebrows.
I think about it a moment longer. I don't really want to hear Artie's love notes. Part of me is desperate to grab the pocketbook out of her hands, tell her sorry, changed my mind, and get in line with everyone else. But another part of me wants her to read these cards, to see if they are as manipulative as I think they are. In fact, I think I need that right now. A little sisterly validation. "Yes," I tell her.
She plucks the note and reads aloud, "Number forty-seven: the way you think every dining room should have a sofa in it for people who want to lie down to digest, but still be part of the witty conversation." She glances at me.
"I like to lie down after I eat—like the Egyptians or something. The dining room sofa just makes good sense."
"Do you have one?"
"Artie bought me one for our first anniversary." I don't want to think of it now, but it's there in my mind—a long antique sofa reupholstered with a fabric of red poppies on a white background and dark wood trim that matches the dining room furniture. We made love on it that first night in the house, the boxy pillows sliding out from under us onto the floor, the aged springs creaking.
She pulls out another one and reads, "Number fifty-two: how the freckles on your chest can be connected to make an approximate constellation of Elvis."
A crew of flight attendants glides by in what seems to be the V formation of migrating geese. A few of Artie's old girlfriends were flight attendants. He made his money opening an Italian restaurant during his late twenties (despite a lack of any real Italian blood in him) and then launching a national chain. He traveled a lot. Flight attendants were plentiful. I watch them swish by in their nylons, the wheels on their suitcases rumbling. My stomach cinches up for a moment. "He actually did that once, connected the freckles, and documented it. We have the photos." I'm waiting for Lindsay's righteous anger to become apparent, but this doesn't seem to be the c...
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Book Description Delacorte Press 2008-08-19, 2008. Hardcover. Book Condition: New. 1St Edition. 038534189X. Bookseller Inventory # Z038534189XZN
Book Description Delacorte Press. Hardcover. Book Condition: New. 038534189X. Bookseller Inventory # Z038534189XZN
Book Description Delacorte Press. Hardcover. Book Condition: New. 038534189X New Condition. Light shelf wear on dust jacket. Bookseller Inventory # ZYR-3LAS-N261
Book Description Book Condition: Brand New. Book Condition: Brand New. Bookseller Inventory # 97803853418991.0
Book Description Delacorte Press, 2008. Hardcover. Book Condition: New. First Edition. Bookseller Inventory # DADAX038534189X
Book Description Delacorte Press, 2008. Hardcover. Book Condition: New. Bookseller Inventory # P11038534189X