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LETTING GO FOR GOOD . . .
Once, Jane Moore and Alexandra Walsh were inseparable, sharing secrets and stolen candy, plotting their futures together. But when Jane became pregnant at seventeen, they drifted slowly apart. Jane has spent the years since raising her son, now seventeen himself, on her own, running a gallery, managing her sister’s art career, and looking after their volatile mother—all the while trying not to resent the limited choices life has given her.
Then a quirk of fate and a faulty elevator bring Jane into contact with Tom, Alexandra’s husband, who has some shocking news. Alexandra disappeared from a south Dublin suburb months ago, and Tom has been searching fruitlessly for her. Jane offers to help, as do the elevator’s other passengers—Jane’s brilliant but self-absorbed sister, Elle, and Leslie Sheehan, a reclusive web designer who’s ready to step back into the world again. And as Jane quickly realizes, Tom isn’t the only one among them who’s looking for something . . . or traveling toward unexpected revelations about love, life, and what it means to let go, in every sense.
In this insightful and irresistible novel, by turns profound, poignant, and laugh- out-loud funny, acclaimed Irish writer Anna McPartlin tells a story of friendship and love, of the families we are born into and the ones we create for ourselves, and of the hope and strength that remain when we fi nd the courage to leave the past behind at last.
“I’m satisfied by his alibi.” “Lots of people have good alibis, and then those alibis turn out to be crap.” “Kurt,” Jane said, “please stop calling Mammy’s new friend a murderer.” Kurt laughed a little. “Okay, but be careful—you don’t want to be a Nicky Pelley to his Joe O’Reilly.” He poured boiling water into the cup and then gripped it tightly. “God, Mum, it’s freezing in here.” He went to his room to sit at his computer with his duvet strategically wrapped around his body and arms while
“I’m really looking forward to her exhibition in two weeks,” Leslie said. “Elle showed me some of the paintings last time we were here, and they are stunning and just a little bit frightening. Love them.” “Yeah,” Jane said, “she’s a genius.” She said this while nodding. Stop nodding, Jane. “Would it be okay if I called in on her for just a moment before we leave?” Leslie asked. “No,” Jane said, “I’m sorry. She’s just really busy with the exhibition pieces.” “But I thought she had finished
freckles.” “Was he nice?” Elle asked. “He was very nice. He was bright and kind and he put up with a lot from me.” “Did he love you?” Leslie sighed and thought about it for a moment. “Yes,” she said, and she remembered the day eighteen years earlier when she had just turned twenty-two, her sister Nora was dying, and she’d just been diagnosed with the cancer gene. Simon had been waiting for her when she came out of the doctor’s office. He was pale and his big blue eyes were glassy. She walked
set, surrounded by paintings of the Missing, to a captivated crowd. They sat on chairs under a painting of Alexandra. The guitar player strummed gently and Jack leaned forward, closed his eyes, and sang “Metropolis Blue” into his microphone. Sometimes I ask myself how did I get here? Country boy with no change for his fares and city girls are so expensive. I wanna go back to the girl that I love, I would go back there if I could. I know I should. I need you. My lips ache for your kiss. I
assistance when it came to caring for the baby, she did feed them. Those first few years of Kurt’s life were the hardest and most miserable in Jane’s life, but they also ensured that she and Kurt became the center of each other’s universe. When he was four and in school and Elle’s talent had been fully recognized, Jane made a decision to learn the business. This was because, according to Rose, a number of people had queued up “to take advantage of Elle,” and after Rose had driven them away, Elle