Heading Out to Wonderful

Heading Out to Wonderful

3.6 45
by Robert Goolrick

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The author of the #1 New York Times bestseller, A Reliable Wife, returns with another suspenseful fast-paced gothic story of love, lust, betrayal, and revenge.See more details below


The author of the #1 New York Times bestseller, A Reliable Wife, returns with another suspenseful fast-paced gothic story of love, lust, betrayal, and revenge.

Editorial Reviews

Publishers Weekly
Goolrick’s tale of doomed love resonates like a folk ballad, with the language of the Blue Ridge Mountains and its people giving this novel its soul. Just after WWII, 39-year-old veteran Charlie Beale arrives in smalltown Brownsburg, Va., hoping for a brighter future. He offers his services to the local butcher, Will Haislett, and works his way into the good graces of Haislett’s family, especially five-year-old Sam. But even as Charlie finds acceptance, he remains apart in Brownsburg: he attends services in every church before finally finding redemption in an African-American Episcopal service; he buys up more land than he needs; and he makes a big mistake by falling for Sylvan Glass, the young wife of wealthy, old, vulgar Harrison Glass, who bought Sylvan at 17 “like a head of cattle.” Sylvan, an outsider like Charlie, dreams of Hollywood, while Charlie simply yearns for a place to call home. Goolrick (A Reliable Wife) tells their story from multiple perspectives, most poignantly that of Sam’s, a boy trying to make sense of the unfolding tragedy. Like any good ballad, the narrative builds slowly to its violent climax, packs an emotional punch, and then haunts readers with its quintessentially American refrain. Agent: Lynn Nesbit, Janklow & Nesbit Associates. (June 12)
Library Journal
Drifter Charlie Beale—toting a cash-stuffed suitcase and a set of premium butcher knives—moves to a small and notably crime-free Southern town. While the bloody writing is on the wall from the beginning, this novel is not a straightforward Southern gothic thriller but primarily a lyrical meditation on the magnified elements of small-town life: friendship, trust, land, lust, and sin. Sylvan, a beautiful hillbilly girl—literally purchased by the town's richest man—has transformed herself into a shimmering imitation of a Hollywood movie star. Her seemingly preordained adultery with Charlie is both condemned and envied by the town. The soul of the story, however, is Charlie's five-year-old companion, Sam, whose parents inexplicably allow him to accompany Charlie everywhere. As a witness sworn to secrecy, Sam is left tragically complicit in the adultery and its consequences. VERDICT Goolrick (A Reliable Wife) creates a timeless town where memory of an affair and crime can haunt forever. A lyrical yet suspenseful novel for general fiction readers. [See Prepub Alert, 1/21/12.]—John R. Cecil, Austin, TX
Kirkus Reviews
A torrid extramarital romance is the heart of Goolrick's powerful but problematic second novel; it follows the acclaimed A Reliable Wife (2009). Brownsburg nestles beneath Virginia's mountains. In 1948 it's a no-stoplight, God-fearing, segregated place, the blacks out of sight. Strangers are monitored rather than greeted, strangers like Charlie Beale, a 39-year-old Northerner with a suitcase of cash. His first purchase is the river land where he's been sleeping. He's evidently a gentle soul, childlike even, but how could a naïf have acquired all that cash? That's never answered; the stranger's mystique is preserved at the cost of credibility. Charlie's a butcher by trade, and he's hired by a local guy, a good Christian like his wife. They dote on their only child, 5-year-old Sam, and soon Charlie does too. He also comes to dote on one of his customers. Sylvan Glass is a bewitching blonde, barely out of her teens, with a thrilling fantasy life; she's a star-struck movie fan. She's married to a much older man, Boaty Glass. Boaty is fat and rich and mean. He plucked Sylvan from her hillbilly family in the hollows, paying cash down; Boaty's negotiation with her dirt-poor father is utterly convincing. Charlie and Sylvan are drawn to each other from the get-go; Sylvan sees him as her matinee idol, while Charlie is transformed by unconditional love. He buys her a house for their trysts, doing Sam no favors by using him as a cover. Goolrick is aiming for the somber momentum of the ballad, and there is much pleasure-giving psychological truth along the way, but at a key moment his calibration fails him. Something extraordinary happens, out of the blue. "You may wonder why, and I'm telling you that I don't know," is the narrator's cop-out. That doesn't stop the gothic flourishes of a murder/suicide, followed by a second suicide; yet arresting as they are, they seem arbitrary. There are some weak links in a chain that's still capable of pulling you along.
Family Circle
“A lyrical yet suspenseful novel for general fiction readers.”
Library Journal
Washington Post
“Deliciously dark and dangerous.”
O, The Oprah Magazine
The Oprah magazine O
“Dietz’s calm style adds to the sensuous descriptions while still creating the feeling that something bad is going to happen. The listener, lulled by Dietz’s tender voice, will feel the horror of the plot’s climax as strongly as young Sam and the people of Brownsburg.”
Lancaster Online
“[A] soulful and heart wrenching tale of love that knows no bounds.”
Family Circle
“Goolrick is a writer with a big heart and a deft hand for drama. I look forward to whatever he pens next.”
Washington Post
From the Publisher
“Dietz’s subtle southern accent matches his thoughtful pacing of Goolrick’s descriptive prose and expository speech.”

“I can’t tell you . . . how entrancing the reading by Norman Dietz. It’s one of the best narratives I’ve ever run across. Dietz’s voice is perfect, and perfectly engrossing. . . . I urge you to forego the pleasures of the page and seek out these eight CDs from HighBridge.”
Ralph Magazine

Ralph Magazine
“A character-driven novel by Robert Goolrick, allows Dietz to offer listeners the full measure of a dramatic talent he honed during his decades in theater. Using low tones, near whispers—at turns urgent, reflective, matter of fact—Dietz describes an affair that consumes two people, shakes a town and permanently warps the young boy who witnesses it.”
Lancaster Online

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Product Details

Algonquin Books of Chapel Hill
Publication date:
Sales rank:
Product dimensions:
6.50(w) x 9.10(h) x 1.10(d)

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Heading Out to Wonderful



Copyright © 2012 Robert Goolrick
All right reserved.

ISBN: 978-1-56512-923-8

Chapter One

The thing is, all memory is fiction. You have to remember that. Of course, there are things that actually, certifiably happened, things where you can pinpoint the day, the hour, and the minute. When you think about it, though, those things mostly seem to happen to other people.

This story actually happened, and it happened pretty much the way I'm going to tell it to you. It's a true story, as much as six decades of remembering and telling can allow it to be true. Time changes things, and you don't always get everything right. You remember a little thing clear as a bell, the weather, say, or the splash of light on the river's ripples as the sun was going down into the black pines, things not even connected to anything in particular, while other things, big things even, come completely disconnected and no longer have any shape or sound. The little things seem more real than some of the big things.

People still ask me about it to this day, about what happened and why I think it happened, as if I knew even now after all this time, when everything's been over for decades except the talk and the myth, I don't know what else you'd call it. I'm not young any more, so sometimes I can't tell what things are the things I remember and what things are just things that other people told me. They tell me things I did, and a lot of them I don't remember, but most people around here aren't liars, so I just go on and believe them, until it seems that I actually do remember the things they say.

But I still ask myself sometimes late at night about what happened, how it all turned out, about the life I've led, you know, every thing. I ask myself the same questions they ask me, these people who've only heard about it, who weren't even around when it all took place. What happened and why did it have to happen in the way it did?

Was I damaged by it, they want to know, wounded in some way? And I always say no. I don't think I was hurt by it. But I was changed, changed deeply and forever in ways I realize more and more every day. Anyway, it's too late now to go back, to take that rock out of the river, the one that changed the course of the water's flow.

The story began this way. And it began here, more than sixty years ago.

This was a town where no crime had ever been committed. Disasters had happened, of course, natural disasters had occurred in the course of things, barn fires, floods, house fires, terrible illnesses. So many fine young men from the town who didn't come back from the war, or came back from France and Germany bruised and wounded and shy and scared of sharp bright electric sounds in the dark. And sin. Envy and greed and covetousness and pride, there was terrible pride. But no crime. Not in this town.

Brownsburg, Virginia, 1948, the kind of town that existed in the years right after the war, where the terrible American wanting hadn't touched yet, where most people lived a simple life without yearning for things they couldn't have, where the general store had tin Merita bread signs as door handles, and, inside, slabs of bacon and loaves of thin-sliced bread and canned vegetables and flour and flannel shirts and yard goods and movie magazines for the dreamers and penny candies in glass jars on the counter for the children. Cokes and brightly colored Nehi pop nestled in a metal box that was filled with iced water, and you got your drink by sliding it out of the metal slots through the icy water, dope, my mother called it, sometimes saying to my father, "Let's go down to the store and get a dope." She was a teacher, Latin to unruly and unwilling boys and girls, but she longed for another time. She liked the way it had been before the war a whole lot better. She saw everything that way, as though change were not happening faster than her heart could beat.

The general store stood in the middle of a thin short row of others like it, a butcher, a barber, a bank, a hardware store with bins of nails and screws and simple tools and wiring, and lumber in the back, but everything else you had to drive to Lexington to get, twelve miles of two-lane twist away. It was a town where people expected to live calmly and die and go to heaven in due time.

On a hill behind the town there was a school that went all the way from first grade to graduation, the ones who made it that far, with a small, thinly stocked library built alongside it. That's where my mother taught the stories of the wars and the gods. Arma virumque cano / Troiae qui primus ab oris. The school was heated by wood stoves, and sometimes it was so cold in the winter that the children got the day off, even if it wasn't snowing, and school let out in early May so the children could help with the planting.

There weren't any stoplights. The streets, the few of them that there were, were straight and smooth and didn't go very far. Nobody drove fast, except the occasional stranger who drove through town, lost on his way from someplace to someplace else that wasn't Brownsburg.

There were two advertising billboards, one at each end of the town. Crudely painted, they said, identically, charlie carter cleans chimneys, and underneath, Recaps, Liners, Repairs. That's all. No phone number, no address, so unless you knew who Charlie was and where he lived, there was no way in hell you were going to get your chimney relined, if you needed that. But Charlie Carter lived right behind one of the signs, anyway, so the few people who had need of his services didn't have much trouble.

The people here then, they believed in God and The Book. They believed that the Word was made flesh and dwelt among us, that the Word was truth—no, that it was fact, as it was given to the prophets and the saints. The faith of their fathers passed through them mother to son, son to daughter and son, until it peopled the towns they made.

They hoped for their own salvation, and they feared for their neighbor's perdition.

They didn't divorce. There was not one divorce in the whole town, never had been. The church preached against it, and custom didn't allow it.

The houses in Brownsburg sat with straight and honest faces toward the street, brick mostly or clapboard, built within a twenty-five-year span of one another about a hundred years before. They had shallow yards running along the street, and bigger yards to the back. These yards became a kind of unspoken, amicable battleground between neighbors, in every house gardeners, and every gardener seeing who could make the best show, flowers on the street side, vegetables behind, the women and girls to the front, the men and boys out back, victories measured out in continuous, radiant bloom, and in the number of jars of vegetables put up on hot summer days, to be eaten in the dead of winter.

In the evenings, the mothers and fathers would sit on the porches, drinking iced tea and talking in soft voices about the day's events, while the girls sat on the lawns making chains out of dandelions, and the boys made lonesome bleating whistles with blades of grass squeezed between their thumbs. They listened to the radio, in the evenings, but since there was only one station anybody could get, the town became, for that hour or two, like a stereophonic symphony.

There were five hundred and thirty-eight people here, then, and it rarely changed, the number of births pretty much keeping pace with the number of deaths.

No doors were ever locked. No dogs were walked on leashes. On a snowy day, children sledded in the street. Most of the men smoked, and some of the women, who had picked it up when their husbands went off to war.

The black people, about fifty adults and twenty children, lived in clean neat wooden houses clustered together, not quite outside the town, but not quite inside it either. They worked hard, and they pretty much kept the town running, the houses clean, the laundry fresh and crisp, and the fields flourishing, with not one word of thanks and very little in the way of money, and they spent the money they made from the white men at white men's stores. They had their own church, a storefront down at the end of Main Street, and a preacher who came every other week to lead them in services of prayer and song that went on from ten in the morning until six at night with a break for lunch. The children learned to read and write and do their sums at home. Their knowledge of the world stopped pretty much at the edge of the town limits.

Nobody went on vacations. The idea just didn't occur to them. Trips were limited to funerals, the occasional wedding, and family reunions.

Children remember summer best; they feel its pleasures on their skin. The older you get, it's the winters that stay with you, down deep in your bones. Things happen in the winter. People die in February.

Children remember staying up late. Grownups think about getting up early.

A particular town, then, Brownsburg, in a particular time and place. The notion of being happy didn't occur to most people, it just wasn't something they thought about, and life treated them pretty well, and even though at least two or three men got drunk every week night and slapped their wives and children around and children were punished hard when they were rude or misbehaved, the notion of being unhappy didn't occur much either.

They just accepted their lot, these five hundred or so men, women, and children, black and white, the blacks knowing their place, as they said then, which meant that the whites knew their place, too, and were pretty pleased with their lot in the evolutionary parade. The people moved about their daily business and did the things that life laid out for them to do, always aware of the mountains that ringed them in, blue in the summer twilights, the light turning from white to gold to rose as they sat on their porches. In the black winter, they sat in front of their wood stoves and listened to the sad and joyous songs of mountain women and plains cowboys on the radio before they went to their early beds.

They belonged to the land, to this particular place, the way their cars or their tablespoons belonged to them.

The people were religious people, and their faith got them through whatever fell on them, that and the land and the mountains that cradled and gave a salvation to anybody who had the grace to live nestled in their ancient soft hollows.

Dappled, then, and green in the summer, when Charlie Beale arrived, the days hot and the rain regular. Everybody complained about the weather most of the time, except for rain, which stopped everything useful but always made people think that it was needed, even if it had just rained three days before.

Charlie Beale drove into town out of nowhere in an old beat-up pickup truck. On the seat beside him there were two suitcases. One was thin cardboard and had seen a lot of wear and in it were all of Charlie Beale's clothes and a set of butcher knives, sharp as razors.

The other one was made of tin and it had a lock because it was filled with money. A lot of money. Charlie wore the key to the lock on a chain around his throat.

He paid Russell Hostetter a dollar a night to let him park his truck out in a field by the river, three miles outside of town, and he slept in the flatbed, sleeping on one old quilt, covered by another, and he bathed in the river in the dark with soap and a towel he bought at the general store. The summer moonlight filtered through the willow branches and made shadows on his pale, glistening back. The black, cool water sparkled as he shook out his wet hair, turned from brown to the black of the water and the starlit night. One thing about Charlie Beale, he was always clean. He dried his wet skin with the rough towel, rubbing until it was red, as though he had been slapped.

Every night, before he slept, before he turned down the kerosene lamp he kept with him and lay back to marvel at the vastness of the sky, he drank a glass of whiskey and smoked a Lucky Strike, and then he wrote in his diary. Mostly it was just the state of things, the temperature, the amount of rainfall, little things. Hot today, he would write. Snow, twelve inches. Or, Saw an eagle. He wasn't a poetic man. Thirty-nine years on the planet had beaten the poetry out of him.

As he wrote, he would start to remember what it had been like, growing up where he grew, the people who were his people, and other people he met along the way, and he would note down things, finding as he wrote a kind of simple eloquence, always referring to his friends only by their initials, just so, when he got old, he would have some way of looking back on the days that were passing, the places he'd been. He'd done it since he was a boy, when his fascination with the world was greater than it was when he came to town, and even though the passage of his life didn't interest him nearly as much now that it was happening as it had when it was all just waiting to begin, he still kept at it, out of habit. Sometimes, in reading back, he would come across a set of initials he'd written down, and not be able to place the person, the face, or the reference.

Keeping the diaries was his way of judging how far he stood from what he considered to be goodness, as he understood the term, and most nights he would add a little plus or minus next to whatever he'd written, just to gauge the distance, his recorded moral compass. There were eleven of these diaries in a box in the truck, numbered by year. He was working on his twelfth.

Then he knelt by the truck with the singing of the crickets loud in the dark and the murmur of the night moths like a fluttering in the heart, and he said his prayers, even though he knew deep down he had lost his faith somewhere along the way. He prayed for his family, he prayed the bright hopes of his childhood would return to him. He prayed that things would finally turn out better, and that this would be the place he could feel at home.

He bought a loaf of white bread at the store, and some sliced baloney and peanut butter and jelly and a carton of Cokes, and he ate sandwiches out by the river, keeping the drinks cool in the dark flowing water.

Every day of the first week he walked the streets of the town, seemingly without purpose or direction. He nodded hello to everybody he passed, politely, but he didn't talk to a soul. He just looked with a quiet, even stare at the shops: from the dry goods store down to the barber shop with its striped pole twirling endlessly. He looked closely at every house, at the neat picket fences and gardens. He looked at the faces of the people of the town, as they in turn looked at him, and he pictured these faces as he lay in the dark out by the river, just thinking about whether or not these were people he would like to know.

Some days, he got in his truck and drove aimlessly around the back roads of the county, his suitcases on the seat beside him. He would stop and look out at the mountains, across the farm fields now gray-gold with the end of summer heat and drought, the second-cutting hay all done, the golden stubble sticking straight out of brown dirt. He just watched the land. He looked at the county from every angle.

Everything he did was noticed. What was he looking for, they wondered all over town. What was he looking at?

They were waiting. They were waiting for him to do something, and until he made the first move, nobody would hold out a hand to shake, or give anything back to his gentle stare.

He was the scarecrow in the garden.

After one week, Charlie Beale started doing things. He got up with the first light, a sliver of moon still in the sky, and shaved in the rearview mirror of his truck. He put on a clean white shirt, and he went and sat with Russell Hostetter at the breakfast table and arranged to buy the fifty acres of river land out where his truck was parked.

He paid him one thousand dollars in cash.

"Planning to build?" Russell asked.

"I don't think so," said Charlie. "It's just peaceful. I just want a quiet place."

"Well, it's pretty peaceful out there," said Russell. "I got to tell you," he said, eyeing the stack of one-hundred-dollar bills, "that land ain't good for much except peace and quiet."

"That's all I want."

"Flood plain."

"I'm not building out there."

They shook hands and Charlie said he'd arrange to have the survey done and the deed recorded. Then Russell went back to his breakfast and Charlie got into his truck, the leather seats already warm from the morning sun, and just drove and sat by the river, his land and river now, until it was late morning. He took off his shirt to let the sun warm his skin.


Excerpted from Heading Out to Wonderful by ROBERT GOOLRICK Copyright © 2012 by Robert Goolrick. Excerpted by permission of ALGONQUIN BOOKS OF CHAPEL HILL. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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What People are saying about this

From the Publisher
“Doesn’t disappoint.”—John Searles, on NBC’s "Today"

“Fans of Goolrick's juicy debut novel A Reliable Wife—which spent 32 weeks on USA Today's Best-Selling Books list—can't wait for this follow-up.”—USAToday.com

“Deliciously dark and dangerous.”—O, The Oprah Magazine

“Within the heartbreak of this story, there is joy and beauty . . . In a year when so many of the books I’ve read have been lovely and memorable, Heading Out to Wonderful is my favorite. I could not possibly recommend it or any other book more highly.”—Literate Housewife

“Goolrick spins out his tale like a mountain ballad . . . Dreamers like Charlie will still try to blunder on to wonderful, and they're the ones whom poets will sing about and old men will remember.”
—Wilmington Star-News

“Robert Goolrick vividly evokes two lovers doomed by their place and their past.”—Richmond Times-Dispatch

“[A] poetic tale that simmers with foreboding atmosphere.”—Printers Row magazine, Chicago Tribune

“[An] unforgettable story of lost and displaced souls in search of identity, acceptance and belonging . . . Goolrick (A Reliable Wife) masterfully ratchets up the tension, while evocative sensory detail and spiritual overtones infuse the emotional landscape of a powerful, climactic novel that seeks to define and explore the meaning of love and goodness.”—Shelf Awareness

“Robert Goolrick is a master of emotive, suspense-driven drama.”—Flavorpill


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