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Double Happiness

Double Happiness

by Mary-Beth Hughes

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Best-selling author Mary-Beth Hughes delivers a seductive, deeply human, and sophisticated collection about the universal need to be loved, and the complicated imperfections that jeopardize the ties that bind us.

The stories in Double Happiness are extraordinary portrayals of the ordinariness of life. By pinpointing those moments of discord when personal


Best-selling author Mary-Beth Hughes delivers a seductive, deeply human, and sophisticated collection about the universal need to be loved, and the complicated imperfections that jeopardize the ties that bind us.

The stories in Double Happiness are extraordinary portrayals of the ordinariness of life. By pinpointing those moments of discord when personal needs and morality clash with circumstances beyond our control, Hughes challenges our concepts of responsibility, trust, resilience, and betrayal. In “Pelican Song,” a thirty-year-old modern dancer who moonlights as a movie–ticket taker visits her parent’s picturesque home to discover that her stepfather has begun mistreating her too-accommodating mother; “Horse” follows maladjusted honeymooners in Atlantic City whose romantic weekend is saved from emotional catastrophe by a horse that refuses to dive from its pedestal into the ocean; and a holiday in New York City turns from shopping sprees to a young girl’s sharp discovery of her father’s secret life in “Rome.”

With an elegant blend of humor and pathos, Hughes captures the turning points in relationships that make us wonder how well we really know those we love. Double Happiness is a revealing meditation on the fragility of contentment and the lengths we must go to in order to sustain it.

Editorial Reviews

Publishers Weekly
The reader eagerly waits for the hammer to fall in these 11 wickedly drawn stories by the author of Wavemaker II. Hughes’s characters are skillfully delineated modern types, caught off-guard and vulnerable, such as Raymond, the glib, successful writer of “The Aces,” who, while in Rome with his pregnant wife, runs into a former fling that ended badly: “Kind of comic, really, but then he remembered that maybe he’d been a bit of a bastard.” In the marvelously rueful “Blue Grass,” the young woman narrator senses that her longtime lover is becoming less attracted to her, and an unlikely triangle forms as the narrator becomes attracted to her just-buried sister’s boyfriend. Each of the tales opens out to surprising plot twists, such as in “Guidance,” which recounts the surreal adventures of a model who had been living the high life in Tokyo before marrying an older, rich American bad guy, becoming pregnant with twins, and essentially being imprisoned within a walled compound in Jakarta. The resonant title story, set in the aftermath of 9/11 as a mother comes to terms with the loss of her son, caps this intensely moving collection. (June)
From the Publisher

“These stories are devastating, poignant, desperate, and true.”—Mary Gaitskill

"Hughes is a quietly gorgeous writer, lavishing startling metaphors on her halflost souls. . . . [The] tone is often hushed, lending the collection a discreet, old-fashioned quality reminiscent of a restrained writer like Mavis Gallant. . . . Her stories begin like a train already in motion; the reader must trot to get a handhold and swing up. The elegant phrasing, the general hush, the condensation—all this contributes to a satisfying sense of intimacy . . . in this delicate, tender [collection].” —The New York Times Book Review

“The stories in this excellent collection meander with the sureness of streams discovering their paths. Hughes keeps her prose close to her characters’ thoughts, and doles out the most crucial information on the sly. . . . [Her] careful but unobtrusive organization gives even the saddest revelations—and most revelations here are sad—an air of the miraculous.”—The New Yorker

“[An] assured collection . . . of stylish, intricate stories about seemingly ordinary people . . . whose secrets, discoveries, longings, and subterfuges are anything but. [Hughes is] an emerging master of the form.”—Elle

“The reader eagerly waits for the hammer to fall in these eleven wickedly drawn stories. . . . Hughes’s characters are skillfully delineated modern types, caught off-guard and vulnerable . . . [by] surprising plot twists. . . . [An] intensely moving collection.”—Publishers Weekly (starred review)

Kirkus Reviews
Everything about this slender collection of 11 stories from Hughes (Wavemaker II, 2001) rings true except for its ironic title. Two stories set the pattern for the others. In "Guidance," an amusingly nitwit leg model named Fawn, spirited off to Jakarta by her much older bridegroom, offers fatuous observations about Indonesia's deeply polarized economic climate as she gradually reveals what she's scarcely noticed herself: The have-nots have abducted her as a hostage. In "Rome," Olivia, a sensitive daughter necessarily kept blind to the realities of her parents' uneasy marriage, gets a glimmer of their secrets. The other stories feature adults who have to work harder to ignore the harsh facts of life but mostly manage to do so by concentrating obsessively on minutely rendered details. The mother in the lapidary "May Day" thinks about the waves off the marina, the spring flowers-anything but the impending arrival of her estranged daughter Melody. The dutiful dancer in "Pelican Song" does her best to help her mother escape the new husband whose abuse her mother is determined to overlook. The hero of "Roundup" focuses on the breakup of his architectural firm but ignores the more seismic shifts in his family. The title character in "The Widow of Combarelles," juggling problems great and small, only gradually realizes how much deeper her friend Coren's pain is than her own. In "Blue Grass," a young woman struggles to come to terms with her sister's death from cancer through a complex dance of memory and denial. In "Horse," a foundering Atlantic City honeymoon is both mirrored and salvaged by the couple's preoccupation with the famous Diving Horse's refusal to dive. "The Aces," the most conventional of the bunch, uses a second honeymoon to Rome to motivate a series of flashbacks showing the marriage declining because the partners just don't get it. Only the title story, an anti-elegy for a World Trade Center victim, demonstrates explicitly how apt Hughes's title is, for the mourners' happiness is so rare and fleeting that they're doubly happy to feel happy. Agent: Melanie Jackson/The Melanie Jackson Agency

Product Details

Grove/Atlantic, Inc.
Publication date:
Product dimensions:
7.48(w) x 5.10(h) x 0.62(d)

Read an Excerpt

Double Happiness


Black Cat

Copyright © 2010 Mary-Beth Hughes
All right reserved.

ISBN: 978-0-8021-7074-3

Chapter One

Pelican Song

I was the kind of thirty-year-old who had only recently left adolescence behind. I was mostly a modern dancer. I rehearsed, I went to class. I worked the concession stand in an art-movie theater where actors and filmmakers ushered. A novelist with strong powers of concentration manned the ticket booth. I had a studio apartment in Gramercy Park that looked out on an ivied brick wall. When I wanted to get out of the city I would take the bus to visit my mother in central Jersey. My mother was far along into her second marriage. She and her husband had built a house in an abandoned peach orchard with the proceeds from the sale of my childhood home and his antique-car-supply boutique. They acted as their own general contractors and saved a lot of money. Now that the house was finished they had their collective eye open for an investment scheme.

Like the ticket taker, the man my mother married was really a novelist. My mother created an author's den for him in the upper portion of their beautiful new house. She decorated it with my lost father's old desk, very attractive and manly with brass inlays, and his leather chair. Everything faced out over the inground swimming pool and the putting green, and beyond that to the old orchard and then the woods. Couldn't be more inspiring, everyone said.

My mother, always interested in words, took seriously, in a way lost to the world with my generation, the role of helpmate. She typed her husband's manuscripts, judiciously editing them as she went along. She served lunch on a tray, left atop a small marble pedestal outside the den door. And she checked the mailbox at the end of the long drive for the latest news from his literary agent. If there was another rejection waiting, she prepared the gentlest delivery.

At the art-movie theater in the West Village we took failure for granted. In the house in the orchard the stakes were much higher. Each time a rejection letter came, though often flattering, even encouraging, it represented an enormous blow to the whole enterprise. Even so, I decided to try my own hand at fiction writing. I joined a group. I wrote one-paragraph stories that I liked to read out loud to my mother over her kitchen speakerphone while she was preparing the meals that went upstairs. For Christmas that year, my mother's husband gave me a lovely, quite serious pen, with a kind note folded inside the box. But at the movie theater no one allowed my ministories any more importance than my modern dance performances. My biggest obstacle to respect, however, had to do with men.

I had an odd figure for a modern dancer. Rubenesque, my composer boyfriend called my body when pressed for compliments. This was long before I found the tiny crimson panties tucked beneath his buckwheat pillow. I also heard him say Rembrandt. My mother, it's worth noting, took figures very seriously. I often felt this was another feature of her generation, like the typing and the meals on trays. In my time, I believed, a body could be different and still be okay. But when the composer mentioned Botero, I lost confidence.

After the panty disclosure, I started seeing a painting student. He ushered part-time and still lived with his parents on the Upper East Side. His beard had developed only under his mouth and nose so far, and though born at New York Hospital he spoke with an English accent. Some days I'd meet him after class at Cooper Union. He was a freshman. I felt like his nanny waiting at the curb. But he was understanding, in a way I think was more intense because he was still living at home, when I began getting the late-night phone calls from my mother.

The calls started some time after the Christmas I received the pen. I'd come by myself for the holiday; the painter had his own plans with his mother and father. I stayed Christmas night in the guest suite next to the writing den. My presents made a nice pile at the foot of the bed, and I must have slept late, because when I got up the sun was high over the snow-covered putting green and I could smell coffee long past its first perc wafting from the room next door. My mother's husband tended to stay all day in the writing den so I didn't change out of my pajamas, just went downstairs to find my mother and scare up some breakfast.

At the foot of the stairs I heard a loud bang. My mother was a big redecorator, so I assumed she was moving a sofa, and then I heard a louder bang, more like a chest of drawers against a wall. Voices like growls could only be the television tuned to a low volume, so as not to disturb the writing process.

I took a quick look at the manger display my mother had set out in the foyer-sweet, a big part of my childhood. Even the hay was arranged nicely and all the ceramic farm animals had pleasant shapes. I heard the word cunt quite distinctly from the kitchen and turned my head. The chest of drawers banged against a wall one more time. My mother had painted an old heavy cabinet with white enamel, and I thought-without really thinking-she might be wrestling it into place.

But then I felt a strange fear that buckled my legs as I rounded the corner into the kitchen and found my mother backed against the wall, her husband pressed up hard against her, his face purple. I wasn't sure what I was seeing, and when they both turned to look at me, my mother laughed but with an odd kind of disdain. She pushed her husband off her. He said something about coffee and left the room through the dining-room door.

I didn't know what to ask, and my head hurt as if it were my skull that had been bounced. My mother attended to her hair. She coughed and smiled. Lifted a hand and her eyebrows as if to curtail the next obvious thing I might say, and walked past me through the door I'd entered to meet her husband at the manger. But he'd beaten her to the foyer and was already upstairs, walking slowly-I could hear him above me-down the long book-lined hallway to the writing den.

My mother's husband didn't just want to write novels, he wanted to write best sellers. At the art-movie theater we understood what he would never believe, which was that no one-we liked to talk in terms of multiple lightning strikes; we weren't entirely original in this-got the recognition they deserved. We tended to read, perform, and scrutinize, often with devastating candor, each other's work. We were envious, backbiting, and deeply critical, even scathing and destructive during lag-time discussions in our polyester smocks. We were lucky though. We had a context, and we had an audience, and there were more than two of us. When things got too painful we switched our shifts. My mother and her husband only had each other, in a house that they'd built to be so graceful and accommodating they'd never have to leave it.

When my mother called me on Valentine's Day eve from the local Hilton, which she said was perfectly charming, two towns away from their home, I was surprised, but not entirely. She just wanted me to know where she was in case I needed her. She was fine. Her husband was working very hard and wanted a little privacy. Did I think cranberry velvet seat cushions would be pretty in the dining room? I had no opinion on this, and wrote down her room number at the Hilton. The next afternoon she called to say she was home and sending me something special. A beautiful dictionary arrived in a day or so inscribed with love from the two of them.

I was a little worried about my mother, but I had romantic problems of my own. I may have underestimated the maturity level of the painting student because he was such a fine kisser, and his drawings were intricate and intelligent. For Valentine's Day he wrote my name in pink rose petals on the covered stoop of my apartment building and then lay down naked there in the cold, but not snowy, night, and waited for me to come home from the art-movie theater. He was very slender, and the chill he caught kept him out of classes for two full months. His parents didn't appreciate my sickroom visits. The housekeeper looked genuinely alarmed to see a robust thirty-year-old teetering at the end of his trundle bed, so we communicated by late-night phone calls, which his mother listened to, breathing with complete audibility, on the extension. He couldn't wait until he'd gotten through art school so that he could just make his own money and leave. It was oppressive and he had the courage to say so.

My painter friend was still malingering when my mother's husband's father died. An old bear, someone who felt cruelty was power. And in a way it was. No holiday was ever complete until old Sven had dialed in to ridicule the hopes of his aging son. Novelist-smovelist, his voice boomed through the kitchen over the speakerphone like he was actually making sense.

Just unplug the bastard, I suggested. And though my mother cast a weary eye when I said such things, her husband ignored me. He did this in a noble way that suggested strong men listen to the ravings of their fathers.

But it turned out I was a prophet. Old Sven's brain blew a gasket early in the new year. My mother's husband, who had power of attorney, pulled the plug in record time. And so, during the first big holiday gathering without Sven, the Easter egg hunt, there was a peculiar silence. And everyone, I could sense, believed this was somehow my fault.

My mother called me after that to change our Mother's Day plans. Why didn't I come to the Hilton? she said. There was a great indoor pool, and a sauna. I could share her suite and we could have a really good time. Because it was an unusually mild spring in the West Village, I was able to get the weekend off. Who wanted to go to the movies when cherry blossoms were sprinkling café tables?

I took the bus to Freehold. My mother was waiting in her little blue sport Caddy, wearing wraparound sunglasses from the seventies. Traditionally she liked to leap out of the car and hug me like I'd just finished my first full day at preschool, but today, and maybe she was anxious to show me the pool, she just started the engine and waved her left hand. I dipped down into the passenger bucket and took a good look before speaking. It wasn't just the sling, it was the way she didn't seem able to turn her head. And when she lifted her free hand to the wheel it was swollen like a mitt, her knuckles strafed with red slashes.

Even facing straight ahead she could still issue the look not to say anything. You want to wait until we're at the Hilton? I said. She laughed. We weren't going to the Hilton, it turned out. We were staying with a friend, Faye, who had lent my mother, for the purpose of this holiday visit, the guest cottage on her waterfront property. You'll love this, she said, you've always loved the water. I couldn't remember loving the water, but was sure my mother was right.

Faye had problems of her own. Her thieving ex-husband had run off with the golf club locker-room attendant she'd over-tipped for years. It was disgusting! Even so, Faye had taken time to fill the larder and the bar at the guest cottage, and she let it be known, before going off to the lawyer to skewer her lousy ex, that if my mother's husband put one foot on her property he'd regret it. My mother sighed, and smiled her gratitude. But when the sound of Faye's MG died out, my mother explained that Faye was consumed by rage. It was a terrible, wasteful shame.

Faye's cottage had twin chaises that looked out from the veranda to the bay. In the early evening light, sailboats bumped and tilted around delicate crescent waves. The sun went down, turning everything pink for a while, and my mother's face behind her sunglasses looked a little less distorted. She told me there'd been a particularly harsh rejection letter that week, and now the novel was dead. Which novel? I asked. I knew there had been several. My mother was quiet. A small boat tacked back straight into the last sliver of sun. Mom?

Maybe all of them. It's possible.

I was quiet, out of respect, but then said, Sometimes people just feel that way. I told her the story of despair and renewal at the movie theater. An actor-usher who'd met Francis Ford Coppola at the McDonald's on Sixth Avenue was now a night intern at his literary magazine. Who knows what will happen next? And he'd just about given up! And what about my own friend whose oppressive home environment and fevers cut his art down to bare scratches for a while? Second runner-up in the Cooper Union Gesture Drawing Competition last Monday! And what about me?

Sweetheart, you're a dreamer. She gave me a one-cornered close-mouthed smile that was a dead ringer for her husband's. I'd seen this smile before, trotted out for this very subject. Her husband was a professional. It was different. They weren't children.

Well, I'm not exactly a child, either, I said. But I was, her nonreply said. And this came down to the checks she sent me, and the cash gifts, and the winter coats and boots I got for nearly every birthday, and the microwave and the matched living-room set. And the arrangement she'd made years ago with my co-op board and with Con Ed. I paid for my own transportation and food out of the paycheck from the art-movie theater, but the rest, as everyone who came to my mother's house knew, and about which old Sven had been particularly vocal, basically came from my allowance. Meanwhile, my mother's smug friends' children were busy working out plans for third babies and second homes. Even Faye had a daughter with a time-share in Aspen.

The financial side of pursuing our art wasn't subject to the deep truth-telling we otherwise advocated at the movie theater. I liked to quote Virginia Woolf to myself, now that I was leaning toward fiction, about the five-hundred pounds and the lonely room. Was there some caveat about not getting that from your mother?

My mother gently pressed her vodka collins up against her face and squinted at the dark water. The reflection of the tiki torches looked like jellyfish wriggling on the black surface.

Maybe you'd like to hear my new story?

Darling, you'll wreck your eyes reading in the dark.

It's short, I'll recite it!

Oh, bunny. Well.

But then the gunshot revs of Faye's MG sounded in the gravel beside the guest cottage. Did I imagine my mother's relief? There, suddenly, was Faye, hopping mad, sucker punching the hydrangea. The scum had married the locker-room floozy. Could we believe it? My mother was lovely and magnanimous. Something like this, she knew, could never happen to her. She said sweet, smart things that made Faye laugh.

I was still thinking about my story, maybe Faye would like to hear it? My mother offered to mix some healing martinis. But Faye said she'd do it herself. With that hand-she tipped her perky head at my mother's sling-they'd be slugging down pure vermouth. At this, Faye and my mother made little mews with their mouths at the same time, and I was startled that my mother could be so friendly, so intimate, with a female who wasn't me. This seemed new.

But the biggest news, along with the disastrous rejection letter, was that old Sven had done something naughty with his will. Faye and my mother hunkered down, stem glasses balanced in the air, to talk it over. It turned out he'd left an enormous chunk to the Author's Guild! And on a cruel Post-it, in a scrawly hand, he'd written to my mother's husband: For your colleagues, thought you'd be pleased.


Excerpted from Double Happiness by MARY-BETH HUGHES Copyright © 2010 by Mary-Beth Hughes. Excerpted by permission.
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.

Meet the Author

Mary-Beth Hughes is the author of the best selling novel, Wavemaker II, a New York Times Notable Book. Her stories have been published in The Paris Review, Ploughshares, The Georgia Review, and A Public Space. She lives in Brooklyn and Gallatin, NY.

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