What would you do if your husband suddenly wanted to rewrite all of the rules of your relationship? This is the question at the heart of Skipping a Beat, Pekkanen’s thought-provoking second book.
From the outside, Julia and Michael seem to have it all. Both products of difficult childhoods in rural West Virginia – where they were simply Julie and Mike – they become high school sweethearts and fall in love. Shortly after graduation, they flee their small town to start afresh. Now thirty-somethings, they are living a rarified life in their multi-million-dollar, Washington D.C. home. Julia is a highly sought-after party planner, while Michael has just sold his wildly successful flavored water company for $70 million.
But one day, Michael collapses in his office. Four minutes and eight seconds after his cardiac arrest, a portable defibrillator jump-starts his heart. But in those lost minutes he becomes a different man. Money is meaningless to him - and he wants to give it all away. Julia, who sees bits of her life reflected in scenes from the world’s great operas, is now facing with a choice she never anticipated. Should she should walk away from the man she once adored – but who truthfully became a stranger to her long before this pronouncement - or give in to her husband's pleas for a second chance and a promise of a poorer but happier life?
As wry and engaging as her debut, but with quiet depth and newfound maturity, Skipping a Beat is an unforgettable portrait of a marriage whose glamorous surface belies the complications and betrayals beneath.
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|Publisher:||Washington Square Press|
|Product dimensions:||5.54(w) x 8.10(h) x 0.90(d)|
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Skipping a Beat
WHEN MY HUSBAND, MICHAEL, died for the first time, I was walking across a freshly waxed marble floor in three-inch Stuart Weitzman heels, balancing a tray of cupcakes in my shaking hands.
Shaking because I’d overdosed on sugar—someone had to heroically step up and taste-test the cupcakes, after all—and not because I was worried about slipping and dropping the tray, even though these weren’t your run-of-the-mill Betty Crockers. These were molten chocolate and cayenne-pepper masterpieces, and each one was topped with a name scripted in edible gold leaf.
Decadent cupcakes as place cards for the round tables encircling the ballroom—it was the kind of touch that kept me in brisk business as a party planner. Tonight, we’d raise half a million for the Washington, D.C., Opera Company. Maybe more, if the waiters kept topping off those wine and champagne glasses like I’d instructed them.
I carefully set down the tray, then spun around to see the fretful face of the assistant florist who’d called my name.
“The caterer wants to lower our centerpieces,” he wailed, agony practically oozing from his pores. I didn’t blame him. His boss, the head florist—a gruff little woman with more than a hint of a mustache—secretly scared me, too.
“No one touches the flowers,” I said, trying to sound as tough as Clint Eastwood would, should he ever become ensconced in a brawl over the proper length of calla lilies.
My cell phone rang and I reached for it, absently glancing at the caller ID. It was my husband, Michael. He’d texted me earlier to announce he was going on a business trip and would miss the birthday dinner my best friend was throwing for me later in the month. If Michael had a long-term mistress, it might be easier to compete, but his company gyrated and beckoned in his mind more enticingly than any strategically oiled Victoria’s Secret model. I’d long ago resigned myself to the fact that work had replaced me as Michael’s true love. I ignored the call and dropped the phone back into my pocket.
Later, of course, I’d realize it wasn’t Michael phoning but his personal assistant, Kate. By then, my husband had stood up from the head of the table in his company’s boardroom, opened his mouth to speak, and crashed to the carpeted floor. All in the same amount of time it took me to walk across a ballroom floor just a few miles away.
The assistant florist raced off and was instantly replaced by a white-haired, grandfatherly looking security guard from the Little Jewelry Box.
“Miss?” he said politely.
I silently thanked my oxygen facials and caramel highlights for his decision not to call me ma’am. I was about to turn thirty-five, which meant I wouldn’t be able to hide from the liver-spotted hands of ma’am-dom forever, but I’d valiantly dodge their bony grasp for as long as possible.
“Where would you like these?” the guard asked, indicating the dozen or so rectangular boxes he was carrying on a tray draped in black velvet. The boxes were wrapped in a shade of silver that exactly matched the gun nestled against his ample hip.
“On the display table just inside the front door, please,” I instructed him. “People need to see them as soon as they walk in.” People would bid tens of thousands of dollars to win a surprise bauble, if only to show everyone else that they could. The guard was probably a retired policeman, trying to earn money to supplement his pension, and I knew he’d been ordered to keep those boxes in his sight all night long.
“Can I get you anything? Maybe some coffee?” I offered.
“Better not,” he said with a wry smile. The poor guy probably wasn’t drinking anything because the jewelry store wouldn’t even let him take a bathroom break. I made a mental note to pack up a few dinners for him to bring home.
My BlackBerry vibrated just as I began placing the cupcakes around the head table and mentally debating the sticky problem of the video game guru who looked and acted like a thirteen-year-old overdue for his next dose of Ritalin. I’d sandwich him between a female U.S. senator and a co-owner of the Washington Blazes professional basketball team, I decided. They were both tall; they could talk over the techie’s head.
At that moment, a dozen executives were leaping up from their leather chairs to cluster around Michael’s limp body. They were all shouting at each other to call 911—this crowd was used to giving orders, not taking them—and demanding that someone perform CPR.
As I stood in the middle of the ballroom, smoothing out a crease on a white linen napkin and inhaling the sweet scent of lilies, the worst news I could possibly imagine was being delivered by a baby-faced representative from the D.C. Opera Company.
“Melanie has a sore throat,” he announced somberly.
I sank into a chair with a sigh and wiggled my tired feet out of my shoes. Perfect. Melanie was the star soprano who was scheduled to sing a selection from Orfeo ed Euridice tonight. If those overflowing wineglasses didn’t get checkbooks whipped out of pockets, Melanie’s soaring, lyrical voice definitely would. I desperately needed Melanie tonight.
“Where is she?” I demanded.
“In a room at the Mayflower Hotel,” the opera rep said.
“Oh, crap! Who booked her a room?”
“Um … me,” he said. “Is that a prob—”
“Get her a suite,” I interrupted. “The biggest one they have.”
“Why?” he asked, his snub nose wrinkling in confusion. “How will that help her get better?”
“What was your name again?” I asked. “Patrick Riley.”
Figures; put a four-leaf clover in his lapel and he could’ve been the poster boy for Welcome to Ireland!
“And Patrick, how long have you been working for the opera company?” I asked gently.
“Three weeks,” he admitted.
“Just trust me on this.” Melanie required drama the way the rest of us needed water. If I hydrated her with a big scene now, Melanie might miraculously rally and forgo a big scene tonight.
“Send over a warm-mist humidifier,” I continued as Patrick whipped out a notebook and scribbled away, diligent as a cub reporter chasing his big break. “No, two! Get her lozenges, chamomile tea with honey, whatever you can think of. Buy out CVS. If Melanie wants a lymphatic massage, have the hotel concierge arrange it immediately. Here—” I pulled out my BlackBerry and scrolled down to the name of my private doctor.
“Call Dr. Rushman. If he can’t make it over there, have him send someone who can.”
Dr. Rushman would make it, I was sure. He’d drop whatever he was doing if he knew I needed him. He was the personal physician for the Washington Blazes basketball team.
My husband, Michael, was another one of the team’s co-owners.
“Got it,” Patrick said. He glanced down at my feet, turned bright red, and scampered away. Must’ve been my toe cleavage; it tends to have that effect on men.
I finished placing the final cupcake before checking my messages. By the time I read the frantic e-mails from Kate, who was trying to find out if Michael had any recently diagnosed illnesses like epilepsy or diabetes that we’d been keeping secret, it was already over.
While Armani-clad executives clustered around my husband, Bob the mail-room guy took one look at the scene and sped down the hallway, white envelopes scattering like confetti behind him. He sprinted to the receptionist’s desk and found the portable defibrillator my husband’s company had purchased just six months earlier. Then he raced back, ripped open Michael’s shirt, put his ear to Michael’s chest to confirm that my husband’s heart had stopped beating, and applied the sticky patches to Michael’s chest. “Analyzing …,” said the machine’s electronic voice. “Shock advisable.”
The Italian opera Orfeo ed Euridice is a love story. In it, Euridice dies and her grieving husband travels to the Underworld to try to bring her back to life. Melanie the soprano was scheduled to sing the heartbreaking aria that comes as Euridice is suspended between the twin worlds of Death and Life.
Maybe it shouldn’t have surprised me that Euridice’s aria was playing in my head as Bob the mail-room guy bent over my husband’s body, shocking Michael’s heart until it finally began beating again. Because sometimes, it seems to me as if all of the big moments in my life can be traced back to the gorgeous, timeworn stories of opera.
Four minutes and eight seconds. That’s how long my husband, Michael Dunhill, was dead.
Four minutes and eight seconds. That’s how long it took for my husband to become a complete stranger to me.
Reading Group Guide
This reading group guide for These Girls includes discussion questions. The suggested questions are intended to help your reading group find new and interesting angles and topics for your discussion. We hope that these ideas will enrich your conversation and increase your enjoyment of the book. Questions and Topics for Discussion 1. Discuss the role of work in each girl’s life. To what extent do they find a sense of identity in their jobs? How do they define success or failure in their work lives, and how does either affect the way they think about themselves? 2. Each character in These Girls seems to be facing both an internal and an external struggle. Can you identify these? Are these struggles resolved by the novel’s conclusion? 3. Did you initially empathize with Abby or Joanna? Did your feelings toward Joanna change as the novel progressed? Does the fact that Abby has an affair with a married man make her less of a sympathetic character to you? Why or why not? 4. Describe the ways that each girl interacts with and connects to other people. How are their relationship styles similar, and how are they different? 5. Given the close bond that Trey and Abby share, do you think that he should have told her what happened to their brother? Why or why not? 6. How are mother-daughter relationships depicted in this novel? Was there one dynamic in particular that you identified with? 7. After Cate reminds her mother not to call her at work, she thinks to herself, “It felt odd to be imposing such restrictions and curfews on her mother, as if they’d somehow swapped roles during the past few years” (78). To what extent is this true of all the parent-child relationships we see in These Girls? 8. What is These Girls saying about the role—and effect—of secrets in relationships? Are some secrets necessary, or are they all inherently negative? Do you agree with Abby’s assessment that “The hardest things to talk about are also the most important things to talk about?” 9. Discuss some of the challenges that Cate’s new job presents. How does she handle these? In particular, what role does gender seem to play in them? 10. Each girl sees something in another of her roommates’ disposition that she covets. What are these qualities? Is this kind of desire an essential component of female friendship? 11. In the last scene of the novel, Cate tells Trey, “I don’t want to be the girl who chose a guy over her friends.” How did you feel about their final encounter? Did you agree with how Cate handled this situation? Would you have handled it differently? 12. Ostensibly, Renee wants to lose weight because she thinks it will help her nab the beauty editor job. But does she have other reasons? What else could be driving her? 13. If you were casting the film version of These Girls, who would you pick to play each character? Why? 14. Picture where you see Cate, Renee, and Abby in five years. What do their lives look like? Share your imaginings with your group.