ONE THING BETTER

In Sherry’s novel, an embattled woman finds unlikely second chances in the wake of her mother’s death.

Feeling flummoxed and vulnerable, Lena Buckley is dealing with more than her fair share of life's troubles: She’s 35, without many exciting personal or professional prospects on the horizon, living in her family’s run-down farm house (where “everything here is edges toward broken”) and dealing with her usual anxieties, which have only been exacerbated by the recent death of her mother. She and her younger brother, Lucas, have finished sorting through their mother’s things, and he’s flown back to Malibu, leaving her alone in the old house with a million loose ends to tie up (and feeling like her entire life is one big loose end). Her dogged philosophy through all of this has been the simple goal that forms the book’s title, but even that often seems beyond her reach. Into this messy, muddled world comes local policeman Ben Wright, who, on the surface, appears to be Lena’s opposite in every way that matters—he’s orderly, in control, and efficient (and good-looking: When Ben pulls Lena over to give her a speeding ticket, she notices “his chiseled face seems permanently fixed on tough-guy-having-a-bad-day”). But he’s hiding some internal damage and conflict as deep as Lena’s own, as she slowly discovers when she decides that, after “three years of a stalled life,” she requires a change. When a twist of fate brings her into contact with Ben again, a guarded, awkward friendship slowly begins to grow into something more.

The author crafts the tale of this unlikely friendship in ways that are both subtle and surprising. The central factor in the utterly winning quality of the narrative is Lena herself, hapless but not helpless, sarcastic but not mean, loving to everybody but her own harshest critic. Sherry expertly varies Lena’s different registers, from biting humor (when a married couple wants to swoop in and buy the old family house, Lena notices of the wife, “Her serial-killer vibe matches her husband’s”) to merciless self-castigation (“I’m jobless, practically homeless, and destined for my brother’s pool house,” she thinks in one such moment. “I have absolutely nothing to offer, and I suck at relationships”). This produces the natural, unforced effect of making the reader feel protective, and it adds a sharp intensity to her beautifully rendered longing for something more (an “all in, unapologetic, honest love”), which she begins to feel for Ben. “There’s a soft moment in the empty space between us that edges on relief,” she observes, “like he’s jiggling the lock on the door I’m trapped behind.” Readers accustomed—maybe too accustomed—to the typical meet-cute, witty-banter, early-to-bed, early-to-wed template of many contemporary romances will find the emotionally complicated situation the author creates in these pages immensely refreshing; these are two far from perfect, believable characters slowly chipping away at the barriers they’ve erected against the happiness they want. When Lena observes that “falling in love is all about the little things,” this narrative will make readers believe it.

A complex and hugely satisfying contemporary romance between genuine, flawed people.