Über die Autorin bzw. den Autor

Ann Patchett is the author of novels, most recently the #1 New York Times bestselling Tom Lake, works of nonfiction, and children's books. She has been the recipient of numerous awards, including the PEN/Faulkner, the Women's Prize for Fiction in the UK, and the Book Sense Book of the Year. Her novel The Dutch House was a finalist for the Pulitzer Prize. Her work has been translated into more than thirty languages, and Time magazine named her one of the 100 Most Influential People in the World. President Biden awarded her the National Humanities Medal in recognition of her contributions to American culture. She lives in Nashville, Tennessee, where she is the owner of Parnassus Books.

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Since their mother's death, Tip and Teddy Doyle have been raised by their loving, possessive, and ambitious father. As the former mayor of Boston, Bernard Doyle wants to see his sons in politics, a dream the boys have never shared. But when an argument in a blinding New England snowstorm inadvertently causes an accident that involves a stranger and her child, all Bernard cares about is his ability to keep his children—all his children—safe.

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Chapter One

Bernadette had been dead two weeks when her sisters showed up in Doyle's living room asking for the statue back. They had no legal claim to it, of course, she never would have thought of leaving it to them, but the statue had been in their family for four generations, passing down a maternal line from mother to daughter, and it was their intention to hold with tradition. Bernadette had no daughters. In every generation there had been an uncomfortable moment when the mother had to choose between her children as there was only one statue and these Irish Catholic families were large. The rule in the past had always been to give it to the girl who most resembled the statue, and among Bernadette and her siblings, not that the boys ever had a chance, Bernadette was the clear winner: iron rust hair, dark blue eyes, a long, narrow nose. It was frankly unnerving at times how much the carving looked like Bernadette, as if she had at some point modeled in a blue robe with a halo stuck to the back of her head.

"I can't give it to you," Doyle said. "It's in the little boys' room, on the dresser. Tip and Teddy say a prayer to it at night." He kept his eyes on them steadily. He waited for an apology, some indication of backing down, but instead they just kept staring right at him. He tried again. "They believe it's actually a statue of her."

"But since we have daughters," Serena said, she was the older of the two, "and the statue always passes on to a daughter—" She didn't finish her thought because she felt the point had been made. She meant to handle things gracefully.

Doyle was tired. His grief was so fresh he hadn't begun to see the worst of it yet. He was still expecting his wife to come down the stairs and ask him if he felt like splitting an orange. "It has in the past but it isn't a law. It can go to a son for one generation and everyone will survive."

They looked at each other. These two women, these aunts, had supported their now dead sister in her limitless quest for children but they knew that Doyle didn't mean for the family's one heirloom to pass to Sullivan, his oldest son. He meant for the statue to go to the other ones, the "little boys" as everyone called them. And why should two adopted sons, two black adopted sons, own the statue that was meant to be passed down from redheaded mother to redheaded daughter?

"Because," Doyle said, "I own it now and so I'm the one who gets to decide. Bernadette's children are as entitled to their family legacy as any other Sullivan cousin." Bernadette had always predicted that without a daughter there was going to be trouble. Two of the boys would have to be hurt someday when it was given to the third. Still, Bernadette had never imagined this.

The aunts did their best to exercise decorum. They loved their sister, they grieved for her, but they weren't about to walk away from that to which they were entitled. Their next stop was to seek the intervention of their uncle. As both a priest and a Sullivan they thought he would see the need to keep the statue in their line, but much to their surprise, Father John Sullivan came down firmly on Doyle's side, chastising his nieces for even suggesting that Teddy and Tip should be forced to give up this likeness of their mother, having just given up Bernadette herself. If he hadn't closed the argument down then, chances are that none of the Sullivans would have ever spoken to any of the Doyles again.

It was a very pretty statue as those things go, maybe a foot and a half high, carved from rosewood and painted with such a delicate hand that many generations later her cheeks still bore the high, translucent flush of a girl startled by a compliment. Likenesses of the Mother of God abounded in the world and in Boston they were doubled, but everyone who saw this statue agreed that it possessed a certain inestimable loveliness that set it far apart. It was more than just the attention to detail—the tiny stars carved around the base that earth sat on, the gentle drape of her sapphire cloak—it was Mary's youth, how she hovered on the line between mother and child. It was the fact that this particular Mother of God was herself an Irish girl who wore nothing on her head but a thin wooden disc the size of a silver dollar and leafed in gold.

Bernadette's mother had given her the statue for a wedding present, and it wasn't until they were home from their wedding trip to Maine and were putting things away in their overlarge house on Union Park that Doyle really stopped to look at what was now theirs. He got very close to it then and peered at the face for a long time. He reached a conclusion that he thought was original to him. "This thing really looks like you," he said.

"I know," Bernadette said. "That's why I got it."

Doyle had certainly seen the statue in her parents' house, but he had never gone right up to it before. His did not have the kind of faith that believed religious statuary was appropriate for living rooms, and now here it was in his own living room, staring down at them from the mantel. He mentioned this to Bernadette. In that bright empty room there was no place else to rest your eyes. The Virgin looked so much larger, holier, than she had in the clutter of her parents' house.

"You don't think it's a bit overtly Catholic?" her young husband asked.

Bernadette cocked her head and tried to divorce herself from her history. She tried to see it as something new. "It's art," she said. "It's me. Pretend that she's naked."

He looped his arms around this beautiful girl who was his wife. The very word, naked, made him kiss her ear. "So where did it come from?"

Bernadette looked at him now. "My mother never told you this story?"

Doyle shook his head.

Bernadette rolled her dark red hair around one hand and then stuck a pencil from her back pocket through the knot to secure it to her head. "That's because my mother's afraid of you. She's afraid of boring you. She tells this story to everyone."

"I don't know if I should be flattered or offended."

Back then there was only one sofa, one dinged up chair, one round leather ottoman that looked like a button. They left the boxes and sat together on the couch, her legs draped over his. "It's a sad story," she said.

"I'll remember it," he said. "That way you'll only have to tell me once."

The story she knew began in Ireland, where her great-grandfather was a boy full of stories and high expectations. When he was still young he settled those expectations on the lovely shoulders of Doreen Clark, a redheaded girl whose beauty was outmatched only by her piety. Doreen Clark had made it clear that she had no interest in any of the boys who took such a keen interest in her. She was leaning towards the convent as if a strong wind were blowing her there. No boy who tried had been able to distract her from her prayers and good deeds, so despite all his best efforts, the great-grandfather's courting met with no success. Despondent, the boy left his hometown of Easkey and was gone for more than half a year. If Doreen Clark ever noticed his absence she did not mention it once, even to her sisters.

"When he came home again he was seventeen," Bernadette said. "He looked leaner, handsomer than anyone had remembered, and he had a lumpy bundle tied to his back. He said he had traveled all over the world trying to put Doreen out of his mind but the cause was hopeless....