'The Good Wife': Alicia Emerges Victorious

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Alicia gets the job. After weeks of sustained rivalry, the competition between Alicia and Cary for an Associate position with their Chicago law firm has ended. Alicia is the winner and Cary, who has been politicking with unusual (for him) obviousness, is let go—though not without moment of quiet fury. He will, we are assured, immediately go to work for Peter's bitter enemy, his successor as State's Attorney. And the picture won't be a pretty one.

In the meantime, Alicia helps her firm protect the substantial financial interests of a client whose rocker husband is about to divorce her in favor of a much younger model. On the eve of a contested divorce settlement, the rocker is gravely injured (one has to admire the script-writer's thirst for synchronicity) in a motorcycle accident and is on life supports, presumably for the rest of his life. The older wife wants to keep him alive, though vegetative, on grounds that he always had a zest for life (the ironies abound), failing to mention that until the divorce agreement is complete she would control the rocker's $40 million estate. The new wife wants to pull the plug, on grounds that the rocker always had a zest for life (and possibly because as his widow she would inherit the $40 million).

A shrewd judge rules in favor of the old wife, Alicia's client, but awards wife No. 2 a $1 million/year consolation. Everyone is happy except Cary, though Alicia's moment of triumph is shaded by the discovery that Peter's lawyer, who has helped bring badly-need clients to Alicia's firm, expects a quid pro quo. Alicia must be an active participant in Peter's bid for reelection, something Alicia had declared she was unwilling to do. In Chicago, no free lunch.

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C. Michael Curtis has been an editor at The Atlantic since 1963. Under his direction, the magazine has won numerous fiction prizes, including the National Magazine Award for fiction. More

C. Michael Curtis"Writers crave the intelligence and ardor of this magazine's editors and readership as well as the privilege of inclusion in its pages," says best-selling author Louise Erdrich, who, like so many young fiction writers, was introduced to national readership and subsequent success in The Atlantic Monthly.

Under the direction of senior editor C. Michael Curtis, The Atlantic Monthly's fiction has been nominated for a National Magazine Award virtually every year; in 1988 The Atlantic won this prestigious prize. Year after year short stories from the magazine are chosen for inclusion in the important annual prize collections. Curtis himself was the editor of American Stories: Fiction From The Atlantic Monthly, which was published in 1990. A second volume came out the following year, and 1992 saw the publication of Contemporary New England Stories. A companion volume, Contemporary West Coast Stories, was published in the fall of 1993. A fifth collection, entitled God: Stories, was published in December, 1998, by Houghton Mifflin, and a companion anthology, Faith: Stories, was published in 2003, also by Houghton Mifflin. His own essays, articles, reviews, and poems have been published in The Atlantic, The New Republic, National Review, and Sport, among other periodicals. Curtis is also renowned for his teaching: he has taught creative writing, ethics, grammar, and other subjects for more than thirty years at Harvard, MIT, Cornell, Tufts, Boston University, Bennington, and elsewhere, and now teaches writing at Wofford College, in Spartanburg, SC, where he occupies the John C. Cobb Chair in the Humanities.

Curtis earned a B.A. in English from Cornell in 1956. He came to The Atlantic in 1963 after four years of study toward a Ph.D. in government, also at Cornell. Previously he had worked as a reporter for The Ithaca Journal, and as an editorial assistant at Newsweek. While he was a graduate student, The Atlantic Monthly published three of his poems and employed him briefly as a summer reader.

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