'The Good Wife' Wants To Be an Ex-Wife

Fed up with her husband's philandering, Alicia finally blows a fuse. But will this, too, pass?



The fat is finally in the fire. After months of often sublime forbearance, Alicia blows a fuse. Having learned that Peter's apparently compulsive womanizing swept Kalinda on to his dance card—many years before Kalinda became one of Lockhart & Gardner's legal investigators—Alicia manages, in what appears to be about 15 minutes, to find and rent a small downtown apartment, pack Peter's belongings into cardboard cartons, have those cartons picked up and delivered to the new apartment, then arrange to meet Peter there so that she can hand him the keys and tell him their marriage is over.

Not surprisingly, Peter is taken aback, and once again penitent, but their conversation quickly spirals into anger and the two part with the requisite door-slamming. Shall this, too, pass? We have three (or is it two?) weeks to find out, say the program's producers.

Domestic sturm and drang aside, Alicia demonstrates that a surgeon who has removed her client from a list of liver transplant prospects is prejudiced against tattooed heavy drinkers and has earmarked an available liver for an aging but generous contributor to the hospital where the surgeon works. In defending her client's right to be next in line for a liver transplant, Alicia has to deflect a number of dubious ploys on the part of Martha Plimpton, the opposing attorney.

Alicia must also endure a scolding from Peter's mother, a tearful confrontation with her heartbroken children, and the forever looming figure of Cary who, now unemployed, considers resuming his career at Lockhart & Gardner—unless Peter, in a grim final scene, decides to keep him on the State's Attorney staff, essentially because of his adversarial relationship with Alicia.

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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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