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Jo and Shelley head to Kim’s mansion for Thanksgiving dinner. Over the years, the lovers rekindled their romance, traveling to places like Barcelona, Venice, and Alaska. Jo feels guilty not giving Lila much attention as she grew up, but she was preoccupied with Shelley. She sent Lila to Dave’s, Bethie’s, or friends’ houses so she could spend time alone with Shelley. Lila is disgusted and angry at her mother and her lesbian relationship. Lila acts out by getting a nose job with Dave’s money, not attending college, starting fights, and calling Jo by her first name. Jo worries Lila won’t find a real job or purpose, but Missy gets her a job at the prestigious publishing house where she works with bestselling editor Lester Shaub.
Jo plans to tell her family about her recent breast cancer diagnosis at Kim’s. So far, only Kim and Bethie know about Jo’s health. Kim married Matt, a wealthy businessman, and lives in an enormous house with her toddler, Flora, and newborn, Leonie. Matt’s mother, Sandra, openly despises Jo and Shelley for being lesbians.
At dinner, though Lila is late, Kim announces she’s not returning to work as a lawyer. She wants to give her daughters undivided attention, then go back to work; Jo worries this will make Kim unhappy because she’s always been a go-getter who loves her job. Lila barges in, “eyes […] unfocused” (434), and accuses Kim being like every other woman in her neighborhood with advanced degrees but no career. She says Missy is the only one doing it right, with no husband or kids—though Lester, the “legendary editor,” gets whatever he wants (435). Lila insinuates he takes sexual advantage of his authors, so she and Missy erupt into a fight. Missy says that Lila came on to Lester and questions her about being on a dating website called Sugarbabies. Jo and the others try to calm everyone. Lila throws Jell-O onto a painting worth thousands of dollars and trips, hurting her ankle. Bethie and Harold bring Lila to the hospital.
On the drive to the hospital, Bethie and Harold try to discuss what Lila was implying about Lester at the publishing house. Lila doesn’t open up at first, until Bethie reminds her about her past. Since Lila is aware of Bethie’s rape, she explains that Lester took special interest in her. He’d ask about her boyfriend, personal tastes, and her “everyday” opinion, since he could tell she wasn’t a reader or writer like the others. He’d touch her for too long, grabbing her breast sometimes. One night after work, Lester cornered her in a bar and kissed her, but Lila pushed him off. Bethie offers sympathy and insists she tell Missy. Lila doesn’t want to get Missy in trouble, adding that her sister thinks Lester is a god and won’t believe her anyway.
At the hospital, Lila is treated for her sprained ankle. Jo and Shelley arrive with dessert leftovers for Bethie and Harold. Bethie discusses Lila’s story with Jo, who isn’t sure what to believe, since Lila tends to exaggerate, but Lester is about 70 years old, so she wants to trust her daughter. Bethie and Harold ask when Jo will tell everyone about her cancer just as Lila returns on crutches; Jo wants to delay her announcement, but Shelley pushes her to reveal it. Lila reacts sympathetically about the cancer and hugs her mom.
During her second round with breast cancer, Jo decides to forgo treatment. Ten years after her first cancer experience with a mastectomy, she doesn’t want to go through the pain again. Shelley had argued with her, but Jo didn’t back down. Now, they’re on a plane to Atlanta to visit Bethie and hopefully her girls, as Bethie converted Blue Hill Farm into a bed-and-breakfast, renting out the house for her family and planning Jo’s nursing care.
In Atlanta, Jo is set up with hospice care. She’s excited to watch Hillary Clinton’s presidential run, chatting about living to see this day with Bethie and Shelley. Kim arrives first and sees her mom with no hair and looking weak. Teenage Flora and Leonie are behind her. Jo is grateful she got to watch her grandkids grow up and help raise them. Kim divorced Matt when her girls were young since she couldn’t be the stay-at-home wife he wanted. Kim returned to work as an attorney, trying to balance her motherly duties with work; Jo and Shelley helped attend to her daughters, with Jo always telling Kim, who felt guilty, that she was doing her best.
Missy comes next, who feels guilty for not believing Lila and the other rumors about her boss, Lester. His sexual assaults, “ranging from unwanted touches and kisses to rape” came out (454). Though Missy defended him, he retired, leaving the tainted publishing house to Missy. Missy admits she’s not the feminist Jo raised her to be since she didn't believe the women. Jo tells Missy she can’t undo past mistakes and can only look forward and do better to fix problems.
Lastly, Lila arrives from her world travels. She doesn’t interact much with her family but stays with Bethie and Harold every once in a while. Lila seems different, less dramatic, and Shelley and Jo wonder why. A few days later, as Jo gets weaker, Lila calls her “Mommy” like a child and tells her she’s pregnant. She promises she wants the baby, since she always loved babysitting and that Bethie will let her work and stay at Blue Hill Farm. Bethie says she owes Jo.
Jo is happy for Lila, telling her she will make a great mother. She tells them all to take care and drifts into the unknown, thinking of her parents and Bethie when they were little and telling her little sister stories.
Bethie, Shelley, Harold, and Lila’s little boy, Tim, along with her nieces and grandnieces, travel to the old house in Detroit. Reminiscing, they show “Tiny Tim” the house where Jo and Bethie grew up. Flora explains to Tim that she goes to college in Ann Arbor nearby. Tim mentions how Jo was his mom’s mom, his grandmama, but she’s dead; he asks if Lila misses her. The others stifle tears. Lila responds that she does. She regrets that she wasn’t the best kid and tells him how Jo would have loved him. Bethie wishes Jo could have seen how Lila turned out, a patient, doting mother. Bethie takes a picture of the old house on her phone to savor the memory.
In the book’s conclusion, there are many moments that develop the themes of Feminism and Women’s Rights and Family Dynamics. For instance, Jo’s daughters each must confront how they will navigate society’s expectations of women. Kim sacrifices her happiness, as Jo did, to stay home with her young daughters instead of going back to work as a lawyer. Kim’s job gives her purpose and joy, but she admits to Jo she feels her daughters need more attention. Later, Kim changes her mind because motherhood is taxing and boring; Jo agrees about the complexities. Kim honors herself by going back to work and divorcing Matt, who only wanted her to be a housewife. Jo had encouraged her to fight for what she truly wants and not sacrifice too much time being unhappy, as Jo did with Dave. Missy stood by her boss, Lester, who is guilty of multiple sexual assaults—including groping Lila. She finds herself ostracized within the publishing industry because Lester has “tainted” their business’s reputation. Missy regrets her wrong choices because she defended a criminal, but Jo, who’s dying, tells her she didn’t know any better. Lila admits to Jo she’s pregnant; Jo confirms the baby is wanted, and Lila promises she will be a great mother with Bethie’s help. Approaching the end of her life, Jo reconciles the Mother-Daughter Conflict she felt with her own mother by supporting each of her daughters in their individual paths. She doesn’t expect them to fulfill her own dreams or conform to any stereotype; accepting each daughter’s choice is what Feminism and Women’s Rights mean to her. In this way, she heals her daughters’ Family Dynamics as she faces death.
In the final chapters, Jo acts as the family’s matriarch and imparts lasting lessons to her daughters so they can live with contentment rather than trying to be perfect or do everything, as the world expects. She never stops fighting for women’s rights, as she’s grateful for how far women come. She is grateful to see Hillary Clinton run for president, something she and Shelley agree they never thought they’d live to see. Jo explains that the world insists women should be the ideal mother, sister, employee, etc., but everyone will fail and try again—and more importantly, her daughters don’t need to be anything except themselves. They don’t need to fit any molds, as she learned through her struggles to finally return to Shelley. Thus, the title Mrs. Everything is significant, as Sarah, Bethie, Jo, and Jo’s daughters all struggle with their concept of the ideal woman as they navigate marriage, partnership, children, careers, illness, and self-fulfillment. In the end, Jo bluntly rejects the restrictive roles society imposes and shares lasting wisdom with her daughters.
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