51 pages • 1-hour read
Keith McnallyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of suicidal ideation, mental illness, death by suicide, bullying, sexual content, and illness.
Keith McNally reflects on his attempt to die by suicide in 2018. He was staying at his Martha’s Vineyard house with his second wife Alina and their two children Alice and George. He’d planned to take a large dosage of sleeping pills but discovered them missing the night before his planned attempt. After finding and taking the pills, McNally felt prepared to die.
A year and a half earlier, McNally’s life had felt happy and stable. He was living in Manhattan’s SoHo neighborhood and running eight successful restaurants Downtown. In 2016, he returned to London to see his family. One day, he took the kids to the museum and had a stroke shortly afterward. The stroke rendered his “right side unusable” and made talking nearly impossible (3). Alina did her best to support him but it was most difficult for the kids. After they visited him in Charing Cross Hospital, McNally cried for the first time in decades.
McNally considers how his stroke changed his work. His restaurants were earning $80 million a year but he didn’t care about the money. He ran his businesses with humor and excitement. All of this changed after the stroke. At 65, McNally was otherwise healthy and the doctors struggled to determine the stroke’s cause. His recovery was difficult and his symptoms felt shameful.
Three days after the stroke, McNally’s first wife Lynn and their three children Harry, Sophie, and Isabelle flew from New York to London to visit him. They stayed by his bedside, which upset Alina. Not wanting to interfere, Lynn, Sophie, and Isabelle returned to New York.
McNally recalls the start of his and Alina’s relationship. Their first two encounters were at McNally’s restaurants Balthazar and Pravda respectively. McNally was immediately enchanted by Alina and they soon began dating. They married in 2002, five years later.
McNally reflects on his success as a restaurateur. Although he’s been honored in the industry, he hates award ceremonies. He always felt embarrassed receiving awards, because he believed his success was built on a fraudulent persona.
McNally won a James Beard Award in 2010. Shortly thereafter, he, Alina, and their kids moved into a house in Notting Hill. McNally threw himself into the renovation—an obsession of his. Walking the city during this time, McNally reflected on his childhood and adolescence in London, and his life in New York over years since.
After the stroke, McNally was transferred from Charing Cross to St. John & St. Elizabeth Hospital. Immobile and depressed, McNally’s only relief was sleep; he began taking Ambien regularly. He didn’t yet know this was the pill he’d later use to attempt dying by suicide. He grew even more despondent when he learned he’d most likely never regain the use of his right hand. Not long later, he discovered the stroke had been caused by a coughing fit—which he often had when he was stressed.
For Christmas, McNally temporarily went home. He and Alina had sex in his rented hospital bed. After Alina retreated to her own room, McNally lay awake feeling alone.
The new year proved difficult. McNally was still recovering in London and his restaurants were failing. He’d wanted to get out of the lease for his restaurant Pastis, but the landlord wouldn’t release him. Despairing, McNally found comfort in his son Harry’s presence. They’d been close in the past, but Harry’s presence during McNally’s recovery brought them back together. They used to take regular hiking trips, but drifted apart when Harry dropped out of college. McNally was desperate to escape his lower class origins and thought college was vital for Harry.
McNally reflects on his childhood in Bethnal Green, a neighborhood in London’s East End. He was born in 1951 to his working class parents, Jack and Joy. He had a younger sister Josephine and two older brothers, Peter and Brian. His brothers constantly tormented him, and his parents were always fighting. McNally speculates that Joy resented Jack because she was still heartbroken over her first unrequited love. McNally didn’t truly get to know her until later in life. Joy died in 1998.
Four years later, Jack moved in with McNally in Greenwich Village. Jack insisted on working although he was in his eighties. When he wasn’t separating trash at Balthazar, he was watching movies. He died in 2008. As with Joy’s death, McNally felt guilty after Jack passed away. He wished he’d spent more time with both parents.
McNally considers the impact his sibling relationships have had on his life. He recalls all of his brothers’ bullying when he was young, and his and Josephine’s connection. Over time, however, these dynamics changed.
McNally reflects on his academic experiences. He liked to learn but didn’t like the school environment. He dropped out when he was 16. Not long later, he started working on film sets and taking acting gigs. He traveled the London area, performing in various plays. Despite all the important global events of the late 1960s, McNally was consumed in his new life. It was through the theatrical venue that he met various playwrights.
McNally recalls his relationship with Alan Bennett. The two met while acting in Forty Years On. Alan was older and the two started spending all their time together. They soon began an intimate and sexual relationship. McNally loved Alan’s company because he was knowledgeable and cultured. Through Alan, he also met Jonathan Miller, another talented artist. McNally learned about literature and art through both men.
McNally recalls the first time he read Siddhartha. It was 1992 and he was seeing Alan. The book inspired his forthcoming travels. He visited Kathmandu, Luxembourg, and Afghanistan. Each of these places deeply impacted him. Afghan culture was particularly eye-opening in regard to hospitality, food, and generosity.
Although McNally kept making plans as he traveled, he struggled to follow through. He shifted from place to place, meeting new people and making new acquaintances. Among them was a woman named Monique. McNally felt connected to her after they had sex, but she soon left his side. Her absence deeply affected McNally.
In 1971, McNally traveled back to London and moved back in with his parents. He started dating Christine Baker while continuing his relationship with Alan. Meanwhile, he worked at the meat market in Smithfield. He also worked at a paint factory in Wigan. He didn’t leave these jobs until he returned to the film and theatrical industries in the mid-1970s. He also had other relationships at this time, including with a woman named Chloe. Although McNally was intensely attracted to her, Chloe wouldn’t let McNally touch her.
Finally in 1975, McNally moved to New York, marking the end of his romantic relationship with Alan. He reflects on their connection and one of the last times he saw Alan.
In the opening chapters of Keith McNally’s memoir I Regret Almost Everything, McNally reflects on the trajectory of his life from adolescence to adulthood—retrospection that conveys his constant Search for Meaning and Purpose. Having grown up in “a working-class family in the East End of London,” McNally sought to establish a life beyond his humbling beginnings (27). He left school when he was just 16 years old, began acting, working on films, taking odd service and factory jobs, traveling Europe and the Middle East, and engaging in an array of intimate relationships. All of these decisions were inspired by McNally’s longing for personal fulfillment.
As McNally attempts to process how these aspects of his life fit together, he employs a reflective, introspective, and open tone. His willingness to own his faults and to admit his mistakes conveys how his stroke at the age of 65 altered his outlook on life. Although McNally’s stroke is not the start of his life story, he places this event at the forefront of the memoir. Doing so conveys the life-changing nature of this medical emergency. Writing about the stroke grants McNally a throughway into the rest of his story. “My new life,” he says of the days immediately following his stroke, “seemed ungraspable. It existed, but was outside of me” (3). Unable to use the right side of his body and nearly incapable of verbal communication, McNally was forced into a new state of being. McNally thus identifies this event as a turning point in his life—one that has since altered his understanding of his own evolution and ongoing pursuit of fulfillment. His willingness to detail this traumatic medical incident on the page conveys his desire to make sense of how his past led him to this pivotal point in his life. Further, his reflective tone invites the reader into his story—asking her to navigate the annals of his heart, mind, and spirit along with him.
McNally formally establishes a stark contrast between his adult life in New York City and his adolescence in London—a social and economic disparity that reiterates McNally’s desperation for a purposeful life. Before his stroke, McNally was a proverbial legend in New York’s dining industry. His restaurants “were taking in $80 million a year” (2) he’d received a James Beard Award, and was widely known as “The Restaurateur Who Invented Downtown” (5). These aspects of McNally’s New York existence compare and contrast with his coming of age in London. His parents worked hard to make ends meet and had a volatile relationship. McNally was an outsider amongst his brothers and at school. Leaving home to travel Europe and Asia—and later immigrating to New York—were McNally’s attempts at remaking himself. At the same time, the honors that McNally received in the restaurant industry over the years did little to authenticate his seemingly obvious entrepreneurial success. His musings on the James Beard award provides insight into McNally’s seemingly double life. After winning the Outstanding Restaurateur award, McNally threw the medal away, feeling disgusted with himself:
This kind of self-loathing had gnawed at me for years, and the more successful I became, the worse it got. It seemed that my entire life in New York was based on deception. I’d flourished as a maître d’ not through hard work but as a result of an eagerness to tailor my character—Zelig-like—to fit the customer. I won the guests over with superficial charm or phony self-deprecating humor. […] I designed my character (13).
This passage implies that McNally didn’t believe he deserved his success. He may have established himself in the restaurant industry, but to do so he’d felt compelled to disassociate from his working-class origins and therefore to fabricate an alternate version of himself. His vocational successes thus gave him little meaning because they were founded in inauthenticity. McNally made a subsequent move back to London thereafter—a relocation that conveys his desire “to search for something from [his] past” to better understand the meaning of his life in the present (13).
In retelling his story, McNally alternates between the past and present tenses and disrupts chronological time—formal choices that enact his adult attempts to reconcile competing eras of his life. In one chapter McNally will meditate on the psychological impacts of his stroke in 2016, while in the next he’ll muse on his theatrical jobs in the 1960s and 1970s. These temporal vacillations capture the memoir’s subtextual explorations of how a person’s past influences their self-understanding and personal fulfillment in the present.



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