51 pages 1-hour read

I Regret Almost Everything

Nonfiction | Autobiography / Memoir | Adult | Published in 2025

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Chapters 21-32Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of chronic illness, mental illness, sexual violence and/or harassment, and death.

Chapter 21 Summary

McNally reflects on his interest in cycling during the 1980s. After a friend told him about a recent cycling feat, McNally was eager to attempt something similar. He spent weeks biking through France, a time that challenged him physically and mentally. In particular, the trip augmented his self-doubt. He identifies this insecurity as inspiration for his interest in talented people. He reflects on his influential friendships with people including Jonathan Miller, Oliver Sacks, and Christopher Hitchens. Years later, his fears of insignificance would grow after his stroke.

Chapter 22 Summary

McNally details the history of his restaurant Pastis, which opened in 1998. It was difficult to secure the Pastis space because the building was owned by a notorious New York landlord named Bill Gottlieb. However, McNally deftly managed Gottlieb’s idiosyncratic personality and successfully opened Pastis. A decade later, he’d open a second Pastis with the help of Bobby Cayre.

Chapter 23 Summary

McNally reflects on his relationship with Alina. In 2000, the two moved in together, now sharing McNally’s SoHo apartment. He recalls the months they spent together and their on-again/off-again dynamic. This period was also peppered with McNally’s ancillary relationships, including with a famous actress he refers to as X. The dynamic was complicated and confusing for McNally, as X only showed interest in him because of his restaurateur success. The relationship became even more confusing when sleeping with X made McNally miss Alina—with whom he was temporarily separated. However, when he and Alina reunited, he began to miss X again. After writing her a frustrated letter one night, he decided to let X go.

Chapter 24 Summary

Three years after Balthazar opened, McNally considered opening a sister restaurant in Las Vegas. The offer was almost irresistible, but McNally turned it down and opened Schiller’s Liquor Bar on the Lower East Side instead. The restaurant didn’t last long, but it felt fun and truer to McNally than any Las Vegas restaurant ever could have.

Chapter 25 Summary

McNally found further aesthetic and artistic inspiration from his hikes through England in the early aughts. The monasteries and the work of Giorgio Morandi were especially influential. He even named one of his restaurants Morandi after the painter. Not long later he opened Minetta Tavern, his 10th restaurant. Nasr and Hanson were still working for McNally at the time. However, when they tried intervening and demanding more shares in the restaurants, McNally refused. They’d go on to open other successful restaurants, and McNally’s restaurants would temporarily suffer as a result.

Chapter 26 Summary

McNally recalls his 2008 trip to Guadeloupe with Alina, George, Alice, and his father. He read Life with Picasso while away and developed an interest in Picasso’s former girlfriend Françoise Gilot. Not long later, he connected with Gilot and shared dinners with her at his restaurants. He also met Monica Lewinsky at Balthazar in 2014, an encounter that clarified his misconceptions of her story.

Chapter 27 Summary

McNally reflects on his successes throughout the aughts. He became overly confident. Even bad reviews didn’t deter customers. Therefore, when Pulino’s started to fail, McNally did everything to revive the restaurant. Then in 2011, he opened another Balthazar in London. He reflects on all the work he invested in the project.


McNally remarks on the important relationships that contributed to his success. Most notably, his server and manager Roberta Rossini Delice was essential to opening his restaurant Augustine. However, while the New York Times complemented its aesthetic, they heavily critiqued its food. McNally feared he was losing his touch in the industry.

Chapter 28 Summary

McNally details the circumstances surrounding his brother Peter’s death in 2017. McNally had known Peter was sick with cancer, but they hadn’t been in regular communication. McNally claims that Peter had hermetic tendencies and often removed himself from others. McNally also muses on Peter’s work as a spy, suggesting that what made him good at espionage inhibited his interpersonal relationships.

Chapter 29 Summary

In the months after his stroke, McNally fell into a depression. He cut off contact with everyone outside his family. Meanwhile, he was constantly stressed about his restaurants. This was also the start of the #MeToo era. In 2017, McNally was accused of sexual harassment by his assistant Ava Meadows. Ava claimed that McNally had pressured her to shower with and massage him after his stroke. McNally claims innocence, explaining that he only asked her to hand him a towel and was clothed. Despite his defense, McNally still had to pay Ava $220,000. After the settlement, Ava withdrew her allegations and apologized.

Chapter 30 Summary

McNally details all of the ways his stroke has changed his life. He still has trouble speaking and can’t use his right hand. He’s had to relearn basic skills, which is frustrating because he loves language so much.

Chapter 31 Summary

In 2017, McNally and Alina stopped talking. Meanwhile, he pursued a new rehab treatment in San Diego. The program was ineffective for McNally, augmenting his discouragement. Six weeks later, however, he found a new set of therapists at Mount Sinai Hospital. He also received treatment in Chicago after another neurological surgery. The only downside of this post-op therapy—which included Botox injections—was that Dr. Sutcliffe was obsessed with restaurants and bombarded McNally with news of his competitors’ successes during their sessions.

Chapter 32 Summary

McNally considers how his stroke changed his perspective. Although his recovery was slow, he continued working, hoping that keeping busy would ward off his depression. With Ian McPheely, McNally codesigned a new Pastis. The plans were progressing until McNally’s investor Dick Robinson withdrew his investment just before opening. However, a nightclub owner named Marc Packer “expressed interest” and agreed “to form a partnership” with McNally (238). Fellow restaurateur Stephen Starr was also integral to the new restaurant’s success. Eventually, McNally gained the support of the neighborhood and secured Pastis’s liquor license, too. He felt hopeful afterward, unaware that he’d soon encounter disaster in his personal life.

Chapters 21-32 Analysis

Over the course of Chapters 21 through 33, McNally alternates between depictions of his personal, vocational, and interpersonal experiences to further explore his lifelong Search for Meaning and Purpose. Although a successful businessman in the public sphere, McNally’s constant internal questioning complicated his belief in himself. Employing his characteristically forthcoming tone, McNally asserts that his self-doubt originated from his habit of comparing himself to others. “Since [his] early teenage years,” McNally confesses that he’s “had a nagging awareness of [his] own limitations” (173). His constant fear that he was less talented, gifted, and skilled than his colleagues and contemporaries inhibited McNally’s pursuit of happiness. At the same time, McNally avers that his insecurity has also drawn him to “those who are truly gifted,” and thus compelled him into relationships with people who incidentally offered him guidance and an education (173). These overlaps between McNally’s emotional and social spheres convey McNally’s lifelong fear of meaninglessness—a fear that inadvertently dictated his meandering search for purpose and happiness.


McNally’s concurrent vocational accomplishments and mental health struggles convey how culturally accepted notions of success don’t necessarily guarantee personal fulfillment. Having opened and/or owned roughly 20 restaurants, McNally is the picture of success from an outsider’s perspective. What McNally’s heartfelt, confessional memoir reveals is that despite all of the money he was making, all of the good reviews he got, and all of the relationships he established through his work, he struggled to find lasting contentment. McNally’s narrative incorporation of his side projects or pet interests capture his relentless Search for Meaning and Purpose, too. For example, McNally devotes large swathes of the text to detailing his cycling adventures, his hiking trips, his monastery tours, and his antique and art obsessions. Upon first glance, such narrative tangents appear irrelevant to McNally’s overarching story. Upon closer examination, such narrative strays imply that McNally was looking for meaning in any possible arena—be it artistic, athletic, vocational, or sexual. Indeed, McNally also incorporates lengthy depictions of his intimate relationships into these chapters. Such anecdotes reiterate McNally’s longing for authenticity, grounding, and balance. This is particularly evident in his concurrent relationships with Alina and X. When he was with Alina, he longed for X, and when he was with X, he longed for Alina. The same pattern applied to his vocational and personal dynamics; when he successfully opened one restaurant, he immediately began plans for another. When one hobby proved too difficult, McNally would seek out an alternative. These behavioral patterns convey McNally’s restless and searching spirit. They also suggest that being alive is defined by a constant need for gratification, affirmation, and fulfillment.


McNally’s narrative structure enacts the meandering movements of his internal world. In the same way that McNally vacillated between restaurant projects, international cities, and intimate relationships, the text alternates between temporal and geographical settings. For example, Chapter 23 ends with McNally asserting that two months after he wrote an angry letter to X, “I forgot all about her” (192). Chapter 24 then opens with McNally’s vow “never to open a restaurant in Las Vegas” (193). This non sequitur mirrors McNally’s seemingly unmapped movements through life. McNally is thus using his formal choices to immerse the reader in the textures, vacillations, and quests of his youth and adulthood. Rather than alienating the reader, this atypical narrative structure invites the reader in. McNally has chosen not to manipulate his story and impose a neat chronology on it—a technique that would risk the same performative tendencies McNally regretted early in his career. Instead, McNally renders his account in accordance with his ever-evolving interests, moods, and questions. These formal techniques reiterate McNally’s devotion to authenticity. He is writing his account in a way that feels true to his life, his experience, and his character.

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