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Content Warning: This section of the guide features discussion of illness and death.
In her ongoing letter to Ruthie, Flo shares many memories, including a time when a very young Ruthie created whimsical paper fortune tellers and even wrote a few unfavorable fortunes, such as one predicting that the recipient would be run over by a truck. Flo recalls scolding Ruthie for being negative, only for Ruthie to tell her, “Life is not all fun and games, Flo” (51). In the letter, Flo bequeaths Ruthie her small table and her well-seasoned cast-iron skillet and asks her to keep them; she also asks Ruthie to use the long, elegant tapers that she has saved for years because she was always too hesitant to use them. She then shares her recipe for cooking corn on the cob. She describes an especially beautiful morning on which she felt suddenly terrified by the thought of death, unwilling to leave the beautiful world behind, but she says that she overcame her fear through prayer. She confesses her lifelong anxiety about entertaining guests and advises Ruthie not to waste years on similar worries.
Putting aside the letter, Flo walks to the library to research a way to help Teresa. On the way, she meets her neighbor, Mildred Curtis, an 82-year-old former actress. Mildred excitedly shares that she recently went ice-skating on a frozen lake at 1:00 in the morning and sold an article about the experience to Retiree magazine for $300. At the library, Flo asks the librarian, 53-year-old Mimi, about online dating sites, saying that she wants the information for a friend. Mimi encourages her, provides a list of dating apps, and admits that while her own experience on such sites has been less than satisfying, she continues to try. Flo leaves with the list, intending to give it to Teresa without mentioning Mimi’s unenthusiastic review.
Continuing her letter, Flo recalls how Terrence once packed her hard-boiled eggs for a train trip, drawing a heart on the shell and fashioning a tiny salt shaker. She also recounts a time when, after a bad fight, she slept in the guest room, only to wake up and find Terrence asleep on the sofa. When she woke him to come to bed, he thought she was an angel.
One night, Flo wakes from a nightmare about the devil. She calms herself by remembering Terrence’s advice to picture the devil wearing diapers. This trick makes her laugh. To remind herself of this coping mechanism, she goes downstairs to retrieve a large safety pin in her sewing basket, but the climb back upstairs is a physical struggle. Lying in bed again, Flo feels that Terrence is still taking care of her from beyond the grave; she reaffirms her belief that she will see him again in heaven.
In her letter, Flo recalls inventing stories for the young Ruthie, with titles such as “The Lonely Little Pizza.” She also recalls that when Ruthie came home for Christmas break in college, the two took a walk around the block; Ruthie confessed to having sex before marriage, fearful that Flo would disapprove, and was relieved at Flo’s non-judgmental response. In the letter, Flo notes that Ruthie’s more recent letters to her have focused on marital problems with her husband, Jonathan, and the possibility of divorce. Flo again promises Ruthie that she will soon reveal a long-held secret, noting that the secret concerns an event that occurred between herself and Terrence.
Putting the letter aside, Flo sits in her living room after a rainstorm and privately reflects on the “terrible secret about Terrence” (76). She remembers how they had talked through the unnamed issue and how she had found the strength to make a decision. As rainbows appear outside, Flo feels happy when she thinks of Ruthie, Teresa, and what she still has time to do.
In her letter to Ruthie, Flo writes about her favorite coffee mugs and her collection of ironed cloth napkins, expressing her hope to go to a hospice facility if she can no longer live at home.
Teresa visits Flo on the porch one day. Flo raises the topic of dating sites, but Teresa deflects and changes the subject; Flo reminds herself not to push.
A week later, Teresa visits again and reports that she has befriended Mimi, the librarian. She also reveals that she went on a coffee date with a cashier from her grocery store—a kind-hearted man who has a pet parakeet named Zelda—but she is pessimistic about the future of this connection, admitting that she always ends relationships. When prompted, Teresa shares a fantasy in which a man drives her out of town on a spontaneous late-night date and looks up at the sky, telling her, “I need all this room to hold the feelings I have for you. And have had, for a long time” (84). Flo urges Teresa to perform this same romantic gesture for the cashier that night. Teresa agrees to take him to see the stars after their dinner, but she insists that she will not make any grand declarations. After the conversation, Flo rests on her sofa, tired but satisfied, hoping that Teresa will follow through.
Flo’s letter reveals that she is bequeathing her house to Ruthie; she knows she could just tell Ruthie herself now, but she wants the gift to be a surprise. She then tells the story of a rubber band that she keeps in a small box, explaining that early in her marriage, when Flo was feeling insecure, Terrence stretched a rubber band to its limit and let it go to show how their love would always snap back to its original shape after any conflict. Flo uses this story to show Ruthie that her marriage to Jonathan can also be repaired.
After a restless night, Flo reflects that her letter is an “autobiography in things” (91), then goes to sit on her front porch before dawn to watch the day begin. She reflects on her late friend, Connie, and the importance of appreciating daily life. Terrence once told her about a language in which people greet each other by saying “You are here” because they have no word for “hello.” He also mentioned an African language in which people don’t say “I’ll see you” but instead say “Somehow” (93). Flo interprets this as a declaration of “determination in the face of uncertainty” (93). The memory moves her to tears and strengthens her resolve to complete her final message to Ruthie.
With Flo’s reflection that her ongoing letter is an “autobiography in things” (91), Berg reinforces the novel’s thematic focus on The Meaning in Everyday Objects, for under cover of recounting the stories of her various possessions, Flo broaches much more serious topics, touching upon important life advice and hard lessons learned. As each mundane item gains a new measure of significance, the decades-long rhythm of Flo’s life and connections unfold. In her eyes, a well-seasoned cast-iron skillet is a vessel of paternal love, and a collection of elegant, unused candles becomes an emblem of a life lived too cautiously. Specifically, the unused candles represent a pattern of hesitation that Flo now urges Ruthie to reject, while her favorite “Mr. Rooster and Mrs. Hen” (77) coffee mugs remind her to appreciate the simple, daily comforts that sustain a long marriage. Most importantly, however, she uses the story of the rubber band to deliver an emphatic lesson on marital resilience, passing on her own experiences in a context that might benefit her younger friend with her own marital troubles. Collectively, these detailed inventories suggest that a person’s legacy is most authentically located in the love-infused artifacts of a life fully lived.
Yet even in the midst of dispensing calm wisdom, Flo shows evidence of her own inner struggles, as when she awakens terrified from a nightmare about the devil. Gripped by a paralyzing fear of damnation, she awakens only to wrestle with the more immediate demon of her own impending mortality, and the stark aloneness of her late-night vigil emphasizes the idea that every human must face this inward battle alone. However, just as the imagery reaches its bleakest point, Flo finds a new form of solace in recalling Terrence’s practical, humorous advice to picture the devil in diapers. This mental trick reminds her of her fonder moments with her husband and defangs the vestiges of the nightmare, allowing her to dissolve her terror with the force of pure laughter. In managing her own fear, she succeeds once again in Approaching Death with Equanimity, finding a creative, courageous, and playful way to navigate her fears with help from her husband, who remains with her in memory even many years after his death. Even at her life’s end, she remains fully engaged with the world around her and the people in it.
Flo’s determination to help Teresa find love makes her an active agent of connection for a younger generation and helps take the focus off of her own impending demise. Her concern for Teresa’s happiness also reflects her broader dedication to The Importance of Fostering Intergenerational Connection, and by visiting the library to research dating sites, she initiates a chain of events that pushes the solitary Teresa toward new relationships. With the discovery that this online landscape holds equal space for a librarian like Mimi and a 95-year-old man to seek companionship, the novel systematically dismantles the notion that romance is the exclusive province of the young. In this context, Flo’s wisdom and encouragement help to reverse her younger friends’ misconceptions, especially when she uses the lessons from her long marriage as a mentorship tool. This motivation surfaces when she urges Teresa to perform the grand romantic gesture that Teresa is too afraid to imagine. By investing in Teresa’s happiness, Flo maintains an outward focus, participating in the ongoing stream of life even as her own draws to a close.
Even in the novel’s smaller moments, Flo’s decision to tell seemingly frivolous anecdotes creates a whimsical, intimate tone that captures life’s random charm. From inventing the tale of “The Lonely Little Pizza” for the child Ruthie to receiving an older Ruthie’s intimate confession about sex, Flo has long served as a vital guide for her friend’s emotional growth. These remembered exchanges may be mere snapshots of a much richer life, but they collectively highlight a lifetime of trust and communication between the two women.
The novel’s depiction of storytelling as a way to make meaning from experience extends beyond Flo and Ruthie’s dynamic as well. For example, after Mildred makes the adventurous move to go ice-skating, she gleefully writes and sells the story of her private experience, giving it a public life and a tangible value for minds beyond her own. Likewise, Teresa, despite her cynicism, reveals her deepest desires through a scripted romantic fantasy, a story that she tells herself about the kind of love she really wants. Even language itself becomes a source of deep meaning when Flo recalls Terrence’s lessons about other cultures’ greetings. The idea of saying “You are here” instead of “hello” and “Somehow” instead of “I’ll see you” imbues simple phrases with an aura of hope. Recalling Terrence’s claim that some African languages use “somehow” in place of “I’ll see you,” Flo sees this expression of “determination in the face of uncertainty” (93) as a perfect encapsulation of her letter to Ruthie, which is helping her to face her own mortality.
As an extension of this unique storytelling pattern, the novel’s epistolary format provides the narrative with a deeper emotional weight, for Flo’s periodic additions to her ever-lengthening missive create a deliberate rhythm that adds sense and meaning to what would otherwise be nothing more than a random, disconnected clutter of thoughts. In the fluid, nonlinear dimension of the letter, Flo can seamlessly move between her past memories, her present-day activities, and her advice for her friend’s future. This structure mirrors the associative nature of memory itself, suggesting that a life is best understood as a constellation of meaningful moments. In this light, the letter represents Flo’s attempt to distill a lifetime of experience into practical wisdom for Ruthie, thereby giving her own life new levels of enduring meaning. By committing her memories to paper, Flo builds a legacy for herself, ensuring that her voice and love will continue to guide Ruthie long after she is gone. The letter is her final, most important story, one designed to shape the future of someone she loves.



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