Having been steadily rising on the speculative fiction scene, Sarah Gailey broke out in a big way with last year's acclaimed noir-fantasy hybrid Magic for Liars. Now, the author is putting another clever spin on well-worn genres.
EW can exclusively preview Gailey's The Echo Wife, a trippy domestic thriller which takes the extramarital affair trope in some intriguingly weird new directions. The novel follows famed scientist Evenlyn Caldwell, her genetically cloned (and pregnant) replica, and the murder of the husband they were sharing. After a morning that begins with a confrontation and ends with Nathan’s body bleeding out on the kitchen floor, the two Caldwell wives will have to think fast — before sharing everything includes sharing a jail cell.
For those familiar with Gailey's work, expect this one to offer familiar pleasures and some new surprises. And for those who aren't, well, get ready.
EW can exclusively debut the first excerpt from The Echo Wife below. And be sure to check out the creepy cover at the top of this post. The novel publishes Feb. 16, 2021, and is available for pre-order.
Excerpt from The Echo Wife, by Sarah Gailey
My gown was beautiful. It was the kind of garment that looks precisely as expensive as it is. I did not hate it, because it was beautiful, and I did not love it, because it was cruel. I wore it because wearing it was the thing this night demanded of me.
I had bought it six months before the Neufmann Banquet, and, miracle of miracles, it still fit me exactly as well as it had when I’d tried it on the first time. Everything had changed in those six months. Everything except for my body. That, at least, was the same.
Still, I nearly dislocated my shoulder trying to get the buttons on the damn thing done up. Fifteen minutes of trying not to swear, fifteen minutes to do something that would have taken ten seconds if someone else had been there to do it for me. But I did it on my own, in the end. The help would have been convenient, but I didn’t need it.
Twice in my life, now, I have buried myself in finery. Twice I have arranged myself within a great complication of fabric to prove that I understand the importance of a moment. It’s clothing as contrition, a performance of beauty I have put on to pay penance to the people gathered to acknowledge me. They are here to see me, and I must apologize for requesting their attention, must make up for the weight of my demand by ensuring that looking at me will be a pleasant thing. Never mind the suffocation of the outfit, never mind the expense, never mind the impracticality. The transaction must be made: my efforts at beauty in exchange for their regard. And so, twice in my life, I have worn the cost of that recognition.
The process of defeating the buttons distracted me, and so it was only after I had my shoes on that I realized I had no way to see whether I’d achieved enough loveliness to satisfy the demands of the occasion. I used a kitchen knife to cut the packing tape away from my full-length mirror, feeling at once foolish and resourceful. After I’d peeled the layers of protective plastic wrap from the glass, there I was.
I allowed myself a breath of satisfaction: it was enough.
The gown was black silk. The skirt fell perfectly, the darts at my waist making the fabric bell over my hips before draping into crisp pleats. I, inside the silk, was the same person I always was, but the gown was a costume that gave me the right to be notable. It justified the evening I was about to face.
I tilted my head to see that my earrings weren’t too much, ran my fingers across the high bateau neckline.
The task was accomplished. The result was good.
By the time I turned away from the mirror, it was six o’clock. My car was due in four minutes. I turned the lights off in my house and walked into the gray light of early evening to wait.
My wedding gown had also been beautiful, and expensive. It had been nothing at all like my gown for the Neufmann Banquet. Satin instead of silk, and suffocatingly tight. It had been white, gently cut, with a low neckline trimmed in Alençon lace. It had been aggressively soft, determined to be hopeful.
It had been vulnerable, where my Neufmann gown was severe. It had been tender, where my Neufmann gown was pitiless.
On the day that I had worn the kinder of the two gowns, Nathan had snuck into the suite where I was dressing. He walked in with exaggerated stealth, his tuxedo shoes squeaking as he minced pizzicato across the waxed wood floor. He gave me a velvet box with a necklace in it. The pendant floated perfectly above the dip of the lace. He wasn’t supposed to see me—he’d bought the necklace to give me after the ceremony, but he said he just couldn’t wait. He’d wanted me to have it sooner.
He clasped it behind my neck and kissed my cheek and fled before I could scold him for breaking the rules. Before I could bring up the traditions that neither of us cared about, but that both of us had been so determined to follow. When I walked down the aisle, the sapphire of the pendant caught an errant sunbeam and refracted light across the arm of Nathan’s father’s suit.
After the ceremony was over, Nathan touched the hollow of my throat and smiled, a small secret smile that was just for me.
I can’t remember ever wearing that necklace again. It had been a ridiculous extravagance. When would I ever wear a sapphire?
But I watched for that smile. I watched for it every time I dressed up for a date or an event, every time I came home from a conference, every time we made up after a fight. I filled my pockets with that smile. I tucked it away for later, to get me through the lean times when we couldn’t look at each other.
Even then, I think I knew I’d need it.