Back Loathe to Love You Save as PDF
Contents ( 53)
  1. Praise for Ali Hazelwood
  2. TITLES BY ALI HAZELWOOD
  3. LOATHE TO LOVE YOU
  4. Contents
  5. Under
  6. One Roof
  7. Prologue
  8. One
  9. Two
  10. Three
  11. Four
  12. Five
  13. Six
  14. Seven
  15. Eight
  16. Nine
  17. Ten
  18. Eleven
  19. Twelve
  20. Thirteen
  21. Epilogue
  22. Stuck
  23. with You
  24. One
  25. Two
  26. Three
  27. Four
  28. Five
  29. Six
  30. Seven
  31. Eight
  32. Nine
  33. Ten
  34. Eleven
  35. Twelve
  36. Epilogue
  37. Below
  38. Zero
  39. Prologue
  40. One
  41. Two
  42. Three
  43. Four
  44. Five
  45. Six
  46. Seven
  47. Eight
  48. Nine
  49. Epilogue
  50. Bonus
  51. Chapter
  52. Acknowledgments
  53. What’s next on your reading list?

“Sorry, honey, we’re all out of croissants.”

To be clear: I don’t even want a croissant. Which I know sounds weird (everybody should always want a croissant; it’s a law of physics, like the Fermi paradox or Einstein’s field equation), but the truth is, I would gladly do without this specific croissant—if this were a regular Tuesday morning.

Unfortunately, today is pitch day. Which means that I’m meeting with potential future GreenFrame clients. I talk to them, tell them the hundreds of little things I can do to help them manage large-scale sustainable building projects, and hope they’ll decide to hire us. It’s what I’ve been doing for about eight months, ever since I finished my Ph.D.: I try to bring in new clients; I try to keep the ones we already have; I try to ease Gianna’s workload, since she just had her first baby—who, incidentally, is three babies. Apparently, triplets do happen. And they’re adorable, but they also wake one another up in the middle of the night in a never-ending spiral of sleeplessness and exhaustion. Who would have thought? But back to the clients: GreenFrame has been venturing dangerously close to not-quite-in-the-black territory, and today’s pitch meeting is critical to keep the red at bay.

Enter the croissants. And that other little problem I happen to have: I am a little superstitious. Just a tad. Just a little stitious. I have developed a complex system of rituals and apotropaic gestures that need to be performed to ensure that my pitch meetings will go as planned. I have more years of science education than anyone ever needed, and should probably know better than to believe that the color of my socks is in any way predictive of my professional success. But do I?

Nope.

Back in college, it was exactly three braids in my hair for every single soccer game (plus two coats of L’Oréal mascara if we were playing away), and I had to listen to “Dancing Queen” and “My Immortal” before each and every final—strictly in that order. Thank God I managed to graduate on time, because the emotional whiplash was starting to grind at me.

Not that this issue of mine is something I like to admit widely. Mostly just to Mara and Hannah, my supposed best friends. We met during the first year of our Ph.D.’s and have been lumbering together through the tribulations of STEM academia ever since. For the most part, having them in my life has been my one true joy, but there have been less-than-outstanding aspects of it. For instance, the fact that during the four years we lived together they oscillated between staging anti-superstition interventions and pranking me by inviting stray black cats into our apartment on every Friday the 13th. (We even ended up adopting one for a few months, JimBob, till we noticed that the kitty in the Missing flyers all over the neighborhood suspiciously resembled him; JimBob was, in fact, Mrs. Fluffpuff, and we returned her quietly, in the middle of the night. She’s been dearly missed ever since.) Anyway, yes: I have horrible, amazing, superstition-unsupportive BFFs. But we don’t live together anymore. We don’t even live in the same city: Mara is in D.C. at the EPA, and Hannah has been working for NASA and commuting between Texas and Norway. I can throw salt over my shoulder and frantically look around for wood to knock on to my heart’s content.