Sweethearts by Richard Ford

"Love isn’t about being alone. Never that."

I reviewed Fireworks first but Sweethearts was actually my first introduction to Richard Ford. It's quite excellent and there's something about his empathetic depiction of normal working-class people that just resonates with me. Another key feature of his writing that makes for such an enjoyable reading experience is the laid-back and colloquial style. His use of realistic dialogue is essential in shaping the personalities of his characters, making them feel like real people with lived experiences, and complex emotions simmering beneath the surface.

In Sweethearts, Ford masterfully employs this naturalistic dialogue to reveal tensions, regrets, and unfulfilled desires between the characters without resorting to overt exposition. Their words often carry an undercurrent of meaning that transcends what is explicitly said, creating a sense of emotional depth. This is particularly evident in the exchanges between the protagonist Russell, his wife Arlene and her ex-husband Bobby where seemingly casual conversation is loaded with lingering resentment, unresolved feelings, and emotionally charged truths of their shared past. 

Similar to Fireworks, the female characters are the most compelling in terms of personlaity and asserting their autonomy amongst men. As the narrator, Russell is more reserved and emotionally passive. In contrast, Arlene speaks her mind, is more vulnerable and takes the lead on things. The colloquial tone also helps establish the story’s mood and setting, reinforcing the realism that Ford strives for. The dialogue flows effortlessly, mirroring the rhythms of actual speech—filled with hesitations, interruptions, and subtle shifts in tone that reveal the true nature of the characters’ relationships. By stripping away any sense of artificiality, Ford allows his dialogue to become the primary vehicle through which character and conflict emerge organically.

The emotional crux of the story revolves around Russell and Arlene driving Bobby to prison for robbing a convenience store at gun point. It's a great premise for a story, ripe for drama and heartbreak. Two major themes that become apparant are masculinity and closure. As Bobby struggles with fear, regret and anger because of his current situation,  Arlene tries to offer reassurance, saying, "You're among friends, though, sweetheart," but he is unable to hear these kind words of affection. Instead, his toxic masculinity prevents him from articulating his true feelings, which instead comes across as resentment and misogynistic: "“I put all my faith in women,” Bobby said softly. “I see now that was wrong.” Or, aftering throwing the pistol into the front seat, he says, "I thought I might kill Arlene, but I changed my mind." This unembellished dialogue in Sweethearts does more than just sound realistic. It becomes a window into the inner lives of these flawed characters, exposing their vulnerabilities and the quiet tragedies that define them. Ford’s ability to capture the subtleties of human interaction with such precision ensures that every word, pause, and inflection creates a sense of verisimiltude while enhancing the emotional resonance.

The story also highlights how memories shape our present emotions and perceptions, particularly in the way Russell and Arlene process their shared past with Bobby. While Arlene tries to offer Bobby a sense of comfort, Russell remains largely passive, embodying a more restrained, ambiguous form of masculinity. He is not overtly aggressive like Bobby, but his silence speaks volumes. Whether it’s detachment, resignation, or an unspoken understanding of how little can truly be done in these circumstances. This contrast between Bobby’s toxic masculinity and Russell’s quiet acceptance underscores the story’s exploration of masculinity: one that is often performative, fragile, and ill-equipped to deal with emotional vulnerability.

At the same time, Sweethearts grapples with the theme of closure, or rather, the lack thereof. While the car ride serves as a literal journey toward an endpoint (Bobby’s imprisonment), it is clear that emotional resolution remains elusive for all three characters. Bobby’s attempts to assert control through violence and bitter declarations only mask his fear, while Arlene’s reassurances fall on deaf ears. Russell, positioned between the two, seems to recognize the futility of trying to change what has already been set in motion. In the end, Ford suggests that closure is not always about finding peace or redemption; sometimes, it is merely about acknowledging the past, taking accountability and moving forward. Eaiser said than done. 

Richard Ford really knows how to write powerful endings. Through this intense experience with Bobby, Russell tries to convince himself that he understands what love means: "It was about never being in that place you said you'd never be in." Yet, Russell finds himself confronting the unsettling truth that love is far more complicated than simple promises or steadfast resolve. His definition of love as a means of self-preservation and avoiding painful or compromising situations, reveals a deep-seated fear of vulnerability rather than a genuine understanding of connection. Watching Bobby unravel forces Russell to see the ways in which love, when tainted by resentment and regret, can turn corrosive. At the same time, this experience exposes the limits of his own emotional detachment. He may not express love in grand gestures or dramatic confessions, but his presence in that car, silently witnessing Bobby’s downfall, suggests an unspoken sense of empathy: it could esily have been him in this situation.

By the end of the journey, Russell is left questioning whether love is about avoidance, endurance, or something more elusive that he has yet to understand: "And [love] was not about being alone. Never that. Never that." It is the achingly tender conversation between him and Arlene that makes this story truly special. Both face uncertainty about their futures, yet Arlene reaffirms her commitment by telling Russell he is still her sweetheart, even as she acknowledges, "We don't know where any of this is going, do we?" In that moment, her love and devotion offer him a sense of stability, shielding him from a fate like Bobby’s simply by choosing to stay.

You can read this story HERE.