Love, etc. by Julian Barnes

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After a few flawed exercises, Barnes again finds his peak form, gradually upping the strain on the central relationship and invisibly orchestrating the tonal shift from comedy to tragedy. While all three voices allow Barnes to flex his literary muscles, he has the most fun with Oliver...
-AV Club

Synopsis

Twice shortlisted for the Booker Prize, Julian Barnes continues to reinvigorate the novel with his pyrotechnic verbal skill and playful manipulation of plot and character. In Love, etc. he uses all the surprising, sophisticated ingredients of a delightful farce to create a tragicomedy of human frailties and needs.

After spending a decade in America as a successful businessman, Stuart returns to London and decides to look up his ex-wife Gillian. Their relationship had ended years before when Stuart’s witty, feckless, former best friend Oliver stole her away. But now Stuart finds that the intervening years have left Oliver’s artistic ambitions in ruins and his relationship with Gillian on less than solid footing. When Stuart begins to suspect that he may be able to undo the results of their betrayal, he resolves to act. Written as an intimate series of crosscutting monologues that allow each character to whisper their secrets and interpretations directly to the reader, Love, etc. is an unsettling examination of confessional culture and a profound refection on the power of perspective.


From the Trade Paperback edition.
 

About Julian Barnes

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Julian Barnes's honors include the Somerset Maugham Award, the Geoffrey Faber Memorial Prize, and the E. M. Forster Award from the American Academy of Arts and Letters. In 2004 he was named Commandeur de l'Ordre des Arts et des Lettres by the French Ministry of Culture. He lives in London. www.julianbarnes.com
 
Published December 18, 2007 by Vintage. 242 pages
Genres: Literature & Fiction, Gay & Lesbian, Romance. Fiction
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AV Club

Good
Reviewed by Joshua Klein on Apr 19 2002

After a few flawed exercises, Barnes again finds his peak form, gradually upping the strain on the central relationship and invisibly orchestrating the tonal shift from comedy to tragedy. While all three voices allow Barnes to flex his literary muscles, he has the most fun with Oliver...

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