Oliver, Stuart, and Gillian have been friends and lovers. But it's been 10 years since this backbiting trio, which Julian Barnes first introduced in Talking It Over, last met--and a lot has changed. For starters, Oliver has married Gillian, and Stuart, his erstwhile best friend, hates him for it. Not just because Stuart was once married to Gillian, but because he still loves her and has never ceased to regard himself as her savior. Under the guise of repairing old friendships--"all blood under the bridge"--this mild-mannered third wheel insinuates himself into the couple's life by offering advice, providing support, and even giving Oliver a job. Once he's maneuvered his nemesis into a crippling depression, Stuart unveils his master plan.

In Love, Etc. Barnes adopts the same technique he used in the earlier installment, allowing his characters to speak their innermost thoughts and secrets directly to the reader--and just about everybody gets some good lines. (Oliver: "Yes, everything went swimmingly, which is a very peculiar adverb to apply to a social event, considering how most human beings swim.") But the book is also a bewitchingly intimate excursion into betrayal and jealousy. With painstaking detail, Barnes creates a vibrant portrait of a modern love triangle--as funny as it is cruel, as absurd as it is deep. Few contemporary writers can portray Middle England, with all its temptations, so darkly. --Matthew Baylis

From Publishers Weekly
The ever-brilliant Barnes concocts a mordant sexual comedy for his latest novel, taking over the later lives of three characters he introduced in the earlier Talking It Over. Straight, rather stuffy organic-food kingpin Stuart; his former best friend, the ebulliently witty layabout Oliver; and Gillian, whom Oliver stole from Stuart, address the reader in turns about just what happened (or in Oliver's case, show off for the reader in a dazzling display of verbal pyrotechnics that would bring down the house if this were a play). There's no doubt that in most ways Stuart deserves Gillian more than Oliver does, and the latter's attraction for her seems odd. On the other hand, Oliver is, unexpectedly, quite a good father, and there are hints of obtuseness and brutality about Stuart's bluff self-satisfaction. Poor Gillian, whose French-born mother also comments on the proceedings from a cynical distance, seems quite unable to decide between the two men when Stuart forcibly reenters her life. Out of their often self-serving, sometimes touchingly self-aware accounts of a handful of encounters emerges a funny, occasionally poignant look at the strange confusion between friendship and loveAas well as more than a hint that nobody truly knows just who they really are and what they are capable of. It's slight but telling and, except for Oliver's wonderful and witty set pieces, oddly subdued for Barnes, but it would make an excellent play, in the Tom Stoppard vein. (Feb. 13) Forecast: Although Barnes's succession of clever novels have won him a following here, the strongly English domesticity portrayed in Love, Etc. seems unlikely to gather him many new adherents. For connoisseurs of brilliant invective, however, it's a treat, and Knopf is anticipating that interest with a 40,000 first printing. Copyright 2000 Reed Business Information, Inc.

From Library Journal
Barnes introduced the love triangle of wife Gillian, ex-husband Stuart, and current husband Oliver in his 1991 novel Talking It Over, in which Gillian leaves Stuart for his best friend, Oliver. This sequel (which can stand on its own) picks up a decade later with Stuart returning from a successful business sojourn in America and insinuating himself into Gillian and Oliver's life. Stuart uses his wealth as a foothold for his secret goal of winning Gillian back, cloaking it as a temporary stopgap for the family's privation under unpublished writer Oliver. Reminiscent of a radio play, the plot unfolds through soliloquies, often providing conflicting versions of the same incidents. Read with British accents and theatrical nuance by a cast with theater, TV, and radio credits, this is a case where audio surpasses the printed page. The lilting and witty dialog knit into a compelling tale that is highly recommended for adult fiction collections.Judith Robinson, Univ. at Buffalo, NYCopyright 2002 Reed Business Information, Inc.

From AudioFile
The trio of readers makes the story come alive and the listener laugh out loud. Each narrator takes on a persona--the incredible Clare Higgins takes on many--and narrates that character's every thought throughout the novel. A love triangle plays itself out in a fascinating mix of different perspectives and memories. Gillian was married to Stuart until she left him for Oliver--now Stuart has returned to Britain from a stint in America and establishes himself in the couple's life. The drama that ensues is both comic and tragic: The different personalities and unique use of voices keep the listener engaged, and the ending comes too soon. Clever writing is highlighted by the gifted readers' performances. L.B.F. © AudioFile 2002, Portland, Maine-- Copyright © AudioFile, Portland, Maine

From Booklist
The latest novel by this esteemed British writer is not easy to read. Yes, his prose is supple, and, yes, his themes--among them, finding fulfillment in love, friendship, and sex--possess universal appeal when explored with the sensitivity and intelligence Barnes exhibits. It's the format that makes this novel difficult. As if they were sitting in a room together reflecting on their mutual history, the three main characters discuss the issues in their lives, each one focusing primarily on their relationships with the other two. What emerges is a love triangle: Gillian is now married to Oliver, but she was previously married to Stuart, and Oliver and Stuart used to be best friends. The history of this mutual relationship isn't related in anything like linear fashion but, rather, emerges gradually, as pieces of three peoples' lives, past and present, together and separately, fall slowly into place. If Barnes' technique is challenging, it also makes possible an immensely rich look into human nature. Barnes has a considerable following among readers of literary fiction; expect his latest to be the object of much discussion. Brad Hooper
Copyright © American Library Association. All rights reserved

Review
?An alarmingly perfect novel . . .. Barnes?s verbal mimicry is inventive, accomplished, revelatory, and also fun.? ?The New York Review of Books

?Lively, lucid, ricocheting with wryly observed commentary on the human condition.??Philadelphia Inquirer

?Painfully astute . . .. Barnes sharpens his insights with his penetrating wit and verbal virtuosity.??The Washington Post

?Julian Barnes...[is an] ironist, artificer, psychologically flirtatious pool shark, a maestro who runs the table with his Rashomon variations.??The New York Times Book Review

FROM OUR EDITORS

The Barnes & Noble Review
When last we met Stuart, Oliver, and Gillian in Julian Barnes's 1991 Talking It Over, Stuart had met and fallen companionably in love with Gillian, who loved him in return. Alas, on the very day of their nuptials, Oliver, Stuart's superurbane best friend, declared the depths of his not-so-companionable, deeply passionate love for Gillian as well. Gillian, who at first denied her feelings, soon found herself likewise head-over-heels for Oliver, so she left Stuart, and she and Oliver moved abroad.

Now, ten years later, Barnes returns to the scene of the crime in Love, etc. Ten years older, and ostensibly ten years wiser, this desperately entangled threesome resume their tale.

The narrative structure of Love, etc., following that of Talking It Over, allows the reader direct access to the inner thoughts of the characters; each, in turn, speaks directly to the reader, as to an old friend, attempting to explain their version of the inexplicable ways of the heart. Stuart, Oliver, and Gillian are joined in this enterprise by a host of secondary characters -- Gillian's mom, Stuart's second ex-wife, Oliver's former landlady, etc. -- each of whom serves to reflect a piece of the story that the others either aren't privy to or just aren't willing to share.

The story they tell is this: Stuart, devastated by Gillian's betrayal ten years ago, moves to the United States where, in the way of Americans, he prospers, working at a number of professions and ultimately finding himself in the organic food distribution business. Sensing a demand back home, he returns to England and builds a small chain of organic food stores. For their part, Oliver and Gillian set up housekeeping in France, have a daughter, undergo a series of marital crises, and have another daughter, all before returning to England, where Gillian thrives as a picture restorer while Oliver tinkers with various projects.

Now Stuart reenters their lives, determined to help them escape the somewhat reduced circumstances in which he's found them. He hires Oliver, rents the couple the house that he and Gillian so briefly occupied, and is generally helpful -- throwing the threesome into another potential crisis.

The questions that linger for the three of them, the questions that Barnes so beautifully captures in this spare novel, are whether life can accurately be described as "love, etc." -- love in the center, with all of life's other stuff relegated to the et cetera -- or whether love is merely one among many of life's experiences. And can love survive those experiences? Are there people who are destined to love only one person, while others can love many, whether serially or simultaneously? And is there any way to know the truth of our emotions, or are we doomed to hide that truth from ourselves?

The characters that Barnes crafts, using their voices and the voices of others, are vivid and passionate, characters whose lives will resonate with the reader long after the novel has been put down.

Kathleen Fitzpatrick is assistant professor of English and Media Studies at Pomona College in Claremont, California.

FROM THE PUBLISHER

In matters of love and friendship, how much can be endured? What might be forgiven? And who—given the inevitable, knotty complications—is desirable still?

From such questions, and using all the surprising, sophisticated ingredients of a delightful farce, Julian Barnes has created a tragicomedy of human frailties and needs. Love, etc. stars three characters introduced a decade ago in Talking It Over—to which this novel has an eerie, freestanding relation. Which is precisely how Stuart feels toward Gillian, his wife before his witty, feckless, former best friend Oliver stole her away. True, he did make a fuss at their subsequent wedding, and spied on them in their French village; but he was agreeable about the divorce, moved to America, remarried briefly, prospered, then returned to London shortly after Oliver and Gillian, avec les enfants, did.
Meanwhile, Oliver’s artistic ambitions have turned to ashes in his mouth, so it’s Gillian supporting the household—until Stuart rejoins them.

What transpires to further complicate the situation doesn’t bear repeating, especially as the three principals (along with many others) are allowed to speak directly to the reader, to whisper their secrets and argue their own particular versions of what actually happened, and why. Indeed, emerging from this crux are a number of truths we all live by: faith and generosity, trust and commitment, toward ourselves and our loved ones; or, absent those, banality and even brutality.

Every bit as funny and intelligent as anything Julian Barnes has written, Love, etc. is also fabulously engaging, powerfullydramatic, and profoundly unsettling.

FROM THE CRITICS

James Schiff - Book Magazine

Conversely cynical and optimistic about romance, Barnes gives yet another dazzling literary performance, which—through its sheer intelligence, word play and wit—reminds one of Vladimir Nabokov and John Updike.

Book Magazine

In Barnes' 1991 novel Talking It Over, flamboyant Oliver Russell steals and marries his best friend's wife, Gillian, then moves with her to France. End of story? Not quite; Ten years later Barnes has returned to his triangular cast. Barnes' new novel begins with all parties back in England after time spent abroad. Betrayed husband Stuart has become a successful grocery entrepreneur. The more impecunious Oliver and Gillian, with two growing daughters, are in the midst of a marriage that, like their sex life, is unexceptional albeit "friendly." Initiating contact with his old friends and pretending to hold no grudge, Stuart assumes the role of benefactor. He provides Oliver with a job and offers Oliver and Gillian the same house in which he and Gillian once lived. Yet Stuart, we assume, has ulterior motives. As in Talking It Over, Barnes' characters speak directly to the reader through a series of monologues that deal mostly with love, marriage and betrayal. Barnes is a shrewd observer of marriage; he understands how couples interact. Conversely cynical and optimistic about romance, Barnes gives yet another dazzling literary performance, which—through its sheer intelligence, word play and wit—reminds one of Vladimir Nabokov and John Updike. —James Schiff

Publishers Weekly

The ever-brilliant Barnes concocts a mordant sexual comedy for his latest novel, taking over the later lives of three characters he introduced in the earlier Talking It Over. Straight, rather stuffy organic-food kingpin Stuart; his former best friend, the ebulliently witty layabout Oliver; and Gillian, whom Oliver stole from Stuart, address the reader in turns about just what happened (or in Oliver's case, show off for the reader in a dazzling display of verbal pyrotechnics that would bring down the house if this were a play). There's no doubt that in most ways Stuart deserves Gillian more than Oliver does, and the latter's attraction for her seems odd. On the other hand, Oliver is, unexpectedly, quite a good father, and there are hints of obtuseness and brutality about Stuart's bluff self-satisfaction. Poor Gillian, whose French-born mother also comments on the proceedings from a cynical distance, seems quite unable to decide between the two men when Stuart forcibly reenters her life. Out of their often self-serving, sometimes touchingly self-aware accounts of a handful of encounters emerges a funny, occasionally poignant look at the strange confusion between friendship and love--as well as more than a hint that nobody truly knows just who they really are and what they are capable of. It's slight but telling and, except for Oliver's wonderful and witty set pieces, oddly subdued for Barnes, but it would make an excellent play, in the Tom Stoppard vein. (Feb. 13) Forecast: Although Barnes's succession of clever novels have won him a following here, the strongly English domesticity portrayed in Love, Etc. seems unlikely to gather him many new adherents. For connoisseurs of brilliant invective, however, it's a treat, and Knopf is anticipating that interest with a 40,000 first printing. Copyright 2000 Cahners Business Information.

Library Journal

Barnes introduced the love triangle of wife Gillian, ex-husband Stuart, and current husband Oliver in his 1991 novel Talking It Over, in which Gillian leaves Stuart for his best friend, Oliver. This sequel (which can stand on its own) picks up a decade later with Stuart returning from a successful business sojourn in America and insinuating himself into Gillian and Oliver's life. Stuart uses his wealth as a foothold for his secret goal of winning Gillian back, cloaking it as a temporary stopgap for the family's privation under unpublished writer Oliver. Reminiscent of a radio play, the plot unfolds through soliloquies, often providing conflicting versions of the same incidents. Read with British accents and theatrical nuance by a cast with theater, TV, and radio credits, this is a case where audio surpasses the printed page. The lilting and witty dialog knit into a compelling tale that is highly recommended for adult fiction collections.-Judith Robinson, Univ. at Buffalo, NY Copyright 2002 Cahners Business Information.

AudioFile