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From the internationally acclaimed Nobel laureate comes a richly conceived audio that illuminates the full spectrum of desire.

May, Christine, Heed, Junior, Vida -- even L: all women obsessed by Bill Cosey. More than the wealthy owner of the famous Cosey Hotel and Resort, he shapes their yearnings for father, husband, lover, guardian, friend, yearnings that dominate the lives of these women long after his death. Yet while he is both the void in, and the centre of, their stories,...

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From the internationally acclaimed Nobel laureate comes a richly conceived audio that illuminates the full spectrum of desire.

May, Christine, Heed, Junior, Vida -- even L: all women obsessed by Bill Cosey. More than the wealthy owner of the famous Cosey Hotel and Resort, he shapes their yearnings for father, husband, lover, guardian, friend, yearnings that dominate the lives of these women long after his death. Yet while he is both the void in, and the centre of, their stories, he himself is driven by secret forces -- a troubled past and a spellbinding woman named Celestial.

This audacious vision of the nature of love -- its appetite, its sublime possession, its dread -- is rich in characters and striking scenes, and in its profound understanding of how alive the past can be.

A major addition to the canon of one of the world’s literary masters.

This is coast country, humid and God fearing, where female recklessness runs too deep for short shorts or thongs or cameras. But then or now, decent underwear or none, wild women never could hide their innocence -- a kind of pitty-kitty hopefulness that their prince was on his way. Especially the tough ones with their box cutters and dirty language, or the glossy ones with two-seated cars and a pocketbook full of dope. Even the ones who wear scars like Presidential medals and stockings rolled at their ankles can’t hide the sugar-child, the winsome baby girl curled up somewhere inside, between the ribs, say, or under the heart. -- from Love

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Editorial Reviews

The New York Review of Books
...Love may be about passion between men and women, or family ties, or the tenderness the elderly feel for the young about to make their own mistakes, but in the end it seems to have the most to say about how women love, which is perhaps different from the way men do. The novel is modest in length, but constantly suggestive, a beautiful, haunting work about two wasted lives that also mourns for a certain time in black live. — Darryl Pinckney
The New York Times
Like all of Morrison's best fiction, this is a village novel. Race and racism, ancillary concerns in Love for the most part, throw the small groups she writes about back upon one another, steeping their passions. Even when the setting is contemporary, Morrison's books feel old-fashioned, set in a world where the perpetual distraction of the media hasn't diluted people's fascination with their neighbors, where the misadventures of J.Lo and P. Diddy don't siphon off attention from the scandal next door. Morrison is, as always, interested in the face-off between the respectable and the not, between the clean, orderly, responsible citizens of Silk, the town where the Cosey women live, and the unchaste, shoeless ne'er-do-wells of neighborhoods like the Settlement and Up Beach, where one of the Cosey women started out. — Laura Miller
Publishers Weekly
More a tapestry than a novel, Morrison's newest weaves the past into the present using perspectives as threads and voices as color. The author's soft voice forces listeners to pay close attention; even so, the novel's complex construction, coupled with her hushed tones, will have listeners reaching for "rewind" to capture the subtle details so important in Morrison's compositions. This audiobook is best suited for those prepared to concentrate closely and wait patiently as layer builds upon layer. The story opens in the 1930s on the Florida coast when L, who narrates the story from beyond the grave, sees Cosey holding his wife, Julia, in the ocean; L feels such waves of tenderness radiating off him that she signs on to his life forever and becomes both maid and chef at his hotel. The novel winds through the lives of Cosey's other women, including his granddaughter Christine and her best friend, Heed the Night Johnson. Cosey twirls them all around his little finger, abruptly and unapologetically marrying the 12-year-old Heed. Thread by thread, the novel builds as Cosey's women glitter around him, even after his death. Morrison leaves readers with the powerful realization: neither good nor evil, Cosey was simply a man. Simultaneous release with the Knopf hardcover (Forecasts, Sept. 1, 2003). (Oct.) Copyright 2004 Reed Business Information.
Library Journal
When gorgeous and amoral Junior arrives in the Southern coastal town of Silk, chance brings her to a deadly crossroads. She talks herself into a job at the center of a love/hate feud between two elderly women, the remaining members of a clan who once defined Silk's African American elite. The tension involves the late Bill "Papa" Cosey and the riches he achieved during his heyday in the 1940s and 1950s as proprietor of a fabulous resort. Along the way, he obtained the intense love of many women, including granddaughter Christine, lower-class child bride Heed, and spectacular "sporting woman" Celestial. Eight compact chapters named for aspects of Cosey's character ("Benefactor," "Lover," "Guardian," and so on) present the shifting perspectives of those entranced by this charismatic, secretive man long after his death. Nobel Laureate Morrison's latest is a vividly narrated exploration of the pleasures, burdens, and distortions of obsessive devotion. Given the book's brevity, the dialog must carry the story convincingly-and, of course, Morrison is a master at this. Certainly, this book won't disappoint readers already familiar with Morrison and will serve as a good introduction for those new to her. Highly recommended. [Previewed in Prepub Alert, LJ 6/1/03.]-Starr E. Smith, Fairfax Cty. P.L., VA Copyright 2003 Reed Business Information.
Kirkus Reviews
A black patriarch's obsessive domination of the many women in his life is relentlessly scrutinized in the 1993 Nobel winner's intricately patterned eighth novel. An opening monologue spoken by an unidentified elderly woman reminisces about the once-vibrant, now-defunct Florida Hotel and Resort (a "playground" for affluent black people) owned by the late Bill Cosey: a rags-to-riches millionaire revered for his benevolence and his ability to attract and possess beautiful women. We're soon introduced to Junior Viviane, a runaway and reform-school veteran who answers an ad for a "Companion, Secretary" placed by Cosey's (much younger) widow Heed (born, wretchedly poor, as Heed the Night Johnson). Then, in a gorgeous deployment of enigmatic flashbacks, Morrison focuses in turn on elderly May Cosey, the widow of Cosey's son Billy Boy; May's daughter Christine, the old man's only surviving blood relative, who had fled the Resort and forfeited her birthright; and the silent, judging presence who has observed them all: Cosey's legendary chef, known only as L. As Junior expertly seduces Romen, the adolescent grandson of Sandler and Vida Gibbons (both of whom had been employed by Cosey), Christine's rage, May's paranoid fear of racial unrest as a threat to her security ("for years, she hoarded and buried, and preserved and stole"), and the frail heed's stranglehold on the Cosey property and history, all meld, as the novel's climactic events deepen the enigma of Cosey (who's present only in retrospect): a fructifying paternal figure, and perhaps also an unconscionable predator (or, as L. wryly concludes, "an ordinary man ripped, like the rest of us, by wrath and love"). Incorporating elements fromearlier Morrison novels (notably Jazz, Paradise, and Sula), Love is an elegantly shaped epic of infatuation, enslavement, and liberation: a rich symbolic mystery that grows steadily more eloquent and disturbing as its meanings clarify and grip the reader. One of Morrison's finest, and a heartening return to Nobel-worthy form. First printing of 500,000; author tour
From the Publisher
Love seduces with Toni Morrison’s signature lush prose and colorfully complex, textured scenes of human longing, scheming, suffering, and loss.”
-Lisa Shea, Elle

“It’s a dense, dark star of a novel, seemingly eccentric, secretly shapely, … and with Morrison writing at the top of her game.”
-David Gates, Newsweek

“Haunting . . . In lyrical flashbacks, Morrison slowly, teasingly reveals the glories and horrors of the past . . . Morrison has crafted a gorgeous, stately novel.”
-Publisher’s Weekly

Love is a profound novel. As a vivid painter of human emotions, Morrison is without peer, her impressions rendered in an exquisitely metaphoric but comfortably open style.”
-Brad Hooper, Booklist (starred and boxed review)

“A gorgeous deployment of enigmatic flashbacks…Love is an elegantly shaped epic of infatuation, enslavement, and liberation: a rich and heartening return to Nobel-worthy form.”
-Kirkus (starred review)

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Product Details

  • ISBN-13: 9780739342282
  • Publisher: Random House Audio Publishing Group
  • Publication date: 3/20/2007
  • Format: CD
  • Edition description: Unabridged, 7 CDs, 8 hours
  • Product dimensions: 5.67 (w) x 4.93 (h) x 1.96 (d)

Meet the Author

Toni Morrison

Toni Morrison is the Robert F. Goheen Professor of Humanities at Princeton University. She has received the National Book Critics Circle Award and the Pulitzer Prize. In 1993 she was awarded the Nobel Prize in Literature. She lives in Rockland County, New York, and Princeton, New Jersey.


Toni Morrison has been called "black America's best novelist," and her incredible string of imaginative contemporary classics would suggest that she is actually one of America's best novelists regardless of race. Be that as it may, it is indeed difficult to disconnect Morrison's work from racial issues, as they lie at the heart of her most enduring novels.

Growing up in Lorain, Ohio, a milieu Jet magazine described as "mixed and sometimes hostile," Morrison experienced racism firsthand. (When she was still a toddler, her home was set on fire with her family inside.) Yet, her father instilled in her a great sense of dignity, a cultural pride that would permeate her writing. She distinguished herself in school, graduating from Howard and Cornell Universities with bachelor's and master's degrees in English; in addition to her career as a writer, she has taught at several colleges and universities, lectured widely, and worked in publishing.

Morrison made her literary debut in 1970 with The Bluest Eye, the story of a lonely 11-year-old black girl who prays that God will turn her eyes blue, in the naïve belief that this transformation will change her miserable life. As the tale unfolds, her life does change, but in ways almost too tragic and devastating to contemplate. On its publication, the book received mixed reviews; but John Leonard of The New York Times recognized the brilliance of Morrison's writing, describing her prose as " precise, so faithful to speech and so charged with pain and wonder that the novel becomes poetry."

Over time, Morrison's talent became self-evident, and her reputation grew with each successive book. Her second novel, Sula, was nominated for a National Book Award; her third, 1977's Song of Solomon, established her as a true literary force. Shot through with the mythology and African-American folklore that informed Morrison's childhood in Ohio, this contemporary folktale is notable for its blending of supernatural and realistic elements. It was reviewed rapturously and went on win a National Book Critics Circle Award.

The culmination of Morrison's storytelling skills, and the book most often considered her masterpiece, is Beloved. Published in 1987 and inspired by an incident from history, this post-Civil War ghost story tells the story of Sethe, a former runaway slave who murdered her baby daughter rather than condemn her to a life of slavery. Now, 18 years later, Sethe and her family are haunted by the spirit of the dead child. Heartbreaking and harrowing, Beloved grapples with mythic themes of love and loss, family and freedom, grief and guilt, while excavating the tragic, shameful legacy of slavery. The novel so moved Morrison's literary peers that 48 of them signed an open letter published in The New York Times, demanding that she be recognized for this towering achievement. The book went on to win the Pulitzer Prize; and in 2006, it was selected by The New York Times as the single best work of American fiction published in the last 25 years.

In addition to her extraordinary novels, Morrison has also written a play, short stories, a children's book, and copious nonfiction, including essays, reviews, and literary and social criticism. While she has made her name by addressing important African-American themes, her narrative power and epic sweep have won her a wide and diverse audience. She cannot be dismissed as a "black writer" any more than we can shoehorn Faulkner's fiction into "southern literature." Fittingly, she received the Nobel Prize in 1993; perhaps the true power of her impressive body of work is best summed up in the Swedish Academy's citation, which reads: "To Toni Morrison, who, in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality."

Good To Know

Chloe Anthony Wofford chose to publish her first novel under the name Toni Morrison because she believed that Toni was easier to pronounce than Chloe. Morrison later regretted assuming the nom de plume.

In 1986, the first production of Morrison's sole play Dreaming Emmett was staged. The play was based on the story of Emmett Till, a black teen murdered by racists in 1955.

Morrison's prestigious status is not limited to her revered novels or her multitude of awards. She also holds a chair at Princeton University.

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    1. Also Known As:
      Chloe Anthony Wofford (real name)
      Toni Morrison
    2. Hometown:
      Princeton, New Jersey, and Manhattan
    1. Date of Birth:
      February 18, 1931
    2. Place of Birth:
      Lorain, Ohio
    1. Education:
      Howard University, B.A. in English, 1953; Cornell, M.A., 1955

Read an Excerpt

The day she walked the streets of Silk, a chafing wind kept the temperature low and the sun was helpless to move outdoor thermometers more than a few degrees above freezing. Tiles of ice had formed at the shoreline and, inland, the thrown-together houses on Monarch Street whined like puppies. Ice slick gleamed, then disappeared in the early evening shadow, causing the sidewalks she marched along to undermine even an agile tread, let alone one with a faint limp. She should have bent her head and closed her eyes to slits in that weather, but being a stranger, she stared wide-eyed at each house, searching for the address that matched the one in the advertisement: One Monarch Street. Finally she turned into a driveway where Sandler Gibbons stood in his garage door ripping the seam from a sack of Ice-Off. He remembers the crack of her heels on concrete as she approached; the angle of her hip as she stood there, the melon sun behind her, the garage light in her face. He remembers the pleasure of her voice when she asked for directions to the house of women he has known all his life.

"You sure?" he asked when she told him the address.

She took a square of paper from a jacket pocket, held it with ungloved fingers while she checked, then nodded.

Sandler Gibbons scanned her legs and reckoned her knees and thighs were stinging from the cold her tiny skirt exposed them to. Then he marveled at the height of her bootheels, the cut of her short leather jacket. At first he'd thought she wore a hat, something big and fluffy to keep her ears and neck warm. Then he realized that it was hair-blown forward by the wind, distracting him from her face. She looked to him like a sweet child, fine-boned, gently raised but lost.

"Cosey women," he said. "That's their place you looking for. It ain't been number one for a long time now, but you can't tell them that. Can't tell them nothing. It 1410 or 1401, probably."

Now it was her turn to question his certainty.

"I'm telling you," he said, suddenly irritable-the wind, he thought, tearing his eyes. "Go on up thataway. You can't miss it 'less you try to. Big as a church."

She thanked him but did not turn around when he hollered at her back, "Or a jailhouse."

Sandler Gibbons didn't know what made him say that. He believed his wife was on his mind. She would be off the bus by now, stepping carefully on slippery pavement until she got to their driveway. There she would be safe from falling because, with the forethought and common sense he was known for, he was prepared for freezing weather in a neighborhood that had no history of it. But the "jailhouse" comment meant he was really thinking of Romen, his grandson, who should have been home from school an hour and a half ago. Fourteen, way too tall, and getting muscled, there was a skulk about him, something furtive that made Sandler Gibbons stroke his thumb every time the boy came into view. He and Vida Gibbons had been pleased to have him, raise him, when their daughter and son-in-law enlisted. Mother in the army; father in the merchant marines. The best choice out of none when only pickup work (housecleaning in Harbor for the women, hauling road trash for the men) was left after the cannery closed. "Parents idle, children sidle," his own mother used to say. Getting regular yard work helped, but not enough to keep Romen on the dime and out of the sight line of ambitious, under-occupied police. His own boyhood had been shaped by fear of vigilantes, but dark blue uniforms had taken over posse work now. What thirty years ago was a one-sheriff, one-secretary department was now four patrol cars and eight officers with walkie-talkies to keep the peace.

He was wiping salt dust from his hands when the two people under his care arrived at the same time, one hollering, "Hoo! Am I glad you did this! Thought I'd break my neck." The other saying, "What you mean, Gran? I had your arm all the way from the bus."

"Course you did, baby." Vida Gibbons smiled, hoping to derail any criticism her husband might be gathering against her grandson.

At dinner, the scalloped potatoes having warmed his mood, Sandler picked up the gossip he'd begun while the three of them were setting the table.

"What did you say she wanted?" Vida asked, frowning. The ham slices had toughened with reheating.

"Looking for those Cosey women, I reckon. That was the address she had. The old address, I mean. When wasn't nobody out here but them."

"That was written on her paper?" She poured a little raisin sauce over her meat.

"I didn't look at it, woman. I just saw her check it. Little scrap of something looked like it came from a newspaper."

"You were concentrating on her legs, I guess. Lot of information there."

Romen covered his mouth and closed his eyes.

"Vida, don't belittle me in front of the boy."

"Well, the first thing you told me was about her skirt. I'm just following your list of priorities."

"I said it was short, that's all."

"How short?" Vida winked at Romen.

"They wear them up to here, Gran." Romen's hand disappeared under the table.

"Up to where?" Vida leaned sideways.

"Will you two quit? I'm trying to tell you something."

"You think she's a niece, maybe?" asked Vida.

"Could be. Didn't look like one, though. Except for size, looked more like Christine's people." Sandler motioned for the jar of jalapeños,

"Christine don't have any people left."

"Maybe she had a daughter you don't know about." Romen just wanted to be in the conversation, but as usual, they looked at him as if his fly was open.

"Watch your mouth," said his grandfather.

"I'm just talking, Gramp. How would I know?"

"You wouldn't, so don't butt in."


"You sucking your teeth at me?"

"Sandler, lighten up. Can't you leave him alone for a minute?" Vida asked.

Sandler opened his mouth to defend his position, but decided to bite the tip off the pepper instead.

"Anyway, the less I hear about those Cosey girls, the better I like it," said Vida.

"Girls?" Romen made a face.

"Well, that's how I think of them. Hincty, snotty girls with as much cause to look down on people as a pot looks down on a skillet."

"They're cool with me," said Romen. "The skinny one, anyway."

Vida glared at him. "Don't you believe it. She pays you; that's all you need from either one."

Romen swallowed. Now she was on his back. "Why you all make me work there if they that bad?"

"Make you?" Sandler scratched a thumb.

"Well, you know, send me over there."

"Drown this boy, Vida. He don't know a favor from a fart."

"We sent you because you need some kind of job, Romen. You've been here four months and it's time you took on some of the weight."

Romen tried to get the conversation back to his employers' weaknesses and away from his own. "Miss Christine always gives me something good to eat."

"I don't want you eating off her stove."


"I don't."

"That's just rumor."

"A rumor with mighty big feet. And I don't trust that other one either. I know what she's capable of."


"You forgot?" Vida's eyebrows lifted in surprise.

"Nobody knows for sure."

"Knows what?" asked Romen.

"Some old mess," said his grandfather.

Vida stood and moved to the refrigerator. "Somebody killed him as sure as I'm sitting here. Wasn't a thing wrong with that man." Dessert was canned pineapple in sherbet glasses. Vida set one at each place. Sandler, unimpressed, leaned back. Vida caught his look but decided to let it lie. She worked; he was on a security guard's hilarious pension. And although he kept the house just fine, she was expected to come home and cook a perfect meal every day.

"What man?" Romen asked.

"Bill Cosey," replied Sandler. "Used to own a hotel and a lot of other property, including the ground under this house."

Vida shook her head. "I saw him the day he died. Hale at breakfast; dead at lunch."

"He had a lot to answer for, Vida."

"Somebody answered for him: 'No lunch.' "

"You forgive that old reprobate anything."

"He paid us good money, Sandler, and taught us, too. Things I never would have known about if I'd kept on living over a swamp in a stilt house. You know what my mother's hands looked like. Because of Bill Cosey, none of us had to keep doing that kind of work."

"It wasn't that bad. I miss it sometimes."

"Miss what? Slop jars? Snakes?"

"The trees."

"Oh, shoot." Vida tossed her spoon into the sherbet glass hard enough to get the clink she wanted.

"Remember the summer storms?" Sandler ignored her. "The air just before-"

"Get up, Romen." Vida tapped the boy's shoulder. "Help me with the dishes."

"I ain't finished, Gran."

"Yes you are. Up."

Romen, forcing air through his lips, pushed back his chair and unfolded himself. He tried to exchange looks with his grandfather, but the old man's eyes were inward.

"Never seen moonlight like that anywhere else." Sandler's voice was low. "Make you want to-" He collected himself. "I'm not saying I would move back."

"I sure hope not." Vida scraped the plates loudly. "You'd need gills."

"Mrs. Cosey said it was a paradise." Romen reached for a cube of pineapple with his fingers.

Vida slapped his hand. "It was a plantation. And Bill Cosey took us off of it."

"The ones he wanted." Sandler spoke to his shoulder.

"I heard that. What's that supposed to mean?"

"Nothing, Vida. Like you said, the man was a saint."

"There's no arguing with you."

Romen dribbled liquid soap into hot water. His hands felt good sloshing in it, though it stung the bruises on his knuckles. His side hurt more while he stood at the sink, but he felt better listening to his grandparents fussing about the olden days. Less afraid.

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Reading Group Guide

1. Why has Toni Morrison chosen Love as the title for her novel? In what ways is the book about Love? What kinds of Love affect and afflict its characters? What does the novel, taken as a whole, suggest about the nature of Love?

2. The main narrative of Love is framed by, and interspersed with, L's italicized reflections. Why does Morrison use this framing device? How does it affect the way the book is read? Is L's interpretation of events the most reliable one? From what vantage does she speak?

3. L claims she needs "something better" than an "old folks' tale to draw on... Like a story that shows how brazen women can take a good man down." (p. 10) Is that what Love is mainly about? Is Cosey brought down by brazen women? Why would L think so?

4. Throughout the novel Romen struggles to find his real self. When he refuses to join his friends in gang-raping a woman at a party, he does not understand at first why his heart bursts for "a wounded creature" and wonders, "What made him do it? Or rather, who?
"But he knew who it was. It was the real Romen who had sabotaged the newly chiseled, dangerous one." (p. 49) Where else in the novel is Romen torn between lust and compassion? Which finally wins out in him?

5. L says that Mr. Cosey, in the way he ran his hotel, "wanted a playground for folk who felt the way he did, who studied ways to contradict history." (p. 103) How does Mr. Cosey "contradict history"? What history, specifically, does he contradict? What makes his hotel so attractive to blacks in the 1930s, '40s, and '50s? Why does his hotel ultimately fail?

6. Junior tells Heed that she'd sooner "swallow lye before I'd live with my folks." Heed recognizes the feeling: "We're both out here, alone. With fire ants for family." (p. 127) Why is family, in the novel, so often a source of misery?

7. When the administrator at the juvenile correctional institute pressures Junior for a sexual favor, she pushes him off the balcony. What are the short — and long-term consequences of this act for Junior? Why is she treated like a criminal for protecting herself?

8. How does the burgeoning civil rights movement affect the characters in the novel? What role does it play in May's madness and in the decline of Mr. Cosey's hotel?

9. Sandler thinks to himself that everyone forgave Cosey everything: "Even to the point of blaming a child for a grown man's interest in her. What was she supposed to do? Run away? Where? Was there someplace Cosey or Wilbur Johnson couldn't reach?" (p. 147) In what ways are Heed and the other women in the novel trapped not only by racism but by the power men wield over them? Which seems to be the more oppressive force?

10. What destroys the friendship between Heed and Christine and turns them into the bitterest of enemies? What enables them to be reconciled to each other at the end of the novel?

11. Why is Mr. Cosey so drawn to Celestial, the prostitute? Why would he want to leave everything to her?

12. In the novel's climactic scene, Christine tells Heed, " . . . [I]t's like we started out being sold, got free of it, then sold ourselves to the highest bidder." To which Heed responds, "Who you mean 'we'? Black people? Women? You mean me and you?" (p. 185) Who does she mean? Is it true that Blacks, or women, or Christine and Heed themselves, have been sold, gotten free, and resold themselves?

13. Near the end of the novel L says of Cosey: "You could call him a good bad man, or a bad good man. Depends on what you hold dear — the what or the why. I tend to mix them." (p. 200) What kind of man is Cosey, finally? What are his good and bad traits? Has he brought more happiness or suffering into the world? How disturbing is it that he marries an eleven-year-old girl?

14. What does Love, as a whole, suggest about the relationships among history, family, race, and gender? How are the individuals in the novel affected by these larger forces? What does the novel reveal about the particular historical moment in which it is set?

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Customer Reviews

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( 52 )
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See All Sort by: Showing 1 – 20 of 53 Customer Reviews
  • Anonymous

    Posted February 23, 2004

    Use your brain to read this book...

    I have found a new love in the literature of Toni Morrison. In former years I would have described her work as confusing and full of itself. Still often times I find myself going back a couple of pages to repeat another paragraph. Yet, that is the beauty of her work- it causes you to think and form images. So many writers of today simply give it to you straight up, we've gotten lazy as readers. Morrison's works are more like poetry- they are not meant to be read in the line at the supermarket (unless you got it like that). I found this book to be one of the most interesting books of her career, only second to Sula. Love reeks of irony. The irony begins with the title. The characters in the book all belong to the same family but, they are full of hate. Well...not really. In fact they are full of love. That becomes apparent at the end of the novel when Heed and Christine find themselves 'too close for comfort'. In addition, every character in the book is full admiration for the dead Cosey. That is the root of the hate among these women- their obsession with him. I also cherish the tone of the novel. The author describes the present and makes it seem like the past, and the further you get into the story it really begins to unfold. All time merges together eventually and the characters become people. And as always no one can create characters like Morrison. Some of the most interesting people I've had the pleasure of meeting! Pick up this book today and free your mind. Turn off the television, and put down the phone. Get under the covers and spend a little time with Toni Morrison. She'll take ya places you've never been before!

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted January 27, 2004

    A Gorgeous and Perfect Book

    I know many people who don't consider LOVE to be one of Toni Morrison's most accomplished novels. I am absolutely not among those persons. While, on its surface, LOVE may seem to be a simple, more straightforward story than the very symbolic BELOVED or the somewhat sketchy and metaphorical PARADISE, I think it's structure is highly sophisticated and could have only been written by one of the world's premier authors. In short, I think LOVE is absolutely perfect in every respect. LOVE is filled with perhaps the quirkiest cast of characters ever to be found in a Toni Morrison work. The book centers around Bill Cosey, the owner of a run down seaside hotel who has been dead for twenty-five years when the novel opens in the 1990s. Although Cosey is the centerpiece of LOVE, it the women in his life and the exertion of his influence over them, as well as their own complex relationships that form the core of LOVE, for Cosey was, by all accounts, charismatic and charming, quirky and short, no ordinary man, and his influence continues to be felt long after his physical presence has departed. There is Cosey's former cook, 'L,' whose narration frames the story contained in LOVE. There is his lover, the mysterious Celestial, his daughter-in-law, May, and, in particular, there is his granddaughter, Christine and his second wife, the arthritic, Heed. Although May, Christine and Heed, now all quite aged, live together in Cosey's decaying mansion, it is the relationship between Christine and Heed that drives the book's narrative because it is Christine and Heed who have the most in common, who are bound together by more than their love and hate for Cosey. It is Christine and Heed who, in childhood, were the fastest of friends and it is Cosey who destroyed that friendship and drove a wedge between the girls. The relationship between Christine and Heed is fascinating as we watch its dynamics and balance of power change...and then change again. Just because women take center stage in LOVE, this is not to say that men are absent from the book. They aren't. Conspicuously present are Sandler, an employee of Cosey's and Romen, a local boy who forms a none-too-healthy bond with Junior, a most unlikely girl. And, most present of all, is Cosey, one form or another. While relationships form the core of LOVE, there is an interesting subplot concerning Cosey's will, which was drunkenly scrawled on a menu. The will is to individual interpretation...and the women in Cosey's life do interpret it quite differently, indeed. It is the dispute over the will that drives the physical plot of LOVE. As the 'house that Cosey built' crumbles like a house of cards, Heed's, Christine's and May's vulnerabilities are exposed, as are the long dead Cosey's. The women still have time to reshape their shattered lives, to share their communal pain and untangle the puzzle imposed on them by Cosey, but will they? You'll have to read the book to find out; any hint of the resolution here would be destructive. Like all of Toni Morrison's novels, LOVE is filled with holes and spaces...gaps and silences for the reader to fill in. Almost more than any other author, Morrison requires that her readers participate in the growth of the novel with her. I like this aspect of this brilliant writer and commend her for it. Also present in the narrative are 'trademark' Morrison time shifts, flashbacks, and changing points of view. Some readers may be confused by LOVE'S sophisticated structure, but I found myself enthralled. LOVE is certainly not a romance, but it is a book about love, or, more precisely, about the destructive power of love and about the psychic injuries and scars that we accrue when love is absent from our lives. LOVE is rich and dense and deep and sensual. It's a lyrical, poetic work that you'll want to read once for the story and then again, simply for the language. I think it's Toni Morrison's masterpiece...

    2 out of 2 people found this review helpful.

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  • Posted July 4, 2009

    more from this reviewer

    I Also Recommend:


    No wonder Toni Morrison is a Nobel Prize winner and a very readable one.
    Love is a great book: the story, the characters, the way it is told. At times, shocking but quite enjoyable nonetheless.
    This one is for my permanent library.
    Wonderful, surprising reading.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 20, 2013


    Love leads to a date. Dates lead to Engagement. Engagement leads to marrige. Marrige leads to 'Husband and Wife time in bed alone'. 'Husband and Wife time in bed alone' leads to kids. And we all know kids lead to...


    0 out of 1 people found this review helpful.

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  • Posted August 5, 2011

    Love a novel by Toni Morrison

    Can there be any greater jumbled mess of words? Morrison reminds me a social climber. She tries a bit too hard, and over does it.

    The imagery in Love is contrived and over bearing. Every instant is laden with it. Does the act of frying chicken have to have meaning? (Just asking...) The plot of the story is slowly revealed as Morrison switched back and forth between different time periods. Most of Morrison's reader are accustomed to this, and will adjust.

    However, one needs an organizational diagram to track all of the sub-plots in the novel.

    I had to force myself to finish the book. I simply did not care one wit for the characters and felt no desire to know how they got where they were or how they ended up at the end.

    In essence, it feels like Morrison is like MJ following the Thriller album, always trying to top her best work. In this case, she has failed miserably.

    I know some of your love Morrison, and probably enjoyed this book. To you I can only say, to each his own.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted June 4, 2011

    Love Love Love!

    A great read

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  • Posted December 25, 2009

    Great book

    Morrison is back! Great story and very typical Morrison. Loved the twists and turns and thought the story was touching, loving, and scary.

    Such a simple story with such a rich back drop. Everything was relevant, even the most minute of details.

    Bravo, Morrison!

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  • Anonymous

    Posted June 23, 2007

    I wouldn't recommend it.

    This is Toni Morrison's weakest novel. Its as simple as that. I felt like I read this book before from her but most of the greatness that was in the others was left out of this one.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 15, 2007

    Called reading?

    Let us say this book is not signed by Toni Morrison, would you still read it? would you still enjoy it? I do not think so, sorry, there are other Nobel prize winners people enjoy more.

    0 out of 2 people found this review helpful.

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  • Anonymous

    Posted August 22, 2006

    In love with Love

    This book was fantastic. I could not put it down. When I wasn't reading I was thinking about the characters. Lot of life lessons in this book and it was beautifully and poetically witten. A+++

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  • Anonymous

    Posted March 28, 2006

    Her Last, not yet a Swan's Sing

    Love is a very beautifully told novel about two women who had hated themselves so much in life while they have shared (almost) everything in common: a town, a man, an estate, a house and finally a maid. Toni Morrison again surprises her readers with this soft-voice account of a woman¿s love for a man, pride, revenge, passion, scorn and hope. Her prose is quite fresh and breathing... Where it lacks her past¿s adagios we read her immaculate mastered allegros. We will expect more from Morrison in the future, because this is not the ¿swan¿s sing¿.

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  • Anonymous

    Posted April 29, 2005

    Toni Morrison is a genius!

    Once again Toni proves her worth as a literacy genius. This book is spellbinding. It grabs you at the beginning and keeps you hanging on to the ending. A must read for fans of Toni Morrison!

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  • Anonymous

    Posted December 17, 2004


    This book is phenomenal! Once again the mind of Tony Morrison has delivered a book that draws you into the story. This is a chilling story of love, friendship, life, and emotions. It will leave you wanting to know more.

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  • Anonymous

    Posted August 29, 2004

    Determined to understand, a little bit let down

    This book does grab you from the start, it takes you through many twists and turns, which most eventually unravel splendidly, however, it left many unanswered questions about characters that were mentioned and even central to the story itself. This was too bad, because I did come to care about the characters and wanted to know about them, maybe in a sequel...

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  • Anonymous

    Posted October 5, 2004

    Tooooooooooo Confusing,-----nothing enjoyable

    When I read a novel, I am reading for entertainment and try desperately to enjoy the book . This was totally a confusing book. 'Love' was more like 'Hate' this time. Toni missed the beat this time!!!!!!!!!!!!!!

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 21, 2004

    What is life without LOVE

    From beginning to end, you're engrossed in a spellbinding tale that evokes thoughts of, or feelings of, discomfort, pain, heartache, determinism, compassion, companionship, pleasure, joy, and ultimately, love. As Morrison so eloquently does in all of her novels, she finds a way to make her characters resonate with the reader. The music evident in Morrison's writing lulls you to continue, to discover more, to embrace complexity, while enjoying a story told by one of the greatest story-tellers I've ever read. Worthy of a second, third, and fourth read--whenever you're in the mood for Love.

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  • Anonymous

    Posted March 1, 2004

    Presenting the best

    It¿s not a secret that Toni Morrison (TM) is one of America¿s most read best authors. Love was an excellent story and depending on your background it could be considered a great work of literature. Being a TM fan I view ¿Love¿ as a work of Art. The descriptions of Cosey and the women who love are fascinating. All of the women (including Celestial) in the town of Silk, visiting the Hotel and even in a dream where passionately loving Cosey. In my opinion, TM¿s works of art are read once for identity and a second time for clarity. Not many writer¿s have this skill to present to their audience. But as the first statement reads TM is one of America¿s best writers. And that¿s what the great artist do they present their best.

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  • Anonymous

    Posted January 9, 2004

    Disappointing novel from one of our greatest authors.

    Toni Morrison is, in my mind, easily one of the world's most important writers, but I was profoundly disappointed by her most recent novel, 'Love.' Her language, usually striking and distorting and highly poetic, is in this case wrapped around a story so completely hollow that it comes across as pretentious and overwrought. At just over 200 pages, this novel is brief, and barely penetrable - unlike her previous works, however, once the astute reader makes it through the surface to the core of 'Love,' they'll find nothing to write home about.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 27, 2004

    You might have to read this a few times

    At first I was skeptical... More than skeptical. For the first 160 pages (mind you there are only about 200 altogether!) I had to force myself to continue reading. But then it all started to come together. Everything fell into place and I started to figure out the connections between the characters. In the end, I thoroughly enjoyed it... But it's definitely a thinker. Don't think you're going to pick it up and breeze through it! I would recommend the book, but I would say read it twice and maybe buy the cliff notes!! :o)

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  • Anonymous

    Posted January 30, 2004

    You must take time to read this book in silence...

    because you might need to create a family tree for this one. I definitely wanted one. I found myself going back to figure out who was who. The book did leave me with some questions as to the presence of certain characters. This did not deter me from wanting to finish it though. Eventually, the story unfolds teaching you once again how Toni Morrison can merge vision with words and create a wonderful read.

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