Tomcat in Love

Tomcat in Love

4.4 9
by Tim O'Brien

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In this wildly funny, brilliantly inventive novel, Tim O'Brien has created the ultimate character for our times. Thomas Chippering, a 6'6" professor of linguistics, is a man torn between two obsessions: the desperate need to win back his former



In this wildly funny, brilliantly inventive novel, Tim O'Brien has created the ultimate character for our times. Thomas Chippering, a 6'6" professor of linguistics, is a man torn between two obsessions: the desperate need to win back his former wife, the faithless Lorna Sue, and a craving to test his erotic charms on every woman he meets.

But there are complications, including Lorna Sue's brother, Herbie, with whom she has an all-too-close relationship, and the considerable charms of Chippering's new love, the attractive, and of course already married, Mrs. Robert Kooshof, who may at last satisfy Chippering's longing for intimacy.

In Tomcat in Love, Tim O'Brien takes on the battle of the sexes with astonishing results. By turns hilarious, outrageous, romantic, and deeply moving, this is one of the most talked about novels in years: a novel for this and every age.

Editorial Reviews

From the Publisher

"Like all comic novels, Tomcat is a complex affair that invites a complex response and offers a complex reward."
The New York Times Book Review

"Tomcat in Love is a wonderful novel, laugh-out-loud funny, one of the best books I've come across in years. . . . Go out and find a copy . . . now. It really is that good."
—Washington Post

"Tim O'Brien knows cold the spiraling insularity of obsession. . . . Thomas Chippering . . . is wickedly realized. The agility and intelligence that created this pathos-ridden romantic make one marvel at Tim O'Brien's gifts."
Boston Sunday Globe

"A great American novel."
—Atlanta Journal-Constitution

"It's a plain fact; don't argue. Tim O'Brien can flat-out write. . . . Quirky and immensely satisfying. . . . After all the years of deadly serious writing, O'Brien has swung from the opposite side of the plate with Tomcat. He's hit a home run."
Denver Post

"Wildly funny, accusingly poignant. . . . O'Brien has done a masterful job of depicting all those loose ends, those unmailed valentines, that final abiding question we have all . . . asked of the loved one who has left us behind."
San Diego Union Tribune

The Barnes & Noble Review
September 1998

"In one sense, Tomcat in Love represents a literary departure for me. In a more important sense, however, every book is a departure: new characters, new story, new structure, new rules, new narrative voices, new ways of looking at material that matters to me," O'Brien maintains. "Though I am known as a 'Vietnam writer' - whatever that may be - I have always pegged myself more as a 'love writer,' and in that regard Tomcat in Love is no departure at all. I am still circling, after nearly thirty years, the same old obsession: how far we will go to win love, to keep love, to love ourselves." —Tim O'brien

Hailed as "the best American writer of his generation" (San Francisco Examiner), Tim O'Brien is best known for works of fiction grounded in his experience of the Vietnam War. With the publication of his last novel, In the Lake of the Woods, O'Brien announced his intention to stop writing fiction "for the foreseeable future."

Now, four years later, we invite you to join us in welcoming Tim O'Brien in his return. Meet us in the auditorium to chat about his new novel, tracing one man's misguided, convoluted, relentless quest to reclaim the love of his life - or, perhaps, to find a new love - in Tomcat in Love.

"There can be little on this earth more fundamentally satisfying than a piece of intelligently conceived, impeccably executed vengeance," reflects O'Brien's ever-conniving yet hapless hero and narrator, Thomas H. Chippering, Professor of Linguistics.

Egotistical, verbose, meticulous (hepainstakinglyincludes footnotes in his own narrative), and self-described as "something over forty-nine years of age" with "height and craggy features reminiscent of our sixteenth president," Chippering has been prone to late-night weeping since the recent end of a twenty-year marriage to Lorna Sue, the doe-eyed, raven-haired, pouty-lipped beauty he has adored since the age of seven. Two obstacles stand in the way of their reunion: Lorna Sue's new husband (a hirsute tycoon from Tampa whose name Chippering refuses to utter) and her slavishly devoted, eerily omnipresent brother, Chippering's childhood chum Herbie. Of course, Chippering staunchly denies that his fondness for women - especially his young students at the University of Minnesota - and his fine art of equivocation are in any way responsible for his present state of desperation.

Faith. Roses. Pontiac. Virtue. These words haunt the narrator, as pivotal events in the life of the narrator and Lorna Sue have charged them with emotion. Increasingly, Chippering hungers for revenge, and his thoughts turn to Tampa, where the focus of his obsession now lives, content and oblivious, with her wealthy husband (and her faithful brother nearby). But before heading south to launch his attack, Chippering makes a fateful stop in Owago, Minnesota - the Rock Cornish Hen Capital of the World - to visit his boyhood home. Crumpled and sobbing in his former backyard, he meets the properties current owner, Mrs. Robert Kooshof - a tall, buxom, big-hearted, no-nonsense blonde also reeling from a spouse's betrayal, who soon becomes Chippering's reluctant accomplice, and ultimately, his savior.

In an epic struggle taking him from Minnesota to Florida and back, Chippering hatches devious plots to shatter Lorna Sue's connubial bliss; flirts shamelessly with every woman he meets; suffers public humiliation and the ruin of his career; and risks a fiery death. A complex, despicable and at the same time entirely loveable character, Chippering ultimately comes to grips with the truth - about Lorna Sue, about Herbie, about his own imperious, commitment-phobic self, and ultimately finds salvation in what makes life truly worth living. Wildly funny and surprisingly moving, Tomcat in Love is a vivid, ingenious, unforgettable tale of lust, compulsion, and disillusionment from one of today's most original and gifted writers.

Seattle Times
Enjoyable, moving, often hilarious.
Chicago Tribune
Tim O'Brien is an astonishing writer. Tomcat begins at a high pitch and maintains it.
Kansas City Star
A dark and thoroughly engaging comedy about the danger of obsession and the healing power of love.
Tom Walker
After all the years of deadly serious writingO'Brien has swung from the opposite side of the plate with Tomcat. He's hit a home run. —The Denver Post
Michiko Kakutani
. . .[T]he reader can only wonder at the disparity between the power of . . .earlier books by Mr. Obrien —- distinguished by their inventive storytelling and their evocative depiction of the visceral and emotional realities of war — and the mangled mess that is Tomcat in LoveThe New York Times
Matt Cohen
Tomcat in Love is well -- sometimes very well -- written. Its plot is carefully worked out and becomes more compelling as the novel proceeds. The characters are only mildly believable, but how believable were the characters in Lolita, another book about a verbally gifted romantic?....Well-written and almost always amusing, Tomcat in Love is an entertaining book from a terrific writer whose real strengths appear to lie elsewhere. -- Globe and Mail
To call Thomas Chippering, well-known linguistics professor, a 'womanizer' doesn't capture him. He's a woman appreciator gone wild, ogling every female he meets and often taking them on two at a time, not for sex but to talk them to death and later to categorize them in his little black book. The book is full of statistics but empty of understanding.

Tom married his childhood sweetheart, Lorna Sue, but she never loved anyone but herself. When she throws him over, he embarks on a campaign of revenge. It's a crafty, near-military campaign. Revenge and paranoia -- the stuff of sexual warfare -- drive O'Brien's novel, but Tom is on his way down for more reasons than Lorna Sue. He makes a pass at one his students, who blackmails him into writing her thesis and then turns him in for sexual harassment. Tom loses his job, descending into a brief, hilarious, sad career as a children's TV character named Captain Nineteen. Tom's a bedlam and, like Portnoy, ends up in the care of pyschiatrist. He's the classic lying narrator, a likable sociopath. All he really wants is for a woman somewhere to listen to him, yet he's so busy worshiping goddesses that when an ordinary, decent woman falls for him, yet he's so busy worshiping goddesses that when an ordinary, decent woman falls for him, he doesn't understand that she will do exactly that.

O'Brien is funny, and over the years, with the publication of his masterful war novels, has become a subtle and original stylist. But his story is simple: love is hard to find, hardest of all when you desperately need to find it.

Washington Post Review
Here, for all of you with just enough time to skim the paper as you gulp your morning coffee, is the straight scoop: Tomcat in Love is a wonderful novel, laugh-out-loud funny, one of the best books I've come across in years. My advice, something I've offered only once or twice in 12 years of writing about books . . . is that you waste no more time on this review. Put down the paper. Go out and find a copy of Tomcat in Love now. It really is that good.
Library Journal
From the beginning, Thomas Chippering's life has revolved around two people: Herbie, his sociopathic playmate, and Herbie's younger sister Lorna Sue. Despite her idiosyncratic behavior and the intrusions of her lower-class family, Thomas worships her; after an odd courtship they are married. A number of years later, divorced, Thomas is still obsessed with Lorna Sue and the breakup of their relationship. A soon-to-be divorcee may be Thomas's chance for recovery and lasting love--if she can keep his mind off Lorna Sue and his hands off other female admirers. Redemption can be a hard sell in fiction, and the reader will have to muster some interest in Thomas's arrogant, Don Juanish character to make this work. O'Brien, author of In the Lake of the Woods (LJ 8/94) and a National Book Award winner for Going After Cacciato (LJ 12/15/77), lets Thomas narrate, obscuring revelations conveniently held till the end. But overlook all this, and there may be a small audience for this quirky character study. [Previewed in Prepub Alert, LJ 5/1/98.]--Marc A. Kloszewski, Indiana Free Lib., PA
Boston Globe
Wickedly realized. . .nobody but O'Brien could have written some of the opening vortexes about passion and meaning.
Michiko Kakutani
. . .[T]he reader can only wonder at the disparity between the power of . . .earlier books by Mr. Obrien --- distinguished by their inventive storytelling and their evocative depiction of the visceral and emotional realities of war -- and the mangled mess that is Tomcat in Love -- The New York Times
Seattle Times
Enjoyable, moving, often hilarious.
Hartford Courant
A laugh-a-minute look at a bewildered man's tragicomic search for love in all the wrong places.
San Francisco Book Review
O'Brien has gone out on a limb, and readers will be hard-pressed not to scurry along after him.
Jane Smiley
Funny stuff. . .Like all comic novels, Tomcat is a complex affair that invites a complex response and offers a complex reward. -- The New York Times Book Review
Kirkus Reviews
A surprising departure for the usually somber O'Brien, this time chronicling the pratfalls of a middle-aged would-be Lothario.

Looming over Thomas Chippering's marriage through much of its two decades is the malign presence of his brother-in-law, Herbie Zylstra, a man harboring a peculiarly intense interest in his own sister, Lorna Sue. It's Herbie who finally fragments Tom and Lorna Sue's marriage, by revealing to his sister a series of minor deceits Tom's used to assuage her suspicions of his instability. Her departure and remarriage to a Florida millionaire render the generally resilient Tom alternately melancholy and manic, leading him to brood on the fact that 'we are all pursued by the ghosts of our own history, our lost loves, our blunders, our broken promises and grieving wives.'

Not unsurprisingly, this linguistics professor and (as he mentions on more than one occasion) war hero, tries first, haplessly, to win back his wife and then, also unsurprisingly, decides on revenge. He can at least pay back the twisted Herbie—'though of course matters quickly veer out of control.

While he does manage to derail Lorna Sue's marriage temporarily, he also becomes involved with the beautiful, and decidedly self-reliant, Mrs. Kooshof, whose husband is languishing in prison. Tom's decline, meanwhile, becomes a headlong rush as he's exposed by Herbie, thrashed in front of his students by Lorna Sue's husband, bereft of his job, of Mrs. Kooshof (seemingly), and briefly of his sanity. Because this is pitched as a farce, much of what happens is meant to be drolly funny and often is. But Tom is exceedingly garrulous (his first-person narrative even sports footnotes), and there are a fewpratfalls too many.

Product Details

Crown Publishing Group
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5.17(w) x 7.97(h) x 0.78(d)

Read an Excerpt


I begin with the ridiculous, in June 1952, middle-century Minnesota, on that silvery-hot morning when Herbie Zylstra and I nailed two plywood boards together and called it an airplane. "What we need," said Herbie, "is an engine."

The word engine—its meanings beyond mere meaning—began to open up for me. I went into the house and found my father.

"I'll need an engine," I told him.

"Engine?" he said.

"For an airplane."

My father thought about it. "Makes sense," he said. "One airplane engine, coming up."


"Soon enough," said my father. "Pronto."

Was this a promise?

Was this duplicity?

Herbie and I waited all summer. We painted our airplane green. We cleared a runway in the backyard, moving the big white birdbath, digging up two of my mother's rhododendrons. We eyed our plane. "What if it crashes?" I said.

Herbie made a scoffing noise. "Parachutes," he said. (A couple of his front teeth were missing, which caused bubbles to form when he laughed at me.) "Anyway, don't be stupid. We'll drop bombs on people. Bomb my house."

So we filled mason jars with gasoline. Through July and August, in the soft, grave density of that prairie summer, we practiced our bombing runs, getting the feel of it, the lift, the swoop. Herbie was eight, I was seven. We made the sounds an engine would make. In our heads, where the world was, we bombed Mrs. Catchitt's garage, the church across the street, Jerry Powell and his cousin Ernest and other people we feared or despised. Mostly, though, we bombed Herbie's house. The place was huge and bright yellow, a half block away, full of cousins and uncles and nuns and priests and leathery old grandmothers. A scary house, I thought, and Herbie thought so too. He liked yelling "Die!" as he banked into a dive; he said things about his mother, about black bones and fires in the attic.

For me, the bombing was fine. It seemed useful, vaguely productive, but the best part was flight itself, or the anticipation of flight, and over those summer days the word engine did important engine work in my thoughts. I did not envision machinery. I envisioned thrust: a force pressing upward and outward, even beyond. This notion had its objective component—properties both firm and man-made—but on a higher level, as pure idea, the engine that my father would be bringing home did not operate on mechanical principles. I knew nothing, for example, of propellers and gears and such. My engine would somehow contain flight. Like a box, I imagined, which when opened would release the magical qualities of levitation into the plywood boards of my airplane.

At night, in bed, I would find myself murmuring that powerful, empowering word: engine. I loved its sound. I loved everything it meant, everything it did not mean but should.

Summer ended, autumn came, and what my father finally brought home was a turtle. A mud turtle—small and black. My father had a proud look on his face as he stooped down and placed it on our backyard runway.

"That thing's a turtle," Herbie said.

"Toby," said my father. "I think his name is Toby."

"Well, God, I know that," Herbie said. "Every turtle on earth, they're all named Toby. It's still just a stupid old turtle."

"A pretty good one," my father said.

Herbie's face seemed to curdle in the bright sunlight. He scooped up the turtle, searched for its head, then dropped it upside down on the runway. I remember backing away, feeling a web of tensions far too complex for me: disappointment, partly, and confusion, but mostly I was afraid for my father. Herbie could be vicious at times, very loud, very demonstrative, easily unnerved by the wrongs of the world.

"Oh, boy," he muttered.

He took a few slow steps, then ran.

If anything was said between my father and me, I cannot remember it. What I do remember—vividly—is feeling stupid. The words turtle and engine seemed to do loops in the backyard sunlight. There had to be some sort of meaningful connection, a turtleness inside engineness, or the other way around, but right then I could not locate the logic.

The backyard was silent. I remember my father's pale-blue eyes, how he gazed at something just beyond the birdbath. "Well," he said, then stopped and carefully folded his hands. "Sorry, Tommy. Best I could do." Then he turned and went into the house.

Afterward, I stood studying Toby. I poked at him with my foot. "Hey, you," I murmured, but it was a very stupid turtle, more object than animal. It showed no interest in my foot, or my voice, or anything else in the physical universe. Turtle, I kept thinking, and even now, in my middle age, those twin syllables still claw at me. The quick t's on my tongue: turtle. Even after four decades I cannot encounter that word without a gate creaking open inside me. Turtle for the world—turtle for you—will never be turtle for me.

Nor this: corn.

Nor this: Pontiac.

Have you ever loved a man, then lost him, then learned he lives on Fiji with a new lover? Is Fiji still Fiji? Coconuts and palm trees?

At sixteen, in a windy autumn cornfield, I made first love on the hood of my father's green Pontiac. I remember the steel against my skin. I remember darkness, too, and a sharp wind, and rustlings in the corn. I was terrified. Pontiac means: Will this improve? And that Indian-head ornament on the hood—did the bastard bite my feet? Did I hear a chuckle? Peeping Tom, ogler, eyewitness, sly critic: the word Indian embraces all of these meanings and many more.

The world shrieks and sinks talons into our hearts. This we call memory.

In the backyard that afternoon, alone with Toby, I felt a helplessness that went beyond engines or turtles. It had to do with treachery. Even back then, in a dark, preknowledge way, I understood that language was involved, its frailties and mutabilities, its potential for betrayal. My airplane, after all, was not an airplane. No engine on earth would make it fly. And over the years I have come to realize that Herbie and I had willfully deceived ourselves, renaming things, reinventing the world, which was both pretending and a kind of lying.

But there were also the words my father had used: "One airplane engine, coming up."

His intent, I know, was benign. To encourage. To engage. And yet for me, as a seven-year-old, the language he had chosen took on the power of a binding commitment, one I kept pestering him to honor, and through July and August, as summer heated up, my father must have felt trapped by a promise he neither had intended nor could possibly keep.

"Right. I'm working on it," he'd say, whenever I brought up the subject.

He'd say, "Pretty soon, partner." He'd say, "No sweat." He'd say, "Be patient. I've placed the order."

But a turtle?

Why not broccoli?

• *

The next morning was a Sunday. Maybe an hour after Mass, Herbie walked into my backyard.

"Your dad's a liar," he said.

"Yeah, sort of," I told him, "but not usually," then I tried to mount a defense. I talked about Toby, what a fine turtle he was, how I could get him to stick his head out from under the shell by putting a pan of water in front of him. I talked about using Toby as a bomb. "It'll be neat," I said. "Drop him on the mailman."

Herbie looked at me hard. "Except your dad's still a liar, Tommy. They all are. They just lie and lie. They can't even help it. That's what fathers are for. Nothing else. They lie."

I stood silent. Arguments, I knew, were useless. All I could do was wait—which I did—and after a few moments Herbie strolled over to our plywood airplane, picked it up, and carried it across the lawn. He placed it tail down against the garage.

"It's not a plane anymore," he said. "It's a cross."

"Cross how?" I asked.

"Like in the Bible," said Herbie. "A cross. Let's go get my sister. Lorna Sue—we'll nail her to it."

"Okay," I said.

We walked the half block to Herbie's yellow house. The place was enormous, especially to a child, and it took a long while to find Lorna Sue, who sat playing with her dollhouse up in the attic. She was seven years old. Very pretty: black hair, summer-brown skin. I liked her a lot, and Lorna Sue liked me too, which was obvious, and a decade later we would find ourselves in a cornfield along Highway 16, completely in love, very cold, testing our courage on the hood of my father's Pontiac.

The world sometimes precedes itself. In the attic that day—September 1952—I am almost certain that both Lorna Sue and I understood deep in our bones that significant events were now in motion.

I remember the smell of that attic, so dank and fungal, so dangerous. I remember Herbie gazing down at his sister.

"We need you," he said.

"What for?" said Lorna Sue.

"It'll be neat. Tommy and me, we've got this cross—we'll nail you to it."

Lorna Sue smiled at me.

This was love. Seven years old. Even then.

"Well," she said, "I guess so."

And so the three of us trooped back to my house. Impatiently, under Herbie's supervision, Lorna Sue stood against the cross and spread out her slender brown arms. "This better be fun," she said, "because I'm pretty busy." Herbie and I went into the garage, where we found a hammer and two rusty nails. I remember a frothiness in my stomach; I felt queasy, yes, but also curious. As we walked back toward Lorna Sue, I lagged behind a little.

"You think this'll hurt?" I asked.

Herbie shrugged. His eyes had a hard, fixed, enthusiastic shine, like the eyes of certain trained assassins I would later encounter in the mountains of Vietnam. Herbie gripped the hammer in his right hand. Quietly, like a doctor, he told Lorna Sue to close her eyes, which she did, and at that point, thank God, my mother came out the back door with a basket of damp laundry. The basket was blue, the laundry mostly white.

"What's this?" my mother asked.

"Sunday school," Lorna Sue said. "I get to be Jesus."

At dinner that evening, the hammer and nails lay at the center of the kitchen table. It was a long and very difficult meal. Over and over, I had to explain how the whole thing had been a game, just for fun, not even a real cross. My father studied me as if I'd come down with polio.

"The hammer," he said. "You see the hammer?"


"Is it real?"

"Naturally," I said.

He nodded. "And the nails? Real or unreal?"

"Real," I told him, "but not like . . . I mean, is Toby a real engine?"

My father was unhappy with that. I remember how his jaw firmed up, how he leaned back, glanced over at my mother, then segued into a vigorous lecture about the difference between playing games and driving nails through people's hands. Even as a seven-year-old, I already knew the difference—it was obvious—but sitting there at the kitchen table, feeling wronged and defenseless, I could not find words to say the many things I wanted to say: that I was not a murderer, that events had unfolded like a story in a book, that I had been pulled along by awe and wonder, that I had never really believed in any of it, that I was almost positive that Herbie would not have hammered those nails through Lorna Sue's pretty brown hands.

These and other thoughts spun through my head. But all I could do was stare down at my plate and say, "All right."

"All right what?" my father said.

"You know. I won't nail anybody."

"What about Herbie?"

"He won't either," I said. "I'm pretty sure."

But he did. The left palm. Halfway through. Almost dead center.

Accuracy matters.

Herbie Zylstra was not a mean-spirited child. Nothing of the sort. Hyperactive, to be sure, and so impulsive he could sometimes make my stomach wobble, but I never felt physical fear in his presence. More like wariness—a butterfly sensation.

In a later decade, Herbie would have been a candidate for Ritalin or some similar drug, gallons of the stuff, a long rubber hose running from pharmacy to vein.

Accuracy, though.

September. A Saturday morning, two weeks after school opened. Around noon Herbie stopped by. "I'll need the cross," he said.

I was busy with Toby; I barely looked up.

Herbie muttered something and picked up the cross and carried it over to his house and set it up against a big elm tree on the front lawn. He found Lorna Sue. He told her to stay steady. He squinted and pursed his lips and put the point of the nail against the center of her left palm and took aim and cocked his wrist. He did not have the strength, I suppose, to drive the nail all the way through, or maybe it wasn't a solid strike, or maybe at the last instant Herbie held back out of some secret virtue, pity or humility.

I was not there to witness it. All I can attest to is the sound of sirens.

Voices too, I think. And maybe a scream. But maybe not.

Later in the day my mother called me inside and told me about it. Immediately, I ran for my bedroom. I slammed the door, crawled under the bed, made fists, yelled something, banged the floor. What I was feeling, oddly enough, was a kind of rage, a cheated sensation: denied access to something rare and mysterious and important. I should have been there—an eyewitness to the nailing. I deserved it. Even now, half a lifetime later, my absence that day remains a source of regret and bitterness. I had earned the right. It was my plywood. My green paint. Other reasons too: because at age sixteen I would make first love with Lorna Sue Zylstra on the hood of my father's Pontiac, and because ten years later we would be married, and because twenty-some years after that Lorna Sue would discover romance with another man, and betray me, and move to Tampa.

Meet the Author

TIM O’BRIEN received the 1979 National Book Award in fiction for Going After Cacciato. His other works include the Pulitzer finalist and a New York Times Book of the Century, The Things They Carried; the acclaimed novels Tomcat in Love and Northern Lights; and the national bestselling memoir If I Die in a Combat Zone. His novel In the Lake of the Woods received the James Fenimore Cooper Prize from the Society of American Historians and was named the best novel of 1994 by Time. In 2010 he received the Katherine Anne Porter Award for a distinguished lifetime body of work and in 2012 he received the Richard C. Holbrooke Distinguished Achievement Award from the Dayton Literary Peace Prize Foundation. He was awarded the Pritzker Literature Award for Lifetime Achievement in Military Writing in 2013.

Brief Biography

Date of Birth:
October 1, 1946
Place of Birth:
Austin, Minnesota
B.A., Macalester College, 1968; Graduate study at Harvard University

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Tomcat in Love 4.4 out of 5 based on 0 ratings. 9 reviews.
Guest More than 1 year ago
Tomcat in Love is one of the most astounding works I've read in a while. The narrator reaches levels of infuriating and pathetic proportions, reminiscent of Nabakov's Humbert Humbert. What keeps the reader (and Chippering's listeners) from walking away is the compelling, if convoluted, nature of his story. Not many writers can pull off a feat like this, and O'Brien not only succeeds, but does so with compassion and humor.
Guest More than 1 year ago
A great the same twisted vein as O'Brien's awesome 'In the Lake of the Woods'. Hearing the story from the viewpoint of the obsessive, paranoid protagonist makes for a lot of laughs, but Obrien's insight to the jealous male mind also makes for some deliciously uncomfortable moments. Highly Recommended...
Guest More than 1 year ago
Tomcat in Love is a superb look into the mind of obsession. O'Brien has created a stark reality of man posessed with the need for adoration and attention of the opposite sex. Compeling at points, enjoyably absurd in others, Tomcat in Love keeps you enthralled with an egotistical wit unlike any other out there.
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ExiledNewYorker More than 1 year ago
Tomcat in Love is a great, rollicking journey through a mid-life crisis for an upper middle class "lost boy" with just a tad more self-importance than most, but not so much as to make him a caricature. It's fast, fun and quite a different turn from Tim O'Brien.
Anonymous More than 1 year ago
At 20 "nook" pages, this sample is too short to tell me if i want to read this book. Seems like maybe i do, maybe I don't. I do not see why it would hurt to give us another25 or 20 pages