Where the God of Love Hangs Out

October 19, 2009
Bloom's latest collection (after novel Away
) looks at love in many forms through a keenly perceptive lens. Two sets of stories that read much like novellas form the book's soul; the first of which revolves around two couples—William and Isabel, Clare and Charles—and begins with Clare and William falling into an affair that endures divorces, remarriage and illness. Bloom has an unsettling insight into her character's minds: Clare's self-disgust is often reflected in her thoughts about William, demonstrating the complexity of their attraction as their comfort with each other grows, until she finally accepts the beauty of what they have—albeit too late. The second set of stories, featuring Lionel and Julia, is more complicated; the death of Lionel's father propels Lionel and Julia together in a night of grief, remarkable (and icky) mostly because Julia is Lionel's stepmother and his father's widow. As years go by, it is unclear whether Lionel's difficulties are due to that indiscretion, but watching Bloom work Lionel, Julia and her son through the rocky aftermath is a delight. The four stand-alone stories, while nice, have a hard time measuring up against the more immersive interlinked material, which, really, is quite sublime.

November 15, 2009
Bloom's new collection features two sets of connected stories that characterize the far-reaching trajectory of love within memorable groups of characters. In one grouping, William and Clare, literature professors in two parallel marriages, are drawn to each other in middle age after years as highly compatible friends. In the other, Lionel, the adolescent son of a well-known jazz musician, and Julia, recently widowed from that musician, are forced to redefine their relationship in the face of the man's death. In both sequences, realignments between children and adults are unpredictable but deeply felt. VERDICT The characters from the two sets of linked stories are so engaging that the inhabitants of the four strong stand-alone entries feel like mere walk-ons. Readers of Bloom's earlier collections will be happy to reencounter some of the characters they've already met, as two of the stories are from "Come to Me" and "A Blind Man Can See How Much I Love You". An eminently readable new collection. [See Prepub Alert, "LJ" 9/1/09.]Sue Russell, Bryn Mawr, PA

Copyright 2009 Library Journal, LLC Used with permission.

December 1, 2009
After her best-selling historical novel Away (2007), Bloom returns to the form that made her famous, the short story. In her third collection, as in all of her books, love is the mysterious, gravitational force that rules her hapless, oddly noble characters. Of course, love is the theme of most fiction. What makes Blooms serrated stories so keen is her penetrating insights into the ambiguity, orneriness, confusion, and obsession that make expressions of love so ludicrous, treacherous, and profound. In the perfectly pitched title story, a woman comes clean about her past to her unfazed father-in-law, who harbors his own hidden desire. Bloom returns to a biracial family introduced in earlier works and brilliantly continues the highly charged saga of Julia and her stepson, Lionel. The best of this collection of bittersweet tales of psychic pain are about tender William and vinegary Clare, who, though on in years and married to fine spouses, can no longer ignore the fact that they are only completely at ease with each other. Blooms stories are emotionally precise, mordantly funny, and beautifully distilled.(Reprinted with permission of Booklist, copyright 2009, American Library Association.)