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Love Invents Us, by Amy Bloom
Free PDF Love Invents Us, by Amy Bloom
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National Book Award finalist Amy Bloom has written a tale of growing up that is sharp and funny, rueful and uncompromisingly real. A chubby girl with smudged pink harlequin glasses and a habit of stealing Heath Bars from the local five-and-dime, Elizabeth Taube is the only child of parents whose indifference to her is the one sure thing in her life. When her search for love and attention leads her into the arms of her junior-high-school English teacher, things begin to get complicated.
And even her friend Mrs. Hill, a nearly blind, elderly black woman, can't protect her when real love--exhilarating, passionate, heartbreaking--enters her life in the gorgeous shape of Huddie Lester.
With her finely honed style and her unflinching sensibility, Bloom shows us how profoundly the forces of love and desire can shape a life.
- Sales Rank: #767572 in Books
- Published on: 1998-01-27
- Released on: 1998-01-27
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .50" w x 5.20" l, .40 pounds
- Binding: Paperback
- 224 pages
Amazon.com Review
In this first novel, Amy Bloom spins the tale of one Elizabeth Taube, charting her progress from an unloved adolescent to (alas) an unloved, middle-aged mother. To be sure, Elizabeth has had no shortage of suitors. Yet, one by one, they desert her, leaving nothing but their imprints upon her personality--which, if we are to take the title literally, is almost all the personality we have. The author steers clear of sentimentalizing her heroine's plight. And Bloom's eerie ability to convey physical sensation--which also distinguished her story collection Come to Me--is on ample and impressive display.
From Publishers Weekly
The first two thirds of this first novel exhibit many of the excellent qualities seen in Bloom's highly praised short-story collection, Come to Me. Again, Bloom's prose combines lyrical imagery with a comfortable vernacular; her protagonist's vision of the world is distinctive, wry and intense. We meet Elizabeth Taube as a preteen in upper-middle class Great Neck, Long Island. Perceptive enough to know that she is unloved by her mother, a chilly interior decorator, and her father, a remote accountant, she is too innocent to understand the attentions of an elderly furrier, who teaches her about the power of the body to arouse passion. A short while later, she acquires the two lovers who will have the largest impact on her life. One of these, Max Stone, is her junior-high school English teacher and a clear father figure. Max tries and fails to repress the sexual aspect of his love for Elizabeth, and as a result ends up a broken man. While Max is almost entirely unsympathetic, Elizabeth's other lover, a black high school star athlete named Huddie Lester, is often too good to be true. The sure hand for characterization and plotting that Bloom showed in her stories is not always in evidence here; a blind black woman that Liz befriends is a fully realized and memorable character, yet her parents are especially unpleasant and underdeveloped. The book's pacing sometimes lags, and the last third of the novel, with Elizabeth a middle-aged mother, lacks credibility. Yet Bloom's beautifully inflected prose captivates a reader. Her keenly perceptive evocation of a young woman's burgeoning self-awareness and her sensuous descriptions of erotic passion are fashioned with undeniable intelligence and grace. 40,000 first printing; author tour. (Jan.) FYI: The first chapter of this novel is virtually identical to a story in Come to Me titled "Light Breaks Where No Sun Shines."
Copyright 1996 Reed Business Information, Inc.
From Library Journal
National Book Award finalist Bloom (Come to Me, LJ 5/1/93) won't disappoint her fans with a first novel that chronicles a young girl's journey into adulthood and her search for love and acceptance. Bloom's heroine, Elizabeth Taube, is a chubby, lonely, neglected child who begins to find comfort in mostly the wrong places: the back room of Furs by Klein with Mr. Klein; the candy counter at Frank's Five and Dime, where she is caught stealing; and in the arms of her English teacher, Max. When she is 16 she meets Huddie Lester: "Love and desire slammed us into each other, giddy and harmlessly wild as bumper cars." Bloom's incredible talent lies in her ability to disturb, humor, and delight without ever becoming heavy handed or awkward. She has given us a true love story, minus all the sugar coating. Highly recommended.?Editha Ann Wilberton, Kansas P.L., Kansas City, Mo.
Copyright 1996 Reed Business Information, Inc.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
Amy Bloom is amazing. I love all of her work.
7 of 7 people found the following review helpful.
Nourishment
By MICHAEL ACUNA
While reading "Love Invents Us" and about Elizabeth, I was reminded of several recent movie characters who find themselves in similar situations: Enid in "Ghost Story" and "J" in "My First Mister." Besides all three characters being about the same age, all three also have affairs of a sort with older men, all are rebels, all dress in a style best described as Goth and all three are devastatingly intelligent and colossally misunderstood ("My Mother usually acted as though I had been raised by a responsible, affectionate governess: guilt and love were as foreign to her as butter and sugar."). More importantly all have a deep capacity for love, untapped as it mostly is.
Elizabeth Taube, though she complains of not being, is well loved: by Max, a high school teacher who falls compulsively and helplessly for her: "So beautiful, Max thought. Am I supposed to be ashamed for being such a dirty old man, another Humbert, disgusting in my obsession?" By Mrs. Hill a nearly blind elderly woman whom she helps out several times a week and who "sees" Max's attraction to Elizabeth: "You put one hand on that child who thinks you love her fine mind...and I'll see you turning in Hell, listen to you pray for death." and by Huddie a young African American who once his father finds out about the affair, sends Huddie away: "(Huddie was)...a hundred times handsomer than the other handsome boys, kinder than the other sports stars. Even girls he slept with only once had nothing bad to say about him."
All of the characters in "Love Invents Us" have to deal with missed chances and miss-connections. Max's wife Greta says: "I did think it would be a happy life. That is what people think. That's why they marry and have children. In anticipation of further joy, of multiplying happiness." To which Max replies: "People like me marry and have children because we are apparently not dead, because we are grateful. Because we wish to become like the others. To experience normal despair and disappointment."
Amy Bloom's writing is voluptuous, fat and juicy as befits a novel about the many faces of Love and what we as humans are willing to do to bite off some of it for ourselves. If Love Invents Us, it also feeds us, nourishes us and substantiates our existence.
7 of 9 people found the following review helpful.
Ordinary people rendered extraordinary in poetic prose
By A Customer
Ordinary people--the kind we meet in the deli and barely notice--are rendered extrardinary through Amy Bloom's knowing eyes. So many stark truths about life's realities are spoken so matter-of- factly that one could miss them if one were not paying attention. And in the lives of Elizabeth, Huddie and Max, so separate yet so closely interleaved--like contiguous layers of onionskin at opposing poles--we see patterns that repeat themselves in childhood, at puberty, in middle age--ways of being that took root before we knew what we were doing. "Elizabeth knew that the bad things that had happened to her were no worse than other people's bad things; they were pretty small potatoes, in fact, compared to terminal cancer, death by famine, incest, quadriplegic paralysis." p.132 Amy Bloom's lyrical writing is like a benediction on what, in less skillful hands, would be tawdry lives. Love not only invents Elizabeth Taube; it is the driving force of her existence and the exclusive theme of the novel. So here is a syllogism for you: If love invents us, we exist through love; if existence is good, then love is good. Ah, but is it? Here, surely, is love gone awry. Here is a young girl irretrievably damaged by the illicit desires of older men who should have known better. Old Mr. Klein's furs turn the lost child Elizabeth into a beautiful princess, but the damage is done, the acceptance of the unacceptable is learned before puberty. Ignored by her parents and deprived of wholesome love, Elizabeth inevitably takes love where it is offered. Who among us could not accept love that is freely given; nevermind, the consequences. The pattern is set and pursues Elizabeth as theme and variations through middle age. Bloom's toneless style, that infuses the scenes with the love she writes about, renders Elizabeth's various loves as beautiful things, to be savored and thought over. Who among us has not had a crush on a high school English teacher? From Bloom's imagination unfolds the probable outcome of a teenage crush acted out to its less-than-ideal conclusion. Here, in the sweetest language and imagery possible, so sweet we almost don't recognize it for the horror that it is, is a story of a woman, from childhood to middle age, who's damaged life seems almost enviable it is presented to us so beautifully and so lovingly. Despite the underside-of-life quality of the relationships, Elizabeth is like a mirror. I see myself in her deepest feelings, the temptations life has offered, the damaging random events that set us irretrievably down certain paths. Perhaps Elizabeth never aspired to more than the fundamentals: life, love, motherhood--and then we die. She starts out alone and in the end she is still alone. For her, not only is love universal, it is also eternal. These ordinary lives take on almost epic proportion through exquisite portraiture. Bloom's lyric brush strokes fill us with nostalgia for Elizabeth's lost potential. But perhaps nothing was lost after all, because she learned the message some say we are here to learn: Let us all love one another. Let us speak together of love, but not romance. Romance died at Furs by Klein. No one lives happily ever after, yet here they fail to do so in the most eloquently poetic manner. What a pitty to lose romance before puberty. When I was ten, the same age as Elizabeth Taube, I fell and cut my knee open--a great gaping gash that stretched so badly as it healed it looked like my knee had a mouth. The first thing I thought of when I saw the wound was that now I could not grow up to be Miss America. I actually mourned this loss for many years. But this was as nothing compared to what Elizabeth lost at the same age. Adventures of the heart, especially those with forbidden overtones, consume us and drag us along with their powerful pull--passion, desire, compulsion to know what will be. Elizabeth's affaires de coeur are our own fantasies played out to their illogical conclusion. One might be tempted to use the word "perverse" in describing her obsessions, but we know too many of us have had brushes with the likes of Mr. Klein, or have had crushes on teachers like Max Stone, or have had boyfriends of whom no one approved, or have loved and been unmercifully used by a manipulative adult. Intimations of such near things are evoked, conjured up and as these dramas play themselves out in Elizabeth's life, we see the mirror reflect back at us and we feel the common bond of her humanity. Love, indeed, does invent us.
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