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Author: Lucretia Stewart
ISBN13: 978-0099284987
Title: Making Love: A Romance
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ePUB size: 1595 kb
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Language: English
Category: Contemporary
Publisher: Vintage; New Ed edition (April 4, 2000)
Pages: 228

Making Love: A Romance by Lucretia Stewart

Set against the sexual freedom of the 1970s and the tougher realities of solitary life in the late 1990s, Lucretia Stewart's moving first novel charts the sentimental education of a woman who learns the truth about herself through the intricate lessons of desire and pain. ISBN13:9780701167745.

Find Deals & PDF download Making Love: A Romance. by Lucretia Stewart Book Views: 12. Author. Random House Adult Trade Publishing Group. Set against the sexual freedom of the 1970s and the tough realities of solitary life in the late 1990s, Lucretia Stewart’s moving first novel charts the sentimental education of a woman who learns the truth about herself through the intricate lessons of desire and pain. This is the first .

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In this new series, we follow the love stories of two couples. The first couple is Prince William and Kate Middleton, who will be married in April. The second couple is less well-known but their story is just as interesting! In this first episode we hear about Kate's first impressions of Prince William and find out how our two couples started their relationships in a similar way. Section One: William and Kate. Listen to this interview with Prince William and Kate Middleton, and see if you can anwer these questions. 1. How long were William and Kate friends before they became a couple? . .

Reviews: 2
Perhaps you will be expecting a series of erotic love tales from the title of Lucretia Stewart's novel, "Making Love." However, what one finds is a seemingly endless parade of failed love affairs that have a propensity for the desperate, not steamy, sultry side that is easily found in Harlequin romances. Stewart's characters appear to be tragically compulsive and unable to act in their own best interests, even when the choices are clear. For example, the unnamed female protagonist is unable to leave Louis, a married manic-depressive alcoholic, because she feels like it is "one big movie" and says, "I couldn't let go because the relationship had developed a life, a momentum of its own, which was quite separate from the individuals involved in it."

Stewart's writing transmits a palpable sense of loss, depicting characters that cling to an unhappy fate out of fear and habit. The author's sentences are crisp and to the point as we watch the unnamed female protagonist meander from the beginning of her love life in the 1970s to the present. Overall, a believable and even an enjoyable read, despite, actually, because the terrain of the unnamed female protagonist is awash with horrible decisions. Reading this train wreck proves to be delicious fodder for any rubbernecker or unscrupulous talk-show host.

Bohdan Kot
Making Love: A Romance is, quite simply, one of the worst books I've read in the last five years. The novel opens with a promising beginning, a great first line of, "In London, two days after my father's funeral, I began an affair with a man with whom I had first slept twenty-five years earlier in Italy." That's a great start, but unfortunately, the climax of the book occurs in the first sentence (bad pun, I know).

My problem with the book is the lack of scenes, which directly correlates with the lack of tension. This novel is likely more than ninety percent narrative summary, and that's not the way to write a novel, a short story, or any work of fiction. How will the reader feel anything is at stake when the Stewart summarizes important events in a paragraph and clips critical moments just as tension is rising? For example, after the narrator won't return a scorned lover's calls, she writes "he stormed into the my Cambridge office..." and then after a superfluous description of what he wore, she continues "The men in the office persuaded him to leave quietly but this was by no means easy." That's it; an interesting and potentially telling moment summarized in a paragraph. But this is by no means the most egregious or obvious example. I simply opened the book to a random page and found that one.

My point is that this occurs at every turn. Long relationships end in a sentence, seasons go by in a paragraph, and years go by in the span of half a page. At one moment, the narrator is sleeping with a relative's boyfriend, and when the relative finds them in bed together, that's it; the scene ends and that's all we get. What happened next would have been the most interesting moment of that event, but we aren't given it. Similarly, when a boyfriend says to the narrator "Fat bitch. No wonder your father couldn't stick you," she responds, with a line of exposition, "The remark stung," and that's it. Both of those, seem to me, to be important moments, moments when the reaction is more important than the events themselves. For example, in Hemingway's "Hills Like White Elephants," when the man asks Jig to get an abortion the story doesn't end. On the contrary, the remark creates tension, and the real story is in the conversation and events that follow, until we learn, at the end of the story, that everything between them has changed, that their relationship is over.

This brings me to my second complaint: superfluous backstory. This book gives us the relevant past history of the narrator and then the narrator's new lover, Louis (the man in the first sentence) then dives into their present situation together. If not for the lack of scene, this would all be very gripping. And then, about eighty pages into the novel, Stewart stops and gives the reader another eighty pages of completely unnecessary backstory, her complete sexual history, all of course told in narrative summary. This did nothing but portray the narrator as slightly unlikable. Again, years pass in a paragraph, and there's no fixative to hang onto because of the lack of scene. Worst of all, we don't learn a thing about the narrator in this point. She appears as the same unfulfilled nearly nymphomatic person she is in adulthood. Perhaps this is supposed to justify her current behavior in some way, but why take eighty pages to do this? And more importantly, why feel the need to justify a character's behavior in the first place? I finished this section and thought of the lines from the William Carlos Williams poem, "The Ivy Crown" : "Children pick flowers/ Let them./ Though having them/ in hand/ they have no further use of them/but leave them crumpled/ at the curb's edge." The problem here is that WCW, in only a few lines, says everything Stewart says in eight pages: the narrator was young, impetuous, and slept with a lot of different guys.

Of course, I can't recommend this book, mostly because of the story telling blunders. But there are strong moments in this novel, though they are very few and with thirty or so pages of muck between them. Stewart has an occasional strong line, like "But I measure true love by the amount of pain I experience." She also commands a good sense of language. Her prose style is clear and sophisticated. I get the sense she's a smart women, well read, well traveled. But what I worry most about, is the idea of an aspiring writer finding this book and copying the style. That would be a huge mistake. The great novels of our time use scene and tension (two people wanting different things or one character wanting different things). Wuthering Heights, Bleak House, East of Eden, The Human Stain all incorporate narrative summary and backstory, but the bulk of these books, and the moments we'll remember, are SCENES.

This, ultimately, is why Stewart's Making Love: A Romance is not a good novel. I have the impression that this might be a capable writer who just wiffed. There could be good work out there by Stewart, and good work to come. But skip this novel. The characters are insipid, unfulfilling, and boring, which coincidently, are adjectives I would use to describe novel as well.