67 pages • 2 hours read
Caroline KepnesA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Joe texts Delilah that he is out of town for a couple of days. Then he impulsively kisses Love, and she reciprocates. She introduces him to her brother, Forty Quinn, and explains that her parents were obsessed with tennis. Forty is Love’s twin. Forty is happy that Joe doesn’t know who they are. Their parents own The Pantry. They invite Joe to come to Chateau with their parents.
Love says she makes the Pantry playlists that Joe likes in the store. She also names the quirky aisles in the store, which she explains as she gives him the history of The Pantry. Her parents were high school sweethearts and are still “nauseatingly in love” (123). Love has been married twice. She was married to a man named Michael Motorcycle for eleven months. Then she married Dr. Trey Hanes, eight years prior to meeting Joe. Trey drowned after getting diagnosed with cancer.
Joe looks at the search history on her iPad, which she gives to him so he can Google her. Her search history is all about dogs and boots for dogs. She says that Forty has never been married. Love is thirty-five-years old, and Joe is thirty. She tells him that she was miserable in law school and had been asking God for a sign that she should quit on the day of the 9/11 attacks. Love worries that it was narcissistic to interpret the terrorist attacks as a sign for her, but she quit law school and never regretted it. She buys Joe a jacket at the Gap for that night’s dinner.
Joe likes Ray and Dottie, Love’s parents, particularly when he learns that Ray doesn’t like Henderson. Joe spends the dinner feeling that he has never been so nurtured. Forty arrives and his family berates him for not having a relationship. Producer Barry Stein arrives, then Bradley Cooper. Joe doesn’t like Barry, or a man who arrives named Milo, who approaches and sits with them. Joe immediately knows Milo—a TV producer who has a history with Love—is a liar. Milo has made a short film that received mild acclaim. Joe knows that Milo downplays his achievements so that people will gush for him and allow him to look modest. He is Barry’s godson.
Joe sees Ray, Dottie, and Love as proof that money can buy happiness. Love says Ray is obsessed with the Fast and the Furious movies, which is a happy serendipity; so is Joe. As he listens to them, Joe thinks that Ray wishes he hadn’t had kids. Dottie has a book club that became a movie club. Joe suggests Portnoy’s Complaint as a book they should return to.
A waitress hands Joe a napkin that says the following:
When Joe knocks on the door of Suite 79, Love answers. She leads him to the bathtub. It is filled with champagne, which Joe hates. He hates that she is treating herself like a servant and tells her to get out of the tub. He slams the door and goes into the other room. When she comes out, she is furious, but he tells her they are going to play a game called Joe says. He tells her to fellate him, and she says she doesn’t do that, although she plays along in other ways. After she is asleep, Joe finds her panties in the trash and realizes she only wears them once. She says her mom told her that she has problems with oral sex. Her mother didn’t do it and said that a man who loves a woman doesn’t need it.
Love says that at their 16th birthday party, Ray’s masseuse gave Forty oral sex and said she’d done it for his father every week. The more she tells him, the less Joe wants her to know about him. They watch bad TV then swim in the pool. He drops his phone into the pool and her butler puts it in rice to dry it. Joe thinks everything prior has been worth it because it all resulted in meeting Love.
When he turns his phone back on in the morning, there is a string of erratic texts from Delilah, then a nude photo of her, concluding with a message that says she’ll never speak to him again. Calvin also texted to say a girl is there with Portnoy’s Complaint; this time it is the book.
Joe asks Calvin to get her to wait for twenty minutes. He leaves Love a note and takes a cab. He sees Amy in the shop with Calvin and runs as the driver yells for him to pay. He sees Amy run out and get into a car; she sees him and looks frightened. Calvin says he flirted with her and got her address. However, he says he can’t give it to him because it’s the property of the improv group. Joe crushes three Percocets and slips them into Calvin’s drink. After Calvin is asleep, he gets the address. He buys violets at The Pantry, drives to Amy’s apartment, and breaks in, only to find someone else is in the bed. It is a woman who jumps up and kicks Joe in the head, causing him to lose consciousness.
Joe appears to be in the process on moving on from Amy when he meets Love Quinn. Their quick, mutual infatuation serves as a plot device that brings the other major sources of Joe’s narrative tension into the story: Milo, the film producer who is an old friend of Love, and Forty, her brother.
The author uses the dinner with Love’s parents as an interesting piece of meta-fiction about the nature of the relationship between an audience and the performer. Ingratiating himself to Ray, he says, “Earlier generations, they were more comfortable as listeners and Henderson promoted an idea that we could all be the center of attention all the time. But if everyone is onstage, who’s in the audience?” (129). Henderson promoted the idea that everyone could always be the center of attention, but the premise is irrational and collapses under brief scrutiny. Joe’s question applies to the dark, irrational dream that LA represents in the novel: anyone can become a celebrity if they move in the right circles and exploit the right connections. However, this makes no sense, given that there is not enough room in the world of movies, television, and music for everyone to be the focus. The enrichment of people like Henderson guarantees that others go unnoticed, unpaid, and comparatively unappreciated. There is a finite amount of celebrity status in the world.
The tryst between Love and Joe in the hotel is narratively significant because it highlights the gulf between them. Love is so wealthy that she thinks filling a bathtub with champagne is a trivial gesture. She doesn’t understand why the ostentatious show of wealth bothers Joe because she doesn’t think of it as a boastful gesture; it is simply the reality she has always known. Joe, however, is more likely to interpret her gesture—meant as fun and generous—as a reminder that he is not as fortunate as she. To re-equalize them, he suggests the game of “Joe says,” during which he learns that Love will not perform oral sex on her romantic partners. Joe has fixated on oral sex up to this point and treats it as a sign of deference, obedience, and an ultimate acceptance of him. Her refusal, however, doesn’t anger Joe. He sees it as a challenge that he can ultimately win, which foreshadows his coming tension with Milo, who will soon write the oral sex scene in the film in which he and Love will star.
When Calvin texts and the possibility of catching Amy resurfaces, Joe leaves immediately. Whatever his future with Love may be, he is not actually prepared to abandon his pursuit of Amy. His impulse to avenge his wounded ego takes control, but Joe’s eagerness to catch Amy leads to his incapacitation at the address that Amy gives to Calvin. In a neat bit of narrative symmetry. Joe will now awake to the mercy of whoever has captured him—the mercy that he denied Henderson after putting him in the same position, and which he will deny to Amy, if given the chance.
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