A master chronicler of our life and times."e; —Newsday"e;A very funny book. . . . If Jane Austen had been crossed with Oscar Wilde and re-crossed with the early Evelyn Waugh, and the result plonked down among the semi-beautiful people of late 20th-century media-fringe America . . . the outcome might have been something like this."e; —Margaret Atwood"e;Ferociously funny."e; —The Los Angeles Times"e;Beattie's new novel, her third, is a gratifying surprise. Love Always will be welcomed by the large and loyal Beattie readership, but there is much that recommends it to the previously unconverted."e; —Harper's Bazaar"e;Beattie's most comic—indeed her first satiric—work to date. . . . Much of the book's authenticity derives from the accretion of felt detail—a Beattie trademark. She captures 1984 Vermont with right-on references to Cyndi Lauper, Horchow catalogs, and 'pre-Cabbage Patch' Coleco."e; —The Christian Science Monitor

A master chronicler of our life and times."e; —Newsday"e;A very funny book. . . . If Jane Austen had been crossed with Oscar Wilde and re-crossed with the early Evelyn Waugh, and the result plonked down among the semi-beautiful people of late 20th-century media-fringe America . . . the outcome might have been something like this."e; —Margaret Atwood"e;Ferociously funny."e; —The Los Angeles Times"e;Beattie's new novel, her third, is a gratifying surprise. Love Always will be welcomed by the large and loyal Beattie readership, but there is much that recommends it to the previously unconverted."e; —Harper's Bazaar"e;Beattie's most comic—indeed her first satiric—work to date. . . . Much of the book's authenticity derives from the accretion of felt detail—a Beattie trademark. She captures 1984 Vermont with right-on references to Cyndi Lauper, Horchow catalogs, and 'pre-Cabbage Patch' Coleco."e; —The Christian Science Monitor