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    The Book of Love

    by Link, Kelly
    Set in the coastal town of Lovesend, Massachusetts, Kelly Link’s “The Book of Love” follows three teenagers who mysteriously return from the dead. They must navigate magical challenges to secure their continued existence. The novel explores themes of love in its many forms—romantic, familial, and platonic—alongside grief, identity, and resilience, blending magical realism with coming-of-age drama.
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    The Book of Love

    The Book of Mo 21

    by Link, Kelly

    In this chap­ter of *The Book of Mo 21*, Mo and Susan­nah recon­nect at the café What Hast Thou Ground?, where the atmos­phere is marked by fad­ing mag­ic and sub­tle ten­sions. Susan­nah con­ceals her pres­ence with a spell to avoid unwant­ed atten­tion, while Bil­ly, unaware of the mag­ic, inquires repeat­ed­ly about Daniel’s where­abouts. Their con­ver­sa­tion grad­u­al­ly shifts from mun­dane updates to deep­er reflec­tions on their expe­ri­ences and trans­for­ma­tions. The set­ting grows dark­er and cold­er sym­bol­i­cal­ly, mir­ror­ing the changes with­in both char­ac­ters as they dis­cuss the realm Susan­nah inhab­its and the shad­ows that now define them.

    The dia­logue explores the after­math of past con­flicts, focus­ing on the depar­ture of Bogomil and Mr. Anabin, and Susannah’s encounter with Bogomil, which brings a mix of sat­is­fac­tion and fore­bod­ing. They also delib­er­ate on Maryanne Gorch’s will, which allo­cates funds to sup­port artists, writ­ers, and a pub­lish­ing com­pa­ny ded­i­cat­ed to Black romance, hint­ing at new begin­nings and poten­tial finan­cial suc­cess. Through this, the chap­ter touch­es on themes of lega­cy, change, and the shift­ing nature of alliances and enmi­ties.

    Mo recounts the chaot­ic chase involv­ing Thomas and Bowie after Malo Mogge’s defeat, reflect­ing on his ambiva­lence toward revenge and vio­lence. His humor­ous yet poignant com­par­i­son of a dead­ly con­fronta­tion to an absurd hot dog-eat­ing con­test reveals his strug­gle to rec­on­cile with the dark­er aspects of human behav­ior and rela­tion­ships. The nar­ra­tive delves into Mo’s intro­spec­tion about endur­ing feel­ings, the com­plex­i­ty of hatred, and the pos­si­bil­i­ty of trans­for­ma­tion for those caught in cycles of vengeance, espe­cial­ly Thomas and Bowie.

    The chap­ter clos­es with Mo and Susannah’s move­ment through the phys­i­cal and metaphor­i­cal land­scape, arriv­ing near the NICU at Cresthill Hos­pi­tal, where Bowie’s inten­tions become clear­er. Mo’s sharp obser­va­tions and the pre­ci­sion of their actions under­score the ten­sion and urgency of the moment. This set­ting, com­bined with the char­ac­ters’ reflec­tions, empha­sizes the ongo­ing inter­play between past wounds and present chal­lenges, while main­tain­ing a tone of cau­tious antic­i­pa­tion for what lies ahead.

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    FAQs

    • 1. How does the setting of the coffee shop “What Hast Thou Ground?” contribute to the mood and themes presented during Mo and Susannah’s meeting?

      Answer:
      The coffee shop “What Hast Thou Ground?” serves as a grounded, everyday setting that contrasts with the magical and shadowy elements surrounding Mo and Susannah. The presence of the Broadway cast recording of Carousel playing over “terrible speakers” introduces a slightly melancholic, nostalgic tone. This ordinary atmosphere is disrupted subtly by Susannah’s use of magic to remain unnoticed and the gradual darkening and chilling of the environment as their conversation deepens. The shift in the setting—growing colder, darker, and more shadowy—mirrors the characters’ own transformations and the weight of the topics they discuss, such as revenge, loss, and change. Thus, the coffee shop anchors the narrative while also highlighting the tension between the mundane and the supernatural.

      2. What does Mo’s reflection on revenge reveal about his character and his worldview?

      Answer:
      Mo’s ambivalence toward revenge reveals a thoughtful and somewhat compassionate character who struggles with the idea of vengeance as a motive. He compares the act of killing to the absurdity of eating five hundred hot dogs, suggesting he finds revenge both serious and somewhat ridiculous. Mo admits he doesn’t “really get the whole revenge thing,” indicating a disconnect from the more destructive emotions that drive others, like Thomas. This perspective highlights Mo’s preference for focusing on music and creativity rather than hatred or violence. His humorous image of flying over and shitting on Thomas’s head as a form of “humiliation” revenge further underscores his unconventional and less violent approach to conflict, emphasizing his internal conflict and desire to avoid being consumed by revenge.

      3. Analyze the symbolism behind Mo spending time as a veery and how it relates to his current state.

      Answer:
      Mo spending half an hour as a veery—a type of small songbird—symbolizes his connection to music, freedom, and the natural world. This transformation reflects his dwindling but still present magic, suggesting that while his powers are fading, his essence tied to creativity and song remains intact. The veery, known for its melodic song, parallels Mo’s identity and passion for music, which he regards as a core part of himself. This experience contrasts with the darker themes of revenge and conflict discussed in the chapter, reinforcing that Mo’s true nature is linked to creation and beauty rather than destruction. It also subtly foreshadows his struggle to maintain his identity amid changing circumstances and relationships.

      4. How do the interactions and references to other characters like Thomas, Bowie, and Malo Mogge deepen the narrative’s exploration of conflict and transformation?

      Answer:
      The references to Thomas, Bowie, and Malo Mogge introduce layers of interpersonal and supernatural conflict that drive the narrative’s tension. Malo Mogge’s defeat marks a turning point, yet the aftermath reveals complex emotions, especially Thomas’s hatred and obsession with revenge. Bowie and Thomas’s rivalry, potentially culminating in one killing the other, embodies the destructive nature of vengeance. Mo’s reflections on these dynamics explore the costs of such conflict, including the risk of losing oneself to hatred, as seen in Thomas’s case. The narrative contrasts Mo’s more detached and music-focused identity with Thomas’s intense bitterness, highlighting different responses to trauma and loss. These interactions deepen themes of transformation, suggesting that characters are shaped and sometimes hardened by their experiences.

      5. Considering the discussion about Maryanne Gorch’s will and the nonprofit foundation, what does this subplot suggest about legacy and cultural representation?

      Answer:
      The subplot involving Maryanne Gorch’s will and the establishment of a nonprofit foundation aimed at supporting artists and writers, particularly through a publishing company focused on Black romance, highlights issues of legacy and cultural representation. It suggests a forward-looking vision where resources are consciously allocated to uplift marginalized voices and create sustainable platforms for diverse storytelling. Mo’s observation that this initiative is likely to be financially viable indicates a pragmatic approach to cultural work, where artistic expression and economic sustainability are intertwined. This subplot underscores the importance of intentional support for underrepresented communities in the arts and reflects broader themes of empowerment, memory, and how individuals and institutions can influence cultural landscapes beyond their lifetimes.

    Quotes

    • 1. “I don’t really get the whole revenge thing.”

      This quote encapsulates Mo’s conflicted feelings about revenge, highlighting a central theme of the chapter: the complexity of human emotions and moral ambiguity. It introduces Mo’s reflective perspective on actions driven by vengeance, setting the tone for the deeper exploration of character motivations and consequences.

      2. “Maybe the way he felt about Thomas wasn’t the way he would always feel about Thomas. Sometimes that happened with music, with a song you heard on the radio or with something you were working on. All that intensity of feeling boiled down into a kind of residue, and then the residue wore away, too, and there was nothing there.”

      Here, Mo draws a poignant analogy between his feelings for Thomas and the ephemeral nature of music’s emotional impact. This passage reveals the theme of impermanence in relationships and emotions, suggesting that intense feelings can fade, which is a key insight into Mo’s internal journey.

      3. “If Bowie killed Thomas, what would Mo have done then? Become like Thomas, obsessed with revenge? Give up music? Not that Mo thought he would be any good at revenge. But maybe no one was, at the beginning.”

      This quote probes the hypothetical consequences of a tragic outcome, exploring themes of identity, obsession, and the transformative power of revenge. It signals a critical turning point in Mo’s reflections on fate, personal change, and the potential costs of violence.

      4. “He would absolutely take a shit on Thomas’s head. Have a little humiliation to season your epic revenge. Good luck from your friend Mo.”

      This vivid and irreverent image serves as a moment of dark humor and defiance, underscoring Mo’s unconventional attitude toward revenge and conflict. It contrasts sharply with the more serious contemplations in the chapter, adding depth to Mo’s character and his coping mechanisms.

      5. “They did the right thing or the wrong thing and then more things happened. There was lots of revenge, plenty of boats and seagulls, but nobody ever got shat on. Not even the people who really deserved it.”

      This observation reflects on the narrative conventions of the Lavender Glass books compared to Mo’s reality. It highlights the difference between idealized fiction and messy real life, reinforcing the chapter’s exploration of moral complexity and the limits of poetic justice.

    Quotes

    1. “I don’t really get the whole revenge thing.”

    This quote encapsulates Mo’s conflicted feelings about revenge, highlighting a central theme of the chapter: the complexity of human emotions and moral ambiguity. It introduces Mo’s reflective perspective on actions driven by vengeance, setting the tone for the deeper exploration of character motivations and consequences.

    2. “Maybe the way he felt about Thomas wasn’t the way he would always feel about Thomas. Sometimes that happened with music, with a song you heard on the radio or with something you were working on. All that intensity of feeling boiled down into a kind of residue, and then the residue wore away, too, and there was nothing there.”

    Here, Mo draws a poignant analogy between his feelings for Thomas and the ephemeral nature of music’s emotional impact. This passage reveals the theme of impermanence in relationships and emotions, suggesting that intense feelings can fade, which is a key insight into Mo’s internal journey.

    3. “If Bowie killed Thomas, what would Mo have done then? Become like Thomas, obsessed with revenge? Give up music? Not that Mo thought he would be any good at revenge. But maybe no one was, at the beginning.”

    This quote probes the hypothetical consequences of a tragic outcome, exploring themes of identity, obsession, and the transformative power of revenge. It signals a critical turning point in Mo’s reflections on fate, personal change, and the potential costs of violence.

    4. “He would absolutely take a shit on Thomas’s head. Have a little humiliation to season your epic revenge. Good luck from your friend Mo.”

    This vivid and irreverent image serves as a moment of dark humor and defiance, underscoring Mo’s unconventional attitude toward revenge and conflict. It contrasts sharply with the more serious contemplations in the chapter, adding depth to Mo’s character and his coping mechanisms.

    5. “They did the right thing or the wrong thing and then more things happened. There was lots of revenge, plenty of boats and seagulls, but nobody ever got shat on. Not even the people who really deserved it.”

    This observation reflects on the narrative conventions of the Lavender Glass books compared to Mo’s reality. It highlights the difference between idealized fiction and messy real life, reinforcing the chapter’s exploration of moral complexity and the limits of poetic justice.

    FAQs

    1. How does the setting of the coffee shop “What Hast Thou Ground?” contribute to the mood and themes presented during Mo and Susannah’s meeting?

    Answer:
    The coffee shop “What Hast Thou Ground?” serves as a grounded, everyday setting that contrasts with the magical and shadowy elements surrounding Mo and Susannah. The presence of the Broadway cast recording of Carousel playing over “terrible speakers” introduces a slightly melancholic, nostalgic tone. This ordinary atmosphere is disrupted subtly by Susannah’s use of magic to remain unnoticed and the gradual darkening and chilling of the environment as their conversation deepens. The shift in the setting—growing colder, darker, and more shadowy—mirrors the characters’ own transformations and the weight of the topics they discuss, such as revenge, loss, and change. Thus, the coffee shop anchors the narrative while also highlighting the tension between the mundane and the supernatural.

    2. What does Mo’s reflection on revenge reveal about his character and his worldview?

    Answer:
    Mo’s ambivalence toward revenge reveals a thoughtful and somewhat compassionate character who struggles with the idea of vengeance as a motive. He compares the act of killing to the absurdity of eating five hundred hot dogs, suggesting he finds revenge both serious and somewhat ridiculous. Mo admits he doesn’t “really get the whole revenge thing,” indicating a disconnect from the more destructive emotions that drive others, like Thomas. This perspective highlights Mo’s preference for focusing on music and creativity rather than hatred or violence. His humorous image of flying over and shitting on Thomas’s head as a form of “humiliation” revenge further underscores his unconventional and less violent approach to conflict, emphasizing his internal conflict and desire to avoid being consumed by revenge.

    3. Analyze the symbolism behind Mo spending time as a veery and how it relates to his current state.

    Answer:
    Mo spending half an hour as a veery—a type of small songbird—symbolizes his connection to music, freedom, and the natural world. This transformation reflects his dwindling but still present magic, suggesting that while his powers are fading, his essence tied to creativity and song remains intact. The veery, known for its melodic song, parallels Mo’s identity and passion for music, which he regards as a core part of himself. This experience contrasts with the darker themes of revenge and conflict discussed in the chapter, reinforcing that Mo’s true nature is linked to creation and beauty rather than destruction. It also subtly foreshadows his struggle to maintain his identity amid changing circumstances and relationships.

    4. How do the interactions and references to other characters like Thomas, Bowie, and Malo Mogge deepen the narrative’s exploration of conflict and transformation?

    Answer:
    The references to Thomas, Bowie, and Malo Mogge introduce layers of interpersonal and supernatural conflict that drive the narrative’s tension. Malo Mogge’s defeat marks a turning point, yet the aftermath reveals complex emotions, especially Thomas’s hatred and obsession with revenge. Bowie and Thomas’s rivalry, potentially culminating in one killing the other, embodies the destructive nature of vengeance. Mo’s reflections on these dynamics explore the costs of such conflict, including the risk of losing oneself to hatred, as seen in Thomas’s case. The narrative contrasts Mo’s more detached and music-focused identity with Thomas’s intense bitterness, highlighting different responses to trauma and loss. These interactions deepen themes of transformation, suggesting that characters are shaped and sometimes hardened by their experiences.

    5. Considering the discussion about Maryanne Gorch’s will and the nonprofit foundation, what does this subplot suggest about legacy and cultural representation?

    Answer:
    The subplot involving Maryanne Gorch’s will and the establishment of a nonprofit foundation aimed at supporting artists and writers, particularly through a publishing company focused on Black romance, highlights issues of legacy and cultural representation. It suggests a forward-looking vision where resources are consciously allocated to uplift marginalized voices and create sustainable platforms for diverse storytelling. Mo’s observation that this initiative is likely to be financially viable indicates a pragmatic approach to cultural work, where artistic expression and economic sustainability are intertwined. This subplot underscores the importance of intentional support for underrepresented communities in the arts and reflects broader themes of empowerment, memory, and how individuals and institutions can influence cultural landscapes beyond their lifetimes.

    Note