Lovely War

The opening chapters are grouped into the section “Overture.” This musical term denotes an introduction; the reader is cued that music will play an important role in the story’s development, bringing key characters together. Piano music, in particular, is a recurring motif; James will be drawn to Hazel when she plays the piano at the church dance, and Colette will be drawn to Aubrey’s incredible ragtime piano.

A frame story based in Greek mythology is also introduced in these opening chapters. The characters in this story are the gods Hephaestus, Aphrodite, and Ares, who actively participate in, observe, and affect human life. They will be joined later by Apollo and Hades. The story of Aphrodite’s infidelity with Ares, retold in a 20th-century setting, introduces themes that will be reflected in the human story that Aphrodite proposes to tell.

The Intersection of Love and War is introduced as an important and recurring theme. The gods’ conversation takes place during World War II. There are references to war’s effect on American life: “The Big Apple’s lights have dimmed, in case of German U-boats in the harbor or, Zeus forbid, Luftwaffe bomber planes from who-knows-where” (14). In the midst of this turmoil, Aphrodite and Ares are involved in a passionate love affair. The gods contemplate the role of war. It is celebrated by Ares as a thing of magnificence and power but condemned by Aphrodite as the force that brings heartbreak and tragedy. War drives the plot involving the four human characters who will be introduced in the following section: Hazel, James, Aubrey, and Colette. There is the implication throughout the novel that the stress of war induces a sense of urgency into the lives of gods and mortals alike. This urgency, as well as the immediate tragedy engulfing characters’ lives, both brings about and accelerates romances.

The gods also contemplate the nature of humanity through their discussion. Ares is dismissive of mortals: “they die” (14). Similarly, Hephaestus believes that Aphrodite’s role in creating and nurturing love between mortals is “inconsequential” (14). Aphrodite, by contrast, elevates humans as enviable and perfect in their imperfection, because they can love truly: “it’s because they’re weak and damaged that they can love. […] We need nothing. They’re lucky to need each other” (13).

The perfection of male gods leaves Aphrodite ultimately alone, as none can truly love her or be loved. She compares the stories of James and Hazel and Aubrey and Colette to illustrate to her husband her unexpected envy of the lives of ordinary humans. The gods debate whether humans and their relationships are ultimately quotidian and unimportant, or whether every story of love is unutterably beautiful and unique. Aphrodite’s stories position readers to wonder whether love is indeed transcendent and magnificent, particularly a powerful love that is ultimately doomed.