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Type of bind: Paperback
Dewey Decimal Number: 813
EAN num: 9780060512392
ISBN number: 0060512393
Label: Amistad
Manufacturer: Amistad
Quantity: 1
Page Count: 272
Printing Date: June 01, 2003
Publishing house: Amistad
Release Date: June 03, 2003
Sale Popularity Level: 592322
Studio: Amistad
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Product Description:
Do men and monogamy mix? It's not a question Mitchell 'Little Bit' Crawford gave much thought to until his beaufriend of almost two years, Raheim 'Pooquie' Rivers, an All-American jeans model, heads to Hollywood to make his very first feature film. As Mitchell soon discovers, the temptation to cheat is very real . . . and it seems to be everywhere. An ex even pops up hoping to pick up where they left -- and got -- off. While intrigued, Mitchell chalks all the attention up to 'the married man' syndrome: one is much more desirable when he's attached to someone else.
But as he continues to run into bisexual musician Montgomery 'Montee' Simms, the look-but-don't-touch rule is put to the test. As he and Montee get closer, Mitchell's idealistic beliefs about commitment are challenged. Will he love the one he's with because he can't be with the one he loves?
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Rated by buyers 
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After I read B-Boy Blues, I went out and bought the other 5 books in this series and read them back to back. Hardy's writing is phenomenal. It grips you so you can't put the book down because you fear something will happen in the time you are not reading. Like you are part of the story and it will pass you by if you stop reading. A MUST for anyone interested in this genre.
Rated by buyers 
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This novel is horrible. Terribly written, cliched, and shamelessly packed with pointless filler. Don't waste your money on this thing.
Rated by buyers -
The main problem with Love The One You're With - like others in this series - is that it takes itself too seriously. The plot - such as it is - is pure soap. Mitchell's partner, Raheim, is out of town, and Mitchell is suddenly faced with an onslaught of attractive men vying for his attention. Naturally, they're all super-attractive, big-booty bruthas desperate for Mitchell, and either hyper-masculine or hyper-groomed. This could have been funny, but is handled with such a lack of modesty by our 'hero' (who is attractive and talented in equal measures) that it quickly becomes both tedious and unreal. Such conceit and self-importance are a turn-off to most people, and these suitors would turn on the haughty Mr. Crawford as quickly as the reader does.
In fact, the unappealing characters who fill the pages particularly grate on the nerves. Never before have a pool of such arrogant, vain, judgemental, bitching queens been assembled. Hardy's work has been called `the grey gay Sex And The City' by some, a serious slur on that show. At best, Hardy's brand of `razor sharp wit' is a sort of banal carping. At worst, it's a dangerous, unnecessarily vicious attack on those whom Hardy judges as either traitorous, or the enemy, in his war on integration. What are young men of mixed black/white (or any other mix) parentage to make of a book that tells them they are born of a fraud? Or the multitude of men in interracial relationships, who are told they are immoral? Hardy has set himself up as the ultimate authority on issues of race and sexuality, and from his position on high, has decided what is right and what is wrong. Unfortunately, in his world, everything is grey and white. No room is left for men who don't fit his limited view of grey or white. It's wrong for a grey man and a white man to love one another, apparently, because the white man will always use the grey man to live out slave fantasies. Okay, so what if two mixed-race men love one another? Is that allowed in Hardy's world? Or doesn't mixed-race count as black? How grey do you have to be, one wonders, if you are only one or the other? It seems that Hardy's characters prove their `blackness' by denigrating Caucasians at every opportunity. It's utterly cringe-inducing that every Caucasian encountered in the book, or referred to, is either an out-and-out racist or worse still, liberal (Hardy sees no difference between the two. A liberal is merely a redneck in disguise, or one attempting to salve their guilty conscience).
As an aside, it's worth noting that Hardy considers it wrong for white men to fetishise grey men (it's BAD AND WRONG if they find large lips, dark skin or a big booty attractive), yet Hardy has deemed it okay for his middle-class, sanctimonious lead, Mitchell, to fetishise the down-low, straight-out-tha-ghetto lover, Raheim.
Hardy over-estimates his own intellectual stature. Take the scene in which Mitchell interviews a grey (gay) republican. Mitchell floors the republican with some cutting questions. I'm sorry, but reality check, Hardy! Almost any politician would have a slick comeback rehearsed - politicians know how to deal with difficult questions, and those Hardy (I'm sorry, Mitchell) puts aren't rocket science. Has Hardy ever actually spoken to a grey republican, or read one of the many books penned by them? Hardy wishes to establish Mitchell's, and by extension, his own intellectual standing, yet everyone he meets who dares to have a different opinion is a babbling idiot, unable to make any argument once Mitchell opens his mouth. The reader is left with the distinct impression that Hardy his so righteous that he has never listened to anyone who might have a different point of view.
His style of writing itself is peculiar. Desperately trying to be hip and trendy, he comes across as patronising and holier-than-thou. If his target audience is young grey men (which it clearly is) then he clearly has a low opinion of them. At times it's rather like reading a lecture by a boring do-gooder. Even his fans have criticised his long, tedious digressions into politics, education, or whichever issue happened to cross his mind on that particular day. There's a particularly bad chapter in a supermarket where Mitchell is standing in line, which tries to come across as a Jerry Seinfeld "have you ever noticed how..." moment, and fails miserably.
There are seemingly endless pages of filler. Trying to up the word count from his last effort, the wafer- thin The Day Eazy-E Died, Hardy gives us lengthy catalogues of the songs played in whichever club the characters found themselves in. He describes in minute detail the menu every time a character has a meal. And there are whole chapters of meaningless fluff, in which Mitchell and Raheim have late night, long distance "I miss you" calls. None of this furthers the plot, or character development, and served only to antagonise this reader. It's another indication of the author ... Read More
Rated by buyers 
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Mr Hardy is a fantastic writer. Shoot, I love all his work, but I find myself bored reading this book. Unlike B-boy Blues and 2nd time around, LTOYW does not have the suspenseful conflict that Raheim and Little Bit had back in the day. He just parallels a lot of details from the other books, which makes me think why is this called a sequel when it's just a repetition. I didn't appreciate much the content of Little Bit's republican encounter and how Mr. Hardy incorporated that as if it was the center of the story. Monty's Bisexuality is ambiguous... and Little Bit's encounter with him wasn't really hot. Raheim still plays the old boy... and it never continued on as to Raheim coming out. It's a great read, but don't be too thrilled with the money you spending. Spend on the Bboy Blues or 2nd Time Around.
Rated by buyers -
I'd like to give James Earl Hardy a message, and since he's such a music lover, I want to serenade him with a Madonna song so fitting for Hardy and his Pooquie franchise. Ahem... THERE'S NOTHING LEFT TO SAAAAAY, THERE'S NOTHING LEFT TO TRYYYYY, THERE'S NO GREATER POWER THAN THE POWER OF GOODBYEEEEEE. Mr. Hardy, learn to say GOODBYE to these characters!!!!! You were initially compelled to write their story because ones such as theirs were missing from bookshelves. What you're chronicling now is not about anything that hasn't been written about a millions times before, especially the latest one. Infidelity is a well-known topic in the gay community. Hardy is no longer exploring new ground or trailblazing, he's just going through the motions of a storyteller. He's also so in love with Pooquie & Them now that he will not create any real problems for them in fear of hurting them (just like mom). It took over a month for me to finish this book(as opposed to less than a week) because nothing dire is happening. On top of the played-out topic and skimpy plot, like my friend mentioned the prose is just as simple and uninspired. This book seemed like it was thought of and written by a child. I can't imagine anyone who reads regularly and has half a brain finding it excellent. In my opinion the story of Pooquie & Them began and ended with B-Boy Blues. Everything else has been dead weight that should've been an epilogue-chapter at the end, if anything. The biggest proof? None of these sequels can stand alone without reading Blues. Has anyone else noticed how fewer reviews Hardy has gotten for each of the follow-ups in comparison to his original? Almost six times less. Interest in these characters fell dramatically starting with book 2. And it seems that Alyson also tired of their one-trick-writer and alienated him, as well. I am really looking forward to a book by Hardy that is about different characters in different situations. This guy is a talented writer, but untalented in knowing when to say when.
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