The British poet Amy Key was 14 when she first heard Joni Mitchell’s 1971 album Blue. Her best friend had come round for a sleepover, and the two of them listened to the album on cassette by the light of Key’s lava lamp (it was 1992). The songs on Blue are restless and reflective, full of longing and regret, and they “ignited [Key’s] desire and ambition for romantic love.” In particular, she was seduced by Mitchell’s acknowledgment of love’s complications: Love made you suffer, made you make others suffer, but somehow was worth it. Key felt herself to be standing at the border of womanhood, a realm of romantic intensity. She was ready.And yet, in the three decades since, romantic love has be
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