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Each chapter is from the first-person point of view of a different character, and they are often retelling, revising, and countering each other’s claims as they justify their lovelorn actions over the course of three sections (“Beginnings,” “Middles,” and “Ends”). The frame for all these stories is that they are being told to another narrator, one “Charlie Baxter,” an insomniac who is trying to write a novel and has taken a late—night break to walk in the park (picture Shakespeare’s instigator, Puck).
Pp. 88–89) Baxter also describes some of his visits with Maxwell, compares him to poet James Wright, and brings up instructive parts of Maxwell’s letters. The chapter ends on a note about Maxwell’s generosity: “At the end of So Long, See You Tomorrow, you feel that you have been given considerably more of what is precious to its author than is often the case in novels of many hundreds of pages. What Maxwell has loved, he gives away in that book. ’” (pp. 105–106) As of September 2006 Baxter was still at the University of Minnesota and teaching as a guest lecturer at a number of universities around the nation.
As of September 2006, filming was in progress for a version of The Feast of Love based on a screenplay cowritten by Baxter and Allison Burnett. Greg Kinnear had been cast as Bradley and Morgan Freeman as Harry. In a brief interview with Kristen Tillotsson for the Star Tribune newspaper in his hometown of Minneapolis, Baxter said that he felt the script was satisfactory, in light of Hollywood’s frequently weak revamping of literature. “My novel is not the most cinematic thing in the world, and they’ve found a way of structuring it.