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WEDS: A Writer's Wit | Binyavanga Wainaina THURS: A Writer's Wit | Patricia Highsmith FRI: My Book World | Erika Krouse's Tell Me Everything
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My Book World Sedaris, David. A Carnival of Snackery: Diaries (2003-2020). New York: Little, 2021. Much like Sedaris’s first journal, this one contains a mixture of “Dear Diary” items along with jokes people tell him, along with long anecdotes about people he knows, along with a certain political polemic (which I love), and more, like overheard conversations in public places. If I were teaching creative writing, I would lift portions of both of Sedaris’s diaries to demonstrate how writers can mine their own diaries for topics or scenarios for other works. In the early part of his first diary, Sedaris is a poor writer. In this one, he is somewhat more solvent and becoming more so all the time. Now, the man is so busy with readings and lectures, he’s always on a plane, and the airport world alone must offer up some of his richest observations. His dated entries from all around the world show a man who is interested in people, what makes them tick, what makes them say the things they do. Not that he always understands, but he is curious enough to record some of the ridiculous, confounding, or even wise things they say to him. Overheard conversations. How his day has gone, if he’s at home in one of two or three dwellings he owns in England or France. How the day has gone for his husband, Hugh. Jokes. Yes, plenty of jokes people take pride in telling him at one of his readings as he is signing books. “A guy finds a genie who grants him three wishes, adding that everything the man gets, his wife will get double. ‘Great,’ the guy says, and he wishes for a big house. Then he wishes for a car. Finally, he says, ‘Okay, now I want you to beat me half to death” (211). Sedaris’s title is derived from this tidbit dated March 23, 2013, London: Frank and Scott went to an Indian restaurant the other night and took a picture of the menu, which offered what is called “a carnival of snackery” (289). Indeed, that’s what this book is, and the delightful thing is it doesn’t cost you one calorie to consume!
Coming Next: TUES: A Writer's Wit | Myrtle Reed WEDS: A Writer's Wit | Elmer Rice THURS: A Writer's Wit | Elizabeth Gaskell FRI: My Book World | Jennifer Egan's The Candy House
 Price, Reynolds. The Promise of Rest. New York: Scribner, 1995.
Price has created what, at times, seems like a tedious novel. And frankly, in one sense it is. The story of a young man suffering a slow death, from AIDS, is both tedious and yet breathlessly fleeting. Millions of lovers (in the parlance of that era) and family members (those who didn’t shrink from caring) in real life have experienced the same tedium that Price re-creates here, and yet once you begin the journey of Wade’s slow demise, you don’t want to leave him behind. Even though this story is over twenty-five years old, it seems transcendent, timeless. Wade’s mother and father who’ve separated. His lover, Wyatt, who kills himself. Wyatt’s sister, Ivory, her quiet yet affirming love for Wade. All of Wade’s aunts and uncles. Secrets! Oh, my, this novel is loaded with them, none of which I shall divulge, but all of them are woven together to create a narrative marking an era that has never really ended—merely shunted aside. Coming Next: TUES: AWW | Philip Larkin WEDS: AWW | Suzanne Collins THURS: AWW | Alex Haley FRI: My Book World | Douglas Stuart's Young Mungo  The Stonewall riots were a key moment for gay people. Throughout modern history, gays had thought of themselves as something like a mental illness or maybe a sin or a crime. Gay liberation allowed us to make the leap to being a “minority group,” which made life much easier. --Edmund White, speaking of Stonewall Riots 1969 FRIDAY: My Book World | Lynne Olson's Last Hope Island: Britain, Occupied Europe, and the Brotherhood That Helped Turn the Tide of War
My Book World Woodruff with His Horse Crawford, Phillip, Jr. Railroaded: The Homophobic Prosecution of Brandon Woodruff for His Parents’ Murders. Kindle: CreateSpace, 2018.
Full disclosure: I won this Kindle version of Crawford’s book by way of a goodreads.com giveaway. I am providing this review because I do believe it is a narrative worth reading. This brief book is reminiscent of absorbing feature articles I’ve read in Texas Monthly—stories of true crime set in the Lone Star State. As a gay man who has lived in Texas for over fifty years, I felt drawn to this case I’d never heard of before. Woodruff is a nineteen-year-old boy charged with murdering his parents in their home. Crawford displays a fine grasp of the tenuous legal situation for gays in Texas, and he sets up the facts of the case for readers to see that Brandon Woodruff is wrongly prosecuted and convicted. At the very least the teen should be given a fair trial. Throughout the book Crawford makes clear, among others, certain facts. A Texas Ranger from Austin is assigned the case, rather than a local or regional official. This Ranger conducts a smear campaign against Brandon because of his participation in a gay social life and for appearing in legitimate pornographic movies, “evidence” that has nothing to do with the case but which prejudices the jury. The Ranger also fails to take advantage of information that does exist, for one, cell phone records that would indicate Brandon is not anywhere near the location at the time of the murders. By such evidence alone, he could not possibly have committed the murders. While some guilty parties never show any emotion when hearing the news of loved one’s murders, reliable witnesses testify that Brandon loves his parents, particularly his father, who has a sympathetic view of his son’s homosexuality—and he is beset with grief from the beginning. Brandon’s sister, who is more temperamentally bent toward anger and violence against their parents than Brandon, is never fully investigated. What about her whereabouts on the night of the murder? Her phone records? A party or parties who might have committed the murders on her behalf? One suspect, an ex-friend of Brandon’s who is vehemently homophobic, lies to Ranger Collins, and Collins conveniently never puts the ex-buddy on the stand at the trial. The Texas Ranger takes the easy way out all around, and Brandon Woodruff, now nearing age thirty-six, still remains in prison, a long life-term ahead of him. If readers want to help Brandon Woodruff’s cause, they can go to the website freebrandon.org to donate and/or sign a petition to be sent to the Texas Court of Criminal Appeals. This is a wrong that must be righted and soon. Thanks to Phillip Crawford, Jr. for documenting this case in such a decisive manner. NEXT FRIDAY: My Book World | Lynne Olson's Last Hope Island: Britain, Occupied Europe, and the Brotherhood That Helped Turn the Tide of War
FRIDAY: My Book World | Hermann Hesse's Rosshalde
My Book WorldVon Planta, Anna, ed. Patricia Highsmith: Her Diaries and Notebooks. With an introduction by Joan Schenkar. New York: Liveright, 2021.
This more than fifty-year compendium of Highsmith’s 8,000 pages of diary and notebook entries is a stunning read—particularly if you savor the voyeuristic practice of reading someone’s private thoughts. Her diary entries are brutally honest about everything from her current girlfriend(s) with whom she is madly in love to resentments toward her mother, estranged father, and stepfather. Though bright enough to graduate from Barnard, she never quite masters the art of achieving a meaningful love relationship; her tone seems the same for fifty years. I can’t understand why this relationship has failed. And yet, I believe she does know why: her profession requires much alone time, which is not compatible with a needy lover. Her notebooks, on the other hand, are about her current and proposed works, sometimes a poem here and there. She also talks business. About her agent(s), once her sales go international. Her publishers. Friendships, lasting ones at that, with a broad range of writers. Strong female writers (mostly part of a lesbian group of professionals) mentor Highsmith on how to navigate the heady waters of being a single woman sometimes writing about being queer. Early on, when she is young, she has sex and “love” relationships with a few men, but none of them is every satisfying. What may be most fascinating is to watch how her life and living influence particular books. The Ripley series of five novels has such an authentic, European backdrop because besides being multilingual, Highsmith lives in Europe much of her life. Still, having been born in Fort Worth, Texas, she does return there to visit once her parents move back from New York. Yet she harbors deep resentments against her abusive mother, who lives to be ninety-five (PH nearly perceives it as a punishment), and, because of her own health problems, fails to visit upon her mother’s own funeral. A sad but triumphant ending for a triumphant but oft-times sad and lonely life. If readers have time, it is well worth theirs to read these 1,000 pages, especially if they’re curious about the writer who authored Strangers on a Train and the Ripley series of five novels, a total of thirty-two books. NEXT FRIDAY: My Book World | Hermann Hesse's Rosshalde.
My Book World Manrique, Jaime, ed. With Jesse Dorris. Bésame Mucho: New Gay Latino Fiction. New York: Painted Leaf, 1999.
On my shelf for a long time, I finally took this collection down and enjoyed most of the stories very much. Among the best, I believe, are Manrique’s “Señoritas in Love,” “What’s Up, Father Infante?”, a gripping story by Miguel Falquez-Certain, and “Ruby Díaz” by Al Luján. The entire collection blends together a beautiful chorus of gay Latino voices, from South America to New York to California. So much that the non-Latino community has to learn what gay Latino men face with regard to their families, their communities, and their relationship to the Roman Catholic Church. They face immense pressures to conform to cultural norms, even more so than the Anglo population, I would dare say. Kudos to these men for sharing their stories by way of lively and enlightening fiction. It never dates. NEXT FRIDAY: My Book World | Anna Van Planta, Ed. of Patricia Highsmith: Her Diaries and Notebooks 1941-1995
My Book World McCarthy, Cormac. Blood Meridian: Or The Evening Redness in the West. New York: Vintage, 1985.
It might be that McCarthy brings to fruition that which Hemingway and Fitzgerald could not—due not only to publishing constraints concerning swear words and graphic violence but also the reins the authors may have held tight on themselves. The makings of complete literary honesty were there via Hemingway’s forthright sentences, at times extended to paragraph length (with little inner punctuation) and Fitzgerald’s fortitude in portraying the brutality of capitalism’s clutches on early twentieth-century America. But in this novel, McCarthy returns to the latter half of the nineteenth century of the West to extend his page-long sentences lyrically to rival the two authors mentioned before. And he does so in a way that somewhat softens the inherent mayhem of this novel. At first, I had some difficulty in following the plot: that a sixteen-year-old Tennessean (the kid) ventures to the Southwest to see what’s in store for him there. The kid is tough, though, and becomes tougher as time passes. He joins a band of men who seek to scorch the earth of natives and anybody else with dark skin (the N word, due to Twain’s use of it in his books, seems to be used without restraint by these characters). But as the book shifts from one episode of killing to another across this physical and moral wasteland, I sense that the narrative is largely impressionistic. I am reminded of Stephen Crane’s Red Badge of Courage—the wildly episodic nature of war—for that’s what this book is about, the White Man’s war to tame the West and all its human and animal critters. Other than superficial features, the characters, as such, show little traditional development, but that may be McCarthy’s intent. These killers act as a single body, it would seem. In fact, little tolerance for the individual exists here. You act with the others, or you are fighting for your own life. And as an impressionistic work can be dreamlike in which a figure returns to you dream after dream, these characters keep running into each other, regardless of the miles and days or months between them. They can’t seem to remove themselves, if they should desire to, from this wanton way of life or death. And in most cases, it is the latter that guides them through their days heading toward McCarthy’s oft-cited orange sunset or that blood meridian. NEXT FRIDAY: My Book World | Jaime Manrique & Jesse Dorris's Bésame Mucho: New Gay Latino Fiction
FRIDAY: My Book World | Cara Robertson's The Trial of Lizzie Borden
My Book World Haslett, Adam. Imagine Me Gone: A Novel. New York: Little Brown, 2016.
Having loved Haslett’s previous work (luuvved Union Atlantic), I jumped in with all limbs once again, and I was not disappointed. In this novel, an American woman meets a British man, they marry, and settle down for a time in London. All three of their children are born there but wind up being raised in New England, where the mother is from. The father is apparently normal (wife gets one big hint he is not just prior to the wedding, but she does not change her plans) until he is not—first losing his career and then sinking into a deep depression. He’s a kind man, a good husband and father, but he wanders into the woods and kills himself. One no longer has to imagine him gone. The title become a multifaceted jewel in which each member (as the first-person POV indicates) can imagine such a thing for themselves. Another great feature of the novel is that Haslett passes the narration around from family member to family member, thus lighting every corner of this household (the first person is subjective and messy, but that may be Haslett’s intent). Michael is the eldest child, a brilliant person, who, in one chapter writes letters to his aunt about their transatlantic voyage from America to England, letters parodying perhaps the writing of Oscar Wilde; they are that hilarious. The facts are all there, but he is letting the reader know this is how he expresses himself best—at a sardonic slant. Celia may be the most sensible and peacemaking of the three siblings, winds up being a shrink. Alec, the youngest, finally comes out as gay. I like that his story does not take over the novel, that it is just one of five narratives, yet it is handled as sensitively and fully as the others. The dynamic that sets the tone for this family is how everyone deals with Michael, who has difficulty establishing himself in a career, is always in debt and dependent on his family for help—a family that through the very end is willing to sacrifice everything to save him. Michael is an ultrasensitive person, feeling the hurts of the world yet a bit deaf to the needs of his family. His character is the one who determines the lives of the other four: his actions, his failures, his medical complications, his addictions. The tragic ending is both expected and not. Michael is obviously on a downward spiral, but one hopes, as do all his family, that he will pull out of the dive before it’s too late. NEXT FRIDAY: My Book World | TBD
My Book World Cheever, Benjamin, Ed. The Letters of John Cheever. New York: Simon, 1988.
This collection of letters from the 1930s to 1982 is as much about the editor, John Cheever’s eldest son, as it is about the senior writer. So many times in reading a compendium of letters, one is left alone to solve certain puzzles the letters may contain. For most letters Benjamin Cheever glosses events, dates, but most important, personalities, and by doing so he allows readers a deeper view into his father’s letters, his father’s life, the life of their family: John Cheever’s wife, Mary; daughter Susan, Benjamin, and a second son Fred (born Federico in Italy). Having read Cheever’s journals some years ago, I again encountered his wicked wit, in which he slices humanity a new asshole but also a humane man who loves that very flawed humanity and is kind enough to portray his characters that way. For the wicked sense of humor: “About a month ago Mary took a job teaching English at Sarah Lawrence two days a week and so she journeys out to Bronxville on Tuesday and Fridays and comes home with a briefcase full of themes written by young ladies named Nooky and Pussy” (124). Or this, with a scintilla of rage: “I got back to work on the book about a month ago, but was dealt some crushing financial blows three weeks later and now I’m back in the short story business. I want to write short stories like I want to fuck a chicken” (125). And a sweet cat story: “The cat, after your leaving him, seemed not certain of his character or his place and we changed his name to Delmore which immediately made him more vivid. The first sign of his vividness came when he dumped a load in a Kleenex box while I was suffering from a cold. During a paroxysm of sneezing I grabbed for some kleenex [sic]. I shall not overlook my own failures in this tale but when I got the cat shit off my face and the ceiling I took Delmore to the kitchen door and drop-kicked him into the clothesyard” (235). But ultimately, as I said, Cheever loves humanity and declares as much by way of a Time magazine interview chronicling his career: “My sense of literature is a sense of giving not diminishment. I know almost no pleasure greater than having a piece of fiction draw together disparate incidents so that they relate to one another and confirm that feeling that life itself is a creative process, that one thing is put purposefully upon another, that what is lost in one encounter is replenished in the next, and the we possess some power to make sense of what takes place” (240). Now for the sex part of this profile: Editor Ben, eldest son to Cheever, discovers that his father is not bisexually bicurious in a furtive, shameful sort of way but has had sexual-emotional relationships with many different men over his lifetime. Cheever’s letters attest to having done the deed with (grad student of Cheever’s) Allan Gurganus (about his son’s age) and photographer Walker Evans about whom he tells this story: “When I was twenty-one Walker Evans invited me to spend the night at his apartment. I said yes. I dropped my clothes (Brooks). He hung his (also Brooks) neatly in a closet. When I asked him how to do it he seemed rather put off. He had an enormous cock that showed only the most fleeting signs of life. I was ravening. I came all over the sheets, the Le Corbusier chair, the Matisse Lithograph and hit him under the chin. I gave up at around three, dressed and spent the rest of the night on a park bench near the river” (304). I must say that I admire John Cheever’s zest for life, an enthusiasm he did not relinquish until the day he died. And even then? NEXT FRIDAY: My Book World | Charlotte Brontë's Jane Eyre
FRIDAY: My Book World | Marilynne Robinson's Novel Gilead
My Book World Lane, Byron. A Star Is Bored: A Novel. NY: Holt, 2020. Twenty-eight-year-old Charlie leaves his night job writing news copy for a Los Angeles TV station to become “personal assistant” to actor and movie star, Kathi Kannon. When one learns that author Lane once served as Carrie Fisher’s PA, one wants to turn Kathi’s voice into Carrie’s, Gracie Gold’s (Kathy’s mother) into Debbie Reynolds. As with any competent fiction, however, Lane creates two great characters that only reflect that he once knew them both, not that he’s out to recreate them. And this book is full of so many unforgettable voices. Begin with Kathi’s: off the bat she renames Charlie “Cockring.” From there, it’s only a short step to all the other outrageous things she says while he shops with her, travels with her, sees her in and out of hospitals for . . . well, read for yourself to find out what. Cockring’s head is full of voices: his father bellowing at him through the years by way of sentences in all caps: “WE ALL HAVE TO DO THINGS IN LIFE WE DON’T WANT TO DO!” (66); his own fears as he speaks to his inner Siri: “Hey, Siri, I want to impress. I want to be the best assistant. I want to rescue my failing grade” (77); the voice of Cockring’s Therapista; the voices of all the other PAs to Hollywood stars, all with their own nicknames, who collectively write what is known as The Assistant’s Bible, chock full of information every great PA should memorize. Cockring realizes early: “I have to be: to accept life as it happens, to be still and rest in knowing the universe is friendly, that good things will come, that good things are already here, that ‘good things’ include tidying her house, getting her car serviced, sorting her pills, surrendering my needs to hers” (91). At a certain point, however, Cockring will learn this lesson a bit too well, and, like all good young protagonists, will have a crisis of identity. How that turns out will have to be the reader’s adventure. I’m not spoiling it for anybody. For laughs and tears, for good feelings and bad, you must read this book.
NEXT FRIDAY: My Book World | E. M. Forster's A Life to Come
My Book World Monette, Paul. Last Watch of the Night: Essays Too Personal and Otherwise. New York: Harcourt, 1994. Dear Paul, I’m pretending that you gaze over my shoulder and peruse this piece about you and Last Watch of the Night. On pages 267-8, you discuss your hoarding of books, and I’m so glad to learn that I’m not the only one who does this. In recataloging my library of 1,300 books, a year ago, I realize that 300 of them remain unread, and, until now [during COVID, I am endeavoring to catch up, now having read fifty-six], yours has been one of them. I feel disgusted that I didn’t read it when it came out, but that was the first year of teaching AP English in high school, and my reading tasks were to stay at least one chapter ahead of my five classes of bright bulbs. So now to why I love this book and why it will never be dated. Your essays, at times, seem long and meandering, but readers, make no mistake, they are ordered; they have organization. I believe it is a nonlinear order in which, for example, in an essay about travel, you mention sojourning with all three of your long-term relationships: Roger, Stevie, and Winston. What I like about this sort of organization is it allows the essayist to discuss bigger pictures, larger topics. In the first essay entitled, “Puck,” ostensibly about yours and Roger’s Rhodesian ridgeback-Lab mix, the piece spans out, in which this “noble beast” (28) is the glue holding you two lovers together until Roger succumbs to AIDS. In another essay, “Gert,” you bring to light your first relationship with a lesbian, in this case, Gertrude Macy, a “maiden great-aunt” of one of your pupils. After she reads your novel manuscript, Gert asks, “Does it have to be so gay?” You answer: “Oh, indeed it did. The gayer the better. I launched into my half-baked credo, invoking the name of [E. M.] Forster, the writer to whom I was most in thrall, and the one who had failed me the most as well. When Forster decided he dare not publish Maurice, for fear of the scandal and what his mother would think; when he locked that manuscript in a drawer for fifty years until he died, he silenced much more than himself. He put up a wall that prevented us, his gay and lesbian heirs, from having a place to begin” (43). I tend to agree, but one must think about the consequences for Forster if he had released Maurice. Lost revenue? Loss of a career? His life? Prison time? A fallen Catholic yourself, in fact a defiant ex-Catholic, you discuss your relationship with several different “priests.” You cover gravesites and “The Politics of Silence.” “A One-Way Fare,” your paean to travel, becomes a metaphor for the one-way trip we all make through life. I love how you move from Mont-Saint-Michel to Noel Coward’s Private Lives, to a ten-line excerpt from that play, and on to Greece, all within a page—yet all connected.
Young gays need to read you, just as we read Forster and Isherwood, our forebears, so that they may know from whence they come. They must realize that the fight for freedom and equality is never over. It just shifts from one opponent to another. You fought to bring AIDS into a national focus, and perhaps the young will see that the COVID-19 battle is much the same: unless we change our national leadership COVID will be with us forever, just like AIDS is still with us. One must thank you for your fight, which ended all too soon. You would just now be enjoying a long-deserved homage at the ripe age of seventy-five. NEXT FRIDAY: My Book World | Byron Lane's Novel A Star Is Bored
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 Guibert, Hervé. To the friend who did not save my life. South Pasadena: Semiotexte, 2020 (1990).
It’s difficult to know what I think of this book, thirty years after it is first published. On the one hand, it is a fair representation of what the times are like in 1991 Paris. When the author dies at thirty-six from AIDS, I am forty-three—very much a part of the same demographic. I’ve taken an HTLV test which claims I am negative. Whew. Yet there is no real relief for anyone: neither the men and women who test positive and will soon die nor for their friends who have partaken of the same risky behaviors and remain free. Guibert portrays for gay Frenchmen, as do many American gay writers at the time, the devastation that overtakes our community from coast to coast. On the other hand, after thirty years, most of the scientific information Guibert possesses is redundant or has been proven wrong. It’s painful to read about either party. Even if this work functions as a sort of roman à clef by not naming names, it certainly portrays the dastardly acts of treacherous friends. A character named Muzil is supposedly the noted philosopher Michel Foucault; Marine is based on the life of actor, Isabelle Adjani; and yet “Bill,” Guibert’s friend of the title remains a mystery, a traitor who brags about, as a Miami pharmaceutical executive, getting Guibert in on the ground floor of a vaccine, but cruelly fails to do so. This book, a combination of linear and nonlinear elements, takes us back to the past, but it strangely plops us into the present of yet another untamable virus and directs us toward a future of even more death and destruction. Not a gay book in the original literary sense, but so gay in a tragic way. NEXT FRIDAY: My Book World | Thor Heyerdahl's Kon-Tiki
My Book World Arenas, Reinaldo. The Assault. Translated from the Spanish by Andrew Hurley. New York: Penguin, 1994.
Think Animal Farm meets Nineteen Eighty-Four. Arenas creates his own biting satire of what life is like for Cubans, homosexuals in particular, in Castro’s Communist Cuba. Rather than recreating this hell realistically (as he does in Before Night Falls), Arenas limns a dystopian animal world in which the narrator—a hardline, hateful, and clawed beast—searches out his mother so that he can kill her. He also orders that any man (or woman) who dares to stare at an attired male animal’s crotch (even for a microsecond, as if one might discern such a move) will be annihilated. This cruelty is so absurd as to be laughable in a manner it would not be if portrayed realistically. I’m issuing no spoiler alert (oh, I guess this is it): narrator searches and searches for his wicked mother whom he hates with all his might, to no avail. Meantime, for his fine work killing queers, he is awarded one of the highest honors to be bestowed by the Represident. The narrator is shocked to learn that this represident is none other than his mother! He obtains a raging erection which is not allayed until he porks (to put it nicely) his own mother, she explodes into a million bits, and the narrator’s rage is finally released (ew). Ah, now that’s a climax: Killing queers and the Oedipal impulse all in one go. NEXT FRIDAY: My Book World | Joseph Epstein's Stories Fabulous Small Jews
FRIDAY: My Book World | Zora Neale Hurston's Mules and Men
My Book WorldAPOLOGIES to my readers: At the last minute I substituted my profile of Garth Greenwell's book for Alison Smith's. I shall post one of Smith's Name All the Animals in the near future.  Greenwell, Garth. Cleanness. New York: Farrar, 2020.
I didn’t make one annotation on first reading of this novel (and I shall read it again), in part because it held me spellbound and in part because I wanted to experience vicariously the joyride the unnamed narrator (except for Gospodar, the Bulgarian word for Mister) is taking through his young life. Gospodar (Gospodine to his pupils) teaches accelerated English at a high school in Sofia, Bulgaria, sometime in the last decade, and unravels his story of love and loss. At the same time, our Gospodar employs the powers of travelogue to acquaint readers with a post-Soviet culture still burdened with its corrupt architecture (crumbling worse than the geopolitical realm itself). The novel is part language lesson: Gospodar translates (upon first mention) each Bulgarian word or phrase and in such a way that one is acquainted with the word’s fullness. At one point, a male sex partner Gospodar has met online calls him Bulgarian for bitch. But the narrator doesn’t leave it there, massaging the meaning within the context of the indigenous culture. The novel is part love story, in which the narrator meets a man he only calls R (every character is reduced to a single initial, in some way protecting the identities of his co-characters, almost creating the feel that one is absorbing a roman à clef). I’ve never read such sensual yet meaningful sex scenes (for want of a better term). At one point, the narrator makes love to his lover, R, taking perhaps twenty minutes to kiss every part of the man’s body. When he is finished, his partner is attempting to hide his tears, the fact that perhaps no one has ever loved him so completely. These scenes, though graphic, serve a larger purpose, never feeling pornographic (if there is such a thing) or gratuitous. Ultimately, the narrator and R end their relationship, because R hails from Lisbon, and cannot see finding a way to earn a living in Bulgaria. In the last major scene of the novel, the narrator parties with a few young men who have graduated from his school the year before. The three of them get very drunk, and the teacher, Gospodar, makes a play for one of the young men. He is horrified by his own behavior yet is willing to give into it at the same time, if enticed or encouraged by the student. He withdraws from the party just before making a fool of himself or endangering his reputation as a responsible adult. Gospodar does this throughout the book, brings himself to some sort of brink, only to pull back after exploring the full impact that the act is about to make (sometimes within a few seconds), thus making the character more like all of us, ready to jump yet waiting to defer to a better angel. NEXT FRIDAY: My Book World | Zora Neale Hurston's Mules and Men
My Book World Fellows, Will. Farm Boys: Lives of Gay Men from the Rural Midwest. Madison: U of Wisconsin Press, 1998. This book has been on my shelf for over twenty years. If I had read it when it was new, it might have seemed fresher. As it is, the men featured here, born between 1907 and 1967, seem stuck in their contemporary argot. I wonder if gay farm boys are still experiencing the same universals, some of which dovetail well with so-called urban gays. Young farm boys seem to have more interest in growing beautiful things like gardens instead of livestock; they enjoy cooking more than being outside. Insofar as it is possible, given small rural school districts, they become involved in the arts and often excel in them. Over and over again, you see gay farm boys say they don’t care for picking up tricks or one-night stands, that they would prefer long-term relationships but that rural life makes that kind openness impossible. The reader cannot imagine the number of these men who have sex with male siblings and other relatives before they begin to engage with and marry women. Perhaps the most prevalent commonality is the harm religion, particularly Catholicism, causes young boys and men as they search for a way to express their sexuality and find a partner with whom they can share a life. Like the urban gay youth, they more often than not experience a sympathetic mother and a distant or hostile father because the gay son doesn’t fall into line. By the end, I almost felt as if I were reading the same four or five profiles over and over again. And yet I know I wasn’t. Every gay man’s story has something in common with others and every story has its differences, its unique qualities, which set that man apart. What would be interesting now would be for Fellows (or some other courageous writer/scholar with boundless energy) to interview gay farm boys born between 1970 and 1995. Have their experiences been different than the generations before them? How does arranging for sex online compare to picking someone up at a bar or at some Interstate rest room? Are fathers still as intractable about masculinity and what that means? Has the world at large made any dent at all into the sequestered lives of rural Americans? This fascinating book seems to invite an ongoing discussion in which these and other questions are explored. NEXT FRIDAY: My Book World | Aaron Smith's The Book of Daniel: Poems
My book World Greer, Andrew Sean. Less: A Novel. New York: Little Brown, 2017.
While I admire a number of contemporary fiction writers, I don’t often envy one of them. This may be the book that many a gay author has wanted to write and been unable to do so, including me. It’s that good. So-called gay fiction, with this book, has joined mainstream. This novel is not a coming out story. Our culture is beyond that. Coming out is now something that every gay person must do—whether it takes years or a matter of minutes—the narratives and challenges so similar that how could one write a unique story about it? No, such fiction has advanced to a character named Arthur Less who is about to turn fifty. Less is a self-described second-shelf writer. Nonetheless, he’s well published and in demand. When his former boyfriend of nine years announces he’s getting married (need I say to a man), Less suddenly checks his drawer for all the opportunities to lecture and teach internationally and RSVPs No to the wedding and yes to the offers. He then cobbles together a months-long tour to five or six countries. Greer’s structure seems interesting at first. In each new locale, whether it is Mexico, Italy, Germany, or Japan, Arthur Less is thrust into a new life of sorts. At the same time, Less’s old life keeps returning to him in waves, sometimes rushing to the reader in the middle of other thoughts. Yes, suddenly you find Arthur wrestling with some momentous event out of his past. While I can certainly understand Greer’s receiving the Pulitzer Prize (funny, in one bit, Arthur makes clear how it is to be pronounced), I question this structure. In several key spots in the novel, Greer informs readers that someone other than he is narrating the story. Who can it be? At first, the issue seems unimportant. The story unfolds in the third person, as told by this, as yet, unidentified narrator. I’m not as quick as others; I only suspected halfway through that the narrator was Freddie, the very boy whose wedding Less is avoiding. Okay, I think to myself. That’s fun. All along, Freddie is the one in the know, telling all about Arthur’s around-the-world trip in great detail, yet he has not accompanied Arthur. Oh, of course, at the end (spoiler) when the two men reunite, one assumes that Arthur will reveal all that has happened on his trip to Freddie, but that poses the question: Arthur presumably does not tell Freddie of his trip until after he returns to the U.S., so how can Freddie possibly know all that has taken place? I re-read the beginning to find the exact spot, page eleven, where Freddie begins, ostensibly, to refer to himself in the third person. Why does Greer structure the novel in this manner? It’s clever, and, I suppose to the casual beach reader, the point of view probably doesn’t matter that much. But why doesn’t Greer just place the novel in the third person anyway or allow Freddie to narrate the novel by way of first person? Does Greer fashion it this way only to be novel, or does he have some other reason for doing so, one I cannot discern? No matter what, I do love this book and envy it for its grand storytelling. I love Greer’s ease with the proper metaphor at the proper time, the deepening of a certain scene with the proper use of such metaphors. The blue suit. The concept that Less is a bad gay, not a bad writer. The literary allusions that don’t hit you over the head but are part of the fabric of the novel. The gray suit purchased in one country that arrives in the nick of time in another. All these combine to make not only a great read but something of a literary phenom. I now want to read all of Greer. NEXT TIME: My Journey of States-46 South Dakota
My Book World Chee, Alexander. How to Write an Autobiographical
Novel: Essays. Boston: Houghton, 2018. This collection of essays is a staggering one. In the way that fiction writers link short stories, Chee links essays to explicate how he works as a fiction writer. His metaphors are simple yet profound. His advice is wrenched from the heart, and yet at no time does he allow sentimentality to interfere with his message. The entire collection—like a group of short stories, like a novel—possesses a narrative arc that is subtle, inching readers toward the climax, easing into a quiet denouement. The book seems nonlinear, but Chee glides readers from a few youthful months spent in Mexico becoming fluent in Spanish, to his older youth in college with Annie Dillard as a professor, to his maturation into an astute, caring professor of creative writing, to the publication of his first novel and how it explores and ultimately exposes the biggest secret of his life. The Publishing Triangle, a long-established organization for LGBTQ writers based in New York, recently awarded this work the Randy Shilts Award for Gay Nonfiction. I hope, as a tour de force, it will win even more accolades in the coming months or years. Chee is a remarkable writer, and anyone who takes a seminar from him ought to feel fortunate. NEXT TIME: My Journey of States-41 Nevada
My Book World Faludi, Susan. In the Darkroom. New York: Picador, 2016. One sign that a book may be spectacularly well written is that the author’s process seems inscrutable. In the case of Susan Faludi, she combines journalistic techniques of conducting interviews, whether recorded or not, along with long months, perhaps years of tedious research of all kinds, but finally she observes and interprets the relationship she has (or has not) with her own father. Yet how she weaves all these together remains a wonderful mystery. Faludi’s memoir is comprised of many things: history of the tragic past of Hungary and Hungarian Jews, how that history informs her father’s life as Steven Faludi, her more recent life as Stefi Faludi; it is a journal of the author’s relationship with her father over many years, even years in which they neither speak nor see one another; it is a book about identity, how one can shapeshift to obscure oneself, whether it is her father’s masquerading as a young Nazi in order to rescue family members from being executed or whether it his change from male to female, whether it is changing one’s name from Friedman to Faludi. Ultimately, the book portrays the long, fraught journey that father and daughter take together, a journey that, at any time could be cut short, but because of some ephemeral formula, manages to continue until the very end, when Stefi’s very substantial constitution finally fails. This body—lying on a hospital bed in Budapest has sustained parental neglect, physical and emotional battles of war, marriage, and family life, abuse it has both endured and afflicted on her daughter, the physical and emotional rigors of gender reassignment surgery—finally succumbs to death. The author has flown from Portland, Oregon, to be with her father Stefi in Budapest, yet Susan sees that her father is resting, she decides she must get some rest at her father’s apartment. She is awakened by a phone call at six a.m. the next morning: “Hallo,” the voice in the receiver said. “This is Dr. Molnárné.” As with the entirety of Susan’s relationship with Steven/Stefi, this process has not gone as it should. According to Susan’s thinking, she was to have located a dementia specialist, and that act would perhaps extend his life. At worst, Susan was to have been at Stefi’s side; they were to have had one final word of reconciliation before he parted; one final hand-holding while blood still flowed through both bodies.
An astounding book, where echoing off the title, the author takes the reader through many dark rooms, including photographic darkrooms, but others more sinister, to limn the lives of an extraordinary father and her daughter. A must read.
NEXT TIME: My Journey of States-26 Wisconsin
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AUTHOR
Richard Jespers is a writer living in Lubbock, Texas, USA. See my profile at Author Central:
http://amazon.com/author/rjespers Archives
January 2023
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