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Besides all the circumstantial similarities, I thought that Jay actually looked a little like Kerouac, the Kerouac who stared from the black-and-white photographs on the covers of his various books. Same dark hair. Same strong handsome face. Some sad soulful eyes. But there was something that went beyond the physical resemblance. Something that sprang from somewhere inside, something sensed but not seen. A tenderness.
I was very flattered to be asked by Lori from TNBBC to take part in this book tour. For one it feels good to support indie writing, but also the main subject matter of Beatitude happens to concern the ‘Beat’ poets, which is a period I do have a certain fascination with. Particularly now, as the novelty and estrangement of the Beats has faded, so their reassessment in present-day is proving to be quite interesting. Already I’ve reviewed two contrasting examples of this here on the site – Huncke by Rick Mullin and Sideways: Travels With Kafka, Hunter S. and Kerouac by Patrick O’Neill
Author Larry Closs has larger ambitions beyond simply reassessing these works. His character Harry Charity is described at one point in the book as being someone who thinks too much and indeed the story of Beatitude itself charts not only his fascination with the life of Jack Kerouac – the meaning behind his writing, the people in his life, even the kinds of typewriters he used to furiously pound out his intensely personal vision – but how he allows this near-obsession to become intertwined with his own feelings for someone he loves dearly. He pores over footnotes from the biographies of his literary heroes just as avidly as he does the stolen moments he shares with the kindly Jay. The opening scene of Harry and Jay witnessing the unveiling of a preserved work of Kerouac is comparable to pilgrims visiting a shrine. If both men share this strong devotion to the writing of Kerouac, is it not possible that this passion could translate into love for one another?
Harry works as an editor for a successful New York magazine, lives in his Upper West Side apartment with his cat Flannery and in the wake of successive occasions of heartbreak refuses to socialize with colleagues and friends. Life alone is manageable. Then he meets a new member of the design team, Jay, and following an awkward promise to join him at a party – much to the surprise of the other co-workers in the office – Harry finds himself falling for his new found friend. Their shared interest in Kerouac encourages his feelings and the two fall into an easy pattern of reminiscing about the Beats, exchanging trivia and discussing their own artistic ambitions. When Jay’s relationship with his girlfriend hits a bump, Harry dares to hope that something more lies behind the couple’s problems.
The marginalization of the Beats and their descriptions of fluid sexuality in a time when discussions of sex acts themselves were taboo – cf the Howl obscenity trial – was no doubt an aspect of their notoriety. But Harry at one point advances another theory as to what made the Beats special, arguing in a clever title-drop moment that ‘beatitude’ is what Kerouac thought was the real meaning behind the word used to describe him and his peers. “To be Beat was to be in love with life, to exist in a state of beatitude, to exist in a state of unconditional bliss.” While he knows this information, applying its wisdom to his own life takes Harry much longer. His infatuation with Jay is soon paralleled with a previous doomed love affair, revealing why Harry is so emotionally wounded when we first meet him. As he slowly but surely warms to life once more, discovering the means to not only express his feelings but his thoughts in an artistic fashion, Beatitude becomes a richer and more hopeful story about moving on.
Intimate and moving, and with its 90’s setting presenting the tail-end of the Beat generation’s presence on the public stage, Larry Closs has written an intriguing fable about people can sometimes become confused by the intensity of their passions.
Please continue to the next stage of this blog tour to Mandy of Mandythebookworm’s Blog to read Larry Closs’ article Two Roads Diverged: How the Beats did and didn’t inspire Beatitude.
The crowds in St. Peter’s Square parted as the Prod Bigot Incompetents rushed the IRA Jesuit.
Father Ryan O’Brian was almost taken by surprise as the howling bluenoses came charging through the crowd, decked in Rangers strips and King Billy tattoos. Not a sight you saw every day in Vatican City.
“Aw, not youse lot again,” he sighed, producing a heat-seeking surface to surface missile launcher and a Stanley knife from under his cassock.
Stephanie, early on in my blog-writing career, tried to convince me not to use any swear-words in these reviews. I have a foul mouth sometimes, so it was tough. This book, however, this book almost defeated me. It has more cursing per square inch than a pub showing Monday night football.
The plot, such as it is, is concerned with the millennia long history of conflict between the Church and the State. We meet Jesus and his disciples in a scene reminiscent of Cyrus addressing the gangs in Walter Hill’s The Warriors. The Apostles are in fact a revolutionary brotherhood of peace and love and Jesus has returned to them to rap about eternal life. Of course then Saul shows up and ruins everything, deciding following the massacre to follow the letter of Christ’s teachings if not the spirit and found the monolithic Holy Roman Empire. We then cut to Henry VIII, speaking along with his courtiers in a thick Glasgow accent, breaking from Rome and sparking the present-day conflict.
Father Ryan O’Brian is at the centre of the conflict, a wiley assassin who specialises in playing one side against the other. The Pope presides over a corrupt cabal of deviants who are attempting to undermine the Queen of England. She, in turn, is a foul-mouthed monster, whose three sons are plotting to murder her in order to acquire the throne. O’Brian is not able playing his cards close to his chest in these colossal conflict, he appears to be unkillable. God literally loves him too much.
Scatology rules the day in this book, building to an appropriately literal apocalypse, but the moment I decided I was actually having fun was when the author inserted an ad for defunct publisher Attack! Books into the book itself! I found an interview with editor Steven Wells outlining the approach behind these hyper-pulp novels. The scene with the unnamed Queen, face smeared in baked beans (….I guess it’s a fetish) laughing herself into hysterics while reading various titles from the imprint such as Tits-Out Teenage Totty, Satan! Satan! Satan! and Ebola 3000, followed by a postal address for any prospective new readers to order their own copies.
Now that’s funny.
Yes the language is rotten to the core. I am sure your average person on the street will be offended by Udo’s descriptions of venal priests, idiot princes and a psychotic Queen. He intersperses chapters with a series of extracts from conspiracy theories regarding the death of the Princess of Wales, the ties between the Royal Family and Nazism and in turn Hitler taking inspiration from the structure of the Jesuit order. The overt message of the book is that these two institutions cannot be trusted, built as they are on a history of conquest and war.
Oh and Jesus was a socialist.
When we got the call saying we were going to be on the show, Mom went nuts. She kept saying, “I knew they’d pick us!” It was kind of sad – does she think they chose us because we’re so fascinating? But I know the truth. They picked us because they think we’re this big mother-daughter bomb ticking away with secrets and they’re just waiting for us to explode.
The other night I was still looking for book recommendations and I found this list on Popsugar about titles currently being adapted to. The seventh out of the fifteen books listed is The Dogs of Babel, the first book by author Carolyn Parkhurst. Once again sadly my library did not have a copy, but thanks to the Wollongong council online service I reserved this book.
Which was handy.
We join a number of contestants participating in a globe-hopping reality television show that bears a strong resemblance to The Amazing Race. The fictional show is called ‘Lost and Found’ and also features teams of two competing in a race around the world, having to solve riddles and race down foreign streets yelling at the native passersby for location of certain landmarks. They also have to carry an increasing number of exotic objects, including some cacophonous parrots, from city to city.
Yes it all seems somewhat familiar. There are also questions as to how ‘real’, all of this is. Laura and her daughter Cassie are dealing with what appear to be typical parent and child dilemmas. Christian evangelist couple Justin and Abby have gone on the show to preach the joys of abandoning a homosexual lifestyle for the love of Christ. Brothers Jeff and Carl are the comedians of the group, although both have recently been divorced from their respective wives. Finally Dallas and Juliet are former child stars making one last break for fame. A million dollars is at stake for the contestants, but their dignity is also at risk, their lives being exploited for entertainment value.
Each of the people involved in the Lost and Found contest are hiding secrets. As time passes, the stress mounts and alien cultures are boiled down to a series of travelogue pre-scripted moments for the viewers back in the States. What constitutes a genuine ‘emotional journey’, for the individuals on camera and what is nothing less than the callous exploitation of people, reduced through the show to one-note clichés.
Parkhurst cleverly tells the story from the perspective of each of the individuals taking part in the show. Often the differing accounts reveal more about the events described and the reader learns more about each of the people’s past, including repressed sexuality, infant illness, hidden pregnancy and hypocrisy. At base, however, this story begins and ends with the relationship between a mother and her daughter.
What I admire most about this book is how neatly the author avoids the trap of pointing the finger of blame at reality television for being an entirely corrupt and exploitative medium. Juliet and Dallas are not the only actors – everyone on the show is performing, to some degree or another, pretending to a sense of normality that does not exist. The book is hopeful where others might be snide, or cynical, which is something I find greatly endearing.
Yes the issues featured here are quite emotionally draining, but at the same time there is a surprising sense of positivity throughout.
Timely and mature storytelling.
The others were the first to notice what Alice and Mattia would understand only many years later. They walked into the room holding hands. They weren’t smiling and they were looking in opposite directions, but it was as if their bodies flowed uninterruptedly into one another, through their arms and their touching fingers.
Last week I had the pleasure of seeing the documentary film Babies. Featuring four families across the world raising their newborn children from birth to their first steps, it celebrates the creation of life itself. It is a beautiful, sweet film and left me feeling so happy afterwards.
The Solitude of Prime Numbers…not so much.
The book opens with contrasting accounts of the childhood experiences of its two main characters, Alice and Mattia. In 1983 Alice fell from a ski-lift at a resort and seriously injured her leg. Left alone in the snow, her clothes befouled by a release of her bowels, the young girl retreated into herself as she waited to be rescued. Afterwards she becomes obsessed with controlling her eating, developing anorexia. In 1984 Mattia abandoned his disabled twin sister Michela in a public park to avoid embarrassment at a schoolfriend’s birthday party. When he returned to the spot, she had vanished. Traumatised by his part in her disappearance, Mattia begins a life-long habit of self-mutilation.
School is just a series of endless humiliating encounters for them both. Alice is picked on by a gang of girls she is desperate to fit in with. Mattia unwittingly encourages another boy into becoming infatuated with him, when he openly slicing his hand in a biology class. The tragically enraptured Dennis assumes this is a product of homosexual self-loathing. As both children grow into adolescence they eventually become friends, their intimacy founded on a mutual co-dependency and sense of alienation. They also both become obsessed with different disciplines. Mattia is a gifted mathematician, the cold austerity of numbers suiting his internalised view of the world. Alice embraces photography as a means of capturing and controlling what she sees, just as she does her food.
Paolo Giordano describes the painful process of growing up that can faced by many young people. Where I part company from him is the excessive misery described here. Alice and Mattia grow into adulthood burdened by the same psychological damage that afflicted them as children. In fact adulthood here is shown to be the aftermath of the cruel vicissitudes of childhood.
After finishing this book I was left in a depressive funk for most of the afternoon. Mainly it was due to the hopelessness of these two lost souls. Where I begin to suspect this to be a work of continental misery lit, is in the faint prospect in Mattia being reunited with his missing twin in the latter half of the book. This prospect is dangled in front of the reader by Giordano and then pulled away abruptly.
Do I want to spend a day in the company of two people with no hope, no chance and forever traumatised by two singularly tragic events? No not particularly.
Intelligently written, but dark and quite depressing.
“I knew damn well I’d never be a movie star. It’s too hard; and if you’re intelligent, it’s too embarrassing. My complexes aren’t inferior enough; being a movie star and having a big fat ego are supposed to go hand-in-hand; actually, it’s essential not to have any ego at all. I don’t mean I’d mind being rich and famous. That’s very much on my schedule, and some day I’ll try to get around it; but if it happens, I’d like to have my ego tagging along. I want to still be me when I wake up one fine morning and have breakfast at Tiffany’s.”
This is yet another classic story that in the public memory has been eclipsed by a watered down film. Although Moon River was quite sweet. To be honest, I question whether many folks have actually seen Breakfast At Tiffany’s, or simply just had the poster on their college dorm wall. And that Mickey Rooney racist stereotype performance…
Actually that’s one of the early surprises of Capote’s novel. When Mr Yunioshi is first described, the narrator corrects barman Joe Bell that he is not Japanese, he is Californian. The character of Holly Golighty has already been enshrined as a mythical figure by the start of the novel, appearing in far-off Africa and word travelling all the way back to New York. Her past is shrouded in mystery, her personality entirely self-created – peppering her dialogue with random words in French and her manner occasionally quite abrasive. The narrator makes the fatal mistake of attempting to read his writing to her, only for her eyes to quickly glaze over (with the legendary dismissal afterwards that she has no interest in reading about lesbians). Despite his wounded vanity, he cannot help becoming fascinating with the mysterious Holly.
You may notice that I have not really described anything like a plot. Well there are a number of instances, building up to what could be called a climax, but in reality this is a profile of an irrespressible free spirit. In fact her role is quite Wildean in that she is fond of making the occaisonal bon mots, but has no interest in profundity, or tortured meaning. She mocks the narrator for his frustrated writer status. If he is not writing to make money, what is the point? His earnest social realist stories will not bring Hollywood calling. Truman Capote appears to have inserted his own auto-critique on the futility of art in his most popular fictional creation.
However, it is easy to understand exactly why such a ephemeral novella has maintained its hold over the years. For one there is a fascination with the various gay shibboleths that Capote has slipped in under the radar (along with some not so secret references). So much of the humour and wit that still sparkles in this book is due to the acerbic employed in Golightly’s disparaging remarks regarding other characters. Poor Mag Wildwood is said to have contracted the clap so often she has had an applause.
It’s the way you tell ‘em. I cannot hope to watch the delivery of the line.
Sharply funny, with a fierce intelligence belied by the superficial film adaptation.
Is our story still making sense? I toyed with the idea of giving you a sequential story, one with a definitive beginning and ending. Would it be fair to furnish such an account? Or is it more accurate to depict those events and recollections as they clumsily unfolded themselves in my memory, disorganised and random? Perhaps we can agree on a middle ground.
This story is told from the perspective of a grieving lover. The events described are related through a one-sided dialogue with the dead woman, whom we are told overdosed on insulin. Characters are rarely named, as the reader is eavesdropping on recollections of a relationship between two people who have known each other for years. Therefore ‘you’, and ‘I’, are the most common forms of address, with ‘father’, and ‘mother’, following close. Consequently when the narrator introduces Karalynne, or Helen, the names stand out, feeling like intrusions into this very personal account of tragedy, a closed circuit of memory.
‘I’, describes how she first met ‘you’, when they were both children and how their close friendship slowly evolved into something more intimate over time. The ‘dead girl’, whose story this is came into the world the lone child of wealthy parents, enjoyed every luxury that money could afford and from an early age was evidently extremely intelligent. What really sets her apart from the person now telling her story, the woman who fell in love with her and never stopped despite the endless arguments, heartache and abuse, is the complete lack of affection in her life. It is made clear that the true downfall of this young woman began with the neglect she endured from an absent father, who valued his social prestige above any sincere relationship with his daughter.
As the narrator struggled to keep up academically with her friend, she finds herself left behind, her companion’s intellectual gifts and competitive drive catapulting here into college at an early age. This separation creates the initial sense of lack that will eventually bring the now adolescent girls together as a couple – but also inspire the unhealthy obsession that will dog them over the years. Enter Karalynne, the third party in this callous love triangle, initially referred to dismissively by the narrator as ‘the room-mate’.
It is at this point that we learn the storyteller’s lover has begun using heroin. Karalynn it is implied has introduced this into her life. What’s more her feelings of self-disgust, born out of an inability to please her father, have led her to begin cutting herself. The narrator is torn between wanting to provide support for her lover and trying to help her move on from this self-destructive behaviour. Tragically the woman relating this story explains how she could rarely say no to her friend, at times becoming complicit in her drug addiction. Submissively acquiescing to her childhood friend’s demands, the dynamic between them always rooted in the initial relationship of one being more knowing and demanding than the other, her enabling behaviour reaches its absolute low-point when she wakes to find her friend injecting her with heroin in her sleep: “Maybe I can try redeeming myself by saying I wanted to know what the appeal was and why the drug held you so strongly. I hated myself for allowing it and being so weak.”
Gwen O’Toole’s book is both an erotically charged doomed romance and an unflinching personal account of a person becoming consumed by addiction. Where it comes to writing I have a simple rule – if I experience the emotion that the author sets out to evoke, then that is a successful piece of fiction. Slow Blind Drive is not an exploitive piece of ‘misery lit’, but a genuinely affecting tragedy. The device of having the spirit of the dead woman be addressed in a persistently conversational manner, with the discussion skipping and jumping through time, makes the experience of reading this book feel intensely intimate. Interestingly a poem by Christina Rossetti, titled ‘Goblin Market‘ figures largely in the book’s latter half. In my ignorance I only knew of the poet from Kiss Me Deadly, although there too Rossetti’s verse is used as a symbol for a doomed woman.
From day to day, as I dive into book after the other, I am often unprepared for what I read. This story left me feeling devastated, but then that is exactly what it should do. Honestly told and heart-breaking.
With thanks to the author for my review copy.