A riveting, lyrical tale about a Black gay man’s unflinching odyssey during a cultural upheaval.
In this novel set in 1980s New York City on the cusp of the AIDS crisis, an African American gay man explores the raptures and dangers of his complicated identity.
Slipping away from his job to indulge in anonymous lunch-hour sex in one of Central Park’s gay cruising areas, the narrator, who is only given the nickname Deep Thoughts, notices a sign admonishing pedestrians to “Stay on Paths. Avoid Desire Lines.” But Deep Thoughts’ life has already taken him far from the prescribed path of a working-class Black youth growing up in a 1970s Brooklyn housing project and yearning for the sexy sophistication of Manhattan. His first deviation came when a school desegregation lottery provided entrance to a mostly White school and the superior education it offered while driving “a wedge into my life that would forever separate me from my origins.” His second desire line was his gay identity, which transformed from subconscious longing to physical reality when he was 15 years old. By 1982, he had achieved his Manhattan dreams, living in a tenement in Hell’s Kitchen and inhabiting “a country where convention no longer matters.” Now, his life is fueled by drugs, easily available moments of intense physical release, and the exhilaration of being part of a newly awakening community in which pride still battles with shame. On the fringes of his awareness, newspapers begin to report a new disease with the bleakly ironic acronym AIDS, though “nothing about it promises to be the least bit helpful.” The precision and honesty of Johnson’s writing bring an immediacy and universality to a narrative that is firmly anchored in its historical time and its particular set of marginalized identities. The narrator’s gay world combines hard-boiled hipster coolness with an easily wounded sensitivity. The exultant freedom of the dance club and even the first anonymous sexual experience in a subway bathroom are portrayed with a poetic sensuality that invites empathy. Explorations of the Black experience are similarly nuanced and varied, from a description of the protagonist’s mother’s “proper family” with “good hair and paper-bag tested complexions” to the contradictions of African nations’ emerging from colonization, learned during Deep Thoughts’ Peace Corps stint in Zaire.
A riveting, lyrical tale about a Black gay man’s unflinching odyssey during a cultural upheaval.Pub Date: Sept. 6, 2022
ISBN: 979-8-9850341-0-3
Page Count: 284
Publisher: Querelle Press
Review Posted Online: June 6, 2022
Kirkus Reviews Issue: Aug. 1, 2022
Review Program: Kirkus Indie
PERSPECTIVES
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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