Showing posts with label book review. Show all posts
Showing posts with label book review. Show all posts

Wednesday, November 16, 2011

Cullum

I'm not sure how I heard of E. Arnot Robertson's Cullum and decided I wanted to read it. I must have found it mentioned and discussed online somewhere, but even though it was only a couple of months ago, I can't remember where. No matter; I just finished reading it, and I'm knocked out by it.

Robertson (1903-1961) was a broadcaster, lecturer and film critic as well as a novelist. Cullum was her first novel, published when she was twenty-four. The edition I got was one of the Virago Modern Classics reprints, a series I've bought and read a lot of. It's remarkable in many respects, and would stand out if it were published today.

The main character, Esther Sieveking, is nineteen when she meets the slightly older Cullum Hayes, a newly published novelist with a lot of charm. Esther comes from a shabby-genteel family descending into respectable poverty: her ex-military father earns a tenuous living training horses, while her French mother lives in Paris. Esther is Daddy's girl, an enthusiastic rider and hunter, but she's also a bit of a misfit because of her literary interests and ambitions: she has one published poem and a pile of rejection slips to show for them. She's not conventionally pretty, and not much interested in males, so of course she sets off my gaydar; but she's a false positive, a heterosexual butch -- they do exist, you know. (It would be fun to rewrite the book to make her lesbian, but Robertson didn't seem to have it in mind even as subtext.) When she meets Cullum, they quickly recognize each other as soul mates, but Cullum is already engaged. They commit minor impropriety by monopolizing each other's conversation at the dinner party, and Esther shocks the hostess with her country bluntness.
Mrs. Cole enquired with a simulated shudder of horror whether that huge dog of mine had ever bitten anyone. "I was petrified when the creature rushed for me," she said. "Simply petrified, I was!"

"Justice is too old and fat and good-natured to hurt a fly," I told her, "unless she sat on it by mistake."

"What a curious name for a dog," Mr. Cole observed. "Why do you call him 'Justice'?"

"Justice isn't a 'him,' but a bitch," I answered without thinking. "Originally her name was Sheila, but she's called Justice because she has had so many miscarriages."

There was a moment of heavy, tense silence, before Mrs. Cole said, "Oh, really?" in a forced voice ... [23].
The novel had the same effect on many readers in its day. The back cover quotes one reviewer: "It is all very well to be outspoken, but there are some things which are better left unsaid and Cullum is full of them." That's what makes it interesting today, though it is Esther's fierce independence, which she only very gradually surrenders to Cullum, that makes the book unusual even now. The writing is sinewy and direct, as in this description of Cullum when they first have sex (208):
Cullum, stripped, was an unusually fine human creature. His body was one of those entirely beautiful things whose loveliness hurts. He was lithe, and the moulding of the long arms, lean and muscle-grooved, was splendid. Wide shoulders tapered down to narrow hips, set over narrow, deep thighs, and his fair skin held an almost transparent sheen.
Excuse me, I think I may have to go take a lie-down for a few minutes ... That's better. There's no explicit writing about their copulation, but the setup is strong stuff for 1928. (That's the same year Radclyffe Hall's lesbian classic The Well of Loneliness was published, and banned because it dared to suggest that inverts would find satisfaction in each other's arms.) In Sexual Politics Kate Millett wrote that Charlotte Bronte's Villette (1853) was the first novel she'd found which acknowledged that women find men beautiful, though when I read Villette myself I had to guess what passage Millett had in mind. Cullum goes much farther in that acknowledgment.

Another thing I liked about the novel is that Esther's mannishness (I can't think of a better word for it), though often flagrant, is never labeled as such, either by herself or by anyone around her. She's a strong, quite independent woman, and she feels no need to femme up for anyone. Even her reaction to being dumped by Cullum is stereotypically masculine, though I won't tell you what it is -- you should read the book yourself. The only real flaw is the ending, where Cullum swerves into melodrama, but even there Esther remains true to herself. It's a remarkable story for a young (twenty-four years old!) woman to have published, then or now.

Robertson herself exhibited familiar contradictions. She wasn't even a proto-feminist, but rather another one of those male-identified women who pushed through doors that men tried to close to her, but didn't mind if the same doors hit other women behind her as they swung back. When Metro-Goldwyn Mayer objected to her movie reviews on BBC radio because they weren't positive enough, and tried to have her removed, she sued for libel. (According to Rachel Billington's introduction to this edition, "although she lost the last round in the House of Lords where, according to a friend, her left-wing lawyer antagonized their lordships, she was generally thought to have achieved a moral victory" [iii].) Yet she was so dependent on her husband that when he died in a boating accident, Robertson committed suicide within a year.

I find it both exhilarating and frustrating to contemplate all the books out there that I haven't read, haven't even heard of yet, and wouldn't have time to read even if I did. Cullum was a good find; I should read more of Robertson's work.

Sunday, November 13, 2011

Relatively Fabulous

I promised to post this last week, so here it is. I wrote it for a local gay newspaper that didn't give me much space, so it's more compact than most of my writing, but I think it says all that needed to be said about the book.

The Rise and Fall of Gay Culture, by Daniel Harris
New York: Hyperion, 1997
$22

Once upon a time, in a galaxy far away, there was a gay culture. It was made up of willowy young men who worshiped Judy and Bette, who shyly purchased silk caftans by mail order, and composed moist personal ads in hopes of finding a True Friend with whom they never even thought of having sexual contact.

This Edenic state of affairs, alas, was doomed. First the Stonewall rioters forced everyone to be relentlessly gay-positive. If you dared to suggest that gay people might not be perfectly happy all the time, you'd be forced to ... well, I'm not sure what you'd be forced to do, but it wasn't pretty. Then the hothouse blossoms of the 1940s and 1950s, who apparently seldom saw sunlight, metamorphosed into revoltingly wholesome househusbands, fixing up houses and tending their lawns and tans. Worse yet, they began watching pornography on their VCRs and sewing kitschy panels for the AIDS quilt. The high artistic standards of the heyday of gay culture came a-tumbling down.

Or so Daniel Harris would have you believe. In The Rise and Fall of Gay Culture, Harris seems to argue that gay (male) culture reached its peak during the repression of the 1950s, and that as we have become less fearful and more visible, we've also become "hopelessly mired in an emotionally stagnant state of euphoria." Personally, I think he's nuts. I'd really like to read one of those relentlessly gay-positive novels that we supposedly drowned in during the 1970s, but like snuff films no genuine specimen has ever been sighted. (Much like the dread Politically Correct Movement -- does anyone know the address of its headquarters? I want to make a modest donation to the cause.)

As for those househusbands he despises so much -- there's something wrong with being a househusband? Especially since a few pages later he's citing them and their gentrified neighborhoods as one of the many benefits Homo-Americans have brought to the world.

And those personal ads from the 1950s: Harris must surely know that the U. S. Post Office would have shut down any publication which printed anything racier than the coded and terrified hints he shows us. But those same gay men who collected "Japanese screens, Persian carpets, kimonos, capes, MGM stars, and British accents" also collected sailors and hustlers. They cruised Lafayette Park and bathhouses and highway rest stops and YMCAs even as they dreamed of finding a Whitmannic comrade. The real ancestor of today's gay personal ads is that ancient male folk art, restroom graffiti.

Harris keeps confusing "gay liberation" (an eccentric vanguard movement and worldview which owed as much to Thoreau as to Marx) with 1990s commercial gay male culture. He jeers at "naive leftist conspiracy theories," but then raises his own alarm: "We invited corporate America into our lives." He wants a sort of gay Rambo-in-drag, I think: "Not this insufferable house husband who dreams of dandling babies but a countercultural rebel ... whose behavior was an open affront to straight life, not a feeble imposture of it." Naive leftist fantasies, anyone? Get 'em here.

In the end, Harris makes even less sense than the cliches he's attacking. "The leather community has submitted to a process of banalization that has rendered it harmless in the eyes of the heterosexual majority ..." Which I guess is why "the leather community" features so prominently in Christian antigay propaganda: because most heterosexuals find it as unthreatening as water sports or bare-breasted lesbians fisting in the streets.

"Boosterism," sniffs Harris, "has largely replaced real discussion about gay culture." Was there ever much real discussion about gay culture? I'd say there's more now than there used to be -- there just isn't much in this book.

[P.S.  You think I was mean in this review?  See what the Kirkus reviewer (whom I agree with) had to say.]

Friday, April 25, 2008

Nebraska

Another book review for Gay Community News, published in the April 30-May 6, 1989 issue. As I feared, Whitmore died between the time I wrote the review and the time it appeared in print. Rereading the review now, I wonder if I should reread Nebraska, but I really have little interest in stories which pile on the misery for no evident reason except, I suppose, to show the author's High Artistic Seriousness. Happy endings and happy people are like, so gay, y' know? For this reason I've never gotten very far with Dennis Cooper, Scott Heim, and other gay writers like that. It's not that I object to unhappiness, even misery, per se, nor to characters devoid of affect; but I don't get what these boys are driving at. I guess it's just a blind spot of mine, and again, I have no idea why my editor sent me the Whitmore books. Hell, I couldn't even come up with a flip header for the review.

And then it occurred to me that Nebraska would make a great Coen Brothers movie, or a movie by any filmmaker who shows his or her High Artistic Seriousness by tormenting the characters mercilessly. "As flies to wanton boys are we to th' gods. They kill us for their sport," King Lear lamented. No, dear, that's playwrights and moviemakers and edgy gay novelists.

Someone Was Here: Profiles in the AIDS Epidemic
by George Whitmore
New York: NAL Books, 1988
224 pages
$17.95 hardcover

Nebraska
by George Whitmore
New York: Grove Press, 1987
154 pages
$15.95 hardcover

I've been reading George Whitmore's articles in the gay press for years and always found them intelligent, interesting, and well-written. (Also sometimes wrongheaded and infuriating, but that's gay journalism.) So I wasn't too surprised when I found a book by him displayed in the window of my usual local bookstore. Nor was I too surprised that Someone Was Here had originated as an article in the New York Times Magazine; whatever my differences with the Times, it represents a level of professionalism that Whitmore has certainly achieved. On the other hand, the Times also represents a self-consciously haut-journalese style that absorbs the prose style of any writer in its path, and Whitmore is no exception. Most of Someone Was Here could have been written by almost any competent journalist, and that's a shame, as proven by the book's epilogue, where the tone abruptly shifts: Whitmore acknowledges that not only is he gay, he has been diagnosed with AIDS himself. Up to this point the book has consisted of omniscient-narrator third-person accounts of people with AIDS and their families and helpers; now Whitmore suddenly appears in the midst of these people, shipping parcels to Houston for one of his subjects, visiting and holding a small HIV-infected child named Frederico whose parents both died of AIDS. Perhaps the rush of involvement the reader suddenly feels compensates for the detachment of the previous two-hundred-odd pages, but it also throws that impersonality into uncomfortably sharp relief. Thanks to writers like Whitmore as well as to the Names Quilt and other projects, AIDS is becoming a plague with a human face; we are -- to a perhaps unprecedented degree -- enabled to know its victims not just as statistics but as people. Someone Was Here is interesting, intelligent, and worth reading as an object lesson in the difficulty of playing chicken with an epidemic: we can't get too close, but we have to get as close as possible, for all our sakes.

Nebraska, Whitmore's second novel, was published a few months before Someone Was Here. It's a strange little book. This time we have a first-person narrator, but his voice is not the author's: a twelve-year-old Nebraskan named Craig McMullen, who has been run over by a truck and lost a leg. It would be going too far to say that his family is in trouble; rather, they are classically 1950s' lumpen-Midwestern. Dad is a handsome drunken Irish redhead, violent when present, but mostly absent. Mama works at "Monkey Wards", her body swelling from the ankles up. Grandpa, an old railroad man, lives with Grandma in a ramshackle house he built himself, one room at a time. Sister Betty becomes a cheerleader, sister Dolores grows up too fast. Uncle Wayne, Mama's baby brother, comes home after his discharge from the Navy, waiting for a call from his friend the Chief; the two of them plan to open a garage in California as soon as they can get the money together.

But there are delays, punctuated by mysterious long-distance phone calls from the Chief, and Wayne stays on. Coming home one night after a drinking bout, he helps the convalescent Craig change his sweat-soaked pajamas, and briefly touches the boy's scrotum. A few weeks later the highway patrol brings Wayne home, though without arresting him. Not surprisingly to a gay reader with any knowledge of the period, it turns out that Wayne was discharged dishonorably from the Navy for homosexuality; that the Chief, his lover, has rejected him out of guilt; and that Wayne has been cruising the rest stops. After Craig has been manipulated into claiming that Wayne "interfered with" him, Wayne is committed to a mental hospital for electroshock. Craig is sent to live with his grandparents. His father, who has been living in Denver and has given up booze for Jesus, suddenly appears and kidnaps him, but Craig escapes. His father then returns to Denver and blows out his own brains with a shotgun.

Twelve years pass. After Grandma's funeral, Craig goes to California to pick up Uncle Wayne's trail, hoping to understand what happened to him. He finds him living with the Chief, handsome and well-preserved, but regressed emotionally to pubescence -- to Craig's pubescence, in fact.

Nebraska reminded me somewhat of Alice Walker's The Color Purple, with its attempt to make a kind of poetry out of demotic speech, its merciless depiction of bigotry, cruelty, and madness. But Whitmore isn't interested in the kind of lyricism Walker achieved, nor does he offer more than a hint of her hopeful vision of redeeming love; in this he more resembles Raymond Carver, the poet and short-story writer who wrote stark, painful tales of human isolation. Imagine a cross between the two, then: more vivid than Carver's bleached-out, gray-scale snapshots, less optimistic than Walker's tormented but loving epic, but with all their power and then some. I hope Whitmore is as much a survivor as Craig, because I think he has important books in him, and these two are just a taste of what he could give.

Wednesday, April 16, 2008

This Ain't Rock'n'Roll, This Is ...

This review appeared in the April 30-May 6, 1989 issue of Gay Community News. It garnered an angry letter from Barrus, published an issue or so later; I don't blame him, but I still stand by the review. Why did GCN send me the book? I have no idea -- one of the disadvantages of living a thousand miles away from the paper, in the days before e-mail was ubiquitous. The editor at the time, if I recall correctly, was a leather bear, but he printed the review.

More recently, in the wake of the James Frey debacle, it was revealed that Barrus had published three volumes purporting to be the memoirs of a troubled half-Navajo named Nasdiij. The books won raves for their intense prose; I'm almost tempted to take a look at one of them and see if I recognize the author's voice.

INTENSE RECTAL PAIN; or,
THIS AIN'T ROCK'N'ROLL, THIS IS...

Genocide: The Anthology
by Tim Barrus
"A LeatherLit Book."
Pound Ridge NY: Knights Press, 1988
224 pp.
$8.50 paperbound

Genocide: The Anthology is a collection of allegories or parables for the Age of AIDS. Some are set in the indefinitely distant future; the first, for instance, "The Dependency of Variables", has two young men traveling in a faster-than-light spacecraft piloted by a sentient computer named Tsan. Others are set in a time which seems to differ from the present only in that PWAs are hunted down and quarantined. Each section is followed by a poem. Some of the poems seem to me not bad, but perhaps this is only by contrast with the prose, which is unspeakable. But that's just one queen's opinion. Try a sample.

Reaching for the realm Tsan discovered surrender. It was a definition more powerful to his sensors than information from the genocide stars. Lao plunged into Jia violently. There was a sensual, anguished glint of madness to the sex that could only be matched by the penetrating, pulsing madness, the blackness, the sweet swallowing blackness which surrounded them. Madness and need. It was the definition of an endless spasmed dream. It was glorious fuck and Jia shook from it. Screamed with it. Begged and pleaded for it.

Redefine who and what I am. Pour your semen into my bloody guts and split me into a hundred thousand unerring pieces. It was religion.

It was ecstacy.

It was the now of now. . . .

“Fuck him,” Tsan said. It was almost a whisper. “Fuck his ass.”

Tsan scanned blood pressure. Heartbeat. Increased adrenalin levels.

Intense rectal pain.

Whew; that was a moment. If the preceding looked good to you, go for it: Genocide: The Anthology, $8.50 plus tax at your nearest gay bookstore. Personally, I never thought I'd find a writer who'd make William S. Burroughs look good to me. Barrus has a certain raw energy that might have carried me along if I hadn't kept tripping over sentences like “Kandyapple applekandy”, “Chinatown Chinatown”, or the climactic “Heroin razzle heroin dazzle.” On the back cover, he writes: “My concept is one of irreversible annihilation. If you see hope in this work, that's your stuff, not mine.” Don't worry, Tim. You'll be pleased to know that I see no hope in this work at all.

Friday, April 11, 2008

Protesting Too Much

If I hadn’t already seen Joseph Massad’s Desiring Arabs (Columbia, 2007), I’d have been surprised that straight critic Robert Eberwein’s Armed Forces: masculinity and sexuality in the American war film (Rutgers, 2007) could be published by an academic press today. Besides, I’d already noticed that gay (and lesbian and queer, whatever) academics are capable of amazing foolishness on the most basic matters. It’s important to remember that even in the most ostensibly progressive milieu, including the self-avowedly radical, human sexuality still inspires terror, which in turn begets confusion and incoherence.

Disavowing bigotry and embracing Diversity are not enough; they’re barely a beginning. Many people in America believe that because some people protested 40 and 50 years ago, and some laws were passed, and almost everyone pays lip service to equality and fair treatment, we have put racism / sexism / antigay bigotry behind us. Most people would rather see change as something that happens to us and our society by magic, overnight, rather than something we must make happen, over long periods of time, with weary vigilance and self-scrutiny.

Eberwein’s main interest is male bonding in American war films, though his argument also applies to male bonding in other genres. His target is those critics who find ‘homosexuality’ in such bonds, and especially in triangles where two male friends find themselves competing for the love of the same woman; his aim is to advocate “that criticism move beyond this figure and acknowledge the problems that attend schematizing human relationships” (34). He’s adamant “against using strict dichotomies (heterosexual or homosexual) to categorize complex relationships” (53). And who, in this post-Kinsey, post-modern age, would disagree with that? Certainly not me. Opposition to dichotomies and binaries is being worn very high in academia this season.

Putting that principle into practice, though, is harder than you might think. Eberwein doesn’t really want to get rid of dichotomies. For him the strictest one is between male love that’s “sexual” and male love that isn’t, and gosh, he’s real strict about it:

The male friendships [in The Big Parade (King Vidor, 1925)], presented most intensely as Jim embraces his dead comrade Slim, whom he designates a “buddy,” have nothing to do with male sexuality, which throughout the film is presented unambiguously strictly in heterosexual terms [20].

[T]he somber tone and religious dimension [of a scene in A Midnight Clear (Keith Gordon, 1992)] neutralize any homosexual dimension [42].

Their heterosexual rivalry simply cannot be read as displaced homoerotic fraternal desire [45, referring to Hell’s Angels, (Howard Hughes, 1930)].

[Love Me Tender (Robert Webb, 1956)] is not in any way readable as a narrative that supports the homosocial-homosexual continuum [46].

The love at the center of the relationship is absolutely not erotic [48, re All Quiet on the Western Front (Lewis Milestone, 1930)].

[Sucking pot smoke through a gun barrel in Platoon (Oliver Stone, 1986)] This is not fellatio. Both [Sheen and Dafoe] are unambiguously heterosexual [119].

I cite Sedgwick and the two reviews because I think the film [Pearl Harbor (Michael Bay, 2001] specifically denies a homosexual / homosocial reading by making both men fathers [180n9].

Oh yeah, right, homosexual and bisexual men never become fathers. Of course, it may well be that one reason for “making both men fathers” in the film was to establish their heterosexual bona fides, but this would be persuasive only to a mindset which assumes a strict homo/hetero dichotomy. From commercial entertainment such dichotomies are to be expected, but not from a critic whose express aim is to break them down.

Eberwein cites Eve Kosofsky Sedgwick’s Between Men (Columbia UP, 1985) as the source of what he calls a “homosexual / homosocial continuum”, but he either hasn’t read her, or has misunderstood her, as shown, for example, by his calling a “continuum” a “dichotomy.” (In fairness, the same appears true of many of the people who cite her favorably.) Sedgwick also sought to break down strict dichotomies, but dichotomies have a way of popping back up and knocking you over just when you thought you’d knocked them down.

I’m not saying that any of the films Eberwein discusses should be read homoerotically, though “should” and “can” are two different matters. I even agree that Vito Russo, whose groundbreaking catalogue of homosexuality in Hollywood film was tremendously important, wasn’t always a reliable critic. But Eberwein’s homophobia makes him even less reliable. He bases many of his readings on such crude stereotypes that it would take a heart of stone to read him without laughing. In addition to ‘fathers can’t be fairies’, there’s this:

The reviewer [of Air Force (Howard Hawks, 1943)] for Variety spoke about the bonding: “The affection of the crew of the ‘Mary Ann’ is genuine, manly and sentimental. It points to a type of team-work which may well be construed as a pattern for all Americans in the manner in which our team-work, on the home front and at the battle fronts, will achieve the ultimate victory.” The important aspect of this review comes in the suggestion that “affection” can in fact be “manly.” That is, the two are not mutually exclusive, and the union of these will lead to victory [44].

Um, Professor Eberwein? “Homosexual” and “manly” aren’t mutually exclusive either.

Eberwein also declares that “love between men needn’t be compartmentalized as heterosexual or homosexual” (33), but I’m not sure how “love between men” could ever be “heterosexual.” (He’s referring here to a passage he quotes – twice! – from Donald Spoto, who’s saying something rather different.)

Admittedly, homoeroticism is to a large extent in the eye of the beholder. Sometimes it’s hard to tell whether a given reading is fag-baiting by a reader uncomfortable with same-sex affection, as in Jane Tompkins’s “Female ‘screen’ characters, who are really extensions of the men they are paired with, perform this alibi function all the time, masking the fact that what the men are really interested in is one another” (West of Everything: the Inner Life of Westerns, [Oxford, 1992] p. 40). Sometimes the fag-baiting is obvious, as in the frequent reactions to Peter Jackson’s Lord of the Rings films: even though Jackson toned down the affection between Frodo and Sam compared to the books, many males had fits of giggles over it, while others indignantly defended the Hobbits’ virtue. Remember too how many scholars (both gay and straight, homophobic and gay-positive) read the nocturnal initiation scene from the Secret Gospel of Mark as a “sexually charged climax.”

A few years ago some collections were published of old photographs showing men being affectionate with each other: Russell Bush and Ron Lieberman’s Affectionate Men (Macmillan, 1998), David Deitcher’s Dear Friends (HNA Books, 2001), John Ibson’s Picturing Men (Smithsonian, 2002; new edition, Chicago, 2006). I was surprised when reviewers in the gay press simply took for granted that all the men depicted in the photos were gay. Some surely were, others probably weren’t, but it’s impossible to be sure in most cases, and it doesn’t really matter since I view the photos as a gay man who’s as interested in affection between males as in sex. But then consider the image below (via), one of a series of Cannon Towels ads that ran in Life magazine during World War II. (Click on the image to, um, make it bigger.)

Is this ad homoerotic? Eberwein quotes a writer, John Costello, who thinks so: “An indication that public attitudes to the taboo of homosexuality were also shifting came with the appearance of homoerotic advertisements in American magazines, which began featuring male ‘pinup[s]’ such as those for Munsingwear underwear and Cannon bath towels.” Eberwein is sure it isn’t: “I believe the opposite is the case. The very fact that naked men are shown cavorting demonstrates they are not homosexual. … In contrast, the Cannon advertisements present a celebration of male sexuality” (71). Once again Eberwein is confused: whether or not the men depicted are “homosexual” (and Costello didn’t say they were) is irrelevant to whether the ad is “homoerotic.” Both beg the question of what “homoerotic” means: does it mean “attractive to homosexual males”, or “depicting or suggesting sexual acts between males”, “depicting a homosexual male”, or something else? And last time I checked, male homosexuality was a subset of “male sexuality.”

But both of them are half right, half wrong. The ad is certainly a ‘pinup’: its flaunting of bare male skin has no purpose except display. Look at the sculpted bodies; a photo of a group of real GIs bathing in the river wouldn’t exhibit such uniform perfection. Notice the strategically placed head, dead center, which figleafs one bathing beauty’s pubic hair. I’d bet there was a gay art director involved somewhere, but I’d also bet that straight women (the ostensible target audience of an ad for towels) enjoyed this image too. It’s startling to realize that it was published in the 1940s, but I don’t agree that it signaled a softening of public homophobia, given the antigay crackdown that erupted right after the war.

I’ll happily agree with Eberwein that “that not every buddy film is necessarily about” covert male homoeroticism; does any serious critic claim otherwise? The trouble is that in practice he won’t concede that any buddy film is about it. When he discusses gay characters in post-Code war films, he’s palpably more comfortable because They are clearly demarcated in those films and there’s no need – he thinks – for coding: if a character isn’t labeled a queer, he must not be one. He gratefully cites Richard Dyer’s paper on the prison-escape film Papillon (Franklin J. Schaffner, 1973) because Dyer argues that “a nonsexualized love between men is possible” (47) and that the gay character “Maturette and his … admirer in the hospital, in part function as a model for what Papillon and Dega’s relationship is not” (Dyer, The Matter of Images, Routledge 1993, 127). Without disputing Dyer’s argument (I haven’t yet seen Papillon), I notice that once again Eberwein assumes a clear dichotomy between the sexual and nonsexual, violating his own stricture “that human beings function in multiple registers and … occupy complex overdetermined spaces” (24).

So, I find Armed Forces depressing: after decades of study of homosexuality in cinema and public culture, there are still critics who are unable to deal with the complexities of human sexuality. At least there are others – including Richard Dyer, whose work I’ve been reading lately with great pleasure – who don’t share Robert Eberwein’s incapacity.

Wednesday, April 9, 2008

Is It Not Time For My Painkiller?

If I say so myself, the best reviews I wrote for Gay Community News were of books related to religion. GCN spoiled me, partly because they depended so much on volunteer writers to fill up the pages, so I got to write extended essay-reviews that made me feel like a writer for the New York Review of Books.

This one, published in 1988 or so, is one I'm proudest of. The first title was supplied by my Significant Other at the time (is SO still in use?); it's a line from a play by Samuel Beckett, as he remembered it. The second, of course, is Satan's line from Milton's Paradise Lost, and it sums up my review of religious morality -- that religion too often manages to rationalize evil as good.

The review also earned a letter praising it from Joanna Russ, the lesbian-feminist sf writer and English prof, which appeared on the GCN Letters page. I was happy to see that Russ included that letter in the selection of her published letters that she included in her recent collection of writings, The Country You Have Never Seen (University of Liverpool, 2007). I think I may be justified in thinking that this piece holds up pretty well after 20-odd years.

IS IT NOT TIME FOR MY PAINKILLER?
or, EVIL, BE THOU MY GOOD!
Ecstasy Is a New Frequency: Teachings of the Light Institute
by Chris Griscom
Santa Fe NM: Bear and Company, 1987
180 pp.
$9.95 paperback
Plague: A Novel About Healing
by Toby Johnson
Boston: Alyson Publications, 1987
250 pp
$7.95 paperback
Although Protestant fundamentalism and the New Age movement are ostensibly antagonistic to each other, they are basically the same syndrome elaborated from different socioeconomic groups. Both are attempts to regress, to flee from the present into the womb of the past, to escape from the essential moral ambiguity of the universe, to reject autonomy and moral responsibility and the terrors thereof. Both piss on what they regard as human pride while simultaneously pissing on it – fundamentalism by placing humanity ‘a little below the angels’, the New Age by claiming that we are all really gods, sort of, who have fallen from our true glory. Both offer to the victims of natural disaster and human violence the cold comfort that their suffering is their own fault. Both are anti-intellectual. Both credulously embrace the supernatural. Both exploit the gullible financially. (Fundamentalism uses the mass media more effectively, but Shirley Maclaine’s TV movie Out on a Limb has shown that there’s no reason New Age couldn’t do the same with equal success.) Both even share a belief that we are on the eve of a new world: fundamentalism with its fantasies of Harmonic Convergences and the imminent dawn of a New Age. And while both give some kind of meaning to the lives of their adherents, both are ridiculous and fraudulent insults to the human mind, heart, and spirit.
The difference, as I mentioned, lies in class. Though there are undoubtedly exceptions, the kind of Protestant fundamentalism that has provided a spiritual rationale for the Reagan regime’s right-wing blitzkrieg flourishes mainly among upwardly-mobile white trash. New Age seems to be popular among college-educated and supposedly sophisticated middle-class types, who are often scornful of born-again superstition – definitely a case of the pot calling the kettle black.
I guess the reason a copy of Chris Griscom’s Ecstasy Is the New Frequency was sent to GCN for review is that it contains some carefully nonjudgmental comments on homosexuality. Griscom runs something called The Light Institute in New Mexico, publicized by Shirley Maclaine’s Dancing in the Light, where she helps people clear their emotional bodies by re-experiencing their past lives. Ecstasy Is the New Frequency is written “from notes taken … as she trained her colleagues and from talks she gave during 1986” (xi) in a style reminiscent of the speeches of Ronald Reagan: “Physicists are beginning to explore the fact that there’s something on the other side called negative space-time. There’s something on the other side of reality” (63). Her vocabulary is a word salad of computer jargon, psychobabble, and her own pet usage (this last helpfully collected in a glossary at the book’s end). Even with heavy editing Griscom is so incoherent that, as my roommate observed, you could rearrange all her sentences at random and they would make just as much sense.
For some readers, however, all that will matter is that at The Light Institute, “we don’t have to define or discuss homosexuality in terms of ‘Is that OK?’ or ‘Is it not OK?’ Instead, we see how someone is using it in relationship to the themes, or choices, they have made in this lifetime. … First of all, recognize that the choice of homosexuality, the choice itself or merging only with like kinds, is not as interesting as how it is teaching people to grow” (111). Griscom even says that “On some octave, on some level, homosexuality has to do with a spiritual understanding that can be very advanced” (112).
Thanks, but no thanks. Though Griscom may have made the happy discovery that by adopting this stance she can make money off of self-accepting gays, she makes it clear with this “example from a past-life session” that she doesn’t know a damned thing about male homosexuality:
A being from the planet Saturn volunteered to participate on a mission to Planet Earth to help seed a more advanced civilization. On Saturn, sexual procreative activity never includes penetration on physical levels, but instead is produced by mutual thought-form. For the purpose of this mission to Earth, the being exchanged an androgynous body for a male body in order to impregnate the Earth beings with the proposed genetic coding. The horror of actual penetration of another being was so intense for the Saturnian that he joined a homosexual group rather than continue the sexual practices predominant on Earth. Communion with like kind was more tolerable than participating in an unthinkable, interpersonal affront from the perspective of the Saturnian culture at that time … [102].
Oh sure, there have been sexually active gay men who have gone through their whole lives without penetrating or being penetrated by another man’s body. But it’s just a tiny bit naïve to assume, as Griscom clearly does, that “communion with like kind” necessarily excludes such penetration. (It’s also naïve to understand homosexuality simplistically as “communion with like kind.”) Still, naiveté is no crime, and neither is Griscom’s enthusiastic embrace of every quasi-spiritual fad of the past fifty years, from Edgar Cayce to acupuncture (for accessing past lives!) to fantasies about the intelligence of whales to Hindu versions of Oral Roberts (“There’s a great guru in India named Sai Baba who manifests ashes and jewels and whatever” [31]). Whether someone this dumb should be taking money to play with other people’s heads, however, is a fair question. Maybe she makes some of them feel better for a while; quacks often do. And if psychiatrists and their ilk (whose track record is bad enough) are allowed to fatten on the miseries of others, why not Chris Griscom? No reason I can see.
But Chris Griscom’s ideas are not just ignorant and silly; they are also contemptible. She begins the book by telling how, as a Peace Corps volunteer during the 1960s, she witnessed the death of a little girl in a village in El Salvador. Her first reaction was anger: “Where was justice? How could God show such cruelty to an innocent child?” But that first reaction seems to have been followed by thoughts of her own fate: “Nothing made sense or had any value if cruel death was our only certain future” (2). Gradually, she says, she learned that she witnessed this and other deaths because “God just wanted to test me on my capacity to surrender blame – the projection of injustice”, and “Compassion became a flood coursing through my being” (3). And now she realizes: “That tiny child gave up her life and freed me … she picked that moment in my arms for me” (6).
There’s a sort of sequel to this story. Flying back to the U.S. some years later, “I should have been feeling a sense of elation, but instead I felt heavy and lifeless. … I began to look at my fellow passengers. Ill health, depression, cancer, addictions were oozing out of the auric fields of almost everyone. … These were the living dead! … As I passed up and down the aisles, no one raised his or her eyes to meet mine” (65f). But just as all seemed lost, Griscom noticed a blond blue-eyed little girl of about six: “We talked to each other with our eyes. I felt such recognition from her, such profound compassion. I knew I was in the presence of a teacher, a very wise soul, a loving friend” (66). Perhaps I am overly cynical, but it isn’t it interesting that although the death of a child is nothing to get excited about, Chris Griscom’s anxiety attacks get fast fast fast relief from the universe? Indeed, it turns out that everything that happens is just God’s audiovisual aids for Chris Griscom’s spiritual training. And for yours, too: “You’re not accidentally reading this book” (6).
And the lesson God wants us to learn? Simple: “There are no victims” (37, emphasis in original).
Sympathy is something that’s very important to understand. In our society, we are trained to be “sympathetic.” But, it’s the most destructive thing you can do for an emotional body. Feel this difference. When somebody’s ill or has had something happen, and you say, “This is awful; that should not have happened to you,” what you’re doing is triggering that person’s emotional body’s crystallization of itself, of the view from itself: “Yes, I’m the victim, and I deserve to be in this spot” [57].
Whoa! Maybe viewing oneself as a victim is unhealthy, but by definition a victim does not deserve to be in that spot. It’s Griscom who says that victims deserve their plight, since she holds that they have chosen it. Not only that, they have chosen their victimizers:
If they are now the victim, then they have been the victimizer of that same soul before. Beyond that linear balancing is the balancing of the scales. You do it to me, and I’ll do it to you, and we’ll keep this going forever and ever. … Nobody else is going to dirty their hands on an idea you have about some punishment that you think you deserve. No other soul will do it for you. Your enemy will not kill you, I promise you [!]. Your enemy is moving into the light and will not move backwards into evil or darkness for you. It takes a profound love to say, “Do you really feel that you can learn by being abused by me?” [37]
If this is spiritual wisdom, I’d rather be a fool. But I say it’s spinach, and I say the hell with it. Nowhere in Ecstasy Is a New Frequency – and I struggled through all of it – could I detect any real intelligence or compassion, or any reason for this book to exist. What I did find was considerable stupidity, sentimentality, callousness, and Chris Griscom loving the sound of her own voice. Translated into more concrete terms, what Griscom is saying is that, say, a nine-year-old Nicaraguan girl who is gang-raped and then disemboweled by a Contra brigade is not a victim; that in a previous life she tortured them; that they butcher her out of a profound love in order to further her spiritual development. Think I’m being unfair? That Griscom doesn’t really have such things in mind? Wrong. She does.
Perhaps the soul says, “You need to understand permission, so go in and kill a few people, and you will begin to understand the cosmic law of permission.” We go in and get the sword … but what happens is we are so imprinted by the experience of it – the intense imprint of pain and torture – that we don’t release it. We don’t let it go. We hold it in the seat of our emotional body, and then we pass judgment on ourselves. We forget that our soul is saying, “There is no good and evil. There are no victims. You are just experiencing this so that you understand permission, so that you understand cosmic law.” Instead, we imprint the guilt, fear, and anger [15].
Christianity has similar ideas in its repertoire. On one hand, there’s Original Sin: you’re an abominable sinner, and the most terrible suffering is too good for you. On the other hand, there’s Heaven: no matter how much you suffer now, when you view it from a cosmic perspective in the afterlife you’ll see that it was necessary to make you a better person. The jargon is different, but God is still saying: This hurts me more than it does you, you brought it on yourself, and someday you’ll thank me for it.
So let’s talk about AIDS. Griscom says that “part of the new understanding is that limiting sexual expression only to the lower chakras without access to our spiritual, heart chakra (especially with multiple partners) invites disease. Through our addiction to immediate gratification, we have been avoiding this teaching for eons. Witness syphilis, gonorrhea, herpes, chlamydia, AIDS!” (76f). Nonsense. You can catch STDs as easily from an infected lover as from a trick. And what, pray tell, is the moral significance of AIDS transmission through blood transfusions? Or of an air-vectored disease like influenza, which killed millions of people in the great epidemics of this century? Under the pseudo-yogic jargon, Griscom’s sentiments are those of the Moral Majority. “However, in terms of evolutionary leaps of consciousness, AIDS is a perfect healing tool. … When we have mastered the mystery of death, we will be able to participate in the divine plan of the universe. We are ready!” (77). But don’t get your hopes up – “In truth, we are not yet in the era of healing” (ibid.). I’m reminded of the time I saw Pat Robertson suggesting on the 700 Club that, just maybe, no promises, we’d see God healing cases of AIDS: those who cynically hold out false hope to the desperate are the scum of the earth, whether they do it in the name of Jesus or a New Age.
Which brings me to Toby Johnson’s Plague, the second novel I’ve read this year which postulates that AIDS is a CIA germ-warfare plot. That’s two too many. In Plague, which is set in “the possible near future”, a young woman working for a right-wing Washington D.C. think-tank stumbles onto evidence of CIA responsibility for the creation of the AIDS virus, and for the existence of an “antidote” to its effects. Her fiancé, a former computer hacker who had in adolescence been the lover of a man who later died of AIDS, breaks into the think-tank’s files to recover the information. They pass this dossier to a gay psychiatrist from San Francisco who counsels PWAs and is exploring philosophies of “attitudinal healing”; the psychiatrist is on the East Coast to appear on the Donohue show, where he argues that it isn’t surprising that AIDS, which is “a condition of vulnerability … would show up among gay men, or for that matter, that it would show up at this time in history when we’re all feeling so vulnerable because of things like toxic waste and pollution and, of course, nuclear war” (132). While trying to confront the man responsible for the concealment of the CIA project, the psychiatrist has a mystical experience in which God tells him that he must forgive, and so he does. In an epilogue we learn that the psychiatrist, the ex-hacker and his fiancée have founded the Twin Peaks Center for Attitudinal healing; that a sort of vaccine has been developed; and that the bad guy has died in a plane crash. Everyone is forgiven, and it’s the best of all possible worlds.
Suppose for a moment that someone managed to prove that the CIA was behind AIDS; what then? Those responsible would never be brought to justice, of course; nor would the CIA itself be dismantled. The dead would not come back to life, the sick would not rise from their beds, bigots would not have a change of heart. If it’s true, I want to know it, but so far no one has shown that we do know it. And when a lot of people cling so desperately to a fantasy, it’s legitimate to ask why that fantasy is so attractive to them. Could it be that they cannot face the thought that no one is to blame for AIDS? That there has to be a human villain to give the disease meaning?
For antihomosexual bigots, AIDS had a ready-made meaning. They had been yearing all along for something in this life to correlate with the damnation they promised us in the next, and with the loathing they felt for us for reasons of their own. Suicide was cited as a punishment we allegedly inflicted on ourselves, but it had a way of backfiring, since people might legitimately ask why so many gay people found life so unbearable that they tried to end it; our promiscuity was noted, but the idea of having many sex partners is downright attractive to most people on some level, so it didn’t work too well either. So when gay men began dying of a mysterious and terrible new disease, the bigots were overjoyed at having been vindicated – and, of course, at seeing us die.
AIDS threw us once again on the defensive when we were still battling accusations of child recruitment / molestation. But this time it wasn’t just a lie: we were, indeed, dying. So we panicked, looking for our own scapegoats. The ‘excessively’ promiscuous were blamed for their own deaths; some gay men who had denounced others’ lifestyles with the fury of a Falwell found themselves vindicated too, and despite the service they rendered their dying brothers could not help exuding a certain satisfaction. Cautious warnings to avoid exchange of body fluids were denounced as anti-sexual propaganda, though the suggestions were reasonable enough. Early on someone suggested that the whole thing was a CIA plot, and although no real evidence has surfaced that I know of, the notion caught on. Although it did not save one person’s life, people seemed to feel better having someone to blame, denounce, revile. And one mark of the absurdity of the fantasy was the accompanying daydream: the CIA had, locked away somewhere, an antidote, a cure. After all, they had made it, so surely they could make it go away. Right? Wrong.
The strange thing about Plague is that it offers three separate explanations for AIDS, of which the CIA connection is only one. The second is that the bigots created AIDS with their hatred. The third is that gay men did it to ourselves, our shame and guilt over being gay made us sick. It’s bad enough having to live in a world where we are the object of nearly universal loathing by people whose morals make a barracuda look like Mother Teresa. But when gay people spew out this kind of stupidity and then expect to be congratulated because they are spiritually enlightened enough to understand these strange paradoxes and you aren’t – well, then I begin to suspect that there is no hope for the human race. But that suspicion isn’t going to keep me from publicly denouncing this kind of ‘spiritual teaching’ for the mushbrained swill that it is.
There is a vital difference between saying that the bigots wanted us to die, were glad to see us die – and saying that they made us sick with the vibrations of their hatred. There is a vital difference between saying that a PWA’s mental and emotional attitude is essential in fighting the disease, and saying that he or she got sick because of a bad attitude. People who say that they are ‘into spirituality’ often accuse me of being to literal-minded in dealing with their fatuous paradoxes and platitudes; but usually it is they who are taking metaphorical and mythical statements literally, and I sometimes suspect that this mistake constitutes the core of spirituality.
Now, HIV may not be the actual or sole cause of AIDS. But the hemophiliacs, surgical patients, and babies of IV drug users who got AIDS didn’t get it from guilt or other people’s ill-will: there was some biological, medical, material cause as contemptuous of human volition as an earthquake. Similarly, it may be that New Age and other ‘attitudinal’ therapies have something valid to contribute to the treatment not only of AIDS but of many diseases – but their practitioners must not be allowed to defend stupid and hateful theories about those therapies with anti-rationalist obfuscations. Reason, like any tool developed by human beings, certainly has its limits, but they are not the limits these retrograde geeks recognize.
The author claims in a prefatory note that that his novel’s “teachings about attitudinal healing are accurate.” In what sense does he mean “accurate”? Does he mean that Plague accurately represents the teachings of attitudinal healers? (I hope Johnson is better informed on attitudinal healing than he is on the teachings of Jesus. Plague contains many pages of embarrassingly shallow and ill-informed ‘spiritual’ dialogues, which present a picture of Jesus as one-sided and misleading in its own way as any televangelist’s.) Or does he claim that their teachings are as effective as the novel shows them to be? One character in Plague says that he cured himself of AIDS by techniques he learned from A Course in Miracles. Maybe this is possible. But before I will concede that it happens, I want to know:
a) that people who’ve used such methods really have recovered from AIDS;
b) that they remain healthy to this day;
c) that more people who’ve used such methods experience such remissions than people who’ve undergone standard medical therapy, or no therapy at all.
It should be easy enough to document such facts, if they are facts. Until I see some kind of documentation, I will continue to equate attitudinal healing with faith healing, and to consider its claims at best disingenuous and at worst fraudulent. (And by documentation, I mean results of clinical tests to prove the diagnosis in the first place. In other words, if someone ‘knows’ that the bout of flu he had last November was really pneumocystis, and that he ‘cured’ himself by applying the techniques in A Course in Miracles, he doesn’t qualify.) Unless Toby Johnson can point to real cures, then he is not only guilty of having contributed to the needless death of many trees by writing a lousy novel, but also of trying to send PWAs and PWARCs off on one more wild-goose chase after a worthless treatment. In which case he can put on his dunce cap and go sit in the corner with Pat (“I see a Presidential campaign! That campaign is healed!”) Robertson.
Personally, I’m tired of hearing believers in various kinds of spirituality sneering at atheists like me as humorless, literal-minded killjoys who want to reduce the mystery and beauty of the universe to a mindless, soulless machine. As far as I can see, it is the believers who hate mystery: they have to an explanation for everything, and their explanations have all the poetry and beauty of the Los Angeles phone directory. They spit on the loveliness of the human body because it isn’t eternal – when it is beautiful precisely because it isn’t eternal. They despise the material world because they can’t see the soul in it. And their attempts to find an underlying justice in the tragic fragility and brevity of life end up reading like operating manuals for a concentration camp.
Surely we can do better than this. Surely it must be possible to have a spirituality which recognizes that, though on a cosmic scale our lives have no significance, it is the human scale which really matters to us. We have to fuse the personal and the political, the cosmic and the microcosmic, the poetic and the scientific. I’d like to think that the trouble doesn’t lie in the spiritual quest itself, but rather in the way it’s usually conducted. ‘Spiritual”-minded friends have often accused me of excessive skepticism and cynicism; to them I reply that until skepticism and even cynicism are recognized as cardinal spiritual virtues, spirituality will continue to be the domains of fools and frauds. I wouldn’t be cynical if I thought we couldn’t do better.

Thursday, April 3, 2008

Footnote Fetishism

Another book review for Gay Community News, published in 1989 or 1990. I really must reread Who Was That Man? soon. Morris B Kaplan's Sodom on the Thames: sex, love, and scandal in Wilde times (Ithaca and London: Cornell UP, 2005) and Alan Sinfield's The Wilde Century (Columbia, 1994) have covered the same period and milieu interestingly. Kaplan misunderstands Foucault, as so many writers on queer history do, but fortunately it doesn't much affect his in-depth research into some obscure corners of fin-de-siècle England. Sinfield is a more interesting, deeper thinker, and I learned a lot more from him about how to think about the period.

Out of All Time: a Gay and Lesbian History
by Terry Boughner
with illustrations by Michael Willhoite
Boston
: Alyson Publications, 1988
208 pp.
$6.95 paperbound

Gay Men and Women Who Enriched the World
by Thomas Cowan
New Canaan CT: William Mulvey, Inc. 1989
270 pp.
$17.95 clothbound

Who Was That Man? A Present for Mr Oscar Wilde
by Neil Bartlett
London: Serpent's Tail, 1989
(Distributed in US by Consortium Book Sales,
213 East Fourth Street, St Paul MN 55101)
254 pages, illustrated
$14.95 paperbound

Our problem is that we don’t know who we are. We don’t even quite know how to ask the question, what kind of answer we're seeking, because the old answers we've rejected still manage to deform the way we pose new questions. The old-order names for us -- sodomite, tribade, ganymede, sapphist, molly, pathic, invert -- are the fossils of ideologies of what men and women and sex are. A gay man I know doesn’t like words like hetero- and homo-, he'd prefer to speak of “human-sexuals.” Fine with me, but what is a human being? For too many gay people human sexuality means some sanitized fantasy of heterosexuality, to which they want us to assimilate; but that fantasy is not even a workable model for heterosexuals. We don’t need to shrink ourselves to fit a model, but to expand the model till it includes us. But how far to expand it? That’s what we don’t know yet; that’s what we have only begun to explore.

When we turn to our history as gay men and lesbians, we don’t know how to read it: we look either for an Eden where we were accepted (in Greco-Roman antiquity, medieval Islam, or Renaissance Europe) or for the story of our victimization (burned by the Inquisition or by psychiatric shock treatment). I’m not sure which image is more pernicious. The gay/lesbian Utopias I’ve read are usually shallow and sexist (everyone is young and comely and no one is insecure), the popularized gay history is ahistorical (you can't get here from there) and -- well, utopian. Then there are the caricatures of pre-Stonewall life in which everyone is a promiscuous drag queen (or a wholesome lad who stalwartly refuses to become a drag queen) who commits suicide. These are essentially closeted fantasies: before we come out many of us dream of finding the Perfect Friend -- better yet, a club full of Perfect Friends -- yet we fear the Twisted Twilight World of the Homosexual, full of murky bars inhabited by neurotic and promiscuous creeps whose souls don’t yearn, as ours does, for True Love.

Now, I've yet to meet the neurotic and promiscuous creep, myself included, whose soul didn’t yearn for True Love. By insisting that we are different, by exalting our feelings to a higher, more spiritual plane, we can deny that we are sodomites, tribades, queers. As Terry Boughner writes in Out of All Time: a Gay and Lesbian History, “All the furor was over sex. The most powerful minds in Europe, for long centuries, seemed unable to grasp the idea that two men or two women might actually love each other.” But Boughner, playing fast and loose with the notoriously slippery word “love,” has it precisely backwards. Homophobes can generally cope with the pure and spiritual love of comrades -- what drives them up the wall is the thought of David and Jonathan sticking widget A into sprocket B, if you catch my meaning. And homophobes are often gay: embarrassed by gross sweaty reality, they try to remove the “sex” from “homosexual.” Not sex but love, they chorus, as though there were a clean clear line between the two, and as though sex between two men or two women were indeed a dirty and shameful thing.

But I’m not being fair to Boughner. He does include such luminaries as Rasputin, Ernst Roehm, and Joseph McCarthy in Out of All Time, and there’s a chapter on the Cleveland Street Scandal of 1889, in which British aristocrats were found to be having it off with British messenger boys; he is even critical of European disdain for “feminine traits . . . in men who loved men,” so I shouldn’t accuse him of presenting a wholly sanitized picture of our tribe. My real complaint about his book is its carelessness: he makes no effort to separate gossip from responsible testimony, and he even garbles firsthand accounts. Compare his version of this story about Christopher Isherwood --

Isherwood often spoke of finding an ideal companion. In 1938 he told the writer George Davis that this man would be eighteen, blond, intelligent, and would have sexy legs. In 1953, at the age of forty-seven, Isherwood met Don Bachardy, who seemed to fit this description perfectly.

-- with the original in Isherwood's Christopher and His Kind, which takes place in the 1930s, not 1953:

George also offered to make sexual introductions for [Isherwood and Auden]. “All right,” said Christopher, half in joke. “I want to meet a beautiful blond boy, about eighteen, intelligent, with very sexy legs.” Such a boy was instantly produced; he was almost too suitable to be true. I will call him Vernon.

Never having seen Don Bachardy’s legs, I can’t evaluate Boughner’s accuracy on that point; but he certainly distorts the import of this anecdote. I found errors of fact and emphasis every time he covered a subject I’d read about elsewhere. Maybe I expect too much, but it has always seemed to me that the key to gay and lesbian history is accuracy. Come on, you’ve heard of it: it means that you make sure your information is as nearly correct as possible, and that your interpretations of that information are honest. I don’t imagine that this is an easy standard to live up to, but if we don’t try, even when writing for a non-academic audience as Boughner is doing in Out of All Time, we are no different from the homophobic historians and biographers who tried to write us out of existence to satisfy their own wishful thinking. That, in fact, is what worries me about Boughner's book. It's sort of a Reader’s Digest approach to gay and lesbian history -- and if that’s what the gay community is moving toward, then I want out, right now.

Thomas Cowan’s Gay Men and Women Who Enriched the World is much better. Cowan has at least done his homework, and lets you know when the evidence is shaky or unavailable. There isn’t, as far as I know, any really good collection of short biographies of gay men and women in history. That’s a serious lack, since people who are just coming out are often cheered to learn that we have a history. Jonathan Ned Katz’s massive documentary collections Gay American History and Gay/Lesbian Almanac are rather daunting, and ephemera like Martin Greif’s Gay Book of Days are too gossipy and unreliable. Gay Men and Women Who Enriched the World strikes a fair balance, and if it comes out in paperback might make a good gift.

Neil Bartlett didn’t set out to write academic history when he set out to write his brilliant book Who Was That Man? A Present for Mr Oscar Wilde. He seems to have aimed at a kind of literary time travel, projecting himself into the past and writing from within it, while remaining a post-Stonewall gay Englishman. He filled a massive scrapbook with information about Wilde’s time, studied in the British Museum, immersed himself in old newspapers, and asked questions.

It is worth asking what, since he had already gone so far in 1895, would he have written in 1896, if he had not been incarcerated in Reading. . . . What would our culture as gay men in this city have been like if Wilde had still been living and writing in London in the 1920s, if his career as a homosexual artist had been as long as, say, Andre Gide’s. If his example to us was not of how a man can be swiftly and violently silenced, but of how his work can endure, not as evidence of a disaster, but as witness, seducer, guide?

Bartlett shows us a Victorian era not so different from the end of the twentieth century as we might suppose: cities full of men and women without homes, without jobs, huddling together for warmth in the public parks, selling their bodies; the upper classes shaken by scandal, fearful of revolution. “In October 1887 [Trafalgar] Square was so crowded with people sleeping rough that they spilled into St James’s Park itself, almost within sight of the Palace. In South Audley Street, in Piccadilly and in the Pall Mall club you could hear the sound of breaking glass. In November three people died when the police cleared the Square again. In 1894 the West End heard the dim echoes of the Greenwich Park explosion, and everyone saw the gory pictures in the paper.” Bartlett holds up a Victorian mirror, and we see ourselves in it, everywhere.

Lord Alfred Douglas's brother, Viscount Drumlanrig, had been involved in a relationship with the prime minister, Rosebery. Rosebery had elevated him to the peerage, and had made him his private secretary so that he could keep him close by, in the Houses of Parliament. Then in October 1893 [1894, actually] Drumlanrig had died of what could have been interpreted as either a shooting accident or a suicide. There was a pressing threat of scandalous rumours, revelation if Douglas's choice of companions was scrutinized too carefully.

When you think about it, this is hardly surprising. If the historians of sexuality have produced one clear result, it’s that homosexuality wasn't invented yesterday. Considering that we were “things fearful to name”, that we were “amongst Christians not to be named”, that we weren't supposed to exist, we and our persecutors contrived to leave behind startling amounts of evidence that we did. But our history is also that of a peculiar uneasy conspiracy between ourselves and the heterosexual dictatorship: I won’t tell if you won’t.

It is important to remember that Wilde, throughout his three trials, was lying all the time. . . . He was a sodomite. Likewise, the prosecution’s pose of outraged, fascinated ignorance, its portrayal (amplified in the press) of homosexuality as something which had suddenly, shockingly appeared in the form of Oscar Wilde was precisely that -- a pose. The court was not entirely ignorant of twenty years of London’s culture and daily life; they read the papers. . . . Mr Charlie Gill, who appeared for the prosecution, had appeared for the defence in the Cleveland Street trial six years earlier, so he well knew about the lives of “such men.”

This helps to explain why homophobes have denounced the most dreary and hopeless depictions of homosexuality (The Well of Loneliness, The City and the Pillar, The Picture of Dorian Gray) as pro-homosexual propaganda. They insist that even to admit that we exist is to encourage us. And they’re right, of course; it does encourage us. People like Neil Bartlett dig through musty issues of the Illustrated London Police News for 1889, find accounts of men arrested for wearing frocks, and the next thing you know they’re writing books about it. Before long we start noticing that not only has homosexuality been misrepresented, but so has heterosexuality, and the respectability which had been denied us no longer looks as attractive. We are no longer willing to conduct the discussion in terms which Oscar Wilde’s persecutors found meaningful, to collude with them in lying about ourselves and about them.

But this is only one of the threads that Bartlett has woven into Who Was That Man? There are chapters on the selves that Wilde and other gay men have forged for themselves; on the eroticized catalogues of jewels, flowers, and food in the works of Wilde and other “decadent” writers; on gay men’s lives and history as text and pretext. Bartlett disassembles our dissembling past and reassembles it, pasting Wilde’s subversive paradoxes next to scraps from Victorian books of advice for young men and bits from his own diary and letters. Who Was That Man? is a present not just for Oscar Wilde but for the rest of us: a clear passionate look into the heart of our past and our present.

Wednesday, March 26, 2008

Wilde In The Streets


Here's another review for Gay Community News, published in the January 15-21, 1989 issue. The caricature above is by Max Beerbohm, a younger contemporary and friend of Wilde's who outlived him by more than half a century.

Oscar Wilde

by Richard Ellmann
New York
: Alfred A. Knopf, 1988
680 pp.

Oscar Wilde's London: a Scrapbook of Vices and Virtues 1880-1900
by Wolf Von Eckardt, Sander L. Gilman, and J. Edward Chamberlin
Garden City: Anchor Press/Doubleday, 1987
285 pp.

The Oscar industry grinds on, and its two latest offerings demonstrate the range of its products’ quality.

The idea behind Oscar Wilde’s London is a good one. “This book is not about Oscar Wilde,” the authors assert in the Introduction. “It is about the city that made Oscar Wilde.” If, like me, you’re a bit vague on the actual conditions of late Victorian Britain, a social history sounds like just the thing to help understand how Wilde perceived himself and was perceived in his day. Biographers fill in quite a bit of this background, but there are many details -- such as the fact that when Wilde arrived in London in 1879, electric street lights were just beginning to be installed there -- which don’t belong to biography proper but help to understand its subject.

The best thing about Oscar Wilde’s London is its illustrations, particularly the many photographs, most of which are so clear and sharp they might have been taken yesterday. Not just of the famous, they include some fascinating pictures of daily life by one Paul Martin (see pp. 19-20, 94), whose work I’d like to know better. The text is less impressive. The chapters on London’s growth, on the poor, and on sports and popular entertainment are pretty good. But the book seems rather poorly organized. It offers no information on how the three authors divided up the writing among themselves, and at times I had the feeling that it had been pasted together too quickly. Topics are sometimes dropped almost in the middle, with the outcome of one or another controversy omitted as though everyone knew it. There are also some odd errors which suggest a lack of care in fact-checking. The message on the infamous visiting card left for Wilde by the Marquess of Queensberry, which led to Wilde’s downfall, is quoted here as “To Oscar Wilde posing as a sodemite (sic)” (73). Queensberry did indeed misspell the key word, but I’ve always seen it rendered “Somdomite”, and had thought the error was almost as well-known as some of Wilde's epigrams. (According to Richard Ellmann’s new biography, the actual message was “To Oscar Wilde posing Somdomite”.) I felt that the connection with Oscar Wilde was too tenuous, more of a marketing hook than a unifying principle for the book. Still, Oscar Wilde’s London is worth a look, and it includes a long reading list which should be useful to anyone who wants to explore the subject more thoroughly. See if your library has it.

The late Richard Ellmann completed Oscar Wilde just before his death in 1987, and while it is neither as exhaustive nor as definitive as his famous biography of James Joyce, this new biography is notable for its warmth, good judgment, and good writing. It is the least homophobic of any book on Wilde by a straight author that I’ve seen: not just free of amateur psychoanalysis but a bit disdainful of that popular biographical perversion, and downright scornful of the hypocrisy which destroyed Wilde's life and career. Nowadays we ought to be able to take such an attitude for granted, but unfortunately it’s still rare enough that Ellmann deserves notice for it.

Ellmann, in fact, writes as an unabashed fan of Wilde, and this makes his book even more refreshing. He has many touching stories to tell about Wilde’s generosity and kindness (see especially pp. 412-13), even in areas where other biographers turn up their noses: “What seems to characterize all Wilde’s affairs is that he got to know the boys as individuals, treated them handsomely, allowed them to refuse his attentions without becoming rancorous, and did not corrupt them” (390). He praises Wilde’s defense of ‘Greek love’ at his trial: “For once Wilde spoke not wittily but well.” Ellmann also credits those courageous souls who helped Wilde when he needed it most. Frank Harris, who is often portrayed (not entirely without reason) as a major buffoon in books about Wilde, has a shining moment of humanity that makes up for a lot of silliness. Believing that Wilde had not committed the acts of which he was convicted, Harris arranged to borrow a yacht to smuggle him to the Continent. When he told him of the plan, “...Wilde broke out and said, ‘You talk with passion and conviction, as if I were innocent.’ ‘But you are innocent,’ said Harris, ‘aren’t you?’ ‘No,’ said Wilde. ‘I thought you knew that all along.’ Harris said, ‘I did not believe it for a moment.’ ‘This will make a great difference to you?’ asked Wilde, but Harris assured him it would not” (468). There are people today who couldn't rise to so much humanity. By way of contrast, the painter Sir Edward Coley Burne-Jones “hoped that Wilde would shoot himself and was disappointed when he did not” (479).

There is one area where Wilde’s generosity failed, however, and since no one ever seems to comment on it, I'd like to. Ellmann seems not much bothered by the clear indications that Wilde married because he needed money and public proof of heterosexual normality, and though he was charmed and attracted by Constance Lloyd, he doesn’t seem ever to have taken her seriously. He evidently began to neglect her almost at once, first for his rounds of socializing and travel, then for the young men who occupied his real sexual and romantic interest. After Wilde’s downfall, “Paul Adam, in La Revue blanche of 15 May 1895, argued that Greek love was less harmful than adultery” (482). But Wilde’s love for Alfred Douglas was adulterous, to say nothing of all those hardened little hustlers to whom he was apparently rather kinder than he was to his wife and children. While he was in prison, a reconciliation was arranged which Ellmann seems to think could have succeeded, but it was forestalled by the return of Douglas and by Constance’s death in 1898. I don't doubt that Wilde was so grateful for his wife’s willingness to forgive him that he really believed he loved her, and would change his ways forever. But I also don’t doubt that once he’d regained his freedom, he would have allowed boredom to set in. Despite this, Wilde doesn't come off badly compared to his heterosexual contemporaries -- how many of them went to prison for marrying money or neglecting their wives? -- or to many gay men and lesbians before and since who’ve made the mistake of marrying heterosexually to get a hostile society off their backs. The more so if Ellmann is correct that Wilde had no overt sexual experience with men before his marriage, and some experience with women; that’s a classic formula for disastrous self-deception.

It’s unfortunate that Wilde was unable to pick up the pieces of his life and career after his imprisonment. He had a social conscience, encouraged by his Irish nationalist mother, and had done some interesting political writing; he wasn’t quite the mindless butterfly he sometimes pretended to be. As we watch around us the ominous rise of the same forces that destroyed him, he no longer seems as quaint as he did in the 1970s, and his life has much to teach us. Ellmann’s biography is probably the one to read, and now that it‘s out in paperback it’s the one to own: humane, learned, affectionate and smoothly written, Oscar Wilde is a model of the biographer’s art.

Wednesday, March 19, 2008

The World As I Found It

Another book review for Gay Community News, published in the January 15-21, 1989 issue.

No one seems to dispute it now, but as far as I recall, there was controversy over the fact of Wittgenstein's homosexuality into the 1980s -- maybe even as late as the publication of Duffy's novel. And it was philosophers who were throwing hissyfits over it; but I've read enough philosophy that I should know better than to assume that philosophers are rational. Generally philosophers like Bertrand Russell, while hostile to religious anti-sex teachings, thought that homosexuality was the result of religious repression, and that buggery would wither away along with the church as the Enlightenment advanced. I must try to find again a book I once stumbled on, published by Pelican Books in the 1960s, which claimed to develop an atheistic philosophical view of sex. It was antigay, though of course in a compassionate way: no jail for us, maybe even no electroshock or chemical castration, just an enlightened form of pitying contempt.

The World as I Found It
by Bruce Duffy
Ticknor & Fields, New York, 1987
$19.95 cloth, 546pp.

Well, I'm afraid that The World as I Found It is a bit of a disappointment. Till recently there was no full biography of Ludwig Wittgenstein (1889-1951), the most influential philosopher of this century, so the prospect of even a novel about him excited me a little. Aside from his professional importance, Wittgenstein was one of the more interesting eccentrics of our time. Born to a wealthy Catholic (converted from Judaism) family in Vienna, haunted by the suicide of an older gay brother, Wittgenstein was a wanderer all his life. He won the interest of the great mathematician Frege, studied with Bertrand Russell at Cambridge, then dropped philosophy to join the Austrian army in World War I. During the war he wrote his brilliant and mystifying Tractatus Logico-Philosophicus, then abandoned philosophy as soon as it was published to teach schoolchildren in an Austrian village. But friction with the villagers forced him to abandon that project, so he returned home long enough to design and build a house for his sister, then went back to Cambridge to teach philosophy for the rest of his life. The only other work he intended for publication, the Philosophical Investigations, appeared posthumously, but recent years have seen a flood of publications culled from his notebooks and from his students’ lecture notes.

It's certain that he was gay, though his love life was intensely problematical; so far I gather that he had heavy Platonic crushes on his students, but whether any of them ever reciprocated I don't know. He also had many endearing quirks, such as a fondness for Mickey Mouse cartoons and detective stories; and his former student Norman Malcolm recalls how Wittgenstein insisted while visiting on helping Malcolm's wife with the dishes. So Wittgenstein certainly seems a suitable subject for a novel, and everything from its cover blurb to the Library of Congress Cataloguing Data announces that The World as I Found It is about Wittgenstein.

And quite a bit of it is, but there is a frustrating amount of space -- seemingly about half the book -- devoted to Wittgenstein's Cambridge colleagues Bertrand Russell and G.E. Moore. Even worse, while The World as I Found It sheds little light on Wittgenstein's sexuality, it tells far more than I wanted to know about Russell's, including many tediously lengthy accounts of heterosexual copulation. Don't get me wrong; some of my best friends are heterosexual, but in a novel about Wittgenstein these interludes seem rather pointless digressions. Duffy writes well, a neat journeyman's prose, and The World as I Found It is very much worth reading, but I'd be happier if the author had dared to go deeper into the mind and heart of his alleged star, and spent less time on the supporting cast.

Thursday, March 13, 2008

Queen of the Darned

Another book review for Gay Community News, published January 15-21, 1989. Boy, was I ever wrong! I still enjoy and even respect Rice's work up to Queen of the Damned, but in retrospect I know I rated it too highly. After Queen of the Damned she went on a long slide down the slippery slope to self-parody: the Mayfair Witches books, the later Chronicles of the Vampires (reaching their nadir with Lestat's Excellent Adventure aka The Tale of the Body Thief, and Lestat's Bogus Journey aka Memnoch the Devil), and then the books which brought the two series together. Now, having returned to Roman Catholicism, she's writing the Chronicles of another undead figure, whose followers will drink his blood and eat his body. (I confess I haven't read either Christ the Lord book; but then I couldn't bring myself to read any of her books after Merrick.)

I don't know what happened. At the time Queen appeared she gave an interview in which she said that it was the first book she'd brought to publication without an editor's interference -- and it shows. The books which followed presumably suffered from the same freedom. Upheavals in her private life, even the religious conversion, can't really explain it: Dostoevsky, for example, was a religious nut with vile politics, who suffered from epilepsy and compulsive gambling, but he wrote brilliant fiction and continued growing as a writer up right up to his death. Rice herself apparently didn't renounce the writing of vampire fiction until years after her conversion anyway.

Nor can I explain it simply as changes in myself: I was not an adolescent but in my thirties when I began reading Rice. It doesn't matter. I post this review, gushing and a bit embarrassing as I now find it, in tribute to, and in memory of, the Anne Rice who was.

The Queen of the Damned
by Anne Rice
New York
: Alfred A. Knopf, 1988
448 pp.
$18.95 clothbound

If you'd already read Anne Rice's previous vampire novels, Interview with the Vampire (1976) and The Vampire Lestat (1985), then you very likely were waiting for The Queen of the Damned; you probably, in fact, already have finished reading the copy you bought as soon as it appeared in the stores. But suppose you haven't. Suppose that genre fiction in general bores you, or that horror fiction isn't a genre you like. (This last option is mine, by the way: Rice's vampire novels are almost the only horror fiction I've read. I've never read anything by Stephen King, for instance.) Why should you read Interview, Lestat, The Queen of the Damned?

It's an odd paradox that fantasy fiction, including its ancient grandparent Mythology, always ends up being about reality: imaginary worlds, no matter how outré, are our world. Not all fantasies are interesting or revealing, of course. Hardcore genre fiction is as rigidly conventional as hardcore porn, intended to push certain buttons in its readers without stirring them uncomfortably; fast-food fiction, if you will -- predictable, interchangeable, disposable. And it's nothing new. From today's heroic-fantasy tetralogies through 19th-century dime novels to medieval lives of the saints, formula fiction has suckled many a reader. But fantasies can be ironic or critical comments on the world. Consider Orwell's 1984, which was not only about the future but the present of post-WWII Britain, with its bombed-out ruins, rationing, and Cold War politics.

Similarly, a humanoid monster is not just an imaginary bogeyman but a distorted portrayal of humanity. As Walter Kendrick pointed out in a 1986 Village Voice essay-review which introduced me to The Vampire Lestat, vampires since Bram Stoker's Dracula have represented human sexuality and sensuality. If those embodiments have been monstrous, that tells us something about our attitudes towards such things. But, Kendrick noted, Stoker's Victorian vampires reflected Victorian fears, desires, and beliefs; Rice has not only updated her vampires but given them a six-thousand year-history -- a mirror-history of the world which offers not escape from the human dilemma but confrontation with it:

“There is so much talk in this century of the nobility of the savage,” [Marius] explained, "of the corrupting force of civilization, of the way we must find our way back to the innocence that has been lost. Well, it's all nonsense really. Truly primitive people can be monstrous in their assumptions and expectations. They cannot conceive of innocence. Neither can children. But civilization has at last created men who behave innocently. For the first time they look about themselves and say, ‘What the hell is all this!’... To be godless is probably the first step to innocence,” he said, “to lose the sense of sin and subordination, the false grief for things supposed to be lost.”

“So by innocence [said Lestat] you mean not an absence of experience, but an absence of illusions.”

“An absence of need for illusions,” he said. “A love of and respect for what is right before your eyes.”

Anne Rice has created a body of work which marks her as one of the most imaginative, intelligent, and skillful writers currently working. While she has produced in several areas, all her work seems to share a fascination with the implications of the forbidden. Her two historical novels are good examples. The first, The Feast of All Saints, dealt with the gens de couleur, people of mixed race who lived in and around New Orleans before the Civil War. (New Orleans is plainly a place of power for Rice. Most of her novels are set there, in whole or in part.) The gens de couleur occupied an uneasy place in antebellum society, for obvious reasons; apparently numerous wealthy white men kept colored mistresses by whom they had children. Even nowadays interracial relationships and people of mixed race are problematic; but to this melange Rice added male homosexuality and a romance between a teenaged boy and a woman old enough to be his mother. In Cry to Heaven she went further: the hero is an 18th-century Italian castrato, a star in the opera of the day, with lovers of both sexes. Rice also pursued themes of forbidden sexuality in novels she wrote under pseudonyms but has since acknowledged. As Anne Rampling, she wrote Exit to Eden, about an s/m club/resort on a Caribbean island, and Belinda, about the love between a middle-aged author of children's books and a sixteen-year-old girl. As A. N. Roquelaure she wrote a trilogy of s/m literary pornography based on the tale of Sleeping Beauty. As in Exit to Eden, the sexuality is polymorphous-perverse, everyone has everyone else; but the fairy-tale ambience frees her to create the most picturesque and symbolically potent excesses. And alongside the baroque imagination there clearly stands guard a first-rate intelligence, aware of the politico-sexual issues involved and taking them into account. This is of no small importance, for reading is in certain ways like sex. You have to be able to trust a person whom you're allowing to lead you into soft and vulnerable parts of yourself: to turn you on sexually, to scare you, to make you complicit in acts of terrible violence, to test your limits. Even when you've provisionally and temporarily surrendered your will to another's, you are still responsible. Anne Rice is one of the few writers I trust to play literary top to my literary bottom, even on topics such as s/m which disturb me personally a great deal.

One thing which, in my limited experience with the genre, sets Anne Rice's vampires apart is that she tells their stories from their viewpoint, sympathetically, forcing the reader to identify with the vampires rather than with their victims. (The only exception I know of is Suzy McKee Charnas's The Vampire Tapestry.) These vampires are of course alienated, in a way which some people imagine was invented by 20th century philosophers though in fact it's as old as humanity: they are unnatural creatures in the natural world, puzzled about their origin and purpose. Lestat, who figures importantly in all three books, is my favorite. A man of talent and intelligence raised in the boondocks of 18th-century France, longing to study in Paris; a man who loves other men; a man who after his transformation by the Dark Gift is different from most other people in ways so subtle that he can move among the majority almost invisibly, subsisting parasitically on them, savoring his sameness and his difference as he prowls the night – clearly Lestat is among other things a metaphor for modern urban gay men. But he is not content merely to exist. Lestat will not be satisfied till he has pursued the history and origins of his kind into a haze of legend. After a half-century's sleep buried in the soil of New Orleans, Lestat rose in The Vampire Lestat to discover the 1980s (in a tour de force which you ought to read if you read nothing else by Rice), and went public by becoming a rock star. I envy his power, his knowledge, his immortality, and I would gladly accept the Dark Gift myself (just in case Lestat happens to be reading this).

The Vampire Lestat ended on a cliffhanger, and if you haven't read it already, do so before beginning The Queen of the Damned. Determined to punish Lestat for endangering them by his revelations, hundreds of other vampires had converged on his first concert, only to be mysteriously snuffed out. (Literally, in bursts of flame.) Lestat, his mother Gabrielle, and his friend Louis (the subject of Interview) had escaped into the night not knowing why or for how long they had been spared. The Queen of the Damned picks up the story from there. We learn what had been suggested at the end of Lestat, that Akasha, the ancient Egyptian queen who had been the first vampire, had awakened from her long sleep to rescue Lestat from his would-be assailants; also, as the jacket blurb asserts, that Akasha has plans that threaten the future of at least half of the human race. Along the way we meet several other vampires, some ancient and some young, like a teenaged punk/biker from Detroit called Baby Jenks. There are scenes of real horror, such as a human-sacrifice rite in the Himalayas led by a vampire playing the role of Kali, and a Mary Daly-esque fantasy of women slaughtering all the men in a Third-World city, commanded by Akasha playing The Great Mother. There is the Story of the Twins, two mysterious red-haired women who hold the secret of the origin of the vampires, a story which builds on and demolishes much current neo-matriarchalist mythology. There's not much to tell about the plot; the wicked end well, and the even-more-wicked end badly. What carries the book is Rice's amazing imagination, her ability to bring to life worlds long-dead or never-born, and the meaning she finds in her story. Paradoxically again, this story of the supernatural decrees the irrelevance of the supernatural; it's a tale of monstrous immorality which climaxes in a debate to the death about true morality; out of the fulfillment of superstition and the birth of religion, Rice spins the death of all gods and an end to superstition; and though she writes mostly of the distant past, she refuses adamantly to romanticize it:

“Behold, earthshaking inventions which are useless or obsolete within the same century -- the steamboat, the railroads; yet do you know what these meant after six thousand years of galley slaves and men on horseback? And now the dance hall girl buys a chemical to kill the seed of her lovers, and lives to be seventy-five in a room full of gadgets which cool the air and veritably eat the dust. And yet for all the costume movies and the paperback history thrown at you in every drugstore, the public has no accurate memory of anything; every social problem is observed in relation to 'norms' which in fact never existed, people fancy themselves deprived of luxuries and peace and quiet which in fact were never common to any people anywhere at all.”

“But the Venice of your time, tell me...”

“What? That it was dirty? That it was beautiful? That people went about in rags with rotting teeth and stinking breath and laughed at public executions? You want to know the key difference? There is a horrifying loneliness at work in this time. No, listen to me. We lived six and seven to a room in those days, when I was still among the living. The city streets were seas of humanity; and now in these high buildings dim-witted souls hover in luxurious privacy, gazing through the television window at a faraway world of kissing and touching...” [The Queen of the Damned, 83].

The Queen of the Damned is, I confess, about twice as long as it needs to be, and might better have been incorporated into The Vampire Lestat, whose story it essentially completes. (Personally, though, I couldn't put it down and would have been happy if it had been even longer.) The Story of the Twins is partially repeated several times, like the story of Snowden in Catch-22, which some readers may find tedious rather than ominous. The long discussions about morality and meaning, which I found enthralling, may strike others as merely windy. This is a risk taken by any ambitious author. Rice promises more Vampire Chronicles, and already in Lestat has given us a major novel which transcends its genre to become literature. The Queen of the Damned is not quite up to that, but it's still remarkable, and supports my belief that Anne Rice may prove to be one of the most important novelists of the twentieth century.