The Letter Q: Queer Writers' Notes To Their Younger SelvesOn this Saturday, June 2nd, the Gay/Lesbian Fiction Book Reviews Blogwill give away two h...
read more »
|
|
"I do feel lucky. Every day is a blessing and every day I am thankful. I'm hoping that you find that special someone, Oceankitty.
"
|
|
|
There is a new serial killer in the town of Normandy, Ohio, and he has a uniquely sick calling card: he arranges his killings to simulate the deaths of gods from Norse, Egyptian, Greek, and Roman mythology. Each crime scene is littered with symbolic...more
There is a new serial killer in the town of Normandy, Ohio, and he has a uniquely sick calling card: he arranges his killings to simulate the deaths of gods from Norse, Egyptian, Greek, and Roman mythology. Each crime scene is littered with symbolic clues, carefully chosen to indicate which god the victim represents.
The killer is extremely meticulous, and leaves no clues. Neither Detective Dylan Black nor his partner Vivienne Sheffield are versed in folklore, so they are both pleased to find that the first victim’s neighbor, Trevor McDaniel, is a mythology buff. But Trevor is more than a college student majoring in mythology, he is also gay, and when he and Detective Black work together, the sparks fly.
The killer strikes again and again, and each crime scene becomes more gruesome, more disturbing. It is clear he tortures his victims for several hours before eventually killing them. As the two detectives race to find the man before he can kill again, Dylan and Trevor become involved, hiding their budding relationship. What they don’t know, is that the killer is watching them. He knows what is developing, and will stop at nothing to put an end to their growing love.
This story is a tense, gruesome, emotional rollercoaster ride. The prose is not particularly noteworthy, and the characters do not have much depth, but make no mistake, it is a fast-paced page-turner that will keep you guessing all the way to the last page.
The author presents a great deal of mythological information, which adds interest to both the murders and the antagonist. The thing that worked best for me was the unhurried, romantic manner in which the author built the relationship between Dylan and Trevor. That connection was handled with skill, making the reader really care about these lovers.
I also enjoyed the fact that the author occasionally put me inside the killer’s mind, giving me a depth of understanding as to his motives and his flaws. I only wish the author would have spent more time telling the story from the killer’s point of view.
This is a story that mystery buffs will enjoy, and also readers looking for a good romance. I can highly recommend The God Killers.(less)
|
|
|
The residents of Number 56 Kensington Street, Holland Park, London are off on a another adventure when a new tenant, Sandra Leverock, moves into a flat on the third floor. Sandra is an upwardly mobile attorney who is engaged to an Aerospace Tycoon, E...more
The residents of Number 56 Kensington Street, Holland Park, London are off on a another adventure when a new tenant, Sandra Leverock, moves into a flat on the third floor. Sandra is an upwardly mobile attorney who is engaged to an Aerospace Tycoon, Edgar Allardice. Tensions rise when busybody, landlady Mrs. Shugart, with her ally Mr. Humbolt realize that Sandra is the niece of her old nemesis, Margaret Armstrong.
Mrs. Shugart finds herself grappling with a past she had hoped was dead and buried, while Sandra unwittingly becomes embroiled in a mystery that seems to center around her aunt Margaret’s controlling shares in a lucrative Aerospace corporation. When dead bodies begin to pile up around Sandra, the other tenants—American journalists Rob Brent, Jeff Schrader, and DJ Pack—get sucked into a messy situation while trying to investigate the mystery on Sandra’s behalf. They uncover a plot that involves murder, intrigue, and corporate ruthlessness that threatens every member of Number 56 Kensington Street.
Big Business is Carey Parrish’s sequel to his novel, Marengo, and I’m happy to report that this novel showcases the author’s talents at his best. As with Marengo, the author creates a cast of interesting and charming characters, and weaves them into a tense, thoughtful mystery. Bottom line is, this is solid storytelling.
The author creates a delightful voice that has a distinctly British tone. The plot is breezy and fun. Each character has his/her own set of issues to deal with, while at the same time working to help the others. I was often not sure who the protagonist was because Mr. Parrish does such an excellent job of delving into each of the main characters’ lives. The fact that I already knew most of these players added to my enjoyment, but it is not necessary to read the first installment, Marengo. Big Business easily stands on its own.
I did find the ending somewhat predictable, which did not lessen my enjoyment. The only minor issue I did note was that after the mystery had been resolved, the author when on for several pages, summing up the plot that I already knew. I believe Mr. Parrish could have tightened the ending by a dozen pages and the result would have been a more satisfying ending.
That minor issue aside, I can highly recommend this novel, and I look forward to the next adventure from the tenants at Number 56 Kensington Street, Holland Park.
Other novels I’ve enjoyed from Carey Parrish are: Marengo and The Moving Finger Writes.(less)
|
|
|
Sal Mineo was raised in a family who struggled to make ends meet. His father owned a casket factory in the Bronx, and his mother managed Sal’s early television and stage career. Sal appeared in a number of TV spots and big stage productions, includin...more
Sal Mineo was raised in a family who struggled to make ends meet. His father owned a casket factory in the Bronx, and his mother managed Sal’s early television and stage career. Sal appeared in a number of TV spots and big stage productions, including The King and I, staring Yul Brynner, before becoming one of the hottest teen stars of the fifties. His role opposite James Dean in Rebel Without A Cause made Sal into a teenaged heartthrob. Other notable movie roles were in Giant, The Gene Krupa Story, and Exodus. While still a teen, Sal was nominated for two Academy Awards for Best Supporting Actor (Rebel and Exodus).
In Rebel, Sal’s character, Plato, was the first gay character to ever be shown in a Hollywood film. Many young gay guys, myself included, didn’t even understand what the movie was trying to show with that role, but we connected with it in ways no other movie role had ever done. And of course, we fell in love with Sal. It made Sal a national sensation.
But when Sal grew into his twenties, and was no longer suitable for teen roles, his career began a long, downhill slide. Many other child stars have had difficulty making the transition to adult roles, but Sal had two other career setbacks to overcome: 1) his mother, as manager, had spent all his money supporting his family, leaving him virtually penniless; 2) He was gay, and rumors of his private affairs began circulating around Hollywood and Broadway, and that was the kiss of death for this remarkably talented actor.
Michaud does an excellent job of presenting Sal Mineo’s rise to stardom, his mother’s mismanagement of his career, and the wild life he unsuccessfully tried to keep under wraps. The book is extremely well written and paced, while still managing to include a great deal of detail of the actors life and untimely death.
The book goes into excellent detail regarding Sal’s movies and the major television roles, as well as Sal’s failed attempts at producing/directing. It also gives the dirt on Sal’s private life, with accounts from several of his ex-lovers.
Movie buffs will certainly enjoy this meticulous look into Sal Mineo’s highs and lows, his dreams and ghosts, but this book can be enjoyed by everyone, because it is not merely a presentation of Sal’s life, but also a peek into that elusive thing we call The Entertainment Business. I thought it was brilliant, with something noteworthy on every page.(less)
|
|
|
Closer is a collection of sixty-two poems by gay writer/poet Christopher Stephen Soden. These gems sparkle on the page, little snapshots of a gay man’s life, experiences, hates and loves, frustrations and joys.
I am no expert on poetry, and seldom rea...more
Closer is a collection of sixty-two poems by gay writer/poet Christopher Stephen Soden. These gems sparkle on the page, little snapshots of a gay man’s life, experiences, hates and loves, frustrations and joys.
I am no expert on poetry, and seldom read poems by any author, but I thoroughly enjoyed this collection. The writing is vivid, powerful. The poignant observations behind each poem seemed like a leaf from my own life, things I related to, only couched with such beautiful prose that I often felt mesmerized, reading many of them over and over just to wallow in Soden’s beautiful wordplay.
Excerpt from Cowboys: Lives would be taken judiciously: Rustlers, horse thieves, cardsharps. We would learn to recognize by blanket, paint and bracelet, the Indians we could trust. You and I take turns crooning the cattle to sleep,
swap dreams by the red and purple watchfire after supper, snore together, arms tangled in a careless net of reassurance, under a vast milk splash of throbbing stars. In the morning lather the other’s back, if we could find a spangly brook.
Soden masterfully explores gay sexuality, virility, and maleness, from the old west to ancient Greece. I found it an exotic ride through a vivid landscape that was at once fresh and familiar.
Excerpt from Reprieve: God scatters and casts us away, far, far from reconciliation and mercy. Flailing in a quagmire of apathy and retaliation. Ignorance. Sailing headlong into deepening waves of nightfall. God’s orphans shivering in the undertow of November. Then, suddenly
snow. Drifting patiently to gleaming heaps of crystalline sheaves. Coating everything in a veil of blamelessness. Flawless star flakes aloft on airstream, tickling nose, ear and lash, delicately covering the head like astonishing, weightless benediction.(less)
|
|
|
“So Carmen was married, just,” is how this story begins. The wedding takes place on a farm, the ceremony in a barn. It’s a somewhat joyous occasion, and several young folks get carried away and overdo it with drugs and alcohol, but hey, it’s a celebr...more
“So Carmen was married, just,” is how this story begins. The wedding takes place on a farm, the ceremony in a barn. It’s a somewhat joyous occasion, and several young folks get carried away and overdo it with drugs and alcohol, but hey, it’s a celebration. Late into the night, the last guests to leave are Carmen’s siblings, Nick and Alice, who climb into a car with four others and head back to the city. But then a misfortune strikes—a tragedy so profound that it will deeply touch all these characters for the rest of their lives.
The story follows the three siblings—Carmen, a new bride and housewife; Alice, a lesbian artist; and Nick, a stoner and wantabe astronomer—as they put their lives back together and attempt to maneuver through the mine field of guilt and self-loathing brought on by the accident. The chapters are seen as snapshots of time over the coarse of twenty years, showing how each sibling struggles in their own way to regain something normal, but there is no way to bury this hurt, no way to stop it from tinting every relationship, every occasion, every quiet moment spent alone.
They try to lose themselves in relationships, careers, drugs, and crusading to help others, but nothing can lessen the pain. In short, it’s a sad, depressing story, that once it begins rolling down hill, never really achieves an upward trajectory.
The premise is marvelous. Early on, I had high hopes for this read. The story starts with a bang, and the first thirty pages are riveting, but then I began to have issues with the writing and the characters.
The prose is, for the most part, nondescript, with patches of sloppiness and moments of brilliance. I feel the author tries overly hard to sound “literary”, which often makes the prose jerky and awkward, rather than a smooth flow. I also feel that Anshaw does too much telling and precious little showing, which quickly becomes tedious.
Shortly after the accident scene, a pattern develops. All female characters are shown as strong, intelligent, and resourceful. However, all (and I do mean ALL) the men are either lying cheating bastards, spineless buffoons, or drug addicts who can’t tie their shoelaces without some woman there to show them how. I find her treatment of women vs. men characters sexist and offensive. It colors the entire story, making it impossible for me to enjoy the book, or to take Anshaw seriously as a writer.
I have no issue with someone writing a story geared for women. Neither do I take issue with flawed characters, male or female. In fact, flawed characters tend to be the most interesting. But I do resent authors who blatantly attack a group of people by portraying them all as flawed, with little or no redeeming qualities.
The ironic result about her treatment of women vs. men characters, in my opinion, is that Nick, the most flawed and spineless character in the story, turns out to be the only interesting character. The author molds Carman, Alice, Maude, and Olivia into clichés, and hence, uninteresting characters.
The last issue I’ll mention is that, finishing the story, it seems that none of the three protagonist made any kind of a meaningful arc. After the tragedy, they all fall into their own defensive patterns that held true for them for the rest of the story. They struggle and struggle, but don’t really resolve. If they are able to overcome their obstacles, it is so subtle that it soared over my head.
Women readers will, no doubt, enjoy this book, men readers not so much. I cannot recommend this read.(less)
|
" Karen, you have made my day. Hell, my whole week. Thanks so much for your kind words about The Lone War. It's kind of funny; I loved every one of thos...more
Karen, you have made my day. Hell, my whole week. Thanks so much for your kind words about The Lone War. It's kind of funny; I loved every one of those characters in that story. I still can't read it without a tear or two. lol
alan(less)
"
|
|
|
Sergey Nabokov was born into a wealthy family in pre-communists Russia. His father was a respected member of the government. His older brother would grow to become the brilliant writer, Vladimir Nabokov. While enjoying a luxurious lifestyle in Russia...more
Sergey Nabokov was born into a wealthy family in pre-communists Russia. His father was a respected member of the government. His older brother would grow to become the brilliant writer, Vladimir Nabokov. While enjoying a luxurious lifestyle in Russia, Sergey grew up in the shadow of his older brother. As Sergey matured into puberty, it became apparent that he was gay and a bit of a dandy, which, as far as his family was concerned, pushed him deeper into the shadow cast by Vladimir.
Both brothers were forced to flee their mother Russia when the Bolshevik revolution brought the communists to power. They traveled to England where they received an education at Cambridge University, and then settled in Paris. Sergey became known to the artist crowd of pre-war Europe, hobnobbing with Gertrude Stein and Alice B. Toklas, Picasso, Diaghilev, Stravinsky, Magnaus Hirschfield, and Nijinsky. But as his finances dwindled, Sergey became more and more desperate, turning to opium for a bit of comfort and living off the generosity of men. As war with Germany loomed, Vladimir fled to the United States while Sergey ended up in isolation in war-torn Berlin. Sergey died after spending two years in a Nazi concentration camp for the crime of being gay and for speaking out against the Nazi regime.
This is a meticulously researched novel, which recreates the rich and changing world of pre-WWII Europe with exquisite detail. The novel starts in Berlin during the decline of Nazi Germany, with most of the novel seen through flashbacks. Russell takes the sparse details of Sergey’s life and weaves it into a fictional memoir that is both convincing and inspiring.
What struck me most about this work was the lavish, beautiful prose. I’ve read few modern novels that can compare. The voice Paul Russell captures is both lush and believable. The detail in the scenes he paints is remarkable.
I did have one issue with this novel. Russell committed the one sin that a novelist should never allow—he often bored me. There was simply so much detail to wade through that, however beautiful, slowed the action down to a crawl. Vast quantities of detail, in my opinion, added little to the storyline. The emotional highs weren’t very high, the lows not so low. Through vast sections of the story I found myself wanting to skip ahead to the next chapter, or the one after that.
This is a riches to rags story, contrasting the two brothers’ lives. It is ultimately a novel about a vulnerable boy who, through adversity and a few bad choices, grew into a courageous man. It is a remarkable work.(less)
|
|
|
|
Well written, superb background on Bushido, the samuri code of chivalry.
|