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288 pages, Hardcover
First published May 5, 2020
In the book’s introduction the author, François Clemmons, asked himself what he could bring to a table already filled with other publications by and about Mr. Rogers – and realized none of them had been authored by a 'black, gay, ordained person of the theater'. But instead of his unique perspective being the lens this is told through it became the story itself – a life story beginning as a Mississippi sharecropper’s son to becoming an internationally known opera singer and the first black performer to have a recurring role on a children’s TV show. I’m a little disappointed I don’t have memories of watching Mr. Rogers' Neighborhood that I can revisit now with an understanding of the extraordinary road Officer Clemmons traveled on to be there. Thankfully YouTube gave me a taste of what I missed.
But Michael and I knew that he was a balm for my non-relationship with LaTanya Mae. The only time we were intimate now was when he came to visit or when we went to Youngstown. LaTanya Mae and I were married and living in the same apartment, but we were shadow lovers: not touching, not interacting, not without Michael…I was thankful that Michael took the energy and attention from her that I would have gotten otherwise. I didn’t want a sexual relationship with LaTanya Mae, but I had access to all of her; Michael wanted her—wanted both of us—but she seemed to only be interested in a fraternal friendship with him. They could never be sexual partners without me in the middle. And there would never have been a reasonable sexual relationship between LaTanya Mae and me without Michael (240).When they finally divorce, Michael seems the most heartbroken, and yet Clemmons has no comment on any of it except to say, well, it was time to move on and Michael respected our decision and hey, now I’m a free man. Clemmons knows how to describe his surface feelings but he doesn’t analyze or seem to have any insight on how his decisions hurt other people, or how he’s living a false life.