Fish

I got a copy of "Fish: A Memoir of a Boy in a Man's Prison" through Giovanni's Room in Philadelphia. The cost was $14.95 plus $5.00 shipping. I usually wait till I am ordering more than one book because the shipping cost remains the same. Delivery is usually in a day or two. I like the idea of supporting independent gay book stores and my experience w/ Giovanni's Room has always been very positive. They are pleasant and knowledgeable.

Their website is www.giovannisroom.com

Robert

A Shurin Glossary

Mighty Bookmen,

Here is a glossary I compiled (for people like me with limited vocabulary) for Aaron Shurin's King of Shadows. It's in alphabetical order. Cheers, Ross

109   abattoir   a slaughterhouse

152   cathexis   the concentration or accumulation of libidinal energy on a particular object

135   contraindications   a contrary indication; esp. a symptom, circumstance, etc., which tends to make a particular course of (remedial) action inadvisable

135   dais   a raised table at which distinguished persons sit

135   la diritta via   the straight road

127   divagations   straying from one place or subject to another

132, 155   e lucevan le stella   "and the stars were shining," from the third act of Puccini's "Tosca"

79   ganglia   cystic swellings of unknown cause arising from the sheaths of tendons.

119   incarnadine   flesh-colored

134   ineluctably   unavoidably

148   inviolable   to be kept sacred or free from attack; not to be infringed or dishonored

119   munificent   splendidly generous

43   puer Aeternus   eternal child, used in mythology to designate a child-god who is forever young; psychologically it refers to an older man whose emotional life has remained at an adolescent level

73   samovar   a Russian tea urn, with an internal heating device to keep the water at boiling point

62   sentience   consciousness, susceptibility to sensation

115   sybarite   a person who is self-indulgent or devoted to sensuous luxury or pleasure; a sensualist

74   threnody   a song of lamentation, esp. for the dead; a dirge

133   topos   a traditional theme in a literary composition

136   vestigial   remaining or surviving as a trace or remnant

Of Mice and Bookmen

Greetings, Colleagues--

Nine Bookmen (including two first-timers) attended the Aug. 5 discussion of Armistead Maupin's novel, "Michael Tolliver Lives." Here are some observations about the novel that I believe reflect our consensus, though not necessarily unanimity.

Nearly all those present have read at least some of the six-volume "Tales of the City" series. Some had also heard Maupin read them on audiobooks and/or seen the three TV adaptations (the first ran on PBS, the second and third on Showtime).

With that in mind, the group agreed that one of the pleasures of reading this latest book was finding out what had happened to the main characters from Barbary Lane and environs. However, we did not get into the question of whether MTL is functionally a seventh volume in the series or stands on its own (which I take as meaning most of us assumed it is the former).

We agreed that the novel is significantly less political than its predecessors, with little social commentary. In fact, one member commented that the references to Bush, Iraq, etc., seemed "dropped in" rather than organic to the story (such as it was). Overall, however, I didn't sense that change was a problem for most of the group.

The switch from the "Tales" series' third-person omniscient narrator to first-person removes any lingering doubt that Maupin is Michael Tolliver, but did not jar most of the group (though I must say it did bother me, at least to some extent).

I also expressed my disappointment (speaking as a Louisiana boy) that the chapters where Michael goes home to see his mother verged so close on Southern Gothic. However, that was distinctly a minority view.

Overall, the group enjoyed reading (or rereading in some cases) "Michael Tolliver Lives." As one member said (I'm paraphrasing here): "Great literature it ain't, but it is a good summer read." Cheers, Steve

Michael Tolliver Lives in a Fairy Tale

Some writers create fictional worlds that are seemingly “better” than the “real” ones. The motivations for doing so may vary. Some may wish to replace unpleasant memories of real events with happier memories of fictional events. Others may wish to emphasize harmonious elements to divert attention from the discordant. Regardless of Armistead Maupin’s motives, he has created a likable enough tale of a 55-year-old gay man’s life in 2006 San Francisco. There is place for breezy stories where the conflicts presented may only remotely resemble the conflicts of our real lives. These stories take us away from our daily troubles and throw us in fairy tale land where love is found, held on to, and flawless.

Maupin applies several techniques to draw us into this world. By assembling details common to many middle-aged gay city-dwelling men, such readers can say, “yes, I’ve had that experience.” The author is “one of us” and we open our ears to him. The references to gay culture create the necessary foundation upon which stand idealized versions of lovers and friends, either steadfast or returning. The camaraderie of logical family members taking care of one another adds comfort. A revealed secret about a father’s last sordid act is intended to add drama. A young woman’s sex blog is intended to add spice. Michael Tolliver’s choice to be with the sage Anna Madrigal rather than his mother at their times of need adds humor with the revelation “there is no fifth destination,” and poignancy with his mother holding the photo of Michael and his husband.

The entire package was not a completely satisfying reading experience for me. I would have preferred a grittier plot or more artful writing. The book is redeemed by its humor and its depiction of a small supportive community in a city with people like us.

--Heath

No Fifth Destination

You can't go home again! Writing in the first person, Maupin misses the opportunity to create a distinctive voice while losing the consistent discipline of a third-person viewpoint. When not writing about himself and "Ben", the tales are an okay follow-up to the earlier series; otherwise, the writing becomes so treacly that one despairs of escape (Ben, the perfect husband, in the perfect marriage, only ever so slightly marred by the narrator's chubby anxiety about not being worthy of so much wonderfulness and gratitude that it's his).

Mini-review of Bill from My Father

“Children begin by loving their parents; as they grow older they judge them; sometimes, they forgive them.”-- Oscar Wilde

Many memoirs have been published about fathers by their adult children. The ones that are worthwhile are those that reveal to the reader something significant about human nature as personified by the father, the child, or both. I didn’t find Cooper’s memoir one of these. I’m sure that hundreds of thousands of American men born in the 20th century have stories about their fathers as awful or worse than Cooper’s. It seems that Cooper wrote about his because he happens to be a professional writer.

I knew I wasn’t going to be enthralled by the book shortly after I began reading it. As portrayed, the father is a monster of pugnacity, vindictiveness, and heartlessness. No matter what he experienced in his past, his qualities are not those of a good husband, father, or friend. In his dotage the father is only exaggerating the misanthropy that has characterized his entire life.

Cooper is a schlemiel (a habitual bungler). I was surprised to learn he was 48 when his father died since his behavior, thinking, and speaking were so immature, irresponsible, and lacking in character throughout the memoir. Maybe his guilt for not loving his father enough induced him to avoid confrontation, attempt to placate unreasonable demands, and repeatedly return to the source of his torment in hope of better treatment, much like Charlie Brown’s constantly trying to kick the football held by Lucy.

As with the comic strip “Peanuts,” I found the antics of the impossible father and weakling son mildly amusing. In a more serious vein, the story of two seriously defective men acting out their domestic drama was pathetic. Toward the end of the book, the memoir had become sickening as exemplified by the following bits:

Cooper’s prevaricating and procrastinating to his father about the father’s stay in the hospital instead of gently telling him the truth
the father’s “bill” to Cooper for his upbringing and the father’s lawsuits against his daughters-in-law
Cooper’s vacillating thoughts about his father’s making good on his threat to sue over the “bill”: “he was my father, after all, the man who bore my ‘fiscal burden,’ and every son owes his father something.” p. 177
Cooper’s tepid reaction to his father’s numerous lawsuits against his sisters-in-law: “every time he mentioned the lawsuits, I felt sorry for my sisters-in-law, and my fondness for him was compromised.” p. 202
Cooper’s scruples about taking (“stealing”) the video about Hell from his dying father because he may “have denied him [his father] the opportunity to see the video for himself and make his own decision.” p. 194
Cooper’s reflecting on a photograph of his elderly father in Bermuda shorts and knee socks, observing that “he rivaled the gazers of the ancient world: Ulysses leaning from the prow of his ship; Penelope scanning the sea at dusk.” p. 199 (This about a man who has excised his new wife from the honeymoon photo and displays the defaced picture possibly as a warning to his latest love interest.)

I found two parts of the book touching: Cooper’s description of his brothers and the trip to the cemetery to “unveil” his father’s headstone. On finishing Cooper’s memoir maybe I had learned something about human nature after all. I had learned just how horrible a sado-masochistic father-son relationship can be.

Walter
7/1/09

Author, Author

Greetings, Colleagues--

We had the unexpected pleasure of a visit by Frank Muzzy, author of "Images of America: Gay and Lesbian Washington, D.C.," during our discussion of his book last night (6/17). We were a smaller group than usual (four) but that enabled us to have a relaxed, intimate discussion of the book. Frank detailed the origins of the project, explained his methodology, and cited a number of events/themes he wishes he'd had room to include (an updated version does not appear to be in the cards). He also gave us some inside scoop on his professional and personal relationships with several of the key contemporary figures depicted in the book, and answered various questions.

He also responded to a critique of the work that is posted on the Rainbow History Project Web site (thanks to Philip for alerting us to that), which you can check out by clicking on errata.

I believe copies of the book are still available at Lambda Rising if this posting piques anyone's curiosity.

Cheers,
Steve Honley
Facilitator
Bookmen DC