John and Lem

I thank Ted Coltman for sharing this photo, which popped up in his feed on X while he was reading the JFK section of Secret City, which we're discussing tonight.

 

A money quote from Pedro Aldomovar

I was struck by this exchange in a recent Vanity Fair interview of film director Petro Aldomovar, because our group has read both the Colm Toibin books he references (The Master in 2005 and The Magician in 2023, respectively). I'm not familiar with the Moser biography of Susan Sontag that Aldmovar praises, but color me intrigued!

There’s another book by Sigrid Nunez that you could have adapted, Sempre Susan, about Susan Sontag.

It’s true. In fact, I was a friend of Susan’s. I saw her quite often either when she was in Spain or when I went to New York to promote my films. I really liked the biography of her that Benjamin Moser wrote, which won a Pulitzer Prize. It reads like a novel. I’m not a big fan of biographies, except ones where the author has to invent details and they actually end up being truer to their subjects. Or, at least, I enjoy them more. Like the fictionalized books that Colm Tóibín wrote about Henry James and Thomas Mann, which revealed what those two complex writers were hiding behind their prose.

Reflections on "Quatrefoil"

Seven of us braved the chill this past Wednesday night to discuss James Barr's 1950 novel, Quatrefoil. The consensus was that while some aspects of the book have not aged well (hardly surprising after 74 years!), it is still well worth reading. I'd be happy to lend my copy to anyone who wants to borrow it.

One question I forgot to raise was about the book's subtitle: "A Modern Novel." Presumably, it is the frank (at least by mid-20th-century standards) discussion of homosexuality that makes Quatrefoil "modern," but might Barr have had something else in mind, too? I invite you to weigh in by posting a comment here.

Our friend Mike Mazza was once again kind enough to share his extensive notes on the novel.  Thanks, Mike! I find them useful and hope you will, too. Just note that the citations (e.g., loc 78, 8%, etc.) below refer to the Kindle edition, not the paperback.  

Note: Overall observations follow the detailed chapter notes.

Quatrefoil notes as of 240616 at 0850.

Chapter 1

—Opening in June 1946: loc 78.

—Ensign Froelich departs his ship as a pariah 

—Wilde reference as a secret code?: 167-69.

—awaiting a court martial: 195.

Chapter 2: loc 240.

—Olympics and Rainier: 244.

—Philip checks in at naval base.

—Philip tells his story to LT Bruner: 308.

—Philip details his conflict with Captain Pratt.

—Philip lies about a detail of the case to Bruner: 367-70.

—Bruner sums up his expectations of the case.

—Philip realizes his foolishness: 421.

—wariness of planned psych exam:,437.

Chapter 3: Loc 453; 8%.

—in the O club with Bruner and with Philip’s cousin

—fascinating description of Philip: 485-89.

—reference to Philip’s fiancée, Sybel Jo: 550, 553. Philip’s conflict with his cousin.

—Philip’s family history: 570.

Chapter 4: loc 639; 11%.

—Philip reflects on his future and his inner struggle 

—our on the base; Philip and the tall blonde sailor.

—explosion in workshop: p 55.

—he chops the blonde sailor’s arm off to save him from the fire: p 57.

—Philip recovering in hospital; Tim visits; gives him a massage: loc 840. A kiss.

Chapter 5: loc 857; 15%.

—info about Tim Danelaw: 896+.

—Philip reflects on the kiss from Tim: 908.

—Philip as the heir to an important small town dynasty.

—backstory of Tim Danelaw.

—backstory: Tim and Jardine: 958.

Chapter 6: loc 981; p 74; 17%.

—letter from Phillip’s mother.

—letter from Philip’s fiancée Sybel Jo: 1013.

—letter from sailor “Stuff” Manus: 1027, 1029.

—info on Stuff Manus and his relationship with Philip.

— more insight into Captain Pratt’s dysfunction ship; cf. The Caine Mutiny: 1091.

—Philip fraudulently helps Stuff earn high school diploma: 1099; note continuing theme of his lack of integrity.

—Stuff forcibly kisses Phillip: 1130.

Chapter 7

—Francis warns Phillip about Danelaw: 1184.

—Phillip greets Sybel Jo and her stepmother. Backstory of “Madame.”

Chapter 8

—Philip interested in SJ mainly for her father’s money: 1603.

—Pat Danelaw propositions Philip: 1621.

Chapter 9: loc 1687; p 126; 30%.

—Philip’s unease at the prospect of facing a psychiatrist: 1690.

—at the ballet. Tense exchange.

Chapter 10: loc 1822; p 136; 32%.

—the Danelaws’ remarkable house; dinner party; showing of Tim’s artwork.

—final piece: Philip as a catlike hybrid: 1894.

—Tim and Philip alone; discussion of Gide, Corydon: 1957-60.

—Tim and Pat reveal their impending divorce to Philip : 2022.

Chapter 11: loc 2025; p 150; 36%.

—Philip models nude for a painting by Tim: 2078+.

—Tim’s philosophy of painting: 2085.

—Philip considers his relationship with Tim in light of that with Stuff Manus.

—Philip and Tim discuss Proust, art; Stuff Manus: 2137. Explicit mention of homosexuality.

Chapter 12: Loc 2163; p 160; 38%.

—Mike Mallory introduced.

—trip to Canada with the Danelaws.

—Philip discusses his family wealth and his ancestry:2304-15.

—Philip on guitar treats group to ballads. Odd moment between Mike and Tim makes Philip unsettled.

Chapter 13: Loc 2363; p 174; 41%.

—Philip meets with his counsel, Lee Bruner.

—Bruner asks directly about homosexuality: 2406.

—Bruner tells Philip his case has been dropped; he is free.

Chapter 14: Loc 2545; p 187; 45%. NOTE: very critical chapter.

—victory party hosted by Pat Danelaw.

—After another portrait sitting, Tim admits his desire to Philip: 2634.

—Subtle allusion to Dorian Gray?—2648.

Chapter 15: Loc 2665; p 196; 47%.

—accidental revelation of Tim’s portrait of Philip to the guests. Description of remarkable painting.

Chapter 16: Loc 2739; p 202; 48%.

—trip to San Francisco on business with admiral.

—Philip visits Tim’s hotel room: 2820. Intense encounter with much left to the imagination.

Part 2—Oklahoma—Summer—1946

Chapter 17: Loc 2917; p 215; 51%.

— the morning after.

—Bruner sees them in a compromising situation; specter of blackmail: 3029.

Chapter 18: Loc 3041; p 224; 53%.

—Philip’s fear of being outed by Bruner.

—Philip’s dehumanizing disregard for Sybel Jo: 3067.

—Mike confronts Philip: 3120.

—Philip strategizes to avoid scandal; he asks Sybel Jo to marry him as soon as possible; 3199. Later, he taunts Bruner.

Chapter 19: Loc 3220; p 237; 57%.

—party at the Danelaw house.

— Phillip fears that Madame overhead him and Tim. Plotting by Phillip.

Chapter 20: Loc 3327; p 245; 58%.

—Phillip home in Devereaux to try to ward off scandal.

—The Froelich family black servants: p 247.

—Phillip tells a partially truthful version of his problem to his mother Victoria.

Chapter 21: Loc 3499; p 258; 61%.

—Tim arrives in Devereaux. He meets Victoria and Fanchon.

—Tim feels he understands Phillip’s background and family history better 

—description of family house 

Chapter 22: Loc 3673; p 271; 64%.

—Phillip gives Tim a tour of the family house.

—Phillip explains his cover story/lie to Tim: 3742. Note recurring theme of Phillip’s dishonesty.

—“the dominant position”: recurring theme?: 3758.

—Wilde reference (in context of conservatory flowers): 3773.

—Phillip like the heir of an ancient duchy: 3798.

—story of the pet cheetahs.

Chapter 23: Loc 3835; p 283; 67%.

—house tour continues.

—Phillip’s books.

—backstory of Phillip’s father Julius.

—prep for Phillip’s birthday party.

—Phillip and Tim go swimming: 3989+.

Chapter 24: Loc 4014; p 296; 70%.

—The party; Phillip greets his godparents Felix and Minna.

—controversy over serving wine in a dry state: 4059-64. Discussed later: 4110-12.

—Tim and Phillip argue; issues of class and culture. 

—Tim gives Phillip gift of an emerald ring.

Chapter 25: Loc 4153; p 306; 73%.

—Phillip’s “debut.”

—Tim and Fanchon (Phillip’s sister) speak.

—Victoria gives Phillip brandy for him and Tim: 4242.

—Phillip recalls his grandfather and plays records for Tim: 4258-69.

—Tim and Phillip discuss Phillip’s grandfather; was he homosexual?: 4311.

Chapter 26: Loc 4324; p 318; 76%.

—Breakfast in the family mansion: 319.

Controversy over a type of saddle—more father/son conflict: 4383-89.

—Phillip and Tim on a drive.

—Phillip condemns the anti-alcohol law: 4420-24.

—Phillip kills a snake and tells Tim s related childhood story.

Chapter 27: Loc 4495; p 330; 79%.

—Long discussion between Phillip and Tim.

Chapter 28: Loc 4634; p 340; 81%.

—Conversation between Phillip and Tim continues; homosexuality addressed directly: 4647.

—“the sexual pariah”: 4653.

—Tim tells Phillip about his journey from art to medicine, and his relationship with Vincent Jardine, an older homosexual man: 4671-77.

—They discuss Pat: 4697 to 4702.

—philosophical/historical discussion of homosexuality: 4710+.

—Difference and tolerance: 4724.

—they discuss depression and suicidal thoughts: 4765.

—note the wariness of “degeneracy”: 4801.

Chapter 29: Loc 4817; p 353; 85%.

—Phillip’s reunion with his horse Pelops: 4817-19.

—Phillip has a talk with his mother.

—Phillip has a talk with his sister Fan: 4879+.

—Fan addresses the question of whether Grandfather Dev was homosexual, and if Phillip “inherited the taint”: 4944.

—question of psychiatry.

—note Fanchon’s philosophy of stoic self-reliance and duty: 4956-58.

—“limp wrist” stereotype: 4974; important theme.

—effeminacy vs manliness; public vs private life.

—“decency” and progress: 5052.

—revelation that Joe Voth is broke: 5064.

Chapter 30: Loc 5083; p 372; 89%.

—Phillip back in Seattle. He breaks the engagement.

—amphibious simile: 5112.

—News of the death of Uncle Felix: 5153.

Chapter 31: Loc 5214; p 381; 92%.

—back at the Fleurs du Mal island retreat.

—theological discussion of homosexuality: 5240-47.

—revelation of the disposition of the Devereaux fortune: 5276-78. (Has a fairy tale quality)

—Tim helps Phillip translate his grandfather’s letters: 5301.

—the relationship as “an experiment in personality over conventionality”: 5341.

—Tim’s advice (strikes me as classist, elitist, patriarchal and conformist): 5367-74.

Chapter 32: Loc 5406; p 395; 95%.

—The couple’s closeted military life together.

—books about homosexuality: 5447+.

—Phillip reflects on his relationship with his horse, Pelops, and the stud business with the horse.

—phone call from Stuff Manus: 5493.

Chapter 33: Loc 5498; p 402; 96%.

—Phillip’s reunion with Stuff.

—dinner followed by tense encounter in hotel room.

—Tim confronts Phillip and hits him.

Chapter 34: Loc 5592; p 409; 98%.

—Tim works to avoid a scandal; Phillip is discharged from the Navy.

Chapter 35: Loc 5659; p 414; 99%.

—Tim dies in a plane crash; Phillip overcomes the urge to commit suicide.

————-

Overall thoughts on the book:

An important milestone in gay literature. Also interesting as a novel of naval life. Some aspects of the book probably haven’t aged well: it’s focus on wealthy, privileged white men; its often demeaning portrayal of women characters; its paternalistic and stereotypical portrayal of its two black characters.

It brings up many noteworthy themes in relation to homosexuality: theology, social conventions, closeted life, etc.

Additional thoughts added June 16, 2024:

The book, in the philosophy voiced by Tim, seems to promote a view of homosexuality grounded in a romanticized concept of the ancient Greek homosexual tradition: an older man as the lover/mentor of the younger, and with the younger eventually taking on the responsibilities of heterosexual marriage and fatherhood.

The book also seems to prize a societally acceptable mode of masculinity. This seems to go hand in hand with a fear of “degeneracy.”

The book is s really interesting counterpoint to the classic gay novel City of Night, by John Rechy, which has a story grounded in the world of drag queens and poor/underclass men.

A book a day...

It's been quite a while since I last counted up how many books our merry band has discussed during our first quarter-century, but I just did and came up with 362! That total doesn't include our "fifth Wednesday" discussions of non-LGBTQ books, an experiment that ran off and on over the past decade. (If it did, we'd be close to the 400 mark.) Even so, that amounts to nearly a year's worth of books!  

Still more LGBTQ poetry to get to know

Here is another compilation of LGBTQ-themed poems (not all by LGBTQ poets, I should note) from the American Academy of Poetry's Poem-a-Day newsletter. These poems were disseminated in August, September, October and November 2024. Enjoy! 

Rest Stop                                        by Chandler Peters-Durose

My Hole, My Whole                        by Sam Sax

That Part in the Music                        by Carl Phillips

Some Verse for the Depressed Rebel    by Ahmad Almallah

"Villainy" in LA                                    by Gabrielle Civil

Effete Poem                                            by Kay Gabriel

Crooked                                                    by Margaret Rhee

Reflections on Saki

Our friend Mike Mazza was once again kind enough to share his extensive notes on the final tranche of short stories in The Chronicles of Clovis by Saki, which we discussed tonight.  Thanks, Mike! I find them useful and hope you will, too. Just note that the citations (e.g., loc 1388, 56%, etc.) below refer to the Kindle edition, not the paperback.  

Saki, Chronicles of Clovis: final group of stories—notes, revised 20241120.

Overall notes on this final group

—I really enjoyed this final bunch. They continue the themes and motifs of the rest of the book, and we see more of Clovis and the other recurring characters.
—I think we can see Saki’s cultural DNA in many places, from bitchy 80s nighttime soaps like Dallas and Dynasty, to cautionary animal tales like Spielberg’s film Jaws, to postcolonial theory and activism, to paganistic horror narratives like The Wicker Man and Hereditary, to social satires like Huxley’s Brave New World, to deconstructions of art and literature like the recent film American Fiction and beyond.
—Some really funny bits made me laugh out loud.

—It seems to me that Saki is primarily known from his appearances in anthologies (like one that Bookmen recently read). My question: Is it still worthwhile to read an entire Saki collection? If you previously knew him only from anthology appearances, what new insight, if any, did you get out of reading a solid block of his work?

My big takeaway: Saki is the satirist of Empire. He is, in particular, the satirist of an Empire in transition. He is also a satirist of the collision point of different worlds (human/animal, rural/urban, highbrow/lowbrow, etc.). He is the juggler who balances horror with humor, violence and wit.

Individual story notes follow.

From “The Way to the Dairy” onward

“The Way to the Dairy”: Loc 1388: p 61; 56%.
—story of the Brimley Bomefield girls and their self-serving interest in an elderly aunt who had just inherited a lot of money
—the girls’ rivalry with Roger, a nephew of the old woman from the other side of the family.
—the girls arrange a trip to the continent in an attempt to get the aunt to see Roger wasting money gambling.
—aunt develops a passion for gambling.
—aunt racks up gambling losses: 1470.
—An ironic cautionary tale about greed, opportunism and family conflict. A dark satire of modern humanity.

“The Peace Offering”: Loc 1497; p 65.
—The Baroness asks Clovis to help her put on an amateur theatrical production in order to help the community come together after a divisive election.
—Production becomes a clash of divas between Baroness and flamboyant Clovis.
—Clovis’ sabotage of the script winds up ironically uniting the community in its condemnation of the bad taste of the Baroness.
—Note Clovis’ description of “the Sumurun manner” in theatrics. Apparently a reference to a 1912 play that later inspired a movie.
— great quip: When one lives among greyhounds one should avoid giving lifelike imitations of a rabbit.
—A very “gay” story in a way; a coded story? Is Clovis meant to be read as “gay”— or in words closer to this time, an invert, a Uranian/Urning?
—Also: an interesting meditation on creativity and on the role of art within a given community.

“The Peace of Mowsle Barton”: Loc 1578; p 69.
—Crefton Lockyer: a city man temporarily renting space in a country home, and thinking about moving there permanently; becomes involved in accusations of witchcraft being circulated amongst and against the women of the community.
—Crefton reads accusatory graffiti for an apparently illiterate old local woman: 1592+.
—He purposefully misreads graffiti for another crone: 1607.
—Bewitched kettle?: 1618.
—Something “terrifying and piteous” in the intracommunity conflict: 1627.
—he encounters old woman apparently reciting a magical/maledictory incantation: 1637.
—Crefton comes across a humble little home by a pond.
—symbolism of a duck’s transformation into gracefulness when it enters water: 1645-47.
—mysterious apparent duck drownings; remainder of flock flees.
—Crefton sees Martha Pillamon, an accused witch: 1658.
—“[. . .] when once you have taken the Impossible into your calculations its possibilities become practically limitless”: 1668. Crefton’s fear of the seeming witchcraft war.
—He leaves his lodging fee and tries to sneak away.
—Note description of Crefton’s view of the old farm as he leaves: 1682+.
—Crefton relieved by the sensory assault of his return to city life—it is like “a nerve sedative”: 1688.
—My note: a very dense, intriguing story full of layers of meaning; I am especially intrigued by the contrast between written language (subject to false reading) and oral magical language.
—note also the recurring theme/motif of human-animal relations.
— Reminds me a bit of the classic film The Wicker Man.

“The Talking-Out of Tarrington”: Loc 1689; p 73; 68%.
—Clovis and his aunt discuss the title character, who the aunt fears will want an invitation to her planned picnic for a Princess.
—Clovis speaks with Tarrington; his humorous commentary on the man’s name: 1700+.
—Clovis’ commentary on pet owls (touches on a recurring theme in this collection).
—note Clovis’ apparent on-the-spot invention of the National Anti-Luncheon League: 1713.
—Clovis on s memorable peach: 1720+.
—Trickster Clovis recalls his peach pit prank: 1726+.
—Clovis ends his successful ploy at dissuading Tarrington with a political observation.
—My note: a great story to highlight the character of Clovis: schemer, trickster, satirist, and high society fellow.

“The Hounds of Fate”: Loc 1733; p 75; 70%.
—Introduces Martin Stoner, a man “at the end of his tether.”
—he stops at a house and is treated to a meal by an old man who seems to know him.
—Stoner stays overnight: 1770.
—he thinks the old man has mistaken him for someone else.
—he meets a small spaniel during breakfast in the house.
—old man invites Martin, who he calls Master Tom, to go horseback riding: 1778.
— he learns that the local folk harbor a grudge against Tom; cause is a mystery.
—Stoner decides to stay and continue in his role as Tom.
—snooping around, Martin finds photos of Tom and is struck by the resemblance to himself.
—George, the old man, warns Martin/Tom of the murderous intent of Michael Ley: 1828.
—George gives him money with instructions for obtaining hiding until Michael departs.
—Encountering an armed Michael during his flight, Martin gets trapped in hedge branches—his death seemingly imminent—story ends.
—My note: a sinister mystery tale with a very “Alfred Hitchcock Presents”/“Twilight Zone” flavor.
—Note also the continuing theme of human/animal relations—adds a poignant touch to an otherwise grim morality fable.

“The Recessional”: Loc 1848; p 79; 75%.
—Starts with Clovis in a Turkish bath! (Gay coding!?)
—Clovis tells Bertie he is writing poetry.
—Clovis explains that his poetry venture stems from a bet he made with Loona Bimberton: 1857-63.
—Clovis states his intent to write a Durbar Recessional rather than a Coronation Ode; note the context of British Empire: 1867.
—great line: “‘I came here to get freedom from the inane interruptions of the mentally deficient’”: Clovis explaining his choice of the Turkish bath as a place to write: 1870. My note: this would be a great inscription for a tombstone!
—Clovis reads a bit of his work-in-progress and Bertie gives input.
—they discuss rhyme and factual accuracy in poetry.
—Clovis has a quick retort to Bertie’s next criticism: 1899.
—My note: a clever satire of both poetry and British imperial/colonial attitudes. I like how Saki mocks British stereotyping of India.

“A Matter of Sentiment”: Loc 1922; p 83; 78%.
—Party at Lady Susan’s; anticipation of a major horse race; Clovis and Bertie van Tahn.
—partygoers scheme to get insider race information behind the back of Lady Susan, who disapproves of horse racing
—My note: note the “Upstairs Downstairs” element of this story.
—note also continuing theme of human/animal relations with the Himalayan pheasants of Lady Susan—the subject of a lie in which she catches Mrs. Packletide: 1955.
—Motkin, butler to Lady Susan, sneakily provides his racing tip to the guests while sherry is being offered: 1962-66.
—Derby results received next day, with guests still at Lady Susan’s; the “tip” did not win. Lady Susan reveals ironically that she had bet on the winner despite her disapproval of horse racing: 1975.
—She reveals the convoluted and totally logic-free reason for her bet: because the horse’s name reminded her of the Franco-German War.

“The Secret Sin of Septimus Brope”: Loc 1984; p 85; 80%.
—Clovis and others discuss the story’s title character, a party guest and editor of Cathedral Monthly: 1984-92.
—Clovis’ aunt (Mrs. Troyle) complains that Brope is romancing her maid: 1994.
—Mrs. Troyle describes her evidence—a note seemingly requesting a meeting.
—2010: hilarious satire of British class consciousness and personal names (Jane).
—The women speculate about Brope’s income in light of his field of writing: 2035-46.
—while talking in the smoking room with Brope, Clovis discovers his true secret: he is not romancing the maid; rather, he is supplementing his income by writing romantic but low-brow verse, and he is afraid that this revelation would damage his serious literary career as an expert on ecclesiastical matters: 2092.
—my note: the discussion of Brope’s verse reminds me of Richard Hall’s pointed criticism of the verse of Edgar Guest, and opens up a larger discussion of “low brow” or popular poetry, and also of how writers (high- and/or lowbrow) are compensated for their work.
—Clovis offers to collaborate on Brope’s latest creation and to also keep his secret in exchange for a trip paid by Brope.
—Clovis boasts to his aunt and their host that he has solved the problem—he doesn’t tell the whole truth, and tries to weasel a gift from his aunt. (Clovis as trickster and schemer)
—My note: Brope is like a real life “respectable” writer who uses a pen name to write in a less respectable genre. I love the reflection on writerly work, respectability and financial compensation. Note also Sami’s withering satire of the social attitudes and behavior of the British upper class.

“Ministers of Grace”: Loc 2122; p 91; 86%.
—Introduces the young Duke of Scaw. The young Duke’s unusual religiosity. My note: this continues a theme seen elsewhere in the book: religious difference and/or controversy.
—The Duke discusses politics with Belturbet.
—The Duke introduces the concept of “to koepenick”: 2136. To replace an authority with a replica that will do the bidding of the replacing agent.
—they disagree over the existence of angels.
—The Duke boast to Belturbet that he will summon angels for a koepenickry scheme; then he verbally accosts a Cabinet Minister named Quinston: 2151+.
—The Duke appears to transform Quinston into a sparrow, after which an apparent lookalike arrives.
—The apparent angelic replacement of a former Viceroy shows up; note the nod to colonialism and Empire: 2179-81.
—actions of Angel replacement editors cause problems for Two periodicals: 2228.
—Belturbet implores the Duke to stop his angelic replacement scheme: 2248.
—after a period of great unrest, the Duke is apparently attacked and drowned by a public figure he had transformed into a black swan; the spell is seemingly broken after the death of the Duke.
—My note: a supernatural/magical tale that prefigures the classic SF movie Invasion of the Body Snatchers.
—Note also the continuing theme of human/animal relations.

“The Remoulding of Groby Lington”: Loc 2286; p 97; 92%.
—On a visit to the family of his deceased brother, Groby discovers “an unkindly clever sketch of himself and his parrot” in a scrap book belonging to one of his nephews: 2300-02.
—Parrot is killed by a monkey that Groby’s other brother had brought to him as a pet:2325+.
—Groby is seemingly implicated in an incident involving stolen and thrown throat lozenges at church.
—Monkey steals the clothes of the stable boy while the latter bathes in a pond: 2360-78.
—Groby flies into a monkey-like rage at a house party; he is ironically hailed as a lifesaving hero as a result of a fire he had started.
—The monkey dies, seemingly due to a common ailment to strike imported primates. Groby’s monkey like antics stop; he acts more like his newest pet, a tortoise.

Queer on the big screen

The long-awaited film adaptation of William S. Burroughs' 1985 novel Queer, which we discussed back on Jan. 3, will have a limited theatrical release on Nov. 27, before it opens nationwide on Dec. 13. (As far as I can tell, the film will not open in D.C. until December, alas.) And it has already been banned in Turkey (a fate that will presumably befall it elsewhere, too).  

Daniel Craig (yes, the former James Bond) plays Lee, and Drew Starkey plays Allerton; Luka Guadagnino (who directed "Call Me by Your Name") directs. Leslie Manville, Jason Schwartzman and Henry Zaga are also in the cast. 

To whet your appetite for "Queer," here are some tidbits:

Speaking of Bond (James Bond...), here is how Guadagnino responded to a question at the film's Venice Film Festival premiere about the superspy's sexuality.

This Vulture article answers the question on so many lips: "How explicit are the sex scenes in Queer'?" But this review, also from Vulture, suggests a sacrifice of emotion for titillation.

Here is a glowing Vanity Fair review. I'll post more reviews once the film is in theaters.

And finally, the New York Times just interviewed Craig: "The Reintroduction of Daniel Craig." This may be my favorite line: "I know lots of tough men in this world who are vulnerable," he said, "and I like to portray that in movies. That truth is interesting to me."