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
That Part in the Music by Carl Phillips
Some Verse for the Depressed Rebel by Ahmad Almallah
"Villainy" in LA by Gabrielle Civil
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.
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."
Jim Pounds is the producer of a GLAAD- and PopCon-nominated podcast, "This Queer Book Saved My Life," which debuted in June 2022. The concept, as he explained to me via email, is that each week, an LGBTQ guest shares a book which had a profound impact on them (hence the title). When possible, the host, Lambda Literary Fellow JP Der Boghossian, brings the author into the conversation, as well. In effect, the guest programs the show--a format that spotlights a wide variety of people and views.
Here are two sample episodes:
During last week's discussion of Better Angel, I asked my fellow BookMen whether any of them knew from which part of the novel that title derived. (I didn't!)
Philip Clark has now ridden to the rescue with an answer:
"As mentioned last night, the 1987 Alyson edition of Better Angel (still attributed to Richard Meeker, as Forman Brown hadn't yet been identified) includes an epigraph with the book title. I don't know whether this epigraph was included in the 1933 first edition or whether Alyson added it, but I'd guess the former and that it has simply been dropped in later editions. The full epigraph is: "Two loves have I of comfort and despair / Which like two spirits do suggest me still; / My better angel is a man right fair --". The quotation is the first three lines from Shakespeare's Sonnet 144."
Thanks, Philip!
Our friend Mike Mazza, who recommended the novel we discussed last Wednesday--Better Angel, by Forman Brown (writing as Richard Meeker)--was kind enough to share his extensive notes. I found them useful in recalling the book and believe some of you will, too. Just note that the citations (e.g., loc 35+, 2%, etc.) below refer to the Kindle edition, not the paperback.
To say I'm once again impressed with Mike's diligence and meticulousness is a real understatement. Kudos!
Better Angel notes - revised 20241103
New notes, 20241103
My question to readers in 2024: Is this book, now over 90 years old, still relevant and still worth being read and discussed? If so, why?
Another question—could you see this being adapted into something like a Netflix miniseries? If so, any ideas on casting?
I am fascinated how one discussion between two characters about a prospective American novel about gay life seems to prefigure the theme and structure of John Rechy’s great classic City of Night. See page 225. Interesting to consider this link in light of the link to a book from the past, Love’s Coming of Age, which almost provides an ideological foundation for Better Angel.
Overall observations
—I was struck by how ahead of its time this book feels—it seems to anticipate both the spirit of the Stonewall uprising as well as the post-Stonewall pride movement. There is even a hint of a concept of same-sex marriage, as well as a very intriguing “coming out” episode.
—The book also considers the issue of gay youth and the idea of a safe haven in schools for gay youth.
—also noteworthy: the police entrapment incident.
—I don’t recall any specific dates being cited in the story, but some references, such as to “the new psychology,” Jung, Freud, etc. help establish a general chronological setting. See also a reference to Prince Henry and the Duke of Connaught: loc 2663. See also my note below about Love’s Coming of Age.
Special note about the book Love’s Coming of Age, by Edward Carpenter, which is specifically referenced by this book’s main character:
—Book published 1896.
—Carpenter book has a chapter entitled “The Intermediate Sex.” This chapter uses the terms Urnings and Uranians to reference people we could also describe as gay and lesbian.
—The themes of LCoA are echoed in Better Angel. I see a defense of homosexuality as not intrinsically pathological or immoral.
—Carpenter writes of the place of the “Uranian” in larger society.
—he references the phenomenon of Uranian men having an inclination towards poetry, music, the fine arts—we see this also in Better Angel.
—Carpenter notes that the existence of Uranians can be verified from history and literature. At the very end of the essay he provides a list of Uranian forbears, both male and female, including Sappho and Shakespeare—again, this content is echoed in Better Angel—even in the book’s title!
Overall, I see the author (of Better Angel) both reaching back for acknowledgement of homosexuality in prior literature and history, while also cannily forecasting future trends and issues in the gay rights movement.
Main notes about the book with detailed chapter by chapter overview follows.
— book first published in 1933: loc 32. Author lived 1901 to 1996.
Foreword by John Szabo: loc 35+.
—Forman Brown used pseudonym Richard Meeker.
.—publication history; 1980s Alyson edition: 62. Funny story!
Better Angel
Part One
[Chapter] I: Loc 95: p 11; 2%.
—teenage Kurt reading about the friendship of Herakles and Hylas.
—called sissy at school: 167.
—young Kurt displays “the anarchic note of pride in difference”: 212. Important!
—his mother supports his pride in difference: 229.
—Arthur “Nob” Bronson introduced: 339-41.
—Kurt: avid reader with a theatrical bent; likes to play female roles.
—he prefers books with elements of the fantastic: 386-88.
—his father’s furniture store.
—his solitary nature: 427. A secret life.
[Chapter] II: Loc 449; p 33; 9%.
—Kurt turns 13.
—he discovers masturbation.
—Bible: 532.
—anti-masturbation pseudoscientific propaganda: 572.
—snake oil medicine.
[Chapter] III: Loc 588;p 42; 12%.
—Mr. Sprightly; Sunday school teacher: 603.
—evangelistic revival at their church.
—revival preacher preached against masturbation in men and boys’ meeting: 739.
—Kurt answers altar call.
[Chapter] IV: Loc 857; p 59; 18%.
—Kurt a freshman in high school.
—Nob and Kurt discuss their anxiety over masturbation: 939-47.
Part Two
Part Two, [Chapter] I: Loc 958; p 69; 20%.
—Kurt a college graduate; Chloe introduced.
—they discuss her brother Derry.
—Kurt on loneliness: 1017; timeless/timely!
—Kurt’s musical creativity: 1020-23.
Part Two, [Chapter] II: Loc 1060; p 74; 22%.
—backtrack to discuss the start of Kurt’s State University experience.
—how Kurt came to live with the Grayling family.
—geographical note: change from Barton to Ann Arbor [Michigan]: 1113; note earlier reference to state University.
—Kurt and Derry Grayling: masturbating together?: 1137-47.
—Epworth League [Methodist young adult association]: 1151.
—Derry has a totally different attitude than Kurt to their sex play.
— the idea that he was in love with Derry never occurs to Kurt: 1183; important!
—Chloe tells Kurt her marriage plans.
Part Two, [Chapter] III: Loc 1266; p 87; 27%.
—Kurt’s return home and his farewell to the Graylings.
—Kurt starts to read “the new psychology,” including Carpenter: 1305.
—Plato: 1308.
—Kurt’s acknowledgement of the love that dare not speak its name.
—a life demanding secrecy and silence: 1340.
—Kurt learns of Derry’s new friend David Perrier: 1345.
—his letter to Derry: 1365+. He admits his love.
Part Two, [Chapter] IV: Loc 1408; p 96; 30%.
—Kurt returns to Ann Arbor for the wedding.
—Kurt meets David: 1434. Visits the apartment where he lives. Kerry asks David to put Kurt up for the evening.
—David tells Kurt he loves him: 1568.
—my note: this section has a bit of a romance novel feeling.
—David complains of society’s intolerance of homosexuality: 1607.
—Kurt’s plans to go to New York. His departure.
Part Two, [Chapter] V: Loc 1685; p 111; 36%.
—Kurt in NYC. He continues to study music.
—the letters he receives from friends and family: 1721+.
—Kurt visits the Graylings: Chloe tells him of her unhappy marriage to Roy.
—Chloe talks of divorce: 1828+.
Part Two, [Chapter] VI: Loc 1854; p 120; 39%.
—Kurt home with his parents for Christmas.
—notification of his implication in Chloe’s divorce action: 1886-88.
—Kurt and Roy have a talk.
Part Two, [Chapter] VII: Loc 2112; p 134; 45%.
—a letter from Chloe: 2144.
—Chloe’s divorce is effective.
—Kurt receives a scholarship to spend a year in Europe: 2170.
—Chloe arrives in NYC.
—she gets a job in the office of the registrar at Columbia: 2214.
—Kurt has a pleasant friendship with Chloe; he ponders his own sexuality: 2249.
—A kiss from Chloe confirms to Kurt his orientation.
—cut off from the “democracy of love”: 2330.
—Chloe confesses to Kurt that she loves him.
—to explain his sexuality to Chloe, Kurt references the book Love’s Coming of Age [by Edward Carpenter]: 2352.
—Chloe is accepting and their friendship strengthened.
—my note: this is a significant “coming out” scene in LGBTQ literature!
—Kurt, David and Derry as a priesthood: 2495.
—David departs on the boat while his three friends see him off.
Part Three
Part Three, [Chapter] I: Loc 2461; p 155; 52%.
—Kurt in France. He rents a room.
—a letter from Chloe gives an update on Derry and David in NYC: 2576. Her words of caution.
—telegram from Tony McGauran: 2595.
—backtrack to tell how Kurt met Tony, an actor, on his shipboard voyage.
—Tony arrives in France to visit Kurt.
—Tony extols a sexually libertine lifestyle and says he is a “pagan”: 2768.
—Tony tells Kurt of a youthful kiss he had with another male, and they have a frank discussion of homosexuality.
—Tony discusses his sexual history with both men and women: 2915.
—Tony and Kurt debate the issue of sex without love.
Part Three, [Chapter] II: Loc 2959; p 182; 62%.
—Breakfast with Tony.
—Tony tells Kurt that he thinks he knows David; they discuss David’s “guardian,” Ozzy Brosken: 2987-91.
—Tony describes Ozzy as an American Oscar Wilde: 2999.
—Kurt’s landlord Rubin and his wife Georgia described: 3064.
—after altercation with Georgia, Kurt and Tony rent a new place: 3139 to 3158.
—Introduction of Stephen Daedalus, puppy adopted by Tony and named after a Joyce character: 3146.
Part Three, [Chapter] III: Loc 3169; p 193; 67%.
—Kurt and Tony move from Sauvergne to their new rental home in St. Paul.
—They decide to keep their relationship non sexual despite their earlier sexual liaison.
—Kurt makes progress in his musical composition work: 3214.
—Kurt plays part of his suite for Tony and Stephen: 3220.
—Kurt and Tony collaborate on a musical play: 3244. Title—“The Duchess Decides.”
—Kathleen Horan, Irish water color painter, introduced: 3339.
—out for dinner, Kurt and Tony discuss Frank Harris, a biographer of Wilde: 3348-56.
—Kurt speaks philosophically of love, lust, sexual orientation, and society: 3388+. He cites literary examples of same sex love —David and Jonathan: 3392.
—after encountering the Rubins in the restaurant, Kurt is upset.
Part Three, [Chapter] IV: Loc 3437; p 208; 73%.
—Kurt has finished the piano score for “The Duchess.”
—Kurt back in Paris: 3440.
—He encounters Miss Horan: 3465.
—he recalls the embarrassing scene in the restaurant with the Rubins.
—Kurt sees a puppeteer with puppets (interesting in light of real life career of author): 3488-90.
—Kurt reads a batch of letters he has received: 3490+. Note the importance of letter writing in this story.
—Kurt accosted by a seller of pornographic photos: 3513. Later by a pimp.
—Kurt attends a “nauseating” stage show: 3540+.
—Kurt’s dissatisfaction with the “whole vile world”: 3551.
Part Four
Part Four, [Chapter] I: Loc 3588; p 219; 76%.
—Kurt returns to the US; greeted by Chloe, Derry and David.
—reference to dada movement: 3615.
—Kurt and David have time alone together.
—David tells Kurt about his history with Ozzy.
—insight into gay subculture: 3698 to 3701.
—David describes his writing success: 3714+. Note recurring theme of artistic creativity by gay men.
—important discussion of literature and homosexuality; ambition of David to write a book defending gay love: 3717+.
—Queer reading of Shakespeare sonnets: 3729.
—David’s desire for a specifically American
-set literary vindication of homosexuality to stand with works by European authors like Gide: 3736. My supplemental note: Compare this section to Love’s Coming of Age.
Part Four, [Chapter] II: Loc 3773; p 228; 80%.
—Kurt makes plans, including a visit home to see his parents.
—David visits Tony.
—Kurt visits Korlov at the Conservatory: 3805.
—Orlov lets Kurt know of a possible teaching position at Brookway School: 3648.
—Chloe tries to convince Kurt he is not really homosexual; she states her dislike of David: 3879-85.
Part Four, [Chapter] III: Loc 3908; p 235; 83%.
—Kurt visits Brookway School in Connecticut.
—Kurt accepts the job offer at the school.
—David tells Kurt that he has broken with Ozzy: 3952.
Part Four, [Chapter] IV: Loc 4037; p 241; 85%.
—Kurt visits his parents in Barton.
—the “wall” between Kurt and his parents: 4058.
—Kurt’s desire for literary/historic forbears like Plato and Michelangelo: 4070.
—Korlov, via letter, sends Kurt feedback on his musical composition “Greenfield Mountain Suite”: 4088-90.
—Kurt returns to New York; anticipation of departure for Brookway School: 4131.
Part Four, [Chapter] V: Loc 4159; p 248; 88%.
—Kurt at Brookway School.
—Kurt’s pleasant life and work at the school.
—his fellow instructor Scott: 4190.
—David visits Kurt at Brookway.
—Kurt learns via mail that his composition will be included in a musical program: 4231.
—Kurt encourages David to finish his previously proposed book project: 4248. Important.
—Kurt tells David how he caught two of the students in a compromising situation and tried to ease their minds about the incident.
—They discus societal intolerance towards the homosexual: 4300.
—Kurt and David learn that Derry has been arrested; they go to the responsible police station.
—Derry describes an act of police entrapment targeted at “pansies”: 4394-98.
—Note Kurt’s outrage at this injustice. My note: this novel prefigures the spirit of the Stonewall uprising.
—Derry acquitted: 4449.
—Kurt ponders whether his relationship with David is comparable to a marriage: 4480. My note: a book truly ahead of its time!
—Tony tells Kurt that their play, “The Duchess,” has been sold: 4500.
Part Four, [Chapter] VI: Loc 4516; p 267; 95%.
—Advance royalties on “The Duchess Decides” received by Kurt.
—Ford Clayton, the student he had caught in a compromising situation, visits Kurt: 4531. Kurt acts as a kind mentor.
—Clayton gives Kurt the gift of a miniature of Donatello’s David as a gift
—Kurt returns to New York—the situation with Ozzy intrudes on his happiness.
Part Four, [Chapter] VII: Loc 4661; p 276; 98%.
—Kurt back in his room at the school.
—He recalls his regrettable attempt at sexual intimacy with Chloe in the wake of his anxiety over David.
—After reading a telegram from David, Kurt has a renewed hope for his ideas about their future together.
—He reads a poem about Herakles and Hylas: 4708. My note: this cultural reference brings the book full circle.
—end of novel.
BOOKMEN DC’s 2025 READING LIST
NOTE: This list includes books on the 2024 list that have not yet been scheduled (marked with an asterisk), as well as a current anthology that will carry over into next year (Secret City: The Hidden History of Gay Washington).
FICTION
A Passage to India by E.M. Forster
Blackbird by Larry Duplechan*
Didn’t Nobody Give a Shit What Happened to Carlotta by James Hannaham
Gilgamesh: A New Translation of the Ancient Epic, translated from the Akkadian and with essays by Sophus Helle*
Hawk Mountain by Conner Habib
Love Junkie by Robert Plunket
Moffie by Carl Andre van der Merwe
Nocturnes for the King of Naples by Edmund White (with new foreword by Garth Greenwell)
Our Evenings by Alan Hollinghurst
Small Rain by Garth Greenwell
The Bee Sting by Paul Murray
The Buddha of Suburbia by Hanif Kureishi*
Winter’s Orbit by Everina Maxwell*
NON-FICTION
Midnight in the Garden of Good and Evil by John Berendt
Secret City: The Hidden History of Gay Washington by James Kerchick
(Note: We’re treating this as a third-Wednesday anthology due to its length.)
The Celluloid Closet by Vito Russo*
BIOGRAPHY/MEMOIR
Christopher and His Kind: A Memoir, 1929-1939 (FSG Classics) by Christopher Isherwood
Memoirs by Tennessee Williams (with introduction by John Waters)
Not My Father’s Son: A Memoir by Alan Cumming
The Naked Civil Servant by Quentin Crisp*
PLAYS
Who's Afraid of Virginia Woolf? (as revised by the playwright in 2006) by Edward Albee
ANTHOLOGIES
Sanctuary: Short Fiction from Queer Asia, edited by Libay Linsangan Cantor and Yi-Sheng Ng*
Secret Anniversaries of the Heart: New and Selected Stories by Lev Raphael
Slashed to Ribbons in Defense of Love and Other Stories by Felice Picano
This Arab Is Queer: An Anthology by LGBTQ+ Arab Writers by Elias Jahshan (editor)
