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Orlando (Annotated): A Biography Review

In her most playful and exuberant novel, Virginia Woolf writes the "historical biography" of Orlando, a young boy of nobility during the reign of Queen Elizabeth I. A wild ride through four centuries, the novel shows Orlando aging, magically, only thirty-six years between 1588 and 1928. Even more magically, he also changes from a man to a woman. As she explores Orlando's life, Woolf also explores the differing roles of men and women in society during various periods, ultimately concluding that one's role as a man or woman is determined by society, rather than by birth.
From the Elizabethan period, during which Orlando works as a steward for the queen and also serves as her lover, he progresses to the reign of James I, experiencing a profound love for a Russian princess, Sasha, who is herself exploring the role of a man. When the relationship ends, he retreats, devastated, to his estate, with its 365 rooms and 52 staircases, which he redecorates over the next few years. An interlude in which he is wooed by the Archduchess Harriet/Archduke Harry leads to his ambassadorship to Constantinople, a period spent with the gypsies, and his eventual return to England--as a woman. New experiences and observations await her there.
Throughout the novel, Woolf matches her prose style to the literary style of the period in which Orlando lives, creating always-changing moods and sheer delight for the reader. Some constants continue throughout the four centuries of Orlando's life. Orlando is always a writer, always recording his thoughts, and always adding to a poem he has begun as a child entitled "The Oak Tree." He is always returning to his 365-room house whenever he needs to recuperate from his experiences, and some characters repeat through time. (Orlando is betrayed by Nick Greene during the reign of James I, but he is encouraged by Nicholas Greene in the Victorian period.)
Literary historians make much of the fact that Woolf modeled Orlando on Vita Sackville-West, Woolf's lover, and that this study of gender roles was an early exploration of lesbianism, bisexuality, cross-dressing, and transgender identities. The novel is pure fun to read, however, and though it raises serious and thoughtful questions about sexuality and the ways that it controls our lives, there is no sense that Woolf wrote the novel specifically to make a public statement or prove a point. Her themes of gender and its relation to social expectations, of imagination and its relation to reality, of the importance of history in our lives, and of the unlimited potential of all humans, regardless of their sex, transcend the specific circumstances under which Woolf may have written the book. A playful and delightful novel, which broke new ground with its publication. Mary Whipple
Mrs. Dalloway
To The Lighthouse
A Room of One's Own (Annotated)
Jacob's Room
Flush: A Biography

Orlando (Annotated): A Biography Overview

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35% Off Discounts: Best Buy for Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940 Review

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Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940 Review

I read a lot of history, but generally not read social history. Nevertheless, this is one of the best books I have read in recent years. According to Author George Chauncey, who teaches at the University of Chicago, a "myth of isolation" "holds that, even if a gay world existed [in New York between 1890 and 1940], it was kept invisible." Chauncey's main premise is that, not only was there a gay New York beginning in the 1890s, it was not invisible.
In the marvelous introduction, Chauncey also makes the profound point that the gay male world of the pre-World War II era "was not a world in which men were divided into `homosexuals' and 'heterosexuals.'" Chauncey proceeds to explain: "This book argues that in important respects the hetero-homosexual binarism, the sexual regime now hegemonic in American culture, is a stunningly recent creation." Later in the introduction, Chauncey writes: "Heterosexuality, no less than homosexuality, is a historically specific social category and identity." Chauncey's study begins in the 1890s, "a time when New York was famous for being a `wide-open town,' [when] some clubs went so far as to stage live sexual performances." The so-called "Bowery resorts were only the most famous elements of an extensive, organized, highly visible gay world." At the turn of the century, men who were "`painted and powdered,' used women's names, and displayed feminine mannerisms" were called "fairies." According to Chauncey, fairies were tolerated, but not respected, in much of working-class society. During this period "Many men alternated between male and female sexual partners without believing that interest in one precluded interest in the other." Men, who "maintained a masculine demeanor and played...only the `masculine,' or insertive role in the sexual encounter" were not considered to be "queer." According to Chauncey: "many workingmen knew precisely were to go to find fairies with whom, if they chose, they need not exchange a word to make their wishes clear." Chauncey explains: "Most commonly, gay men simply offered to perform certain sexual acts, especially fellation, which many straight men enjoyed but many women (even many prostitutes) were loath to perform." If the sexual landscape was fluid in turn-of-the-century working-class New York, a more rigid adherence to the regime of heterosexuality was emerging in middle-class culture. By the 1920s, according to Chauncey, "the style of the fairy was more likely to be adopted by younger men and poorer men who had relatively little at stake in the straight middle-class world, where the loss of respect the fairy style entailed could be costly indeed." Chauncey explains that, in the first two decades of the 20th century, "heterosexuality became more important to middle-class than working-class men" because of the growing belief that "anyone who engaged in homosexual activity was implicated as `being' a homosexual." In Chauncey's view: "The insistence on exclusive heterosexuality emerged in part...in response to the [late-19th, early-20th century] crisis in middle-class masculinity....Middle-class men increasingly conceived of their sexuality - their heterosexuality, or exclusive desire for women - as one of the hallmarks of real men." According to Chauncey: "The association of the homosexual and the heterosexual with middle-class culture highlights the degree to which `sexuality' and the rooting of gender in anatomy were bourgeois productions," which explains why Chauncey asserts that the rigid heterosexual-homosexual dichotomy is a recent creation. This is historical exposition and analysis at its very best
Middle-class sensibilities also were at the center of efforts, beginning early in the 20th century, to police, if not suppress, the "city of bachelors." According to Chauncey: "The city was a logical destination for men intent on freeing themselves from the constraints of the family." In turn, according to Chauncey, middle-class reformers demonstrated a growing anxiety about the threat to the social order posed by men and women who seemed to stand outside the family." According to Chauncey, "World War I was a watershed in the history of the urban moral reform movement" because the war "embodied reformers' darkest fears and their greatest hopes, for it threatened the very foundations of the nation's moral order - the family, small-town stability, the racial and gender hierarchy." The streets of New York "were filled with soldiers and sailors," as a result of which, according to Chauncey, the war "threatened to expose hundreds of thousands of American boys from farms and small towns to the evil influences of the big city." Furthermore, as Chauncey puts it, although "[i]t is impossible to determine how many gay soldiers stayed in New York after the war,...it was, indeed, hard to keep them down on the farm after they've seen gay New York."
There is much else about this book to admire. After Chauncey defines the boundaries of his study, he devotes several chapters to describing in fascinating detail the gay male world in New York between 1890 and 1940, from YMCAs and rooming houses to saloons and gay bars to the baths to assignation hotels. I am simply in awe of the research Chauncey did for his chapter entitled "`Privacy Could Only Be Had in Public': Forging a Gay World in the Streets," the sources for which include not only the predictable secondary materials but also letters, interviews, oral histories, and court files in the New York Municipal Archives. There also is a fine selection of photographs, cartoons, and other visual aids.
The gay world in New York was tolerated by middle-class authorities as long as it did not spread to middle America or to threaten its values. During World War I, when thousands of young Americans in the military visited the city, the relatively open gay life there threatened to corrupt them, and that contributed to the creation of what Chauncey calls "police-state conditions," which evolved until they had firmly taken hold by 1940. I understand Chauncey currently is writing the history of gay New York from 1945 until 1975, and I await publication of that volume with great impatience.

Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940 Overview

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32% Off Discounts: Buy Cheap Stone Butch Blues: A Novel Review

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Stone Butch Blues: A Novel Review

Author Leslie Feinberg has done a remarkable thing in the writing of Stone Butch Blues. The author has opened her soul to anyone who reads and exposed us each to our own fears of being different no matter how slight it may be. Being a gay male, reading this book was recommeded to me by a lesbian friend. At first I was reading it out of respect for my friend, but I found myself unable to put the book down. The story is endearing to anyone who desires to know more about the human spirit and the need and will to survive. I laughed, cried and saw myself in so many of the fears, questions, lonley times and good times experienced by Jess, the Stone Butch. Thank you Leslie Feinberg for the way you gave us a piece of your soul in the book and allowed us to become a little more accepting of our differences and of who we are.

Stone Butch Blues: A Novel Overview

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36% Off Discounts: Purchase Cheap Bastard out of Carolina: (Plume Essential Edition) Review

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Bastard out of Carolina: (Plume Essential Edition) Review

Yowtch! This searing quasi-autobiography dressed up as fiction is worth every painful moment it takes to get through it. The book's title says a lot: it's the story of the childhood of a "white trash bastard" and her battles against physical and sexual abuse. I wonder: was this the first book that inaugurated the era of so many memoirs about childhood abuse that Oprah eventually elevated to mythic levels?
Bastard out of Carolina is a scarey story with memorable characters who will haunt readers nearly as thoroughly as they haunted Bone, the child protagonist: the violent ones, the jealous ones, the just plain weird ones, the inexplicable ones...
This is not a book with a happy ending. One gets the sense that the end of the story hasn't been written - possibly because the author hasn't lived it yet.
Outstanding. Worth 6 stars.

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32% Off Discounts: Special Prices for As Nature Made Him: The Boy Who Was Raised as a Girl (P.S.) Review

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As Nature Made Him: The Boy Who Was Raised as a Girl (P.S.) Review

This is a wonderfully written book and a fascinating look into the debate of nature versus nurture in the area of gender assignment. Intelligent and insightful, the author draws a compassionate portrait of a family who, faced with a decision in the wake of a tragedy, relies upon the advice of a well-respected doctor, which reliance turned out to be misplaced. The book details the aftermath of the family's fateful decision and the impact it was to have on them all.
In August 1965, Canadians Janet and Ron Reimer gave birth to identical twin boys, whom they named Brian and Bruce. When they were about eight months old, they arranged to have them circumcised due to a medical condition that caused them pain during urination. Circumcision was to remedy the problem. Little did they know that the circumcision for Bruce would be botched, resulting in the loss of his penis.
A plastic surgeon with whom the Reimers had consulted in connection with the catastrophe that had struck Bruce had spoken to a sex researcher who had recommended that they raise Bruce as a girl. Doctors at the Mayo Clinic had suggested that they ought to get a second opinion with regards to that suggestion. The parents then consulted with a doctor affiliated with John Hopkins Hospital, Dr. John Money, a renowned doctor in the area of gender transformation, who had been the driving force behind the then controversial surgical gender re-assignment procedure for which the hospital was becoming known.
In 1967, the distraught parents met with Dr. Money and shortly after, Bruce became Brenda and clinical castration followed. Thus, their child, who genetically and anatomically had been born a boy, was for all extent and purposes now deemed to be a girl. Brian was now on the other side of the gender divide of his identical twin brother, the twin formerly known as Bruce.
Moreover, Dr. Money now had a dream scientific experiment, because he had a set of twins for which the unafflicted twin could act as a control by which to measure the afflicted one. In 1972, Dr. Money disclosed his "twins case" to the medical world, giving a slanted version of the experiment that made it appear to be an unqualified success. Unfortunately, his analysis of the situation did not disclose the difficulties that Brenda was having and her seeming inability to adjust to being a girl.
Apparently, though Brenda had no idea as she was growing up that she had originally been born a boy, she never felt that she was a girl. Years of follow-up visits with Dr. Money for both twins proved to be unsettling for them, as Dr. Money employed somewhat bizarre methods and procedures. Moreover, as Brenda grew older, she would resist additional surgeries and initially resisted the hormone therapy that was introduced on the eve of puberty. Even when confronted with a totally rebellious Brenda, Dr. Money, however, remained in denial about the failure of his experiment. He would continue to tout his treatment of Brenda as an unqualified success.
It was not until March of 1980 that Brenda was finally informed by her father about what had happened to her years ago and what had been decided in light of the circumstances. It was a revelation that was to dramatically change Brenda's life. What followed was a repudiation of Dr. Money's assertions with respect to his treatment. The book details the changes that Brenda was to make in her life, changes that would find her living the life she was originally meant to lead. Brenda would now become David and live the life of a male. Unfortunately, happiness would continue to elude him.
This is a simply wonderful, intimate look at a family that survived a hideous tragedy. It also sympathetically and sensitively details the personal journey of one family through the labyrinthine differences in opinion surrounding the age old debate over nature versus nature. I would certainly assert that nature, and not nurture, controls. This is a very well thought out book on the issue, grounded in the tragic experience of one family. Bravo!

As Nature Made Him: The Boy Who Was Raised as a Girl (P.S.) Overview

In 1967, after a twin baby boy suffered a botched circumcision, his family agreed to a radical treatment that would alter his gender. The case would become one of the most famous in modern medicine—and a total failure. As Nature Made Him tells the extraordinary story of David Reimer, who, when finally informed of his medical history, made the decision to live as a male. A macabre tale of medical arrogance, it is first and foremost a human drama of one man's—and one family's—amazing survival in the face of terrible odds.


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20% Off Discounts: Best Price Oranges Are Not the Only Fruit Review

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Oranges Are Not the Only Fruit Review

Jeanette Winterson's semi-autobiographical novel is one of the most beautifully written story of a middle-class girl struggling to come to terms with her own sexuality, creativity, passion vs. her family/society's inflexible "formed opinions". The story of the persecution of a girl because of her sexual preference (in this case, lesbianism) is not new. It's how Ms. Winterson presents her story. Fresh. Alive. Witty. Funny. Heartbreaking at times. Imaginative. Almost like you were holding a piece of someone's soul in your hands rather than merely a book. I noticed that one reviewer mentioned that the book's sexual nature is vulgar. I do not find this so. Even if it is, so what? Life is vulgar. Only those fond of sweeping the dirt under the carpet so that it stays out of sight (or those who drive lesbian girls from their house/church and pretend they don't exist) will disagree with the innate vulgarity of all life. This book is the antidote for that kind of sanitized thinking. This book exposes that sanitized Christian middle-class thinking is weird, almost alien when observed sanely by a third party standing on the outside. This book celebrates life. Read it.

Oranges Are Not the Only Fruit Overview

Winner of the Whitbread Prize for best first fiction, Oranges Are Not the Only Fruit is a coming-out novel from Winterson, the acclaimed author of The Passion and Sexing the Cherry. The narrator, Jeanette, cuts her teeth on the knowledge that she is one of God's elect, but as this budding evangelical comes of age, and comes to terms with her preference for her own sex, the peculiar balance of her God-fearing household crumbles.

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32% Off Discounts: Best Buy for Kiss of the Spider Woman Review

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Kiss of the Spider Woman Review

Since there are already so many reviews for this excellent book, I will limit my contribution to a few comments on the footnotes. They are not mere postmodern flourish, nor are they superfluous. They function in several ways. First, they mark a certain reception of psychoanalytic theory in Argentina. Secondly, although in the beginning they correspond to the story (in the tradition way that footnotes do -- as elaboration on a point that cannot be contained in the narrative) they begin to loose their direct correspondence as the story continues. This "unraveling" corresponds to the unraveling of the framing device (most importantly the telling of stories), which traditionally is a narrative structure that functions to hold sexual desire at bay. In other words, the footnotes lose their hold as the characters become closer, sharing more personal facets of their lives, and eventually becoming sexual. In this way the footnotes subtend the narrative in such a way as to track sexual desire and the confusing and contradictory aspects (and theories) that attend to it. I think it is essential to read the footnotes along with the narrative since they add to Puig's experimental narrative style. If they are confusing, that is the point. Unexpected desire, like love, always is.

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32% Off Discounts: Best Buy for She's Not There: A Life in Two Genders Review

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She's Not There: A Life in Two Genders Review

Jennifer Finney Boylan has written a tremendously moving and sometimes funny account of her transformation from male to female. (At one point she opines about taking speech lessons from a Hungarian voice specialist: "'Great,' I said. 'So I'll talk like a Hungarian woman.'")She is obviously a fine writer and reading her story is quite effortless. For me this is a bittersweet memoir because of all the anguish that Ms. Boylan's transformation causes, particularly for the wife Grace, who comes across as being terribly decent and loving. (I do not mean to imply that Boyland is not decent and loving, quite to the contrary.) Grace expresses her feelings about all that is going on very poignantly: "You asked me if I thought this was necessary, and yes, I do. I think it's taken incredible bravery and courage for you to be the person you need to be, and I'm not going to stand in the way of that. I would never keep the person I love from being who she needs to be. But I can't be glad for you, Jenny. Every success you've had a a woman is also a loss for me."
Both Jennifer and Grace are brutally honest in how they feel; at times I found their honesty almost too painful to read.
But shouldn't everyone have a friend like Richard Russo! What a supportive and thoroughly caring person he is. Boylan's best friend, he writes a warm and loving afterward to this story.

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32% Off Discounts: Best Price Zami: A New Spelling of My Name - A Biomythography (Crossing Press Feminist Series) Review

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Zami: A New Spelling of My Name - A Biomythography (Crossing Press Feminist Series) Review

In "Zami: A New Spelling of My Name," poet Audre Lorde has written a text she calls a "biomythography." I think of "biomythography" as a literary form that blends elements of autobiography, the novel, and personal mythology. But however you define the word, "Zami" is a powerful and beautiful text which illuminates the life of an African-American lesbian in the mid-20th century.
"Zami" begins with the young Audre and her parents, a Black immigrant couple who had settled in New York City. Lorde writes in detail of her cultural heritage from the Caribbean island of Grenada. From her childhood in Harlem to her young adulthood, the book is full of fascinating episodes and poetic language. Lorde's description of using her mother's traditional mortar and pestle to grind spices in the Caribbean style is a particular tour-de-force of sensuous language.
Lorde describes the roots of her life as a poet. She also vividly recalls what it was like to be a young Black lesbian in the 1950s. This particular aspect of "Zami" gives the book a special historical value. Lorde's narrative captures many of the cultural and political particulars of that era.
Audre Lorde attained a distinguished literary reputation as both a poet and essayist. But serious readers of Lorde must not miss her extraordinary "biomythography." This is an essential American life story which ranks up there with those of Benjamin Franklin, Harriet Jacobs, Malcolm X, and other important figures. Whether you're interested in the Caribbean-American experience, African-American literature, lesbian studies, or mid-20th century United States history, you will want to explore "Zami."
In this book Audre Lorde writes, "Every woman I have ever loved has left her print upon me." If you read "Zami," Lorde just might leave a lasting print upon you.

Zami: A New Spelling of My Name - A Biomythography (Crossing Press Feminist Series) Overview

"ZAMI is a fast-moving chronicle. From the author's vivid childhood memories in Harlem to her coming of age in the late 1950s, the nature of Audre Lorde's work is cyclical. It especially relates the linkage of women who have shaped her . . . Lorde brings into play her craft of lush description and characterization. It keeps unfolding page after page.”-Off Our Backs

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12% Off Discounts: Buy Cheap Travesti: Sex, Gender, and Culture among Brazilian Transgendered Prostitutes (Worlds of Desire: The Chicago Series on Sexuality, Gender, and Culture) Review

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Travesti: Sex, Gender, and Culture among Brazilian Transgendered Prostitutes (Worlds of Desire: The Chicago Series on Sexuality, Gender, and Culture) Review

I found this book to be very well written and, in several instances, it made me long to return to my anthropological studies at NYU. Had I only been a curious reader I probably would have found this book brilliant, but my reading was shaded by the fact that I personally know many travestis in Salvador (Peruco, Xuxuca, Kit Mahoney, Angelica) and therefore found the exclusion of several things to be particularly odd.
The importance of having a basic understanding of the language and culture of a country in order to do fieldwork and understand anything in that country cannot be overstated, and the fact that Professor Kulick went into the "field" totally green must have put him at a significant disadvantage. This disadvantage would explain his cultural missteps and failure to see his "subjects" within the larger Brazilian context. The lack of contextualization is akin to discussing America's obesity problem without discussing the automobile, the microwave, women in the workforce, lack of school physical education programs, etc. A population teeming with 300-lb. people seems very strange indeed when not seen in context.
Though far more thorough than most researchers, it's incomprehensible to me that he barely discusses race/ color and class at all. It's important to note that nearly all travestis are negra (black) and mulata/ morena (brown) and come from the lowest social classes and everyone knows that, in Brazil, the primary contribution that negras and morenas are thought to offer society is their sexual services (mulata e pra transar, branca e pra casar).
It's also strange that there is hardly any discussion of religion and, being a gringo and all, Professor Kulick seems to look down on Candomble and tries to defend his new travesti friends by asserting that they are not "devotees" of the religion. All of the travestis that I know practice Candomble, but would never admit it to a prejudiced gringo who doesn't seem to understand the religion anyway. In fact, by ignoring Candomble, Professor Kulick missed a crucial element in understanding the place of the travesti in society. It is in the terreiro that Brazilians become accustomed to seeing men dressed as women and learn to respect their special status.
This book, though thoughtfully put together, lacks an understanding of Brazilian norms which would have made the work more complete. The knowledge that, for instance, Brazilians are used to mixture (e.g. being culturally/ racially mixed, practicing Candomble and Catholicism simultaneously) means that travestis are one of many hybrid classes in a highly hybridized nation.
Further, knowing what I know about baiano travestis, I am certain that they would not have allowed Professor Kulick to hang out with them if they didn't consider him to be one of them. It's clear to me in his writing that he greatly enjoyed spending time with the bichada and was "se sentindo" just as much as they were.

Travesti: Sex, Gender, and Culture among Brazilian Transgendered Prostitutes (Worlds of Desire: The Chicago Series on Sexuality, Gender, and Culture) Overview

In this dramatic and compelling narrative, anthropologist Don Kulick follows the lives of a group of transgendered prostitutes (called travestis in Portuguese) in the Brazilian city Salvador. Travestis are males who, often beginning at ages as young as ten, adopt female names, clothing styles, hairstyles, and linguistic pronouns. More dramatically, they ingest massive doses of female hormones and inject up to twenty liters of industrial silicone into their bodies to create breasts, wide hips, and large thighs and buttocks. Despite such irreversible physiological changes, virtually no travesti identifies herself as a woman. Moreover, travestis regard any male who does so as mentally disturbed.Kulick analyzes the various ways travestis modify their bodies, explores the motivations that lead them to choose this particular gendered identity, and examines the complex relationships that they maintain with one another, their boyfriends, and their families. Kulick also looks at how travestis earn their living through prostitution and discusses the reasons prostitution, for most travestis, is a positive and affirmative experience.Arguing that transgenderism never occurs in a "natural" or arbitrary form, Kulick shows how it is created in specific social contexts and assumes specific social forms. Furthermore, Kulick suggests that travestis—far from deviating from normative gendered expectations—may in fact distill and perfect the messages that give meaning to gender throughout Brazilian society and possibly throughout much of Latin America.Through Kulick's engaging voice and sharp analysis, this elegantly rendered account is not only a landmark study in its discipline but also a fascinating read for anyone interested in sexuality and gender.

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21% Off Discounts: Lowest Price Angels in America, Part One: Millennium Approaches Review

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Angels in America, Part One: Millennium Approaches Review

Plays are difficult things to read. It is rare to find a play that is widely read outside of classroom assignments. We have become so accustomed to the narrative form that it can be discombobulating to read stage directions, set descriptions, and stark lines of characters with little sense of the nuance of delivery, the emotion behind the words. Of course, we also have to thank Mr. William Shakespeare for scaring most people away from reading plays in play form. Great that the Bard is, many people look back on their school assignments of reading with a certain amount of angst. Play form is difficult enough, but surely Shakespeare could be translated into English!
`Angels in America, Pt. 1: Millennium Approaches' is, linguistically speaking, a much more accessible play. But it still suffers (as perhaps all plays must) from the lack of description beyond the words. In this regard, plays are very much more like poetry - they tend to latch on to single elements rather than taking the fuller form of narrative, and leave the rest to the imagination of the reader.
Tony Kushner's play is imaginative. Like great playwrights of old, he takes contemporary situations and figures and embellishes them, keeping faith with the overall meanings in society and the overall characters he's using, but is careful to make it known that this is a work of fiction.
We begin the play, staged (we are told) in the barest of scenery with a minimum of scene shifting and no black-outs - imagine, if you will, almost a stream of consciousness as the play progress - there is a funeral. A Jewish funeral. Not an unusual scene in New York, but the Rabbi doesn't know the woman, and so gives generic funereal orations.
Scene shifts to the office of Roy Cohn (alas, an all too real figure, but this is, Kushner emphasises, a fictional account). Here we encounter the high-powered, high-strung Cohn in his glorious best (or worst) while Joe (a conservative Mormon lawyer) is being chatted up for a job, which would put him in Cohn's debt.
Scene shifts - we see Joe's wife Harper planning a trip with a travel agent, Mr. Lies.
And so forth - in the course of this tale, we meet several people who are in various stages of AIDS. This is the meaning of the play. We encounter out gays and closeted gays, poor gays and rich gays, and the occasional straight suffering person, too. Often we have scene shifts and double scenes with two sets of action going on simultaneously. The moral issues of life with AIDS (which, as it happens, often reflect the moral issues of life more generally) are played out in political, social and religious terms.
Take, for instance, Louis, who attends the funeral (conducted by the Rabbi), who is contemplating leaving his lover Prior, who has started to show symptoms. The interplay between Louis and the Rabbi shows differing ideas not only between religions but also within religions toward difficulties.
Later, Cohn launches into an extended tale to his doctor of how he couldn't possibly be a homosexual:
`This is what a label refers to. Now to someone who does not understand this, homosexual is what I am because I have sex with men. But really this is wrong. Homosexuals are not men who sleep with other men. Homosexuals are men who in fifteen years of trying cannot get a pissant antidiscrimination bill through City Council. Homosexuals are men who now nobody and who nobody knows. Who have zero clout. Does this sound like me?'
Ultimately, denial is deep with Cohn.
Doctor: You have AIDS, Roy.
Cohn: No, Henry, no. AIDS is what homosexuals have. I have liver cancer.
Ultimately, issues of drug access, relationship building and deterioration, and the overall morality of life is played out among the characters. Perhaps the image of Ethel Rosenberg, who appears to Cohn in one of his weakened delusional states, says it best:
History is about to crack wide open. Millennium approaches.
The play concludes as an Angel makes a traumatic entry at the end (the cracking open that Rosenberg mentions, perhaps?) appearing to Prior, after we have witnessed Prior's now ex-lover Louis making a connection with our conservative Mormon lawyer Joe.
There is a message. We the audience are not told what it is.

Angels in America, Part One: Millennium Approaches Overview

The most anticipated new American play of the decade, this brilliant work is an emotional, poetic, political epic in two parts: Millennium Approaches and Perestroika. Spanning the years of the Reagan administration, it weaves the lives of fictional and historical characters into a feverish web of social, political, and sexual revelations.

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Dude, You're a Fag: Masculinity and Sexuality in High School Review

This is a fantastic book! It's easy to read, insightful, and incredibly thought provoking.As a teacher and as a man (not that this is a requirement), I whole-heartedly recommend this book to all those interested in society and our schools' reflection of it. It's a great contribution. Thank you.

Dude, You're a Fag: Masculinity and Sexuality in High School Overview

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Giovanni's Room Review

Now and then it is healthy and rewarding AND enlightening to revisit some of the books in our libraries that are time-tested, durable pinnacles of literature. Such is the case of opening the cover of James Baldwin's inimitable, cherished novel GIOVANNI'S ROOM. Baldwin died in Paris in 1987 after gifting us with great novels and strong social commmentary. It is only fitting to return to the Paris of this wonderfully rich novel when the need to reflect on how writers of stature had the courage to begin the genre of novels dealing with same sex relationships in a manner of pure literature.
GIOVANNI'S ROOM is a fluid, nonlinear exploration of alienation: the narrator is living in Paris (having escaped the US with the smilingly shallow American image descried by Parisians), heads toward a "comfortably normal courtship/engagement" with a very normal fellow American girl also living in Paris/Spain, and quite by accident encounters his repressed sexual self when he meets Giovanni, an expatriated Italian. The subcultures Baldwin details are palpably present on every page - many characters seem like enemies until their roles in the journey of these two men unfold and clarify. The title of the book is well chosen: Giovanni's room which he shares with David our narrator is claustrophobic, unkempt, dour, and threatening - an apt description of the mental environment this stumbling act of finding a new type of love creates. Baldwin lets us know from the start that we are entering a doomed affair of the heart and it is this atmospheric, eloquently written memoir that adds to the sense of the inevitable isolation that makes this a great novel.
Enough cannot be said about the beauty of Baldwin's prose, the richness of his terse description of the city of Paris, his uncanny ability to paint characters that are wholly three-dimensional. This book merits frequent re-visits. It is a rare vintage wine.

Giovanni's Room Overview

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Dream Boy: A Novel Review

The last time a book affected me this much ... well ... suffice it to say that it's been a long time.
First things first. I wish I wrote it.
It's the only novel I've ever read that I'm truly, genuinely envious of.
The writing is sensual but succint, the words lyrical but moderate. I actually became breathless while reading.
Secondly, and perhaps most importantly, it's a love story between two boys, and neither the word 'gay' nor the phrase 'I love you' is ever used.
Sure, there's touching, kissing, sex, teenage awkwardness, guilt, fear, even discrimination. But nothing beyond narrative emotion + action speaks of the nature of it. No labels, clichés, or assumptions. It's just simple, perfect, and beautiful.
I want to cradle this book like a baby.

Dream Boy: A Novel Overview

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The History of Sexuality, Vol. 1: An Introduction Review

This text is perhaps Foucault's most well-known, although it might not be his best. It is an important work, so if you are at all interested in sex as an abstract and organizing principle, this is a must-read. (Note: it is not a history in the proper sense of the term). While not a terribly confusing book, it is WIDELY misunderstood, including by many of the reviewers. First off, do not make the mistake of reading the first section as Foucault's thesis (it may seem that way)--he is presenting the common approach to the issue, one that he will eventually CHALLENGE. "Sex" was never repressed--on the contrary, there has been an explosion of discourses, a productive manifestation of power. Foucault admits that this was partially organized through technologies of confession, normalization, etc.-BUT THAT IS NOT THE MAIN THRUST. The main idea of the text is that there is no commanding, Platonic principle "sex" that we must uncover or saturate ourselves with, and hence, while prudery seems suspect, liberation through "sex" or "sex-desire" is entirely nonsensical, since sex is subordinate to sexuality and not vica-versa. Foucault, with much uncertainty, thereby envisions a different economy of bodies and pleasures, more like the ars erotica, that focuses on the local and individual, with all their multiple possibilities for deeper value and communication. Hence, depite what people make of Foucault's life, this book is more "conservative" that one would imagine... It is ideal for anyone who wants to free themselves from either a deep-rooted fear of sex or the incessant demands sex makes from on high (from the media, etc.) To Foucault, the idea that sex is seen as a requirement for one's deepest sense of being is absurd (and almost comical). A fascinating exploration which you might have to read twice, the History of Sexuality demonstrates Foucault's otherwordly insight. Do not fall into the traps I mentioned--Foucault's purpose here is not to free sex from all controls, but merely from one in particular--the reader is given the freedom to reflect and counter it with a more positive and meaningful grasp of his own sexuality and sexual experience.

The History of Sexuality, Vol. 1: An Introduction Overview

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Angels in America: A Gay Fantasia on National Themes: Part One: Millennium Approaches Part Two: Perestroika Review

Tony Kushner's two part epic play "Angels in America" is
truly a landmark of United States literature. The two parts of the
play (subtitled "Millennium Approaches" and
"Perestroika") together represent a passionate and
intelligent exploration of American life during the era of President
Ronald Reagan. Kushner peoples his play with individuals who are for
the most part "marginal" in some way in U.S. culture. His
characters include Mormons, gay men, men with AIDS, Jews, a drug
addict, and an African-American drag queen. These various perspectives
and voices allow Kushner to create some fascinating dialogues about
the "American dream"--and about the nightmares that can go
along with it.

Kushner's cast of characters is excellently drawn, but
perhaps his most astounding creation is influential lawyer Roy Cohn, a
fictionalized version of a real historical figure. A gay Jew who is
himself viciously homophobic, Kushner's Cohn is grotesque, hilarious,
frightening, and seductive all at once. This character allows Kushner
to make fascinating statements about power, politics, and sexual
identity.
Also brilliant is Kushner's use of Mormonism and its
theology as an integral component of the play. Kushner is the first
literary artist I know of who has used Mormon themes and motifs in
such a consistently compelling and intelligent way. Kushner is, in my
opinion, neither a proselytizer for nor a basher of Mormonism, but his
presentation of troubled Mormon characters and his apparent satirizing
of some aspects of Mormon theology both strike me as potentially
controversial. Because Mormonism is a religion founded in the U.S.,
this aspect of Kushner's play accentuates the essential
"American-ness" of the piece.

Kushner achieves a stunning
blend of politically charged realism and fantastic, even playful
mysticism in "Angels." His writing is sharp and cutting at
times, and elsewhere tender and haunting. And the play is often quite
funny. Although the action of the play focuses on the Reagan era,
"Angels" often takes in a much larger sweep of U.S., and
even world, history.

"Angels in America" is a fascinating
meditation on power and its abuse, on disease and healing, on honesty
to oneself and to others, and on pluralism and bigotry. A masterpiece
of 20th century literature, this is a play to be seen. But whether or
not you have seen it, it is also a work to be read and pondered.

Angels in America: A Gay Fantasia on National Themes: Part One: Millennium Approaches Part Two: Perestroika Overview

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The Laramie Project Review

I am the 61-year-old father of a 24-year-old son who appeared in The Laramie Project two years ago, when he was a college senior. I sat in the front row of the theater in the round in which the play was produced. The play did not "get to me"--it dragged me into the worst What If a parent can have: what if my son were gay (he's not), what if he were murdered--how would I react, what would I feel?
The question was answered via the actor who played Dennis Sheperd. When he delivered his monologue to the Aaron McKinney character, and referred to Matt Sheperd as his firstborn son and his hero, I absolutely lost it. Hatred, a desire for vengeance, but a recognition that this was the start of a time to heal. A message like this can go out of style...never. For any parent, The Laramie Project is terribly difficult to witness. But witness it you must.

The Laramie Project Overview

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