Carnival – Page 9 – Queer and Loathing in America

NOLier Than Thou

(NOTE: I started writing this post back in January, after I’d returned to New Orleans from my last Mystery Writers of America board meeting–this is to give context to the opening paragraph– as you are no doubt well aware, Constant Reader, that I’ve not been back to New York since January; so this is that same trip where this happened and I started thinking about these things, which have never been far out of the forefront of my mind since then.)

While I was in New York recently, walking around to and fro, here and there, hither and yon, I was always checking my phone (and yes, I hate that I’ve become one of those people) and then shoving it back into my pants pocket without putting it to sleep first or closing the app that was open. As I walked around, of course this led to my phone doing all kinds of weird things –closing an app and opening another, etc.; but at least there were no butt dials, right? At one point, when I pulled out my phone as I took a seat on the subway, somehow what was open on the screen was a google search for my book A Streetcar Named Murder–and when I went to close that screen I touched one of the images by mistake, which took me to the Goodreads page for the book. Bear in mind, I never look at Goodreads for any of my books, let alone Amazon–the temptations to start reading the bad reviews is too great, and while I can usually laugh them off, occasionally–and it depends entirely on my mood, of course–one will get under my skin and it will annoy me, and that’s not good for anyone.

This particular day on the subway the Goodreads page opened to the bad reviews first–its average is four stars, which I will always take because I am not Lauren Hough–and the very first one made me laugh out loud on the subway. Paraphrased, it was basically someone taking umbrage at “someone who doesn’t live here or know the first thing about New Orleans” writing a book about New Orleans. The reason they had come to this conclusion was because Valerie referred to Mardi Gras as “Fat Tuesday”, and according to this one-star reviewer, no one from New Orleans would ever say Fat Tuesday instead of Mardi Gras.

Well, I’ve lived here for twenty-seven years and I have heard any number of locals say Fat Tuesday rather than Mardi Gras, and so of course I had to click on the reviewer’s profile…and grinned to myself when I saw that they actually live in Metairie, not New Orleans…which to locals is a bigger crime than getting something wrong about New Orleans: claiming to be from New Orleans when you actually live in Metairie. (the rejoinder is usually along the lines of “bitch, you live in Metairie.”)

It was also kind of fun to be accused of inauthenticity when it comes to writing about New Orleans, because I personally have never claimed to be an expert on anything New Orleans (others have said that about me, and I always am very quick to reply not even close); the more I learn about the city the more I realize how little I actually know about the city. There’s an extremely rich (and often incredibly dark) history here; it’s hard for me to wrap my mind around the fact that the New Basin canal was there as long as it was, or that there were several train stations around the French Quarter (including one that essentially was in Storyville–rather convenient for the whores and pimps, right?), or that where UNO is now used to be the lake shore resort of Milneburg, or that the only way across the river or the lake was by ferry until Huey Long built a bridge at the Rigolets (the narrow inlet between lakes Pontchartrain and Borgne).

I was on a panel once at the Tennessee Williams Festival with Bill Loefhelm (if you’re not reading Bill’s books, shame on you and correct that immediately) and the question of New Orleans authenticity came up, and Bill’s response (paraphrasing) was that New Orleanians have a tendency to play a game called “NOLier than Thou,” in which they try to one-up each other to see who the true New Orleanian actually is–which is, of course, gatekeeping. (And yes, I immediately turned to him and said, “I like that and am going to steal it” SO CONSIDER IT STOLEN.)

It does bother me somewhat when I read books set in New Orleans written by people who have never lived here; you can tell, but I also get over it pretty quickly; who is to say who can and can’t write about a place? There’s a significant difference between visiting and living here, which I realized almost immediately after we moved here, and that also becomes very apparent in fiction. I had started writing the book that would become Murder in the Rue Dauphine before I moved here, and I realized, once I did live here, that everything I’d written about New Orleans was completely wrong. I didn’t work on the book for another two years; and even then I wasn’t entirely sure I’d lived here long enough to write about the city. So…I kind of cheated by making Chanse MacLeod not a native either; he’d moved to New Orleans after getting his degree in Criminology from LSU, and had been here about six or seven years when the story opened. So he was an outsider, too; so his views on the city and how things work around here were from an outsider’s perspective, like mine; that was easier. With Bourbon Street Blues, I decided that Scotty was not only a native but came from two old-line society families, from the Garden District and Uptown. One of the greatest joys of my publishing career was having the Times-Picayune’s mystery reviewer, as well as the Books Editor, both say repeatedly that I got New Orleans right in my books. (Thanks again as always for all of your support, Diana Pinckley and Susan Larson!)

And I never really worried about it too much from then on. I wrote about New Orleans as I saw it–the potholes, the cracked sidewalks, the leaning houses, flooding streets, oppressive weather and hurricanes. As the years passed, I became more and more aware that my New Orleans writing was primarily confined to the Quarter, the Marigny, the CBD, the Lower Garden District, the Garden District, and Uptown–a very narrow slice of the city, but those were also my slices of the city, so that’s I wrote about. Sometimes I’d venture into another neighborhood–Lakeview, the Irish Channel, English Turn–and sometimes the story would take the characters to another part of Louisiana–the bayou and river parishes, the Maurepas swamp, the Atchafalaya Swamp, Baton Rouge–which, oddly enough, I had no qualms about fictionalizing. I’ve created numerous fictional towns and parishes surrounding New Orleans; I’ve even invented a sleazy gay bar in the Quarter (the Brass Rail).

So, was I doing New Orleans (and Louisiana) right by making stuff up, inventing places like the Royal Aquitaine Hotel, the Brass Rail, Bodytech Health Club, Riverview Fitness, etc.? Sometimes you have to fictionalize things, even if they are based on something that really exists. I never really thought much about it; I felt like I was getting the feel of New Orleans right, that my characters talked the way people in New Orleans do and react the way people here do, and that I was putting enough reality into the books for them to ring true to locals, natives, and tourists. Sometimes the cases are based on, in or around something that actually happened or exist; like the Cabildo Fire, the Fire at the Upstairs Lounge, Hurricane Katrina and the ensuing flood; termite swarms; Huey Long’s deduct box; and even the court case in, I think, Murder in the Irish Channel that triggered the murders was actually based on a civil trial I served as a juror on.

When I started writing A Streetcar Named Murder, I realized a lot of things I was writing about had to be fictionalized; I couldn’t set a murder at a Mardi Gras krewe ball and use an actual krewe that exists in real life, for one thing (like I had to invent a French Quarter hotel for a couple of murders to occur in) and while I didn’t want to use the cheat that Valerie had moved here again, like I did with Chanse, I wanted her to be of New Orleans but not be of New Orleans…so her parents are from Georgia and moved here after college and marriage, so Valerie was born here, went to school here, met and fell in love with and married her husband here–but her roots aren’t very deep, so she is both insider and outsider at the same time. I liked that idea; like how I am of the South but not of the South, she was of New Orleans but not of New Orleans at the same time. When creating Jem Richard in Death Drop, again, he’s a recent transplant to the city but his father is from New Orleans but relocated to Dallas, where Jem was born and raised. Jem spent a lot of his summers in New Orleans when he was growing up with his paternal grandmother, so he too is of New Orleans but not of New Orleans; which I am really liking as a method of storytelling about the city. I also moved Jem to a different part of the city; he lives in the 7th ward, on St. Roch Avenue in what is known as the St. Roch neighborhood (aka what realtors are trying to redefine and rename as the “new Marigny”, in order to raise prices) which is also very close to my office. Part of this was to move the action out of the neighborhoods I usually write about (although he does wind up in both Uptown and the Quarter) and so I could explore another neighborhood/part of the city than what I usually write about.

I also had recently–prior to the pandemic–started feeling more disconnected from the city than I ever had before. Primarily I think this was due to my office moving; we had been on Frenchmen Street in the Marigny, one block from the Quarter and where Scotty lives, so whenever I needed some Scotty inspiration I could walk a block, stand under the balconies of his building and just look around, drinking in the sights and sounds and smells of the block. To get past this, I started joining New Orleans history pages on Facebook, like Ain’t Dere No Mo New Orleans or the HNOC page and various others–you do occasionally run into Confederate apologists and racists there (they usually cry about the “crime” in New Orleans–you know, the usual dog-whistles from the white flight racists who fled to Jefferson Parish or the North Shore to escape desegregation of the public schools) and reading more histories of the city, state, and region–which are incredibly fascinating. That reading/research helped me write my historical Sherlock in New Orleans short story, “The Affair of the Purloined Rentboy”–but I have also since realized I got some things wrong in the story too, but there is just so much to know. I set the story in 1916 for example….without knowing New Orleans was hit by a MAJOR hurricane in 1915 that wiped out any number of settlements and villages around the lakes and the bay shores (that will turn up in a story sometime; the destruction of the lake front village of Freniere is just begging to be fictionalized and written about). When I mentioned this to another writer, who primarily does historicals, she snorted. “It’s impossible to know everything, and would people in 1916 still be talking about a hurricane from 1915?”

Probably, but if it doesn’t have anything to do with the story being told, why would I mention it?

A very valuable lesson, to be sure.

So, yes, lady from Metairie: you caught me. I’m not from New Orleans, you’re correct. But I’ve also published over twenty novels and umpteen short stories set here, and have even won awards for doing it.

And I’ll call it Fat Tuesday if I fucking want to.

*The Huey P. Long Bridge at sunset, photo credit Marco Rasi*

Killer Queen

So, Greg, you have a book coming out from a new press in October, and the main character is a drag queen? What the actual hell?

Well, therein lies a tale.

I never thought I would write about a drag queen, in all honesty. It’s not that I’m opposed to drag or anything like that; drag has always been an important part of gay culture (I really wish someone would do a history of drag that’s not academic in tone and therefore accessible to everyone without a PhD) and I’ve always appreciated it as an art form. Yes, some queens are better at it than others, and there are some who are just really tragic…but I admire and respect every single one of them who puts on the dress and wig and heels and make-up and goes out there to perform. My own anxiety manifests itself whenever I have to perform or speak in public (although I managed to successfully control it and get through Boucheron panels swimmingly; I don’t think my stage fright is a thing of the past yet but I’m getting better); I can’t imagine the courage it takes to do drag that first time.

I also never considered doing drag because of my vanity–I wouldn’t look pretty in drag and I would want to be pretty. Shallow, party of one, your table is ready. I’ve seen many performances over the year and even have friends who do it, but my primary interest in drag has always primarily been in it as an art form and political statement critiquing gender roles, masculinity, and femininity; and it holds a very important place in queer culture. I once did drag, for a Showgirls-themed birthday party–I looked like Stockard Channing, which isn’t a bad thing–but it was more of a costume than a real attempt at doing drag. My friend Mark always wanted to make me up for Halloween or Fat Tuesday as Joan Crawford–it was the shoulders, the eyebrows, the narrow hips, and the shape of my face more than any striking resemblance to Ms. Crawford, I think–and while I was interested in being transformed into Ms. Crawford, one of the things I hated the most about doing plays in high school was the make-up. I hated having that shit all over my face, and it never did what it was supposed to in the first place (I inevitably always played old men, so they had to try to age me, and it’s not like we had make-up artists who knew what they were doing in high school.). And the padding? The wig? The dress? Not to mention the lack of pockets and the difficulty in using the bathroom– yeah, not for me. Drag does show up in my work sometimes–not very often–and the most fun thing for me about that is coming up with drag names for the characters. I know I’ve used Floretta Flynn a number of times, to the point where in my New Orleans universe she’s probably one of the bigger and most successful queens in New Orleans. Two of the biggest names in drag came from New Orleans–Varla Jean Merman and Bianca del Rio are both from here. We used to go to Drag Bingo hosted by Bianca and Blanche Debris at Oz on Sundays before she left for New York after Katrina–and Bianca was just as funny and just as big of a bitch then as she is now. She always drew crowds, and of course I met her a few times out of drag (I am quite sure Roy doesn’t remember me).

And believe me, I was very careful not to attract her attention while she was holding a microphone.

I also once wrote a short story that opened with one character saying in the Clover Grill, “You sure see a lot of tragic drag in this town at four a.m.”

Paul and I also were fans of RuPaul’s Drag Race for awhile, too–but like Project Runway, we stopped watching one season when it was obvious that it wasn’t being judged fairly (it was fucking blatantly obvious) and that was it for us. Don’t serve me competition reality when the competition is obviously rigged for a particular competitor. I do love some of the queens we did watch on there–it’s been amazing watching Jinkx Monsoon’s star take flight–and I always liked Tatianna, and just to name a few–Ben de la Creme, Adore Delano, and Manila Luzon are all fabulous. Paul follows a lot of them on Youtube, and of course I do enjoy Trixie and Katya’s We Like to Watch on Netflix.

And naturally, we love Bianca because she’s a New Orleans queen.

But it never crossed my mind to write about one as a main character. It wasn’t my milieu, so to speak (and just typing that made me want to bang my head on my desk. Take risks! I should always take risks in my work!), and so while every once in a while I’d think “maybe I should write a drag queen into this story”, I never did.

Last summer, I am not exactly sure when (2022 was pretty much a blur of misery), I got an email with a request for a ZOOM meeting with two very dear friends, along with another friend of theirs I may have met once over twenty years ago, James Conrad. He wrote Making Love to the Minor Poets of Chicago back in the days when I was a reviewer/worked for Lambda Book Report, and the purpose of the call was they wanted to talk about a possible project for me. You know me, I am always up for a new project and a new possibility…so you can imagine my surprise to find out what they wanted was for me to write a cozy with a drag queen main character. James owns and operates the Golden Notebook bookstore in Woodstock, and decided to start a publishing company through the store and wanted this to be their first venture into crime. I pointed out that I a) knew next to nothing about drag and b) I’m not really a cozy writer (the Scotty series can be classified that way except for a lot of cozy rule-breaking; and yes, I did write A Streetcar Named Murder, which wasn’t out yet and I wasn’t sure if it was even any good), they pointed out that I am a writer who can write anything (this is true, but there are some things I can’t and won’t ever write–and yes, as I typed that I was thinking there you go limiting yourself again–maybe those are the things you should be trying to take on), and then I also remembered a few things–some of my co-workers at the day job do drag, and in fact, my former supervisor had attend a “drag school” here locally, started by a queen who’d retired here from San Francisco after a lengthy and successful career in drag; Paul even knows the queen who runs it. I sent James an early electronic uncorrected proof of Streetcar, so he could get an idea of my writing style, and waited to hear back.

While waiting, I asked some of my co-workers if they’d be okay with me asking them questions–which of course they were more than happy to do–and the more I thought about it, the more it made sense for me to approach this in the same way I approached writing Streetcar–I knew nothing about antiques, so I made my character the same. So, if I am going to write about a drag queen, I needed to write her origin story first–and I decided to make her an accidental drag queen; forced to step in when a queen doesn’t show for a performance. But how would that work? I realized my character had to already know about hair and make-up, so I decided to make him a glam artist, hired to do make-up for women on special occasions and styling them. How did he wind up doing glam? His grandmother, who was from New Orleans, used to have her own Uptown beauty shop on Magazine Street that was frequented by upper class New Orleans women, who would also hire her for special occasions to style them. He spent his childhood summers in New Orleans; his grandmother was the only family member who had no problem with his sexuality, and she taught him all about hair and make-up (and classic Hollywood). He went to cosmetology school instead of college (his grandmother paid for it) and he worked in a high-end salon in Dallas until his grandmother died, leaving him the house and most of her money.

I also had a great idea for the opening, which I quickly wrote up and James liked it…and so we moved forward with the plans for it. I had a Scotty book under contract, and I knew I could juggle the two and get them both done on time.

Of course, I didn’t realize how much work it would be to turn MWA over to my successor, I didn’t know Mom was going to go into the final decline ending with her death during this time, and….well, hindsight is twenty-twenty, isn’t it?

“I don’t know, Jem,” Lauralee Dorgenois said, frowning and raising a perfectly plucked eyebrow as she looked back over her shoulder into the three-way mirror set-up in her dressing room. “You’re sure that this dress doesn’t make my butt look big?”

Okay, I’m going to take a sidebar right here to give y’all some free-of-charge advice that is more than worth its weight in gold. There is only one correct answer to be given without pause or hesitation any time a woman asks you if something she is wearing makes her butt look big: “No.”

You always, always, ALWAYS say no.

If that is, in fact, a lie—you say “I don’t know if that cut drapes right” or “I don’t like what that color does to your skin”.

There are literally a thousand other options besides making the incredibly foolish mistake of saying ‘yes’ or the seemingly safe, non-comital ‘maybe.’ Marriages, engagements, friendships, and relationships have all ended over this question being answered incorrectly—and no, it’s not a trap question. Women are bombarded from childhood with images of what they are supposed to look like and what they are supposed to wear. They are taught to fear fat cells and fatty foods, spend millions on diets and gym memberships and personal trainers. They are gaslit into thinking that being any size larger than zero and not having big firm breasts and not having a wrinkle-free face aglow with the dewiness of youth means they are doomed to grow old alone and unloved. So, they try to fight aging—and the fear of being traded in for a younger model—by having poison injected into their faces, excess skin surgically removed, and their hair constantly colored and touched up. Centuries of societal and systemic misogyny, of telling women they don’t measure up, echo in those sad, simple words: does it make my butt look big?

My heart breaks a little every time I hear them.

However, I get paid to make them look good. My opinion must be honest, but I still need to be delicate. Why be hurtful when you don’t have to be?

I tilted my head to one side and brought my eyebrows together as I looked her up and down yet again. “You’re curvy, Lauralee,” I replied finally, fluffing the peacock feathers on her shoulders to spread them out further. It was true. Lauralee was about five seven, and maybe could stand to lose a pound here and there. Her hourglass figure had thickened a slight bit once she hit forty, but it was barely noticeable. I’d picked out a green silk dress for her because the color made her green eyes sparkle like emeralds. It clung perfectly to her hips and was cut low in the front to shove off the ample bosom, highlighted by an emerald pendant handing from a gold chain just above the cleavage. I’d braided her long auburn hair into a French braid that dropped about half-way down her back. I’d woven some extra pieces of auburn into the braid to make it thicker. “And there’s nothing wrong with that, you know. We’d put Marilyn Monroe on a diet today.”

Several years ago, I tried writing a third series set in New Orleans with a gay male protagonist. It was a character I had already created; he showed up in a couple of Scotty books: true crime writer Jerry Channing, who’d gotten rich on a true crime novel about a child murder case in the Garden District in the 1990’s called Garden District Gothic, (which also became a Scotty title when he and the boys got sucked into that ancient cold case) and wound up solving it. I had wanted to write a fictional story based on the very real Jeff Davis Eight murders, and thought who better to center in the story than a true crime writer researching the case for an article or perhaps even a follow-up book than Jerry Channing? But as I started developing the character out from the sketchy details provided in earlier Scotty books, I suddenly realized what I was actually doing was combining Chanse and Scotty into a single person, so I shelved the story–or at least, the new series, because if all I was going to do was just merge two previous characters into one, there was no point in bothering. I had then gone on to create a new series with a straight woman as the main character (A Streetcar Named Murder), and I was determined that, with this new potential series set in New Orleans, the last thing I needed was to just rip-off previous characters.

So meet Jem Richard, twenty-something glam artist and New Orleans home owner. Jem lives in the 7th Ward (not far from my day job office, actually; over on St. Roch Avenue between Claiborne and St. Claude), and the house flooded during Katrina–Jem remembers coming down with his family to help work on the house for his grandmother, Mee Maw of sainted memory–and I gave him a pole-dancing roommate who also works at Crescent Care. (Another Easter egg is the book opens with Jem being enormously disappointed to be ghosted by someone with whom he had several dates –a Tulane grad named Tradd. Bury Me in Shadows readers may remember Tradd as the asshole who broke up with Jake and sent him into the alcohol/drug spiral that landed him in the hospital when that story opens. I also want to use Tradd again somewhere else…but that is indeed a tale for another time.) Jem does well for himself, but has no health insurance and never is guaranteed work–but he also really doesn’t want to go back to working in a salon again, either. (He also sometimes books gigs with film, theater and television companies.) He’s kind of a lost soul, not really sure what he wants or what he wants to do with the rest of his life–but he also is lucky: he owns his own home, for one, and has several marketable skills. He kind of feels like he’s been spinning his wheels and not getting anywhere since coming to live in New Orleans. Jem has considered doing drag before–he’s very into costuming, and has won the Bourbon Street Award for Best Drag Costume on Fat Tuesday the previous two Carnivals–but he (like me) is haunted by stage fright. He did a play while in high school and the stage fright was such a horrible experience he gave up his dream of being a performer and started working as the make-up and hair person for the school productions.

So, when he’s hired to be a back-up glam artist for a fashion show at Designs by Marigny, only to find out the models were drag queens. A little taken aback, he rolls with the challenge, and when one doesn’t show, Jem gets pressed into service (he can fit into the dress). The show is being managed by the same person who runs the local drag school–a sweetheart named Ellis, whose drag name is Mary Queen of THOTS. Jem has a bad history with Marigny the fashion designer–she’d hired him todo the make-up for a previous show, and her check bounced–so the friend who recruited him to do the show makes sure he gets paid in advance. Of course, since the models are drag queens, the show attracts anti-drag protestors–there’s a suspicion that the designer, Marigny, deliberately used queens hoping to attract a protest and more publicity. Throughout the course of the evening Jem overhears Marigny arguing with several different people, and the next morning wakes up to the news she’s been murdered–and somehow Jem is not only a suspect but he’s also a target.

But why?

Jem also has a black cat named Shade.

As I said, while it had never occurred to me previously to write a drag queen character, the more I thought about it, the more I wanted to do so. Drag queens are currently under attack by the forces of bigoted evil. Part of this comes from the right-wing demonization of transwomen, spear-headed by hateful bigoted lying trash like Libs of TikTok (if you’ve ever retweeted the Axis Sally of the Proud Boys, know that’s why I blocked you and we will never, ever be friends again) and Moms for Liberty, who are both so fucking ignorant and clouded with hate that they think drag queens and transwomen are the same thing. The idea that children need to be protected from drag queens at all costs because it’s somehow sexualizing them is disgusting and ignorant and offensive on its face; merely rephrasing Anita Bryant’s vile claim that queers need to recruit children, i.e. all queers are pedophiles. They prove they’re liars on a daily basis and that it really has nothing to do with “concern” for children and everything to do with bigotry and hatred, because they never go after religious organizations, youth pastors, Boy Scout troop leaders, and Republicans–you know, the ones who are being convicted of child rape and child porn on a regular, almost daily basis –but only the queers are their primary concern. First off, not all drag queens are transwomen and not all transwomen were drag queens. Yes, some transpeople start their transition by doing drag, to get a better idea of whether or not they are more comfortable as a woman than as a man. I work with a lot of transpeople, and have for quite some time. I’ve witnessed people transition and evolve, and I’ve also seen the change in demeanor, confidence, and emotional well-being when they do.

What better way for a writer to fight back against ignorance than writing about it? And I loved the deliciousness of fighting homophobic and transphobic bigotry by writing a cozy series.

It releases on October 10th, and you can preorder it here, if you would be so kind. I am pretty pleased with it, to be honest, and here’s hoping it does well for James and the press.

I’m Just a Country Boy

Thursday and my last day in the office for the week. I have a lot to get done over the weekend–errands and chores and things, oh my! I’ve arranged for medical appointments and examinations, have gathered everything I need for the OMV, and I even spent a little time writing yesterday. Who am I, and what have I done with Gregalicious?

I slept better on Tuesday night than the previous nights, and it felt great. I didn’t feel tired or worn out or dragged out–and of course, while it was still fucking hot here, it was normal August hot, not Satan’s taint hot. I can handle normal August hot. Sure, I’ll complain, but if this summer thus far has proven anything to me, it’s that I’ll be grateful for a regular Louisiana summer from now on. Yesterday was a good day at work as well; I feel like I helped some people and was able to be a good listener for some others who needed to get some things worked through. I love my job because I get to feel like I’ve made a difference in someone’s life, and there’s always at least one client per day who makes me feel that way. It’s a good feeling. I know I am helping everyone I see, but the ones where you have to go a bit deeper than is usually necessary are really special for me. That’s what I really needed from a job all along, and if I didn’t find that out until I was in my forties, at least I finally did find out. I’ve been at my day job longer than any job I’ve had previously, and by the time I retire at sixty-seven (roast in hell for all eternity, Ronald Reagan) I will have worked there longer than I worked at all my other jobs combined. (I’m not counting writing or editing in this, by the way; those are contract jobs, not a regular paycheck with benefits, which also includes fitness instruction. No benefits nor regular paycheck there, either.)

I also loved being a personal trainer because I enjoyed helping people feel better–so much of fitness training is mental, and reshaping mindsets and attitudes and mentalities, you have no idea. I used to actually write a syndicated queer-specific fitness column, which took a holistic approach to fitness and well-being, and so sometimes I would get into the mental health/self-image stuff. I always wanted to write a holistic health and fitness book targeted to a queer audience, but the performance aspect of promoting a health and fitness book wasn’t anything I was interested in; it would mean staying in shape constantly, watching everything that I put into my mouth and limiting myself, cutting out alcohol., and above all else, quitting smoking. Once I got myself back into shape, in 1994 and then again in 2001 (after that Horrible Year That We Never Discuss), I gradually became less obsessed about the regimen I needed to maintain to continue to work toward underwear model-type body and decided I was okay with a slight roll around the middle, and not having a six pack, or veins bulging out from under the skin everywhere. Fitness instruction, and fitness writing, weren’t my passion though; I wanted to be a fiction writer and I didn’t want to use my discipline and self-control and will to push myself into trying to compete for dollars and eyes and influence in the fitness world–I wanted to use that to write the best fiction I could and get it published so people could read it.

I was also thinking that I might want to think about doing something to mark Scotty’s turning twenty-one next year (I honestly cannot believe I’ve been writing this series this long. It was supposed to a stand alone!) I am thinking I should probably write another Scotty book, so the tenth will come out during his twenty-first year of existence, but I am not quite sure what I want to do with the boys next. I have some titles and possibilities–French Quarter Flambeaux about a Mardi Gras murderer; Quarter Quarantine Quadrille which of course takes place during the quarantine; and Bywater Bohemia Bougie, which would be a long look at real estate, gentrification, and how New Orleans has lost some of its soul since Katrina. I probably should write a Scotty every year. But I don’t want him or the series to get stale; that’s what happened with Chanse and I’d originally planned to only do seven, and I was on book seven so I said, fine, we’ll end it here. I do think there are more Chanse novellas to be written at some point; I think the shorter form will force me out of the “paint by numbers” way I was feeling with that series by the end. (For the record, I think the last two books of the series are just as strong, if not stronger, than the books that came before them. The quality wasn’t slipping, but the challenge of writing them wasn’t there anymore.)

The last thing I want to feel when I’m writing something is bored. Sick of it is one thing and is perfectly acceptable to feel; by the time you’re doing the page proofs you should be so fucking sick of your book and those characters that you don’t ever want to think about them again….and the time between turning in those final corrections and the release/promotion is just long enough of a time to pass so you don’t want to slit your wrists when the subject of the book comes up. I have yet to feel boredom with writing Scotty; the fact that the stories can be insanely ridiculous and completely over-the-top helps a lot in that regard. And yet…I’ve noticed things, looking back at the older books in the series, while I was writing Mississippi River Mischief, that I need to pay more attention to in the future. A reader asked me, sometime after the release of Royal Street Reveillon, “how many car accidents has Scotty been in?” And when I started thinking about it….was like yeeesh, quite a few–to the point where I probably wouldn’t get into the same car with him. I noticed that there are books where Frank and Colin’s presence is so minimal that they aren’t even supporting characters but rather cameos; and I don’t use Scotty’s family nearly as much in the later books as I did in the earlier ones. So, when I write the next Scottys, going into them I am going to be more conscious of these things, and I am going to try to work them out organically through the manuscript. Scotty’s getting older, as are the others (my editor was very enthusiastic about how much she loved that Scotty ages in real time), and I’ve started addressing that. I do think the next case is going to have to heavily involve Scotty’s family; I’m thinking it’s about time his sister Rain took center stage in one of his cases. I love Scotty’s entire family, to be honest, and I am really glad I brought his best friend David–missing from the last four or so books–back into this one.

As you can probably tell, I was a bit concerned about my editor’s response to this one. Someone who has anxiety to the degree I do probably shouldn’t be a fiction writer, but it’s too late now, over forty novels in. But….it’s never too late to enter a new chapter of my career, either.

I slept great again last night–the slight cooling off this week has been marvelous; the air conditioning finally caught up, and I was laughing last night because I was taking some stuff out to the recycling and realized…it was chilly enough in the apartment for me to wear a sweatshirt and sweatpants (which means the temperature inside is correct), and when I was walking the stuff out I didn’t break a sweat and thought it was actually pleasant outside…and it was 94. Today I have to get through, run some errands on the way home (post office mostly–I can’t decide about the grocery store but I don’t think we need anything; I have developed the habit of making groceries whenever I get the mail since I’m already uptown) and then settle in for the night. Paul was late last night working on a grant, so when he got home we watched the first episode of Only Murders in the Building, which was a very pleasant surprise (we weren’t wild about season two, but season three got off to a great start, and of course, Meryl Streep!), and finished the evening off with an episode of Awkwafina is Nora from Queens, which is just hysterically funny. It’s nice to feel rested before the last day of getting up early and going into the office.

And on that note, I am heading into the spice mines. Have a lovely day, Constant Reader, and I’ll check in with you again later.

Some Broken Hearts Never Mend

Ah, Monday morning and back into the office with me. I slept a little late yesterday, got up feeling very refreshed and rested, then spent the morning doing research, some touch-up chores, and some reading. I also did some writing before my 5 pm EST panel, moderated by the marvelous John Copenhaver and including four of my favorite queer writers: Robyn Gigl, Renee James, Kelly J. Ford, and Margot Douaihy. They were all brilliant, and I was my usual incoherent rambling mess who then proceeds to forget what the actual question was. I should probably prepare for these things, but why start now? After all, no matter how much I prepare, my co-panelists will always be incisive and insightful and intelligent and I will be….Gregalicious.

I did finish reading the remaining short stories in Alfred Hitchcock Presents My Favorites in Suspense, and enjoyed all three–and again, like the others, reminded me the only thing limiting my short stories in what I write about and try to accomplish is my own insecurities as a writer and laziness about doing research. The final three stories (“Treasure Trove” by F. Tennyson Jesse, “The Body of the Crime” by Wilbur Daniel Steele, and “A Nice Touch” by Mann Rubin) were all marvelous, all containing that delightfully nasty twist at the end that is so reminiscent of so much of Hitchcock’s television shows and anthologies. Reading these stories–these old anthologies–has really been quite an education in short story writing–and I’ve also learned a lot about my own limitations when it comes to my creativity and what is possible. I need to, as I said the other day, write precisely the things I don’t think I can, or have the knowledge or skillset to tackle. If it’s a research issue, write the fucking story first if the research is fucking intimidating and make the research part of the editing/revision process. It’s really not as hard as I make it out to be for myself all the fucking time, seriously.

If there’s a way to make it harder I can assure you I will find it.

I also read the first story in Alfred Hitchcock Presents Stories to Be Read With the Door Locked, “Hijack” by Robert L. Fish. Mr. Fish was a prolific short story writer, and his estate endowed Mystery Writers of America to present an award in his honor every year to an outstanding short story by a first time published author every year (Rob Osler won this last year, the first of a lot of award recognition for him; his debut novel Devil’s Chew Toy has turned up on almost every awards short-list for the year). “Hijack” is a story that doesn’t hold up well; airline and airport security measures have amped up in the decades since the World Trade Center was bombed for the first time back in 1993 or 1994; ur could have been 1995. All I know is 1) I was in Manhattan when it happened and 2) I was working at the airport when the new security protocols were put into place. There probably aren’t many of us around who remember the hijacking plague of the late 1960s and early 1970s; it seemed like almost every day a flight to Miami was being hijacked to Cuba. It was so commonplace it became part of popular culture; comedians and movies and television shows constantly making hijacking jokes. But it’s a very good story with, as always, the requisite twist that comes at the end (hilariously, the ransom demand is for $250,000–a lot of money when the story was written but practically nothing in terms of today’s money and wealth) which I wasn’t quite expecting; it’s not a spoiler because the story is at least forty years old so–turns out the crew hijacked the plane themselves and killed a passenger to frame for it. It actually could have worked back then, too–and it made me want to read more of Mr. Fish.

I intended to try to write or edit before the panel yesterday, but as always with something like this, I was too antsy and nervous to focus, so I spent most of the day doing some more research–old New Orleans, Mayan gods, homosexuality in old Hollywood–and cleaning and picking things up. I also ordered some more of these Arctic Air hydration coolers; they really work well, and if you freeze the filter, well, they blow extremely cold air. I have three from several years ago before we got the new a/c system (summer of 2020, it must have been, as we got the new system after Mardi Gras in 2021), but lost the power cord for one of them. I’ve had them going since Paul left and they’ve really helped in the kitchen. I also bought a really powerful if small fan for the living room while making groceries Saturday afternoon, and it is super powerful, too–I also ordered another of those, too. I know I sound like a wimp, but you try cooling down your house when the heat index is 120+ every day for weeks on end–and of course, the kitchen add-on is always so much hotter than the rest of the apartment.

I slept okay last night, feel a bit groggy this morning, but hopefully the coffee with work its magic on me and I’ll be wide awake by the time I get to the office this morning. I think we have a busy schedule, my supervisor is back from having COVID (haven’t see her in over a week), and of course, after work today I ordered some things from Sam’s Club to be delivered. Next week I have my meeting with the orthopedic surgeon to see when we can schedule my biceps surgery–assuming I need it, which I am pretty certain I do–and then after the recovery for that I can start exercising again. I have to remember I am older and more frail than I used to be, so getting back into shape in my sixties is going to take far longer and be more painful and slow than it was in my thirties when I did it the first time. I didn’t write anything all weekend (or for most of the week last week, really) so I need to get back on that horse this week as well. Bouchercon is looming on the horizon as well.

And on that note, I am heading into the spice mines and getting another cup of coffee. Have a great Monday and I will check in with you again tomorrow.

Need

Ah, vampires.

I never really meant to write a vampire story. For one thing, Poppy Z. Brite and Anne Rice had already done the New Orleans vampire story and set the bar super-high for anyone else wishing to write about vampires in New Orleans; Charlaine Harris also kind of cornered the market on Louisiana supernatural novels, too. It really seemed cliché to do New Orleans vampires, and I never would have, had I not been asked, and offered a lot of money, to do so. I make no bones about writing for money; if that renders me an unreadable hack, so be it.

I was initially asked to write a New Orleans vampire novella for a collection of four to be called Midnight Thirsts, which Kensington was publishing. Once I signed the contract and got paid half the advance, I decided to adapt a vampire short story I’d written, probably in or around 1997 or 1998, called “The Nightwatchers”; the main character was a young wannabe actress with a lot of talent but a lot of insecurity, who discovers that the reason she hasn’t been getting good roles in her theater company is because the woman who does is fucking the director. The story wasn’t good–she is easy prey for a vampire looking for a companion, who kills the director and the competition actress before turning her–but there was some lovely stuff about the French Quarter in the fog and her crumbling apartment–this was when you could still get a decent enough apartment in a crumbling old building in the Quarter for a price that seems unbelievable and unrealistic today–that I thought I could use. I also like the title, and as is my wont, when I started world-building and creating, I went overboard on back story. There were two point of view characters; the main, Philip Rutledge, who works as an escort, and his best friend Rachel, an aspiring singer who works in a coffee shop on Frenchmen Street, as well as a third; an older man who is a “nightwatcher,” member of an ancient society that reins in supernatural threats to humanity all the while keeping them in the dark about the reality of supernatural creatures and beings in the world. He has followed a rogue vampire to New Orleans, who has set his sights on Philip. I left the ending open, because I thought there was more story–if not a book, if not an entire series–in this idea. I decided I was going to write the vampire novel after finishing Mardi Gras Mambo…which wound up being delayed over a year. Then Katrina happened, and by the time I was ready to write about vampires again, too much time had gone by, alas. But they were doing another collection of vampire novellas, and asked me to do a Todd Gregory story for them (they had started publishing the Todd Gregory fraternity novels by this time), and that story became the novella “Blood on the Moon.” But rather than starting fresh, I used the same structure and world I’d created with “The Nightwatchers”–and tied it into the fraternity novel world as well, making the main character a member of the fraternity’s University of Mississippi chapter, visiting New Orleans for Carnival and winding up getting turned (it’s a longer, more complicated story than that, but that’s the bottom line). I brought Rachel and the old man from “The Nightwatchers” back–and when I was doing the anthology Blood Sacraments, I wrote a short story “Bloodletting”, that basically picked up where “Blood on the Moon” left off.

So, when Kensington asked for an erotic vampire novel rather than another fraternity book, I decided to use “Bloodletting” as the first chapter and build on the story from there, also using “Blood on the Moon” as the foundational story and the supernatural world I’d created for “The Nightwatchers.” This was to serve as an introductory work to a new supernatural Todd Gregory series.

It’s working title was A Vampire’s Heart. The powers that be didn’t like that title, thinking it sounded more like a romance novel title (which wasn’t wrong), and suggested Need, which was a recurring theme in the book.

And I really loved the cover.

The damp air was thick with the scent of blood.

It had been days since I had last fed, and the desire was gnawing at my insides. I stood up, and my eyes focused on a young man walking a bicycle in front of the cathedral. He was talking on a cell phone, his face animated and agitated. He was wearing a T-shirt that read Who Dat Say They Gonna Beat Dem Saints? and a pair of ratty old paint-spattered jeans cut off at the knees. There was a tattoo of Tweetybird on his right calf, and another indistinguishable one on his left forearm. His hair was dark, combed to a peak in the center of his head, and his face was flushed. He stopped walking, his voice getting louder and louder as his face got darker.

I could smell his blood. I could almost hear his beating heart.

I could see the pulsing vein in his neck, beckoning me forward.

The sun was setting, and the lights around Jackson Square were starting to come on. The tarot card readers were folding up their tables, ready to disappear into the night. The band playing in front of the cathedral was putting their instruments away. The artists who hung their work on the iron fence around the park were long gone, as were the living statues. The square, so teeming with life just a short hour earlier, was emptying of people, and the setting sun was taking the warmth with it as it slowly disappeared in the west. The cold breeze coming from the river ruffled my hair a bit as I watched the young man with the bicycle. He started wheeling the bicycle forward again, still talking on the phone. He reached the concrete ramp leading up to Chartres Street. He stopped just as he reached the street, and I focused my hearing as he became more agitated. What do you want me to say? You’re just being a bitch, and anything I say you’re just going to turn around on me.

I felt the burning inside.

Desire was turning into need.

I knew it was best to satisfy the desire before it became need. I could feel the knots of pain from deprivation forming behind each of my temples and knew it was almost too late. I shouldn’t have let it go this long, but I wanted to test my limits, see how long I could put off the hunger. I’d been taught to feed daily, which would keep the hunger under control and keep me out of danger.

Need was dangerous. Need led a vampire to take risks he wouldn’t take ordinarily. And risks could lead to exposure, to a painful death.

You see why they suggested we rename it Need? That opening pretty much says it all.

I had never really put a lot of thought into writing about vampires, in all honesty. To date, I have only published two novellas, one short story, and the novel, of course, but while I was writing Need that world began to expand and grow in my head as I worked on the story. I wanted to tie both “The Nightwatchers” and “Blood on the Moon” together, with Need as the continuation, so I brought back both Rachel and Nigel from the former, while keeping Cord from the latter as the main character. Cord Logan (how is that for a gay porn star name) was, despite being young in terms of being a vampire, quite powerful and growing in his power exponentially by the day. Headstrong, he’d broken away from the coven of vampires that turned him during Carnival, without learning everything he needed to learn first. What he didn’t know–and his former coven also didn’t–was that because of the circumstances involved in his own turning–when a male witch also tried to steal his power from him, he inadvertently wound up transferring his own power to Cord, who was then turned into a vampire to save his own life. This combination of witch/vampire is actually quite dangerous–as are any vampires Cord himself might create, which was the entire problem he faced in the story “Bloodletting” and didn’t understand.

The Supreme Council wants Cord summarily executed, but Nigel wants to keep him alive, to study and learn from, as well as to try teaching him how to control his powers. For me, Need was the introductory tale to a much longer story, where I’d be able to bring in vampires and shifters and witches and faeries and pretty much every kind of supernatural being. The next book was going to be called Desire, and every book was going to have a one-word title. I had a lot of fun with writing Need, and was really getting excited and writing lots of note for Desire…but the book didn’t do very well. It did okay, but not in the kind of numbers that would make a sequel a no-brained, and by then I had already moved on to writing the young adult books. The reviews weren’t great, either–but I never really care or pay much attention to them. The real problem is that there were sex scenes, and I don’t write the kind of gay sex scenes people want to read anymore. Mine are physical, lots of sweats and smells and experiencing how it feels and so on…most people want the sex scenes to be more esoteric and romantic and sweet.

I don’t think I’ve ever had sweet, romantic sex. I’ve certainly never written it.

Every once in a while, when I am writing something more along the lines of horror or with a supernatural tones, I remember my vampires and the world I created for them with a slight ping of sadness.

Maybe someday I’ll write Desire, but it’s highly unlikely at this point.

Southern Nights

I have a confession to make that is more than a little shameful. You see, I occasionally write books that are classified as “young adult fiction” because the protagonists are young; usually high school students, sometimes college. The shameful confession is that I write and publish young adult fiction without reading very much of it. Most of my reading time is devoted to crime novels for adults, the occasional horror novel, lots of history and non-fiction, and the occasional short story. My biggest influences on my y/a are Christopher Pike, R. L. Stine, and Jay Bennett (there will be much more on him at another time); and sometimes I do manage to slide a young adult crime novel into my TBR stack. But outside of crime and/or horror? I don’t read any y/a that can’t be classified as either of those genres.

I’ve also not had the pleasure of reading a great deal of young adult fiction set in New Orleans. The one thing I’ve not actually done–despite writing a lot about New Orleans and a lot of young adult novels–is write a young adult novel set in New Orleans. I read one about a decade ago that I simply loathed; it was a ghost story set around Lafayette #1 in the Garden District, and it just didn’t click with me. I kept thinking the whole time I was reading it, this could have been so much better. It’s not like I don’t have any ideas for young adult fiction set here; I’ve any number of those ideas sitting in my files–everything from Maid of New Orleans to Daughters of Bast, among others–but I think I am resistant to writing New Orleans-based y/a because I didn’t grow up here. It’s hard enough to have Scotty reminiscing about his days at Jesuit High School when I didn’t go there, let alone writing an entire book about a teenager in New Orleans.

So, imagine my delight this past year at Saints and Sinners when I discovered that one of my co-panelists on the y/a panel was a local named Chris Clarkson who’d just published his first young adult novel set in New Orleans. Naturally, I got a copy–I really liked him, and I owe him a text message–and have really looking forward to digging into it.

Constant Reader, it did not disappoint. And it’s neither crime nor horror.

I absolutely loved it.

Solange’s snakeskin pumps were abandoned by the door, one standing proud, and the other playing possum on its side. Beside her, crumpled in a heap of lavender and lace, was the dress we shopped for on Magazine Street last week. The dress she had been so thrilled to find.

“Excuse me, ma’am. You sashayed in here serving body and hair teased to the gods. Why did you change? I demand an encore! Body. Dress. Wig. Grace.” I pointed at the sad taupe button-down shirt she was wearing. “Put your high heels back on and act like you got some common sense.”

Solange wiped at her tears. “Jess, I’m not in the mood to fool with you.”

“Good, I’m not in the mood to fool with you either.” I sank down on the floor beside her. She sniffed and wiped at her nose. “Why’d you change?”

That Summer Night on Frenchmen Street is, of all things for me to read, a romance–on several different levels. Our two main point of view characters are Tennessee and Jessamine–great names for a couple, don’t you think–and they initially are in the same orbit because they are both having meals at Commander’s Palace when the book opens. Tennessee’s full name is Tennessee Rebel Williams, and he’s a child of wealth and privilege from Oxford, Mississippi. His dad is an alcoholic douchebag and his mother is a narcissistic author. The marriage is a non-stop battle royal, with Tennessee doing most of the suffering. His mother has decided she needs to move to New Orleans to finish her next book, and she brought Tennessee with her; they have a big house on St. Charles Avenue, and he’s enrolled in Magnolia Prep–the rich kids’ private school in the book. Tennessee also wants to be a writer but he’s also a bit adrift; getting ready for college but still not mature enough or strong enough to stand up to his awful parents.

Jessamine is a native New Orleanian with a twin brother and a deceased father. Jessamine also has some issues from her own past that are troubling her, making her behave in self-destructive patterns that could affect her future and college choices. She feels drawn to Tennessee–their developing relationship is one of the strongest parts of the book itself–but cannot commit. She cares about him but keeps him at arm’s length because she’s afraid she’ll just end up hurting him. As the story progresses, we slowly become aware that Jessamine suffered a horrific trauma as a child, one that she’s never really confronted or dealt with, and that trauma is the key to her self-destructive behavior. Her twin brother, Joel, is gay but not out yet; he’s not really sure who he is and what his sexuality is, which causes trouble for him and his love interest, a wealthy young Black kid named Saint Baptiste (who deserves a book of his own, really) goes to school with Tennessee and becomes one of his best friends–since they are falling for twins, how could they not?

There’s also a fantastic trans character, Joel and Jessamine’s cousin Solange–who also deserves her own book–that I couldn’t get enough of, either. Clarkson also does an excellent job of exploring–even if casually–the generational divide between the teens and their parents, through Solange’s tradition; the elders still dead name her, and the teens are always pleased whenever one of the older generation gets Solange’s gender and pronouns correct.

All the main characters, despite their faults and flaws and past traumas, are completely likable and people you can’t hope but root for; you want their love to conquer all, get their lives settled, and grow from their traumatic pasts. It was fun seeing New Orleans through teenaged eyes; I’ve always wondered what it would be like to grow up here, where New Orleans is your default to normality.

Highly recommended, and one of my favorite books set in New Orleans.

The Hollow Men

Sunday and the midpoint of the holiday weekend, as New Orleans swelters in what is, even for here, an unusually potent June heat wave. I stayed inside as much as I could yesterday, in the marvelous cool of the Lost Apartment. I slept well Friday night, which was great, and while I wasn’t feeling especially motivated yesterday morning, I did get my daily blog entry done as well as a Pride post. I read more of That Summer Night on Frenchmen Street, which is just absolutely charming (you should get a copy, Constant Reader), and then I did some more cleaning chores around the house before digging into the edits of this manuscript. I got the macro edit along with the copy edit, so I can get it all worked through, hopefully this weekend; I would love to be able to get this to the editor on Monday. We shall see how it goes. I did get some progress made yesterday; we’ll see how things go today. Yesterday was kind of nice, actually. I got some rest, too–today I feel really rested–and we finished watching Butchers of the Bayou, got caught up on The Crowded Room, and started watching City on Fire, which…is interesting, but I guess we’re supposed to believe Manhattan is an incredibly small town? It’s based on an “it” book from a couple of years ago that I never read; I had a copy but eventually donated it in one of my many purges. I’m not sure we’ll continue watching, to be honest; it’s okay but not riveting. There was no disappointment last night when I called the evening after a couple of episodes.

LSU won their game yesterday at the College World Series (GEAUX TIGERS!). We watched part of the game before switching over to The Crowded Room once I was sure the Tigers had the game under control. I have to say, it’s very fun living in Louisiana and being a sports fan. I of course always will root for any team based in Louisiana, with the Saints and LSU having my deepest loyalties, but part of the fun is how different Louisiana sports fans are from fans in other parts of the country. Tiger Stadium and the Superdome can get loud enough that it hurts your ears, but the thing I love the most about Louisiana sports fans is that they are also fans when it’s not easy, if that makes sense? It’s why Saints players become so attached to New Orleans; we’ll turn out to welcome them home from away games at the airport even when they lose. When the Saints were in the Super Bowl, the city of New Orleans decided to have a Saints parade that Tuesday night before the second weekend of Carnival, where they won or lost; a celebration if they won and a thank you for a great season and making it to the Super Bowl if they lost. Maybe the turn out for that parade might not have been quite the mob scene it was had they not won, but I like to think that it would have been pretty close to the same thing. I also love all the stories about how Omaha (which we’re calling Eauxmaha the way we always Louisiana-ize everything) loves our fans and hope we make it to the College World Series every year. There’s a bar in Omaha that has a shots contest for all the fans of the teams there–LSU is of course way out in front of second place, and at one point you could combine the other seven schools and LSU still won. It also reminds me of how when LSU played Oklahoma in the 2019 college football play-offs in Atlanta, a lot of the bars around the hotels and stadium ran out of beer and bourbon the first night (this was NOT a problem when LSU played in New Orleans for the national championship; New Orleans never runs out because we’re Louisiana too). I also imagine that the servers and bartenders must make a ton of money in tips from LSU fans, who are also as generous as they are friendly. (I was also thinking the other day as I rewatched highlights of this past year’s LSU-Alabama game, what a night for recruiting that must have been! As a high school football player, visiting Tiger Stadium on a night like that, when the entire stadium was rocking (the stadium’s reactions to the over time touchdown and the two point conversion both registered on the campus Richter machine), how could you not sign with LSU? I’m trying not to get overly optimistic for football season, but LSU and the Saints (and Tulane, even) are poised to have great seasons.

Fingers crossed!

It looks kind of hazy outside the windows this morning. The heat advisory/heat wave is supposed to last until Tuesday; I’ve not checked the weather yet this morning to see how bad today is going to be. AH, yes, heat advisory, partly cloudy, and the potential for a severe thunderstorm later this afternoon. I was hoping to barbecue today, so here’s hoping the thunderstorm either holds off until I do or is over before I want to. I’m not going to run errands until after work on Tuesday, on my way home from the office. We have plenty of stuff on hand to eat without me having to go to the store, and I’m not going to be getting a lot when I do make a grocery run because I will be out of the house all next week. The reason I am coming back on the following Saturday is so that I can do a grocery run before heading to work on Monday.

And on that note, I am heading into the spice mines. Have a lovely Sunday of your holiday weekend, Constant Reader, and I’ll be back before you know it.

Love Don’t Live Here Anymore

I think I was always aware of the existence of New Orleans; I just don’t know or remember how my impressions before visiting for that first real visit were formed. I know I learned about New Orleans from my love of history; the city was too important to the development and shaping of the country to not be featured extensively in books–particularly the Battle of New Orleans in 1815. The Witching Hour by Anne Rice, I remember, had me wanting to come visit; I discovered Julie Smith’s New Orleans Mourning after visiting for my thirty-third birthday and realizing that I’d found the place where I belonged, needed to be, and my dreams would all come true.

New Orleans has a very deep canon of literature; you name a kind of book, one has been written in that style about the city. And just as there are a lot of subgenres of crime fiction–you can pretty much find a book about the city in any of them. There have been a number of cozy series set here, in every type of cozy style. I’ve always wanted to find a good cozy series set in New Orleans to sink my teeth into–the humorous kind–and while I’ve tried quite a few, none of them really took with me. That’s not to say the books weren’t well-done and written, or unclever; they just didn’t connect with me. I eventually stopped trying to find one, really–but of course, as with anything, just because you didn’t connect with the first two series you tried, doesn’t mean you should stop trying.

Take Ellen Byron’s Vintage Cookbook series, for one good example. I greatly enjoyed the first book in the series, Bayou Book Thief, which went on to win the Lefty for Best Humorous Mystery earlier this year. It was a terrific series launch, and had me really looking forward to the second book in the series, which is when series generally begin to find their legs and hit their stride.

And so, on my travel day to Malice, I read Wined and Died in New Orleans.

Ricki’s heart hammered as she glanced at the ominous black clouds hovering over New Orleans from the front window of her shotgun cottage home. She took a deep breath, then used masking tape to make X’s on the windowpanes of the living room’s large front window. She grunted as she hefted a mattress ontp the top of the room’s couch and positioned it over the taped window. “We’re safe now,” Ricki assured her dogs, a German shepherd mix and a Chihuahua mix, who were watching her with curiosity. “Even if the hurricane sends stuff crashing into the windows, they’ll break but won’t shatter into a million pieces. And the mattress will keep everything from flying inside.”

A violent clap of thunder shook the house. Ricki cried out. Princess and Thor, the shepherd and Chihuahua, barked at it. I choose to feel calm. I choose positive and nurturing thoughts. Ricki repeated the mantra over and over to herself. She’d been saying it a lot lately. Seconds later, rain slammed the cottage roof with an almost deafening force. Ricki’s phone sounded an alert and she grabbed it. She read the message: Hurricane watch canceled.

“Seriously?” Ricki said with a frustrated groan.

Ricki is our erstwhile heroine, who recently relocated to her birth city, New Orleans, after her husband died in a freak accident while trying to create a viral video. Since her return, she’s found a love interest with the handsome celebrity chef who lives across the street; developed a friendship with her landlady; and opened her own vintage cookbook shop at Bon Vee, the mansion of the Charbonnet family–known for owning restaurants and their delicious food. There are some great characters at the Garden District mansion since converted to a culinary museum celebrating the family that Ricki befriends as well; all in all, a lovely little community of friends and support for her.

This book is set during Ricki’s first hurricane season, and yes, Byron gets what that is like absolutely right–the constant warning texts of warnings and watches and their cancellations–as well as the blase attitude of the locals; we never get concerned terribly until we know something for sure and even then, you can’t be certain if you need to evacuate “just in case.” Evacuating for most people isn’t free, and even if the only disruption is a power outage–if it’s long enough you have to throw everything in the refrigerator out.

Thank God we didn’t make our Costco run the week of Ida, which was when we were due to go. It’s also been a hot minute since I dipped into hurricane season in one of my books. (Mississippi River Mischief does have some hurricane content, but it’s one from the previous season) But I digress.

The plot of this story is put into motion when several cases of really old wine–from the nineteenth century–are found on the estate, and because of its age, it’s really valuable. The decision is made to auction the wine off and put the money back into the museum–which doesn’t always break even–but the discovery of the wine brings some distant relations of the Charbonnet family out of the woodwork, all claiming they deserve a share of the wine sale proceeds. Ricki is also dealing with an intern; her crush across the street (with whom she time shares two dogs) has hired an assistant who sees Ricki as the competition and undermines her at every turn; and of course, one of the distant relations turns up dead and Ricki has to clear her friends–all of whom are suspects–of the murder.

There’s also a wonderful New Orleans pothole that plays a crucial role in the story.

I loved this book. I laughed out loud on the plane a couple of times–and smiled at others, when I recognized something from one of mine and Ellen’s boozy get togethers whenever she comes to town, which made the book all that much more fun to read for me. But it’s fun even if you don’t have a personal connection to it, either. Buy this book, love and cherish it!

And you can thank me later.

Dear Jessie

Thursday and my last day in the office for the week, with no health fair to drop in for tomorrow morning. I can just sleep late and can relax with no worries about getting to the office. Our schedule is full today, for the first time since pre-pandemic, so it’s going to be a day where I probably won’t have time to breathe much.

Paul worked late last night writing a grant, so I did go ahead and watch this week’s Ted Lasso without him, and yes, I will definitely be happy to watch it again. I usually watch each episode twice anyway, and what a delight this episode was. I know there’s some grumbling out there about this season, and I will admit so far this season hasn’t been quite up to the high standard the first two seasons set–it is still quite excellent–but this week’s episode? Chef’s kiss, perfection, no notes. (If you haven’t already seen it, stop reading right now and skip to the next paragraph.) The sequence where Jamie teaches Roy to ride a bike, set to “Raindrops Keep Fallin’ On My Head”? (People who’ve never seen Butch Cassidy and the Sundance Kid might miss the reference, but it made me smile.) Absolute perfection. It never ceases to astonish me that Jamie Tartt has become one of my absolute favorite characters on the show; his journey from self-absorbed narcissist to a kind, caring and considerate person has been one of the best character arcs I’ve ever seen done on television. Then add in Trent and Colin’s scenes, where Trent comes out to him and tells him he already knows about Colin? That conversation was filmed in front of the Homomonument in Amsterdam that commemorates the queer people killed in the Holocaust or those who were later prosecuted and persecuted for the crime of being themselves, which made it all the more touching and moving. Colin’s whole thing about two separate lives, wanting to just be himself, being able to kiss his fella after a win like the other guys kiss their girls, and live his life and not be a spokesperson? Oh, darling Colin, that’s really what we all want, and it broke my heart just a little as I realized, once again, that no matter how far we’ve come, we still haven’t made it to home base. It was so heartfelt and real, I got tears in my eyes. And then Higgins and Will at the jazz club; Rebecca and her boat man; and of course the vast silliness of the team trying to decide what to do for their free night in Amsterdam, while Ted shrooms? Absolute perfection, from the very first scene to the last. It warmed my soul and when the closing credits rolled, I felt satisfied and happy. I am really going to miss this show when it comes to an end. Thank you to the writers, because that scene with Trent and Colin easily could have become maudlin and melodramatic; instead, it was honest and real and a little heartbreaking. The writers of the episode deserve an Emmy for that scene alone.

I did get some work done on the book last night. I was tired when I got home–I guess I should be getting used to that by now; getting up early means flagging energy later in the day, which does make sense–but I slogged through some of it, anyway. I feel pretty good and lively this morning, though; but we have a full schedule which means I will be exhausted by the end of the day. Paul’s grant gets turned in today, so he should be home this evening, so I’ll get to revisit this magical episode of Ted Lasso before we dive in and get caught up on both Yellowjackets and The Mandalorian. I also managed to put away the clean dishes from the dishwasher and then reloaded it; so that will need to be unloaded tonight and reloaded again; we’ve gone through a lot of dishes this week for some reason. Go figure. Tomorrow is a work-at-home day, which will be lovely. I keep hoping that someday I’ll get caught up on the housework, but it never seems to happen. I really need to focus on revising the manuscript this weekend, too–it’s horrifying how far behind on it I actually am. I really wanted to be lazy this weekend, but that’s clearly not going to be an option. I need to get up every morning, do some cleaning and organizing, and then open up the manuscript and dive in headfirst. It sometimes feels like I’ve been working on this book for-fucking-ever; and I long for the day when it is finished, once and for all. It’s also supposed to rain tomorrow, which should make for a very cozy at home day.

I guess I still feel a little off-balance, more than anything else. I don’t really feel like I’ve been able to find my center in a very long time, and as such, my life has felt off-kilter for about three or four years now. I remember joking when the pandemic first shut down the world in March 2020 that “LSU had a perfect football season and broke the world,” but in a very real sense, that’s kind of what happened–they weren’t connected, simply sequential–and even that Carnival in 2020 felt wrong somehow; people got killed at the parades by falling under floats; the Hard Rock Hotel construction site had collapsed, closing down several streets around and including Canal; and of course, racism and homophobia have been running rampant during these times. It’s been a very tiring period, frankly, and getting older during it hasn’t helped matters much. So many changes, so many adjustments, so much exhaustion. I do sometimes think I am getting too old for this life. Slings and arrows, slings and arrows, slings and arrows.

However, the irony that the United Kingdom and the United States, the two countries that led the world in the war against fascism in the 1940’s, are currently sliding headfirst into fascism needs to be noted regularly. As I say to Paul all the time when the latest insanity breaking news flashing across our phones and TV screens, “I’m glad I’m old and don’t have any children to worry about.”

Anyway, I am going to bring this to a close now. Not quite as fiery as yesterday’s post, of course–I was in quite the mood when I wrote yesterday’s, but it still stands as truth–but that isn’t going to happen every day anyway. I’m so tired of being outraged and aggravated, you know?

And I do sometimes wonder how different my life would be had I not been born into a homophobic society and culture.

And on that note, I am heading into the spice mines, Will check in with you again tomorrow, Constant Reader. Have a lovely Thursday!

True Blue

Easter Sunday, which I keep forgetting about. Last year the day job changed holidays; we used to get Good Friday off (New Orleans is very Catholic) but they changed it to Juneteenth, which is better. That was how I always knew when Easter was because it was a three day weekend. Now that it’s isn’t, it’s just another religious holiday I don’t give two shits about. Even when I was a child, I wondered, how does the anniversary of the crucifixion and resurrection fall on different dates every year? It’s just another example of the falsity of the bedrock of Christianity, and really was just the Catholic Church absorbing and rebranding pagan spring celebrations and fertility rites–which is where the Easter Bunny and easter eggs come from.

Granted, these Christian fertility celebrations aren’t nearly as weird or frightening as say the ones in Thomas Tryon’s classic Harvest Home (which I need to reread), but still.

Now that I’m thinking about it, has there ever been a horror book or film written/made focused on how creepy Easter can be?

I’m feeling lazy today–not really a surprise, really, is it? I feel lazy every day, and always feel laziest on days when I have to do things I’d rather not do. I have to run out and make groceries at some point–probably this morning, while most everyone is celebrating Easter mass and so forth–and I also have to get to work on ordering my taxes for my accountant, which I keep forgetting to do. I slept really well last night–feel very rested and relaxed this morning–and I managed to get some things done yesterday. I got my desk area cleaned up somewhat; filing and putting things away and so forth. My electronic files are still a horrifying mess, and I don’t think that will change anytime soon because what I really need to do is go through everything, file by file, eliminating duplicates and so forth. Maybe when I have enough time accrued I can take a week long staycation and just work on things around the house like that and the storage attic.

I started reading Margot Douaihy’s debut Scorched Grace, and while I am only a couple of chapters in, I am already in awe of everything about the book. The writing, the characterization, the setting, the way the sentences and paragraphs are rhythmically drawn, like the best poetry–and the voice itself! Oh my God, Sister Holiday’s voice is so refreshingly different, vital, and new. The tone is very hard-boiled; imagine Chandler or Cain writing about a lesbian nun in New Orleans. I cannot wait to spend some more time with it today–even if it does make me feel like I am a rank amateur; truly great writers have that kind of power over me. It’s hypnotic and compulsively readable. The fact that the book opens with arson and a possible murder is even more genius; few things are feared more in New Orleans than fire. This book is a fine addition to the annals of New Orleans crime fiction, which is always exciting when you find a new such author.

We also watched Jordan Peele’s Nope last night, and it was really quite excellent. It was more suspenseful than scary, although that can sometimes be much worse and more intense. Who knew Peele would go from sketch comedy to being one of our best and more creative filmmakers with a strong focus on horror? I’m sure a film critic and/or academic can talk about Nope in a much more intellectual style than me; I don’t look for symbolic meanings in images and so forth. But I think what he was trying to do with Nope was not only to show how dangerous it can be to live isolated from the rest of the world (the vast emptiness was beautifully shot and displayed; the most terrifying thing about the entire movie was that feeling–which reminded me so much of Kansas). I’d like to watch A Knock at the Cabin tonight, or The Pale Blue Eye, or perhaps even both; I guess it depends on how much work I can get done during the day today. I honestly don’t want to do any, but that really isn’t an option.

Yesterday was kind of like that, too–I really didn’t want to do much, so I wasn’t motivated enough to get as much done as I would have liked or had hoped. Part of it was being on social media yesterday morning as I tried to wake-up and get my brain jump-started; people really are horrible on social media, aren’t they? The misogyny, the homophobia, the racism, and the transphobia can be a bit hard to take sometimes (most times, let’s be honest); it fills me with rage, which then triggers adrenaline, and when that passes, I’m tired and in no mood anymore to be productive. Social media is the enemy of all that is good and productive. I have always wondered why and how people have so much time to spend on social media. What isn’t getting done while you’re being a bitch on-line to people you don’t know, will never know, and will probably never interact with again? Who wins in that situation anyway? I know people say there are bot-farms and troll farms, where people in eastern Europe (Romania?) are paid to troll on-line? I can’t imagine that being a great job, although I would imagine any number of people would leap at the chance to be get paid to be an asshole on line; there certainly are plenty of people who’ll do it on a volunteer basis, for sure.

I posted the other day that, in wake of their state’s anti-queer legislation and since the racist conduct of said state legislature was on full display this past week, I had made the personal decision not to go to Nashville Bouchercon in 2024. I didn’t ask anyone to join me in not going; I didn’t proselytize or ask anyone to write to Bouchercon and ask for it to be moved; or anything else: I simply said I had decided that I personally cannot support any event in the state of Tennessee, nor would I feel safe if I did attend. That was it. Period. I don’t think that’s terribly controversial, really. I’ve always believed that it’s up to everyone to make their own personal choices, and the reasons for those choices are none of my fucking business (see how easy it is, evangelicals, to mind your own fucking business?). I also don’t judge people for those choices because I don’t know–or want to know, or need to know–the reasons they made them. Everyone is on their own path, and my path often veers away from the paths of others; I don’t want or need or owe anyone an explanation for my choices and decisions. If things change in Tennessee in the meantime I also have the ability to change my mind and attend. But I am not asking anyone to straight-splain to me why I should go, or try to change my mind. It’s kind of insulting and condescending, actually, for anyone straight to try to talk a gay man into attending a conference (or anything, really) when they have already stated they’ve thought about it and decided not to go because they may not feel safe. I am a sixty-one year old adult gay man. I think I have enough life experience to make my own decisions, and I don’t need anyone to tell me my thought and decision-making processes–thoroughly grounded in my life experience–are wrong.

Fuck. All. The. Way. Off.

I was also thinking a lot about my writing future yesterday, so the whole day wasn’t a total waste of not-writing. I’ve had an idea for a New Orleans crime novel for quite some time, but always thought it had to be told from the point of view of, well, Venus Casanova, and I didn’t think I had the right to write from the point of view of a Black female police detective. Well, maybe not the right, but the experience and emotional intelligence to tell it properly. But yesterday that story popped into my head again, and I realized I could tell it from Blaine’s point of view, her partner, who would and could have his own doubts about Venus and her personal stakes in the case. I even took it further and thought maybe Venus could bring the case to Blaine after she’s retired; because of her personal relationship with the victim’s family, and then my mind started spinning round and round and following the paths branching out from this re-centering of the point of view, which definitely seems workable. And I’ve always liked my character of Blaine, wanting to delve more deeply into who he is and his own history and path.

And on that note, I am going to read some more Scorched Grace in my chair until it’s time to go make groceries this morning. Have a lovely Easter if you celebrate, and if you don’t, have a lovely Sunday.

Category: Carnival

NOLier Than Thou

Killer Queen

I’m Just a Country Boy

Some Broken Hearts Never Mend

Need

Southern Nights

The Hollow Men

Love Don’t Live Here Anymore

Dear Jessie

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