Tag: Harold Robbins

Ladies Who Lunch

Americans have always been fascinated by rich people.

We all want to be rich, after all; as someone once said, “The United States is a nation of temporarily distressed millionaires.” So, in lieu of actually being rich, we obsess about them. The rich used to be celebrities for no other reason than being rich. It’s always been interesting to me that in our so-called “classless” society (which was part of the point; no class privilege, everyone is the same in the eyes of the law) we obsess about the rich, we want to know everything about them, and we lap up gossip about them like a kitten with a bowl of cream. I am constantly amazed whenever I watch something or read something set in Great Britain, because that whole “royalty and nobility” thing is just so stupid and ludicrous (and indefensible) on its face that I don’t understand why Americans get so into it; the fascination with the not-very-interesting House of Windsor, for one. We fought not just one but two wars to rid ourselves of royalty and nobility…yet we can’t get enough of the British royals, or the so-called American aristocracy. (Generic we there, I could give a rat’s ass about the horse-faced inbred Windsors and their insane wealth, quite frankly.)

I wanted to be rich when I was a kid; I spent a lot of time in my youth fantasizing about being rich and famous and escaping my humdrum, everyday existence and becoming a celebrity of sorts with no idea of how to do so. I was intrigued by the rich and celebrities; I used to read People and Us regularly, always looked at the headlines on the tabloids at the grocery store, and used to always prefer watching movies and television programs about the rich. (Dynasty, anyone?) I loved trashy novels about obscenely wealthy (and inevitably perverted) society types and celebrities–Valley of the Dolls has always been a favorite of mine, along with all the others from that time period–Judith Krantz, Harold Robbins, Jackie Collins, Sidney Sheldon and all the knock-offs. I was a strange child, with all kinds of things going on in my head and so many voices talking to me and my attention definitely had an extraordinary deficit; I always referred to it as the “buzzing.” The only time I could ever truly focus my brain was either reading a book or watching something on television–and even as a child, I often read while I was watching television. (Which is why I read so much, even though that buzzing isn’t there anymore and hasn’t been for decades.)

As I get older and start revisiting my past (its traumas along with its joys) I begin to remember things, little clues and observations that stuck in my head as a lesson and remained there long after the actual inciting incident was long forgotten. I’ve always had a mild loathing for Truman Capote, for example, which really needs to be unpacked. Capote was everywhere when I was a child; there was endless talk shows littering the television schedules those days–Dick Cavett, Merv Griffin, Mike Douglas, John Davidson, and on and on and on–and Capote was always a popular guest on these shows. I wasn’t really sure what he did or who he was, but he was someone famous and he was on television a lot. I saw him in the atrocious film Murder by Death, and I know I knew/had heard that he was a homosexual, a gay; and I also knew I was a gay. It terrified me that I was destined to end up as another Capote–affected high-pitched speech and mannerisms, foppish clothing that just screamed gay at anyone looking; Capote made no bones about who or what he was and refused to hide anything…yet he gained a kind of celebrity and fame and success in that incredibly homophobic time period, and no one had a problem with putting him front and center on television during the day time.

But this isn’t about my own self-loathing as evidenced by my decades of feeling repulsed by Truman Capote; that I will save for when I finish watching Capote v. the Swans.

“Carissimo!” she cried. “You’re just what I’m looking for. A lunch date. The duchess stood me up.”

“Black or white?” I said.

“White,” she said, reversing my direction on the sidewalk.

White is Wallis Windsor, whereas the Black Duchess is what her friends called Perla Apfeldorf, the Brazilian wife of a notoriously racist South African diamond industrialist. As for the lady who knew the distinction, she was indeed a lady–Lady Ina Coolbirth, an American married to a British chemicals tycoon and a lot of woman in every way. Tall, taller than most men, Ina was a big breezy peppy broad, born and raised on a ranch in Montana.

“This is the second time she’s canceled,” Ina Coolbirth continued. “She says she has hives. Or the duke has hives. One or the other. Anyway, I’ve still got a table at Côte Basque. So, shall we? Because I do so need someone to talk to, really. And, thank God, Jonesy, it can be you.”

I do want to be clear that once I started reading Capote, he quickly became a writer whom I admired very much; I don’t think I’ve ever read anything he’s written that didn’t take my breath away with its style and sentence construction and poetry. He truly was a master stylist, and perhaps with a greater output he might have become one of the established masters of American literature, required reading for aspiring writers and students of American literature. In Cold Blood is a masterpiece I go back to again and again; I prefer his novella Breakfast at Tiffany’s to the film without question; and I was blown away by his debut novel, Other Voices Other Rooms, which was one of those books that made me think my childhood, and my being from Alabama, might be worth mining for my work.

I read “La Côte Basque 1965” years ago, and didn’t really remember it very much other than remembering I didn’t care for it very much. I was aware of the scandal that followed its publication and that all of Capote’s carefully cultivated rich society women friends felt betrayed by it and turned on him, which sent him into a decline from which he never recovered, before dying himself. I’ve always seen Capote as an example of wasted talents. Anyway, I read the story but not being familiar with his social set, I didn’t recognize any of the people gossiped about in the story or who the woman he was lunching with represented (Slim Keith, for the record), and so it kind of bored me; it was a short story about someone having lunch and gossiping about people the reader had no way of knowing who they were or anything about. I assumed this was because the story was an excerpt from the novel, and the novel itself would establish who all these women were and their relationships with each other. But I did know it was all thinly veiled gossip about his friends, and they never forgave him for it. (I also didn’t recognize “Ann Hopkins” in the story as Ann Woodward; I hadn’t known until the television series that he was involved in her story. I primarily knew about her from reading The Two Mrs. Grenvilles and articles in Vanity Fair, and I actually thought, when reading that book, that it was based on the Reynolds tobacco heir murder that Robert Wilder based his book Written on the Wind on; it wasn’t until later that I learned about the Woodward incident) so I thought, well, it was an entertaining if confusing read.

It was kind of like listening to two strangers talk in a Starbucks and gossip about people you don’t know; entertaining but nothing serious, not really a story of any kind, and I didn’t at the time see how it would all fit into a novel as a chapter in the first place. What purpose to the overall story did this nasty gossip play? Why was it necessary for Ina to share these stories at this particular lunch (and don’t get me started on White Duchess and Black Duchess)? Were these people she was talking about important to the book as a whole? It was hard for me to tell, and I put it away, thinking at the time probably a good thing he never finished the book.

Watching the show about fallout from the story’s publication, I decided to read the story again.

And I still question why Esquire chose to publish it, as well as why Capote thought this chapter was the one to send them. Capote was a genius, of course, and after In Cold Blood was one of the biggest names in American literature (he truly invented the true crime genre); of course they are going to publish whatever he sent them, no matter how bad it was. It wasn’t promoted as a story, after all, it was a novel excerpt.

What I’ve not been able to figure out from any of this is why he thought he could publish this without any fallout from his “swans.” I guess it went to the grave with Capote, who clearly didn’t–and I don’t think ever did–understand why they were so upset with him, which just astonishes me. (Someone once thought I based a character on her–I didn’t–and was very angry with me. I didn’t care, because I neither cared about the person nor her concerns, but I know how careful you have to be as a writer with these sorts of things.)

I wish I could say I liked it better on the reread. I did not. It’s still the same mess it was when I originally read over twenty years ago. It’s just a rich woman being bitchy to her gay friend she feels free to be bitchy about her friends with, and when you have no context (even knowing this time who the actual people were, and yes, he barely disguised them) about the women being discussed or anything about them…it’s just boring, gossip about people you don’t know and you don’t know enough to care about, so it’s just a bitchy little boring lunch. I don’t know what could come before that or after, as an author myself; had I been the fiction editor at Esquire I would have been pissed that was what he sent in, and I would have definitely taken a red pencil to it before I would have published it–and Esquire? Why did Esquire, a men’s lifestyle magazine, publish this when the right place would have been Vogue or Vanity Fair or even The New Yorker. None of it made sense then, none of it makes sense to me now; and if this is the best example we have of Answered Prayers, maybe it’s not such a bad thing that the manuscript–if it ever existed–disappeared.

Sorry, Truman, you were a great writer but this one was a swing-and-a-miss.

It’s a Heartache

Thursday morning, and my first night spent alone here has passed. It’s so eerie and quiet around here without Paul and Scooter. It’s also weird having that big old bed to myself–Paul is rarely, if ever, not home; I’m the one who’s always traveling–and of course, the apartment always grows exponentially in size somehow when it’s just me in the house. Go figure, right? But I hope to get some things done around the house–I can, for example, spend an entire day upstairs on the weekend cleaning, using Paul’s computer to work on and I can stream stuff through the television upstairs while I clean and organize and try to get it into some semblance of order. I can also work on the downstairs every night and over the weekend, etc. I always plan to get a lot done and I inevitably end up not getting a lot done, which is part of my perpetuation of me being incompetent and lazy and so on; make so many plans there’s no way in hell you can complete them all even if you’re super motivated and driven, and thus can castigate myself once again as a lazy loser.

Lather, rinse, repeat.

So, I am planning on making the best of being a temporary widow. I am not going to be a slug, and I don’t have Scooter’s demands for a lap to sleep in to blame it on, either. SO THERE ARE NO EXCUSES. I doubt very seriously that Paul will come home to an apartment so sparkling clean and organized he’ll think he’s in the wrong house, but I can certainly make it all look better at any rate. I may even move furniture. I know, madness, right?

Stranger things have happened. And will again!

I was mostly productive last night; I decided to not really do a whole lot of anything much more than chores. I did several loads of laundry and several loads of dishes, picked things up, reorganized a bit and wiped things down–one would almost think I was on a very strict and tight deadline or something. I had a few pleasant down moments, because when doing laundry and loads of dishes sometimes you have to wait–and there’s not the time to start watching something or writing something, so it’s short little videos on Youtube time, and avoiding wormholes there is sometimes difficult, but it wasn’t last night. I spent some time moving and organizing computer files, and frankly, it was a nice and easy relaxing evening. I got things done, didn’t get sidetracked, and made a great start on the thorough cleaning the apartment needs. I am probably going to spend the weekend mostly working on the upstairs, because we are having work done on the downstairs; when I got home last night there was an enormous ladder and some other tools and things in the living room; and the work on repairing the walls had begun. I have no idea how long that is going to take, but obviously, there isn’t much point to doing a lot of work in the living room while that is happening. And…being forced to focus on the kitchen, laundry room, attic, and upstairs isn’t a bad thing at all. I can always take plug a flash drive into Paul’s computer and write while I am up there working, too.

The theory here is staying busy will keep me from feeling lonely or missing Paul and Scooter. (We really need to get a cat as soon as he gets back, seriously.) Hopefully tonight when I get home from work (and running errands) I can work on the book and do some more cleaning and/or organizing. I may even try to repair that wobbly drawer myself. The file cabinet itself needs a serious purge, as do some of the file boxes I have accumulated around the apartment in my tragic paper hoarding need. As I was looking around at the books last night and thinking about the next serious pruning, I kept coming across books where I would think at first oh, that can go, I’ll never read that again but as I reached for it remembered, oh yes, you wanted to read that because its hardboiled crime fiction set in Los Angeles in the same period as Chlorine is set, and there was a really horrific scene where a gay man is abused by the cops, and that could be helpful in getting into the mindset of how MY queer characters would view the LAPD in that period and so I moved on to the next book on the shelf. It was literally funny how almost every book in my apartment, on my shelves or yes, in the stacks on the floor, I could remember a distinct reason for wanting to read the book and in many cases, it involved writing something; whether a short story, a novel, or an essay about themes or characters or whatever within the book, there was some writing-related reason I wanted to read that book for the first time, or in some cases, like The Lords of Discipline or The Last Picture Show, for maybe the fiftieth time because I wanted to revisit it and see how I felt about it now, at this point in my life as a reader.

I’ve been trying to remember my influences, the cultural moments that resonated or impacted me in some way that changed the way I write because my perspectives had also changed. I recently acquired a copy of a juvenile mystery I remember reading, either from the library or from buying a copy at the Scholastic Book Fair, which I lived for when I was a kid, because I wanted to read it again–and already, just from seeing the image of the original cover and reading the description, I can still remember details from a book I read over fifty years ago; and those were the mysteries I read before I found the series mystery books for kids; once I started with the series, that was all I read…before moving onto novels for adults, which I read voraciously. I’ve talked about and written about books that I loved reading when I was a kid or a teenager, books that made an impression on me in some way and that I remember very fondly, like The Thorn Birds or Green Darkness or The Other Side of Midnight, and sometimes I wish I had the time to go back and revisit those books–but there is so little time and those books are all so long. Everything back then seemed to be incredibly long–The Winds of War, everything by James Michener, Captains and the Kings, Rich Man Poor Man, and even Dress Gray, the West Point murder mystery I always wanted to reread back to back with The Lords of Discipline. Genre fiction–mysteries, romance, scifi–were shorter books as a general rule. Even Harold Robbins wrote some door-stoppers of novels, like The Carpetbaggers and A Stone for Danny Fisher. Irving Wallace churned out incredibly lengthy books that ultimately really were thrillers at their beating heart; Irving Stone mastered the historical biography; and Irwin Shaw also wrote novels the size of leviathans.

And somehow I managed to read them all.

I am not the voracious reader I was when I was younger and had more energy and somehow more time (no cell phone or Internet, more like), and I also read a lot faster than I do now. Heavy sigh. But today is the last day in the office of the week for me, and the last time this week I have to get up this early–I did wake up several times during the night, but I feel rested this morning, if a little spacy–and that’s very nice.

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

Play with Fire

Well, I met quota again last night which was marvelous. It’s still a bit chilly this morning. By the weekend it should be back into the seventies (it was yesterday as I ran my errands after work; it’s sixty-one this morning but it does feel colder outside of my bed and blankets), as the Alabama and Kansas State fans start arriving for the Sugar Bowl. LSU is also playing on New Years’ Day in the Citrus Bowl against Purdue, which will probably be the only game I actually watch that day.

There’s been a conversation going on over at Book Twitter lately that doesn’t really impact me in any way, but it’s been kind of interesting to follow. The conversation has to do with concerns about what is and isn’t considered y/a fiction as well as what is, or should be, considered age-appropriate reading material for teenagers and pre-teens. It doesn’t impact me because no one considers me a young adult writer, for one thing; despite having written numerous books with younger and/or teenaged characters (Sorceress, Sleeping Angel, Sara, Lake Thirteen, Dark Tide, Bury Me in Shadows, #shedeservedit), most people think of me as a gay mystery writer. Everything published under my own name is a mystery novel of some sort, whether it’s one of the series books or one of the stand-alones. I’ve never really marketed myself as a writer of young adult fiction, really; I shy away from that, I think, because of The Virginia Incident and the subconscious fear that one day that controversy might resurrect itself (which is ludicrous, and I know that; it certainly would have by now and it hasn’t, which further proves my belief that The Incident had nothing to do with me or my writing or my career and everything to do with systemic homophobia and othering used for political gain). It just seems weird to me that in less than five years after that happened–when I was deemed a menace to America’s youth–I could publish books for teenagers without a single whiff of complaint or scandal or even the raise of a single eyebrow.

Interesting, isn’t it? Almost like the whole thing was just more smoke and mirrors whose sole intent was to rile the homophobic base.

I just love that my existence is considered by some as a constant and continued threat to children.

One of the things that has always mystified me over the years is what is and isn’t considered age-appropriate. Intellectually I was far more advanced that most of my classmates (my emotional and personal maturity being an entire other subject–I’d say I am still behind on that score) and I started reading early. The library and the Scholastic Book Fairs were my best friends as a child, and I read everything I could get my hands on. I loved history, from which grew an appreciation and love for historical fiction (which I really don’t read much of anymore, which is odd. I really want to read Hilary Mantel’s Cromwell books…) and of course, my grandmother got me interested in “scary” movies and mysteries.

You’d think I’d be a huge fan of historical mysteries, but I actually don’t read many of them. I did love Elizabeth Peters’ Amelia Peabody series, and I’ve become a huge fan of Laurie R. King’s Mary Russell series…I think exploring historical mysteries might be a project for 2023.

But the point was I was reading books far too advanced for most people my age when I was young. I freely will admit that in my first read of Gone with the Wind at age ten I didn’t know Rhett raped Scarlett the night of Ashley’s surprise birthday party–it wasn’t until a reread in my late teens where I thought oh, this isn’t right–let alone that she enjoyed being overpowered and forced. I also read The Godfather when I was ten, and there was no mistaking anything about Sonny Corleone and Lucy Mancini. He had a cock the size of a horse’s and her vagina was apparently the Lincoln Tunnel. (Although the she felt something burning pass between her thighs still mystifies me to this day.) I also read The Exorcist when I was ten and I was also very well aware of what was going on in the crucifix masturbation scene. As a kid, I was fascinated by these sex scenes (aka “the dirty parts”), and it wasn’t until I was older than I began to question the entire Sonny-Lucy thing (and why it was even in the book in the first place); and while the crucifix scene was gross, shocking and basically icky to me at ten–when I reread the book sometime in the past decade it seemed prurient, to be honest–used primarily for shock value and to get people to talk about it.

So, yes, I started reading books for adults when I was around ten. I also read Antonia Fraser’s Mary Queen of Scots and Robert K. Massie’s Nicholas and Alexandra that same year–I remember doing a book report on Mary Queen of Scots and my teacher not believing that I had read the thick volume; he started opening the book at random and asking me questions–which I was able to answer, so he grudgingly accepted the book report and gave me an A. (Teachers have doubted me all of my life; can’t imagine why I am insecure about my intelligence…)

Over the course of my teens I also read books by Harold Robbins, Sidney Sheldon, Jackie Collins, Jacqueline Susann and Gordon Merrick-every last one of them crammed to the gills with racy sex scenes. I was also reading Stephen King, Irving Wallace, Herman Wouk, Agatha Christie, Ellery Queen, Jean Plaidy, Victoria Holt, Phyllis A. Whitney and any number of authors who wrote for adult audiences not teens. Were there things in the books I didn’t understand? Sure there were. Were there things in those books that were probably inappropriate for teenagers? Undoubtedly. (I’ve also never forgotten the scene in Joyce Haber’s The Users where a Liza Minnelli-based character fucked herself with her own Oscar; some images are simply too vivid to forget methinks.)

This is one reason I shy away from calling some of my books with teenagers “young adult” novels. Megan Abbott’s Dare Me centered teenagers, but I would never consider Dare Me a young adult novel. I was thinking about this the other night while watching Sex Lives of College Girls (it’s hilarious, you really should be watching); can I authentically write about teenagers anymore? Have I ever been able to? I don’t speak their language anymore, and I haven’t been one in over forty years (!!!!); I don’t know the technology they use or their slang or what they watch or listen to. I don’t know what today’s teens think about virginity and sexuality these days; do the tired old tropes still exist? Does that whole “good girl/bad girl” dynamic still exist, or are today’s teenaged girls a bit more sophisticated than they were when I was in high school when it comes to sex and sexuality? (Contrasting two high school shows with queer content makes you wonder–there’s the jaded cynicism of the rich kids in Elite vs the wholesome purity and innocence and sweetness of Heartstopper, which also had me wondering–although I feel certain Heartstopper might be closer to reality than Elite…or that’s just my hope?) Of course I have other ideas for more books about young people–I have another in-progress one that’s been sitting around for a very long time that I need to repurpose–and I’d kind of like to write more at some point, but I don’t know. My suburban 70’s serial killer preying on teenaged boys book would be told from the perspective of a twelve year old, but it would definitely not be a young adult novel–but will probably be marketed and sold as one.

And on that note I am heading into the spice mines on my last day in the office for 2022. Check back in with you later, Constant Reader.

I’m Gonna Make You Love Me

I’ve always considered myself to be a child of the seventies.

Sure, I was a child for during the sixties, but I turned nine in 1970. While I am sure that turbulent decade provided some (a lot of) influences on me, my personality, my likes/dislikes, and my future, I am equally confident that my values and thoughts and beliefs probably weren’t as shaped from that turbulent decade as they were by the 1970’s. The seventies are really the first decade for which I have a lot of recall (recently, a friend was amazed that I remembered those horrible Rag City Blues jeans for women that were, for some reason beyond my thought processes, popular in the latter part of the decade; what can I say–I do remember the decade fairly well for the most part–or at least as far as my memory can be trusted). I’ve always wanted to write books either set in the seventies completely or even partly; Where the Boys Die, my 70’s suburban Chicago novel, keeps pushing its way to the forefront of my increasingly crowded (and clouded) mind. (NO I AM WRITING CHLORINE NEXT WAIT YOUR TURN)

I remember Watergate and how the scandal grew. I remember the 1972 landslide reelection of Nixon, and the country’s negative reaction to the Ford pardon of the man who brought him to power; I also remember Jimmy Carter running for president out of seemingly nowhere and getting elected. There was The Brady Bunch and The Partridge Family and Archie Bunker and Mary Richards; Sonny and Cher and Carol Burnett and Donny and Marie and the Jackson 5 and Grand Funk Railroad. Top Forty radio ruled the AM airwaves; not every car came equipped with FM capabilities, and the only way you could play your own music in your car was with an eight-track player. I started the decade reading the Hardy Boys and Nancy Drew and The Three Investigators; by the end of the decade I was reading John D. MacDonald and Sidney Sheldon and Harold Robbins. It was a very weird decade…of odd color and fashion choices; avocado greens and browns and American cheese orange were ridiculously popular, as was shag carpeting, velour, clingy polyester shirts, corduroys, bell bottoms and slogan T-shirts. Baseball shirts and rugby sweaters also became popular later in the decade. People had feathered hair parted in the center, and there was this weird sense of, I don’t know, missing out? Movies were grittier, harsher, more realistic; actors went from the polished shine of the old Hollywood system glamour to warts-and-all realism. Television was also beginning to change but was still heavily censored. Boogie and truckin’ and shake your booty became part of the vernacular; the decade began with the break-up of the Beatles and ended with disco’s last gasps while new wave and punk and rap started their rise.

It was the decade I went through puberty and realized that I was attracted to other boys instead of girls; I wasn’t quite sure what that meant but definitely found out in the seventh grade it meant I was a faggot, fairy, queer, cocksucker, and all those other lovely words that were burned into my brain that year. It was the decade where I read Harold Robbins’ Dreams Die First (a truly execrable novel) over and over again because the main character had sex with both men and women, and if I am not mistaken, contained the first male-on-male sex scene I’d ever read (oral); it was also the decade where we moved from Chicago to the suburbs to the cornfields of Kansas and I graduated from high school. (Ironically, it was in Kansas that I discovered gay books with explicit gay sex scenes in them–the News Depot on Commercial Street not only carried The Front Runner by Patricia Nell Warren and her other novels, but also Gordon Merrick; and their magazine racks also had gay porn magazines–which, now that I think about it, meant there were others there in Lyon County and environs; I didn’t realize it at the time, of course.) It was when Norah Lofts’ The Lute Player made me aware that Richard the Lion-Hearted was like me, too; and Susan Howatch’s Cashelmara and Penmarric also had gay characters and plots involving them…

I’ve always thought the seventies was a much more important decade than ever given credit for; usually it is merely considered a connecting time from the 60’s to the 80’s…but almost everything that came after–socially, politically, culturally–got started in the seventies. So I was glad to see this book about that frequently dismissed time.

As I mentioned previously, the Seventies were turbulent; they were the decade that also saw the beginning of the end of the post-war economic/prosperity bubble. Gas shortages, skyrocketing inflation, and the insidious use of racism to break the Democratic coalition began–everything we find ourselves dealing with today had its roots in the Seventies–and it did seem, to those of us growing up in the shadow of the mushroom cloud, that the world had lost its mind and our country (or rather, its mythology) had lost its way. Schulman’s study of the decade, breaking down how the shifts in culture, politics, and our society began, were exploited for divisive purposes, and permanently changed attitudes moving forward was a fascinating, if chilling, read. I remember the terrorist attacks. I remember watching the Munich Olympics that ended in bloodshed on an airport runway and murdered Israeli athletes. The book brought back a lot of memories; I am not so sure I agree with all of Schulman’s assertions about the decade–there certainly wasn’t very much about the burgeoning gay rights movement, other than how it chased lesbians off into the Women’s Movement–but it was interesting to read the book and relive the decade a bit, as well as the memories it triggered.

I do highly recommend this book for people who weren’t around for the Seventies and might be wondering how the fuck did we end up in this current mess?

Are You Ready for This?

Tuesday and back to the day job for a shortened week of work, in which I will only have to get up at six twice, praise be to the baby Jesus.

I am still basking a bit in the afterglow of reading Laurie R. King’s remarkable The Beekeeper’s Apprentice (and there are VOLUMES of Mary Russell cases! VOLUMES!). Wow, what an achievement that was, and one that I certainly envy. It’s very daunting, too–as a writer, I am never more aware of my failings as when I am reading the words of a far more gifted author–and am still feeling a little daunted as I move deeper into the prep work for the final draft of the Kansas book and its ultimate completion. But I got a lot of rest over the long weekend, football is over so my weekends are completely free going forward, and I have a lot of writing that I want to get done this year–hell, I want to get a lot of things done this year, and full steam ahead, I say. As the dark presses up against my windows and I sip my cappuccino, I don’t feel worried or stressed or upset about anything; my mantra it is what it is should help keep me moving forward. I need to stop stressing and worrying about finding the time to do things because the reality is all the stressing and worrying does is kill time and prevent me from doing things, so I need to just try to let go of worry and strife and hunker down and get shit done.

I always feel like I can conquer the world when I am properly rested, don’t I?

But the restful weekend was nice, and nourishing, and lovely. Last week–well, every moment since our nation’s Capitol came under attack–has been insanity, utter insanity, and I was doing the old doom-scroll and watching the news at every opportunity lately as well (it’s been years since I turned on either MSNBC or CNN) and while I am still deeply concerned about the country, the inauguration, and our imminent near-future, I get all tensed up inside and stressed again, so I am, for my own mental health and creativity, going to have to. back away from it and just check in randomly and periodically and resist the urge to keep scrolling or watching. American politics and history–always of such interest to me–have become so toxic that even observing history occurring sends my blood pressure sky-rocketing and twists my stomach into knots.

But it does seem as though the majority of people not lost to Q-Anon conspiracy has finally awakened to what I’ve been screaming about for about thirty years–the depth of these people’s hatred for anyone who disagrees with them on anything. They do not and have not seen as Americans; they do not see us as equals. They only see us as an enemy who must be destroyed at all costs, and woe be to they who do not goose-step in line with their authoritarian values and beliefs. Maybe it was easier to see for me because as a gay man I have been in their rifle-sights for as long as I can remember, I don’t know–but I can remember being dismissed in 2008 and 2009 when I said that they weren’t interested in working together or bridging the divide; they just wanted to obstruct and undermine and paralyze. The Q-Anon traitorous mob that sacked the Capitol on January 6 had its roots in the Tea Party and their racist hatred of Barack Obama, and this was their inevitable path–just as their seditious ancestors refused to compromise on any level about slavery to the point they were willing to destroy the country. Their descendants are no different–and believe you me, part of the Lost Cause mythology holds that the Confederacy was the true American democracy, and those who believe in the Lost Cause still believe it today.

The cognitive dissonance inside their brains must be staggering, absolutely staggering.

We watched two more episodes of Bridgerton last night, which is strangely addicting–but one can always expect that from a Shondaland show, can’t one? Who would have ever thought the highly restrictive societal expectations of the upper, privileged class when it came to marriage for women would make for such riveting television? Part of the American fascination with the aristocracy, I suppose–the same mentality that made Dallas and Dynasty ratings champions back in the day and drove the careers of Harold Robbins, Sidney Sheldon, Jacqueline Susann, and Jackie Collins into the bestselling stratosphere: we like to see rich people suffering. But Bridgerton is an absolute delight, from its writing to its excellent diverse casting choices to every bit of its high production values, from costumes to sets. (There’s an absolutely lovely scene in which Daphne and her brother–the fourth episode, perhaps, or the third?–decide to not wake the servants to make them warm milk in the middle of the night, realize they don’t know how to work the stove, and end up drinking it cold, which tells us all about the class divide–imagine not being able to work a stove! But I daresay there are wealthy people in the country today who wouldn’t know how to light a pilot light or how to work their kitchen appliances)

Tonight, after work, I have to dive headfirst into the revision of the book, which, while daunting, needs to be done. February is a short month which means I don’t have as many days before March 1 to get the book finished; there is the Fat Tuesday holiday coming up as well–I may take off Lundi Gras for a longer weekend–so I can focus on the book writing during that time as well, which should help dramatically. I am not as stressed about this book as I perhaps might (or should) be; I am also relatively certain that can be chalked up to pure denial. I am also trying to decide what to read next–I am still all aflutter from the brilliance of the Laurie R. King novel I read over the weekend; and I have so many options to choose from (the advantage and curse of a deep TBR pile, I suppose) that it’s going to be a difficult decision. I may resort to short stories for the week and wait until the weekend, when I have more time, to get involved in a wondrous read, whatever that may prove to be.

And on that note, tis off to the spice mines with me. Have a lovely Tuesday, Constant Reader! I certainly intend to do so.

Head over Heels

There was an article somewhere recently that described a new trend in literary fiction, inspired by Elena Ferrante: writing about women’s friendships. I literally did a double-take when I saw it; because there have been books, across all genres, about female friendships for many, many years–for example, the examination of women’s friendships and relationships with other women were at the root of every Rona Jaffe novel; the primary strengths of both Peyton Place and Valley of the Dolls lie in the friendships between the women; going back to Jane Eyre, there are always friendships between women at the heart of novels (hello, Jane Austen?). The point is this is nothing new, so to describe this as a ‘new trend’ is short-sighted to say the least, lazy writing at the worst.

Rebecca Chance novels kind of defy description, to be honest. They are called ‘bonkbusters’ in her native England (where they are runaway bestsellers); some call them ‘glamorous thrillers.’ She writes about what used to be called ‘the jet set’, or ‘the beautiful people’, or the ‘rich and beautiful’; territory that used to be mined by Jackie Collins, Judith Krantz, Sidney Sheldon, Harold Robbins, and Jacqueline Susann. And while I don’t mean to demean her predecessors in the field, who were quite good at what they did and wrote yarns you simply could not put down, Chance’s novels are different; in that they combine sharp social commentary, wit (at times, they are laugh out loud funny), and characters that you can’t help but like and identify with.

Her latest, Killer Affair, is no exception.

killer affair

It was an ocean liner come to rest in the heart of London, its glittering, prow-shaped facade jutting towards the Thames. From its terraces and balconies, the view was unparalleled: the beautiful curve of the Playhouse Theatre with its glowing lights, the flow of boats along the wide river, the sprawl of the South Bank beyond, London’s bounty spread like a fabulous offering of endless possibilities to the gilded, privileged guests who occupied the penthouse suites.

However, the young woman who was climbing out of the black cab outside the hotel entrance in Whitehall was in no mood for relaxing on a private balcony with a glass of champagne, resting her arms on the rail, gazing down over the glittering city as she made plans for that evening. Her jaw was set determinedly, her eyes hard. The liveried doorman, reaching into the can for her two suitcases, asked if she was a guest at the hotel, to which she responded curtly that no, she had a booking at the spa and needed to check her luggage.

If the doorman thought it was strange for a day spa visitor to arrive with a pair of large, battered suitcases, there was not a hint of that reaction on his face; his demeanour remained entirely polite and neutral as he carried them inside.

And so begins the latest Rebecca Chance novel–who is this woman, and what is she doing at the spa? The prologue ends with her discovering her target–another woman with whom she is angry–and dumping ice all over her recumbent figure as she spits out angrily, “You bitch! You’ve ruined my life!” (With hints of Shirley Conran’s brilliant, memorable opening to her novel, Lace: “Which one of you bitches is my mother?”)

The book then flashes back to the beginning of the story; how the two women met and became involved with each other’s lives. One of them is Lexy O’Brien, a reality television superstar in the UK who quite literally and ruthlessly climbed to the top of the pile of reality stars by carefully planning her every move, maximizing every bit of publicity she could gather, and is now quite happily married to a sexy former footballer who now is a TV commentator. The two live with their two children and various staff in a beautiful mansion in Sandbank, one of the most expensive places to buy property in the world, and Lexy is planning her next assault on the tabloids/entertainment journalism: writing a memoir. Of course, Lexy isn’t going to write it herself but needs a ghostwriter, which is where young, chubby Caroline comes in. Caroline works writing press releases and also writes a blog, shares a flat with four other broke young people, and dreams of becoming a successful novelist. She is quite dazzled at first by Lexy and her life; Lexy, while immensely narcissistic and self-absorbed (two vitally necessary personality traits for any reality star) is not a bad person–she just sees everyone around her as tools for her stardom and vehicles for publicity. She is actually quite generous with the bedazzled Caroline, and the young woman is grateful at first…but the more she writes, the less dazzled by Lexy she is…and the little nickname Lexy gives her at first–“Ghost Mouse”–begins to rankle…especially as Caroline, by being quiet, listening, and paying attention, learns a lot more than Lexy could ever imagine. And soon, she begins to not just envy Lexy her life, but to believe Lexy doesn’t deserve it.

To tell anymore would spoil the twisty, clever and wickedly funny plot (although it has strong elements of All About Eve), and despite all appearances to the contrary, neither Lexy nor Caroline is a villain. Chance, as always, has created three dimensional characters, strong women with good and bad sides, whose behavioral motivations make complete sense–and her keen insights into reality television, writing and publishing, and how intricate and delicate relationships between friends, family, and lovers can be, make the book completely un-put-down-able. I deeply resented having to put the book aside to work on my own writing, or go to work, or to go to bed. Yesterday I sat down in my easy chair to read for an hour before doing my own writing–and seven hours later put the book down with an enormously satisfied sigh.

Americans, you can either order the book from Amazon.co.uk; the Book Depository; or from Murder by the Book in Houston. It’s soooooo worth it, believe me.