Monday morning and back to the office with me once I’ve woken up, cleaned up, and showered. It was a good weekend for the most part, mostly anticlimactic feeling after the visit with the surgeon on Friday morning; I’d say the best word to describe the weekend would be relief. I slept well last night, and yesterday was a nice, relaxing one. I cleaned and read my own works in progress and made some revising notes; I also started writing the opening of the next Valerie book in my journal, which was kind of fun. There’s a bit of a mess that needs to be cleared up before the book really starts going, but that’s what rewrites are for. At some point this week I’ll need to transcribe what was written into a Word file– I also need to do that with “Parlor Tricks,” a short story I freeform wrote some stuff in my journal for–and I also want to get back to writing again. I’ve been lazy lately–burnout maybe from the back-to-back writing of the most recent two–but I need to start working again.
But it’s always nice to revisit works-in-progress you’ve not progressed on or thought much about in over a year other than the occasional idle thought: oh, I should probably finish that novellaor short story or whatever and then make a note or something and promptly forget about it. I’d not realized how far I’d gotten with a Chanse (!) novella until I read it yesterday, and even as i was reading it I was thinking tweak this or this would be a good place to go into this and oh you can restate that paragraph to make it a lot more powerful , which was nice. I also reread the starts of several short stories in progress, several of which I’d forgotten about, like “A Little More Jazz for the Axeman” and “Please Die Soon”–a really fun exploration of gaslighting as well as unreliable narration, and even the main character isn’t sure if she’s being gaslit or if her mind is fucking with her, which is a super-fun concept to work with. I also looked through “Festival of the Redeemer” and “A Holler Full of Kudzu” and “Spellcaster”; all of which have a lot more potential than I remembered or would have thought.
We got caught up on The Morning Show last night–it really is a strong show, kind of like The West Wing about a television network, in some ways, and the cast is simply superb–and then started watching Suspect on Britbox, which I am not sure I am sold on, to be honest. It’s a great concept and has a great cast, but…I’m so tired of “something happens to child of bad/absent father and so angry father must appease feelings of guilt by tracking down killers/rapists/kidnappers/etc. to avenge child they neglected while alive.” I fucking hate this trope because they always portray the dad as some sympathetic hero. Sorry, if you beget children, you need to be a good parent to them and present while they are alive, and “avenging” said child doesn’t make up for it. (I really think S. A. Cosby ended this trope forever with Razorblade Tears; Shawn took a very tired trope, breathed new life into it, and wrote the definitive book on the subject; no one else need bother anymore unless you do better than Shawn…and good luck with that.) Was Liam Neeson not available to play Super-dad in this? Someone needs to do a lengthy critical essay book about the trope of the super-father in fiction, the societal problems they mask, and their unrealism bordering on fantasy to the point of being inadvertent straight male camp. (Which really is what James Bond, Mission: Impossible, and The Fast and the Furious franchises are, just like the Marvel/DC comic book movies are–there’s a dissertation for a PhD in Women’s Studies for someone. You’re welcome.)
I also, in reading the stacks of paper-clipped drafts in one of my stack of inboxes, found another draft of “Whim of the Wind” I’d forgotten about–see what I mean about my shitty memory?–where I’d undertaken a thorough rewrite, and I’m not certain I don’t prefer this opening to the most recent attempt to revise the story. So I am going to compare/contrast the two of them, and see what comes out of it. I also am not certain I like the new ending I came up with, because it doesn’t really work with the tone and voice of the story (it’s also very reminiscent of how I’ve ended a couple of other stories lately, and I don’t like being repetitive, which I find in short stories a lot more frequently than I’d like, to be honest), so I am going to give it yet another old college try to see if I can’t finally whip this damned story into publication strength (after forty years, it’s the least I can do for it). Writing freeform in longhand yesterday in my journal also seemed to unlock something in my mind–the creative stall or whatever you want to call it–but I feel like writing again, and I don’t dread it or even think meh not doing anything today isn’t going to hurt anything, which is incredibly stupid (but one of those lies my brain tells itself to get out of writing).
And on that note I am heading into the spice mines. Have a lovely Monday, everyone, and I’ll check in with you again later.
Saturday morning of a three day weekend and how lovely is that? Thank you, whoever made the effort to give us Memorial Day as a national holiday; this lowly worker is eternally grateful for any extra paid time off. I intend to work this entire weekend; nose firmly affixed to grindstone and butt glued to shabby and disheveled desk chair whilst fingers move rapidly over the keyboard. Yesterday after work I was too tired–more on that later–to do much of anything other than mindless chores, and while doing those mindless chores another integral part of how to improve the book came to me; shortly thereafter, while putting away clean dishes another tumbril fell into place; so my entire weekend’s worth of writing just popped into my head. How incredibly lucky am I? Terribly, shockingly so.
Paul and I watched the Being Mary Tyler Moore documentary on MAX (which always makes me think of Carol Burnett doing Nora Desmond on her old variety show) last night and it was quite interesting. We forget how recently it was that The Mary Tyler Moore Show was breaking new ground; it was during my lifetime. Saturday night television on CBS when I was a kid was the ultimate must-see television; a three hour block of comedy of such high quality it may never have been equaled since. I loved her show; I loved the cast, and it still holds up today, despite how much things have changed, culturally and socially, in the decades since it went off the air after seven glorious seasons. There was a time when Paul was between jobs here in New Orleans when he became addicted to reruns of both it and Rhoda (when I was a kid I didn’t much care for Rhoda, despite having loved her character on the original show. As an adult, I found it much funnier than I ever had as a kid; not sure why that made a difference other than that it did), and I was amazed at how well the show held up.
It’s also interesting thinking about that period of my life (the 1970s) again–because it’s been on my mind. There’s an idea formulating in the back of my head; a crime novel told from a twelve year old’s perspective set in the suburbs in 1975. I’ve thought about it a lot lately. I had the original idea sometime back early in the pandemic, when I was going through my true crime documentary phase of condom-packing back in the day. It comes back to me now and again, and lately it’s been coming to me with more and more regularity, which means it will probably be the next book after the ones already in progress are completed and out of my hair. I have no idea when that might actually be, but I have a great title for it, and images keep dancing in and out of my head. I know the crime and how my POV character becomes involved in it, but I am not sure of much else of the rest–the flashes are bits and pieces of story and scene that I start filling in, in a journal or in a notebook. I already have the file for it made, too.
I have so many files. I am swimming in files. Buried in files, to the point where between the computer files and the physical files I may never ever be able to organize or get rid of any of them. It seems like I am constantly having to find room for more files in places. Heavy heaving sigh.
But I slept deeply and well and even later than yesterday morning, so that’s a very good thing. I have to run a couple of errands today and I have all kinds of writing to get done today, which should go easier this morning because of all the thinking I did last night. We’ll see, I suppose, is the best way to look at it. But as I mentioned, I have to get the mail and stop at the grocery store for a few things (so irritating, really), and so I am hoping after that to be able to dive headfirst into the book so I can reach my daily goal for the weekend. Paul will probably be out most of the afternoon, as usual on Saturdays (he meets his trainer at noon, and then either goes to the office or rides the bike for another few hours) so I have no excuse for not being productive today. Once I finish this I am going to go sit in my chair for a little while and read (I want to finish Lori Roy’s marvelous Let Me Die in His Footsteps at long last this weekend; I cannot believe how long it’s taken me to finish something that I really am enjoying and have been itching to get back to. Lori is one of my favorite writers of the last ten years; not one of her novels have ever disappointed me…but more on that when I finish the book and talk about it on here), and then will head out to the errands around noonish. I want to read for about an hour or so before writing, and then running the errands in order to come back home and write for a while. I may even pick up grocery store sushi (don’t judge me) so I don’t have to be concerned about lunch, either. I may make shrimp creole for dinner, too; I need to do something with that leftover celery. I also cleaned out the refrigerator a bit yesterday as well–should finish that over the weekend, too.
The reason I was so fatigued and drained yesterday was because I got to do that ZOOM interview with Margot Douaihy yesterday, and so I spent a good hour researching her on-line, digging through the book for references, and of course trying to come up with good questions for her. I don’t know that I actually managed to come up with good questions, but when you’re working with someone as smart and talented and layered as Margot, it’s very easy for forty-five minutes to shoot by. I didn’t even get to all the questions I had for her; I looked at the time on my computer and realized we’d been going for three quarters of an hour, and had i continued asking questions we could have been there for the rest of the afternoon. That has always been my issue with interviews, really; whether ZOOM recordings or written ones, you can never get everything in that you want and there’s never enough space to be as thorough. I would love to do in-depth pieces on people like in Vanity Fair or Rolling Stone; I remember Ann Patchett telling Paul and I about having to fly to London on GQ’s dime to interview Liam Neeson or someone like that, and thinking man I would love to have that kind of opportunity. But it exhausted me mentally and physically, so I was very glad I had gotten all my work-at-home chores completed before it started because I was unable to do much of anything when it was finished. I did some chores–the dishes, finished laundering the bed linens, but other than that I was just in my chair letting my mind wander as I watched documentaries about history on Youtube.
And on that note, I think I’m going to make another cup of coffee and repair to the living room to read while my mind continues waking up. Have a lovely Saturday, Constant Reader, and I’ll talk to you again tomorrow or maybe even later today; one can never be certain.
Sometimes I try to remember the first time I saw or heard or watched or read something, anything, that made me feel less weird, less like an outsider…often to no avail. I can never remember if it was That Certain Summer (a very SPECIAL ABC Movie of the Week), or reading Larry McMurtry’s The Last Picture Show, or discovering The Front Runner on the paperback racks at the News Depot on Commercial Street in Emporia; and then I will remember something else, some vague memory of something–hints about Richard the Lion-Hearted in Norah Lofts’ The Lute Player, or subtle hints here and there throughout history (Edward II and Piers Gaveston; Louis XIV’s brother Phillippe Duc D’Orleans; James I and Robert Carr; Achilles and Patroclus)…Mary Renault’s Alexander the Great series…I can never remember precisely the first time I was exposed to who and what I am in popular culture, nor can I remember if it was positive or negative. I do know that in my own life, it was made very clear to me when I was very young that what I am was not normal, was unacceptable, wasn’t what I was supposed to be. My earliest memories are of me not being like other boys, and it took me a while to realize that the others were just playing at being boys (something I was never very good at) and were actually like that; that they weren’t, underneath, just like me, just better at pretending than I was.
This is why we have emphasized, as a community, the importance of representation in popular culture; kids needs to see themselves reflected in the culture they consume so they don’t feel like they don’t belong. Queer kids aren’t raised queer; we don’t learn how to be queer by interacting with our peers (who are mostly straight when we are kids), nor do we learn anything about being queer while we are inside the educational system in this country. I’ve always firmly believed that queers take longer–at least in the olden days–to form lasting romantic relationships because we don’t have “trial runs” when we are kids; we don’t get to date, we don’t get to “go steady”, etc. We don’t get to play House with other kids of the same gender, we don’t learn societal and cultural expectations about relationships and how they work when we are actually kids. Our queer adolescence doesn’t actually start until we come out–admit it to ourselves without shame, and then start telling our family and our friends and our co-workers that we aren’t wired the same way they are. It’s very tricky, and very complicated and sometimes very messy.
Representation absolutely matters.
And we cling to that representation when it shows up. When a prime time show like SOAP introduces the first long-running gay character to the world in Jody Dallas (does anyone even remember this was Billy Crystal’s big break, playing gay on a sitcom in the 1970’s/early 80’s?), we watch–even if the depiction is problematic to the extreme (you also learn very early that your hunger for representation will also force you to turn a blind eye to some things). Steven Carrington on Dynasty, the terrible film Making Love from the early 1980’s, as well as some other problematic depictions and films along the way–we took what we got, and always had to remember that these characters and stories also had to be palatable to straight people…that, in fact, these characters and stories were created with straight people in mind.
As they used to say, “but will it play in Peoria?”
As i stare down sixty this month, I am very happy to see that representation becoming common-place. It’s lovely to see gay books–THRILLERS, even–being published by major presses with queer characters in them. It’s lovely seeing straight writers including sensitive depictions of queer characters and their stories in their books.
And over the year, yes, problematic tropes that can make you very, very tired have also developed–which makes me wary every time I approach a book by a non-queer person that takes on a trope without hesitation, as S. A. Cosby’s Razorblade Tears does, and that trope is one of the biggest and most hated by the queer community: bury your gays.
Ike tried to remember a time when men with badges coming to his door early in the morning brought anything other than heartache and misery, but try as he might, nothing came to mind.
The two men stood side by side on the small concrete landing of his front step with their hands on their belts near their badges and guns. The morning sun made the badges glimmer like gold nuggets. The two cops were a study in contrast. One was a tall but wiry Asian man. He was all sharp angles and hard edges. The other, a florid-faces white man, was built like a powerlifter with a massive head sitting atop a wide neck. They both wore white dress shirts with clip-on ties. The powerlifter had sweat stains spreading down from his armpits that vaguely resembled maps of England and Ireland respectively.
Ike’s queasy stomach began to do somersaults. He was fifteen years removed from Coldwater State Penitentiary. He has bucked the recidivism statistics ever since he’d walked out of that festering wound. Not so much as a speeding ticket in all those years. Yet here he was with his tongue dry and the back of his throat burning as the two cops stared down at him. It was bad enough being a Black man in the goo ol US of A and talking to the cops. You always felt like you were on the edge of some imaginary precipice during any interaction with an officer of the law. If you were an ex-con, it felt like the precipice was covered in bacon grease.
“Yes?” Ike said.
My faulty memory doesn’t remember how and when I first became aware of S. A. Cosby. What I do remember is that I bought and read one of his earlier works (perhaps his debut?) My Darkest Prayer, and enjoyed it thoroughly. Hard-boiled with a healthy dose of noir, I had a great time reading it–and was thrilled when his Blacktop Wasteland debuted to raves and attention and lots of recognition. Cosby can write like a house afire; and while he keeps up a rat-a-tat pace of story, he also manages to construct sentences and paragraphs beautifully, with a poet’s gift for language–spare and tight, yet poetic and beautiful at the same time (Megan Abbott is the Galactic Empress of this).
So, when I heard the “elevator pitch” for Razorblade Tears, I inwardly winced a bit, even as I had to admit Shawn’s guts; taking on bury your gays is a ballsy move–and also a bit of a dangerous one. If you don’t stick the landing…you’re fucked.
For those of you who don’t know what bury your gays means, it’s very simple: a show, or a book, or a movie, will introduce gay characters (lesbians, queers, whatever initial in the all encompassing umbrella those characters might choose for their identity), get the audience (and especially the queer viewers) deeply vested in them–and then kill them off suddenly and unexpectedly, all so the other queer characters (but usually the straight ones) will experience some kind of personal growth…in other words, you introduce a gay man into your narrative simply to later use him as a plot device, so the other characters can mourn and experience personal growth.
That’s probably explained badly, but you get the gist: gays will inevitably die. A good example of this is the so-called groundbreaking AIDS movie, Philadelphia–but the Tom Hanks character in that movie existed so that Denzel Washington’s character could grow and develop and move on from his own homophobic beliefs and fears about HIV/AIDS; as Sarah Schulman, one of our community’s finest minds, once said, “the entire point of Philadelphia is to make straight people feel better about HIV/AIDS and the gay men dying from it.” (Sections of her book Stagestruck: Theatre, AIDS, and the Marketing of Gay America are absolutely brilliant; it should be required reading for any Queer Studies course.)
The plot of Razorblade Tears is so deeply steeped in “bury your gays” that the gays are already dead when the book opens. The gays in question–Derek and Isiah–were brutally murdered, and the police don’t seem to care too much about looking into who killed them. Their homophobic fathers–both ex-cons–decide to look for their son’s killers. Both Ike and Bobby Lee feel a lot of guilt about their sons and how they rejected them both–their relationship, their eventual marriage, their child–while they were alive; finding their killers isn’t just about revenge but also a matter of atonement. In some ways, it’s like this book is borne from the anger every queer child rejected by their parents feels–you’ll be sorry when I’m dead.*
Ike and Bobby Lee are, indeed, sorry now that their sons are dead.
This also falls into another long-existent fictional trope: don’t fuck with a father. How many films (I’m looking at you, Liam Neeson), books or television shows are about a father’s rage, a father’s revenge, what a father will do to save or avenge their children?
Ike and Buddy Lee aren’t supermen, though. Cosby’s strength (besides his ability with words and images) is how well he creates characters and makes them human through their faults and frailties. Ike and Buddy Lee don’t much like each other as the story begins to move along–I kept thinking of the old Sidney Poitier/Tony Curtis movie, The Defiant Ones–but their ability to look past their own internal prejudices to see the commonalities between them as they unite in this foolhardy crusade to avenge their murdered sons is the real strength of the book here. (As well as the language.) You eventually start to understand them, care about them, want them to get their vengeance…even as you know it will bring them no peace.
I have to admit, I was hesitant to start reading this. I really was concerned I wasn’t going to be able to read it with the empathy necessary for Ike and Buddy Lee and their suffering–that I would think, yeah, well, maybe you should have thought about that when he was alive–but the book ultimately isn’t about their redemption, either; which is a genius move by Cosby. He makes their pain all too real–I cannot imagine the pain any parent should feel when their child dies–but he makes it clear there’s no easy answers here for Ike and Buddy Lee, and that pain will go on even if they get justice for their sons.
Shawn is also a master of writing about the Southern working class–about the poverty, the lack of opportunity, the societal neglect and how those factors all combine to keep those already mired in it trapped with little chance of escape; he clearly loves the rural South but not so much that he can’t expose the tragedy and ugliness that exists there.
It’s a powerful book, and I do recommend it….although the people who probably should read it inevitably won’t. I can recommend it, and do, enthusiastically; it’s a very powerful book, and it made me think–and what more can you want from art?
*sadly, I have seen all too often that a lot of those parents aren’t sorry when their rejected child dies; far too regularly they will say something along the lines of “So-and-so died for me years ago.”
Queer and Loathing in America 