Tag: Scholastic Book Fairs

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.

Where Do I Go From Here

The earliest years of my childhood–with a few minor exceptions–are lost in the foggy distant parts of my memories, unable to be summoned at will but sometimes resurfacing at the oddest moments. I don’t, for example, really remember much of how I started reading. I remember being fascinated by dinosaurs and getting dinosaur books from the library; I remember Scholastic Books Fairs and going to the library, both the Chicago Public Library’s nearest branch as well as the one inside my elementary school. I remember, vaguely, comic books: Richie Rich, Caspar, Wendy, Dot, Little Lotta and anything Disney before moving on to the world of Archie and Millie the Model before discovering, and loving, the world of DC super hero comics accidentally. Comic books were only a dime or twelve cents when I was a kid with an allowance of a dollar per week, so I could get quite a few comics with my allowance every week rather than trying to save it for another week so I could spend $1.50 on a Hardy Boys or Nancy Drew (by the time I discovered them, of course). I would not, nor would I ever, consider myself to be an expert on comics; I was a fan, and not a rabid one, either. I never learned the names of writers or artists (I do, however, remember Denny O’Neil from the 1970’s) until one of my returns to comics (I often went years without feeding my super-hero addiction); the 1980’s return got me learning names like John Byrne and Tim McFarlane. It’s always been a dream–one I don’t return to very often–to actually write for a comic title (I really really really want to write for Nightwing) someday but the older I get the less likely that item will be scratched off my lengthy bucket list (someday I might blog about the bucket-list things I am slowly becoming aware that I will never ever be able to accomplish).

Naturally, I’ve been looking forward to reading Alex Segura’s Secret Identity ever since the title was announced: comic books? The 1970’s? A crime story? COUNT ME IN.

And I am pleased to report it did not disappoint in the slightest.

Her eyes fluttered open at the sound.

Carmen Valdez rolled out of her small twin bed with ease, the muscle memory kicking in–even now, in the middle of the night. The shrill scream was familiar, too.

She tiptoed across her small bedroom, avoiding the toys strewn on the floor, as she made her way to the door.

Another scream.

Mami.

The screaming and arguing were routine. Carmen found that she’d become numb to it. She could almost predict it, in the hours before bed. If Mami and Papi were drinking–drinking that stuff–it was a bad sign. It meant they were changing. Becoming meaner. Darker. Something else. She would rush through her routine, rush to get to the relative safety of her room, her closed door, her darkness.

But she also knew the darkness could only shield her from so much. It hid her, but it didn’t silence then. She knew the screams would come. Carmen would just pray she could sleep through them.

I turned fourteen in 1975, and the entire world seemed to be, I don’t know, in some kind of transition that most people in my sheltered world believed would wind up not being good. We were already looking back; American Graffiti had struck gold with a nostalgia craze driven by the memory of “how much simpler (better) things had been back then” (despite the fact American Graffiti is actually a really bleak, dark movie) that was only further amplified by a resurfacing of the Beach Boys and the airing of Happy Days. My high school had “sock hops” (of all things) and my sister played the double album of the Beach Boys’ Endless Summer endlessly. It was easy, of course, to look at the sanitized world of television shows like Happy Days and repeats of Leave it to Beaver and wistfully wish for a simpler time…particularly when impressions we were getting of New York City wasn’t the pristine, clean city of Doris Day movies like Pillow Talk and Lover Come Back but the dirty, gritty noir sensibilities of movies like The French Connection, Shaft, and Serpico. I was already a reader, reading fiction for adults but still occasionally grabbing a comic book or two from the spinner rack at the Jewel Osco, or Mad from the magazine rck at the 7/11 on Briarcliff Road in Bolingbrook, the extremely white suburb my family had escaped to from Chicago and its desegregated schools.

It was also a weird time for comics, to be honest.

So, revisiting that time in Alex Segura’s new novel, Secret Identity, was interesting.

Alex’ book focuses on Carmen Valdez, a young Cuban-American woman living in New York and working as secretary to the publisher at Triumph Comics, a company much lower on the food chain than either Marvel or DC–the ones everyone knows–and hoping to get her own break into the business as a writer. She learned to speak English reading comics (mostly Archie and Betty and Veronica), but eventually moved on to caped crusaders. She gets an opportunity when another writer at Triumph asks for her help in putting together a new hero, the Legendary Lynx–even as a more experienced person in the business tells her not to trust Harvey Stern, the writer. But with all the hope and idealism that a hardscrabble life in New York with a dead-end job in a dying comics company has somehow not stomped out of her yet (ah, to be in my twenties again…), she takes the plunge and collaborates with Harvey–who winds up dead, shot in the forehead. No one knows the new comic Harvey had delivered six scripts for (under only his name) had any input from Carmen–who did the yeoman’s share of the work. Now she has to figure out how to reclaim her character and her work. To do so, she has to find out more about who Harvey was…and that means getting mixed up in a police investigation and eventually into the crosshairs of the killer.

I also appreciated the fact that “stolen work/characters” was the driving force in this book; comic book history is riddled with these kinds of situations, and it was fun seeing it from an insider’s point of view.

The story’s greatest strength is the character of Carmen. Within a few chapters of the story I felt like she was someone I actually knew, had talked to, maybe even had wine or drinks with; she felt like a friend…definitely someone I’d want to know in the real world. Another strength is Segura’s knowledge of the world behind the scenes of a comic book company and the industry itself. (I couldn’t help but grin periodically whenever someone referred to comics as a dying form; the 70’s slump was followed by a renaissance no one could have seen coming, and they are still going strong today.) Carmen’s relationships with the people in her orbit are also realistic and strongly drawn.

An added bonus inside the book are actual pages of art from The Legendary Lynx–which are strong enough to make a good comic book on their own (something we might be looking for in the future, Alex?).

Quickly paced with strong, believable characters, this was a terrific read. Thanks, Alex!