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MEN TOUCHING

A knotty, lyrical, but sometimes overdone tale about a gay vet’s recovery.

A gay Vietnam veteran’s buried trauma provokes much turmoil in this novel.

It’s 1986, and Robb Jorgenson, a 40-year-old Seattle biology professor, has a terrible secret. It’s not his gay sexuality: He is semi-out and has a relationship with Bart, a high school drama teacher. His problem is his experience in the Vietnam War, the memory of which is causing nightmares and insomnia, an Ativan habit, and a persistent sense that he “really didn’t feel he existed at all.” Robb’s anguish leads readers to expect a war crime in his past, but that’s not quite the case: While serving as a military clerk in Saigon, he was a passenger in a jeep that had a hit-and-run collision with a female bicyclist. It’s not clear whether the woman was injured or which vehicle was at fault, but he feels guilt-stricken for not reporting the driver, Mason, for leaving the scene. Compounding his unease is Mason’s hotness—“that tan, that back, those pectorals glimpsed in the windshield, bright with sun”—which leads to a sexual encounter that gets curtailed when he upbraids the man for the accident. My Lai it’s not, but the incident gives Robb panic attacks that get him discharged. Years later, it provokes hallucinations of flaming bicycle wheels, spiraling addiction, paranoia, suicide plans, and finally rehab. Robb’s breakdown draws in loved ones dealing with their own issues. His sister, Olivia, also in recovery, tries to stabilize him while her marriage to a psychiatrist frays. Bart is coming out to his own family and confronting his mother’s projection of her homophobia onto his father. Alley (The Dahlia Field, 2017, etc.) is a skillful writer who draws realistic characters and crafts well-turned comic vignettes—a grandmotherly nurse gives Bart an overly explicit safe sex tutorial—along with moving scenes of the gathering AIDS epidemic. There’s a psychological frankness to the novel, with many pointed discussions as characters internalize the lesson that they must take responsibility for their own lives. Counterpoised to that realism is a giddy sexual lyricism. Robb swoons over studs, from the “tanned runner…his blonde hair radiant as a sunflower” to “that god…in the black lycra tights, his butt almost busting.” Odes to the healing power of man-on-man touching blossom throughout. A massage that Robb receives from a handsome physical therapist sparks a Proustian sensual epiphany, as he finds “himself entering into Tyler’s very bone and sinew, as though their bodies were fusing, the anguish seeming to be like a flower, opening like a bud…with his brain instantly shooting itself back into the backyard of a childhood friend; the friend and his sister were wading with him in a little pond, below a rockery of heather and carnations.” Unfortunately, Robb is not a captivating focus for the book’s lubricious energy. He’s a morose, self-absorbed, ruminative man whose depression and PTSD feel unearned and whose recovery, complete with a brief turn away from gay sexuality that is dropped before it gets interesting, seems perfunctory. Readers may wish that Bart would dump him and take up with one of the more intriguing characters in this hit-and-miss story.

A knotty, lyrical, but sometimes overdone tale about a gay vet’s recovery.

Pub Date: N/A

ISBN: 978-1-937627-35-5

Page Count: 297

Publisher: Chelsea Station Editions

Review Posted Online: Feb. 14, 2019

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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DISTANT SHORES

Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her...

Another middle-aged mom in a muddle.

After years of false starts and big hopes, Elizabeth’s ruggedly handsome husband Jack, a former football star, just landed a spot as a sportscaster on national news. He still loves her, even though much younger women are giving him come-hither looks. Heck, he doesn’t want to betray the love of his life after she helped him kick drugs and stuck by him even when he was a struggling has-been. And won’t it seem hypocritical if he fools around with his sexy assistant while he does in-depth reporting on a rape case involving a famous basketball center? Well, he fools around anyway. Elizabeth, nicknamed Birdie, knows nothing of this, but she withdraws from Jack when her hard-drinking, salt-of-the-earth father has a stroke and dies. Now no one will call her “sugar beet” ever again. Time to return home to Tennessee and contend with Anita, the sort-of-evil stepmother so trashy she wears pink puffy slippers all day long. Naturally, it turns out that Anita actually has a heart of gold and knows a few things about Birdie’s dead mother that were hushed up for years. Mom was an artist, just like Birdie, and an old scandal comes to light as Anita unrolls a vibrant canvas that portrays her secret lover. Perhaps, Birdie muses, her mother died of heartbreak, never having followed her true love or developed her talent. Has she, too, compromised everything she holds dear? Hoping to find out, Birdie joins a support group that promises to reconnect confused women with their passion. She and Jack separate, prompting a how-dare-you fit from their grown daughters. Will Birdie fly her empty nest? Will she go back to college for a degree in art? Will her brooding watercolors ever sell?

Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her previous tales (Summer Island, 2001, etc.).

Pub Date: July 1, 2002

ISBN: 0-345-45071-X

Page Count: 352

Publisher: Ballantine

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 2002

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