Showing 531 - 540 of 606 annotations tagged with the keyword "Sexuality"
Subtitled, A Memoir of an Alaskan Childhood, this spare, compelling work recalls young Julia's difficult and unusual life in a splintered family living "at the edge of the world." When Julia was born in 1929 the family had just moved to Seattle and entered an economic crisis--"somehow, my father had been bilked out of their money." (17) The marriage went downhill as poverty and the father's serious illness compounded an underlying conjugal incompatibility.
Julia was only seven years old when she and her older sister Lillian found their father dead--a suicide. "Nothing is said about how my father died, or even, in fact, that he is dead." (8) Not long thereafter Julia's mother, Rose, without any explanation or advance warning, left the girls at the Pacific Hebrew Orphan Asylum; there they remained for two years. Rose went to Nome, Alaska to try to find work. "Meanwhile, I strive to be a model orphan. I do all my chores . . . I'm quiet, do well in school, am extremely polite. And most of the time, I'm afraid." (33)
There follows another stay in a different orphanage. Here "I never hear my name . . . No one ever touches me. And, in my memory of that time, that place, I am always alone." (72) Finally, they join their mother again in a remote mining outpost of Alaska where Rose operates a roadhouse. Moving with the seasons back and forth between the outpost and the city of Nome, Julia's life takes on a semblance of normalcy. The environment is strange but interesting, the men who frequent the roadhouse are rough but friendly--there is a sense of camaraderie.
As Julia reaches puberty she becomes subliminally aware of a relationship between her mother and the owner of the Nome liquor store, Cappy. Cappy is married--his family is back in Seattle. There is never any open display of affection between Cappy and Rose, but he eats his meals with them and is almost a surrogate father to Julia and her sister. Suddenly Rose decides to move the family to Fairbanks. Here there is a "secret scenario" that Julia only pieces together many years later. As the events unfold in Fairbanks, Julia knows only that her mother is "distracted, not there." And that a man "carrying a small black satchel" comes to the house and leaves her mother moaning in bed.
Once more, Rose leaves her now teenaged children behind as she returns to Nome. It is wartime and Lillian and Julia find jobs at the military base in Fairbanks. As suddenly as they came to Fairbanks, they are summoned back to Nome--no questions asked, no explanations given. Cappy's son is missing in action. Once again, Julia cannot understand the silence, the absence of grief displayed--"Isn't anybody sad? Isn't anybody upset?" (181) Rose's relationship with Cappy quietly ends.
As Julia finishes high school she fantasizes about leaving Nome, going to college, becoming a journalist--fantasies inspired by Rosalind Russell's role in the film, His Girl Friday, and by Sinclair Lewis's critique of small town life in the novel, Main Street. "I begin to discern, vaguely, tentatively, that somewhere there exists a world where the accepted language is the one that Sinclair Lewis speaks--a language of ideas and, even, of feelings." (212) Indeed, as the book jacket notes, the author graduated from Stanford and became a magazine editor; she lives in Manhattan.
A novel written in the first-person to what appears to be a trusted friend, Spending is the story of Monica Szabo, a painter who has struggled her entire career to be "moderately successful." Divorced and the mother of young adult daughters, Monica teaches to supplement the income from her paintings.
One evening after a gallery talk a man introduces himself as a collector of her paintings and offers himself to be her muse. This offer includes everything so many successful male artists have had that enabled them to produce "great" art: protected time to create, money, a room of their own. His offer also includes sex.
The novel, then, is the unfolding relationship between Monica and the man she ironically calls only "B," a relationship that includes her huge ambivalence about the tensions of their arrangement that often collide at the intersection of his money and the implicitly obligatory (yet quite pleasurable) sex. By the end of the story Monica is rich and famous through the sale of her series of Christs who were not dead (as portrayed on Renaissance canvases) but merely postorgasmic. B, in the meantime, loses his fortune and the roles are reversed.
Summary:Felipe Montero, a young historian, accepts a live-in position, editing the memoirs of General Llorente, whose elderly widow, Consuelo, seeks their publication before her death. In the dark, enclosed house, filled with the perfumes of medicinal plants, Felipe dreams of sexual union, and escape, with the young beautiful niece, Aura; and he reads of Consuelo's infertility, her fantasy of medicinally creating a spiritual child, her delirium of walking toward her youth. Intoxicated by desire and the stifling atmosphere, Felipe embraces Aura, who transforms into the 109-year-old widow. Consuelo promises, "She will return, Felipe. Together, we will bring her back."
Follows the last few months in the life of Wendal Bailey, an African-American bisexual male in his early 30's. Examined in this drama are Wendal's two worlds; one which revolves around his lovers, the other based in the home of his extended family - his mother, father, "aunt", brother and 12-year-old son. After nearly dying of AIDS, Wendal comes home to regain his strength and find comfort, but a festive evening celebrating his return turns into a disaster. Shortly after this debacle, the only support and love he finds as he lies in his death- bed comes from an unexpected source - his previously stern, disapproving and homophobic father.
This novel tells the story of Jess Goldberg, a transgendered "butch" growing up in Buffalo, New York. Jess first learns to admit and negotiate her attraction to women and her butch identity. Immediately, she is faced with violence. The police raid the lesbian bars, arrest any woman wearing fewer than three articles of women’s clothing and routinely beat, strip, or rape them. Jess and her friends also face the violence of bashers who attack without cause on dark or well-lighted streets.
Nevertheless, Jess refuses to compromise. From a doctor, she gets a prescription for testosterone, goes to a gym and transforms herself into a bearded, muscular man. Having saved two thousand dollars, she has a mastectomy done. The doctor falsifies a biopsy, performs the surgery and makes her leave. By the end of the novel, Jess is secure in her identity and determines to fight to make the world safe for others like her.
Summary:This work is an AIDS play based on the Faust legend. The main character, Simon, is both homosexual and homophobic, a combination which the author believes to be less threatening to the "latent homophobes in the audience." Simon strikes a deal with the devil in order to reverse his HIV positive antibody status. The bargain struck entails deceiving and then abandoning his friends and changing his sexual identity. The vehicle for Simon's change is an "Andrew Dice Clay-like" nightclub act, the source of the play's dark humor.
Summary:This beautifully crafted short novel chronicles a twenty year period, from the early 1970's to the early 1990's, in the life of a law professor, Max Strong, and the interesting highbrow characters who influence his life. Most notable among those characters are a college friend, now a world renowned architect, Charlie Swan, and Charlie's lover, Toby. The final sections of this novel offer a remarkable account of Toby's death from AIDS and Charlie's reaction to his death.
Summary:The narrator, William, is the younger brother of Clive, an enigmatic high school "hippie" who also is a mathematical genius. Most of the story deals with their relationship within a peace activist family living in an affluent Cleveland suburb in the early 1970’s. Two of Clive’s friends, Sandra (presumably his lover) and Elliot, figure prominently in the story. In fact, it is from a secret language which Clive and Elliot share that the title is derived. They also share a sexual relationship and are "discovered" by Clive’s father. This event sends this affable story into a hyperspeed tragic ending, placing William fifteen years later at the bedside of his brother who is dying from complications of AIDS.
Second Son chronicles the changes in family relationships that follow disclosure of a son's AIDS. The father's initial response reveals unexamined attitudes that complicate the supportive response he'd like to give. Father and son are brought into unfamiliar and unwelcome intimacy, the former wanting to "fight it," the latter wanting to turn inward, accept his condition and decide how to live out his life.
Father and son find that they handle sickness in much the same way they have handled the other aspects of their divergent lives. A new lover, who also has AIDS, finally provides what the family, tragically, cannot. The story highlights confusions about what family members owe one another and makes clear how the families of the sick need to be healed if they are to become healing communities.
Alice Jones divides The Knot into three sections. The first is a series of poems evoking the poet's painful and tender relationship with Peter, a former lover who is dying of AIDS. We encounter him first on a rainy day in his hospital bed at St. Vincent's ("The Umbrella"), and then through flash-backs to their earlier lives ("In the Pine Woods," "Painting," "Communal Living"). In the long poem "Blood Clot" the author creates and sustains a dynamism between detachment and engagement, objectivity and subjectivity, medical and personal knowledge: from "This time it's his heart. He has / a tumor" to "The glacier that / freezes us in place for centuries, / the same old separateness, only / this time it's called death. / How dare you do it to me / one more time."
The second, and most intensely personal, section imagines the poet's relationship with her mother. The title poem is the centerpiece here. In it, the knot has two faces: the tie that binds us together and an obstacle to be overcome. While loss is real, she writes, "I refuse to be alone. // There is only one / of us. Loss does not / exist in our vocabulary." ("The Lie") The last section consists of poems on a variety of topics, including a long poem about gross anatomy as an initiatory experience ("The Cadaver").