Review: "Angel" by Laura Lee

Angel by Laura Lee
Genre: Literary fiction (GLBT)
Itineris Press, 2011
4.5 out of 5 stars. 
(See Reviews Guidelines.) 

When I first chose Angel to read, I was a little reluctant. Would I be thrown into some massive anti-Christian diatribe? Such things I find are as based upon ignorance and bigotry as is the view of gays from the far right. Both are equally annoying and a waste of time. But I was intrigued by the subject matter, and because any writer had been brave enough to do it - I couldn't resist taking a look. So I forged ahead. I'm glad I did.

Angel is the story of an ordinary church minister who finds himself in an extraordinary situation. A widower who deeply grieves his wife Sara, he is amazed to find himself drawn - first as a minister, and then romantically - to a young male drifter and addict. Their consequential affair, which inevitably comes to the attention of the parishioners of the conservative church, shakes Paul's life up in ways he could never have imagined or foreseen. The romance of the novel is however the superficial story - through it the author bravely delves into much deeper themes, and that is what makes Angel a gem.

Laura Lee is a gifted writer: her use of language ranges from fully capable to at times truly eloquent:

His sexuality wasn't confusing or complicated at all, really. He had fallen in love with Sara, and he fell in love with Ian. Simple. It only became complicated when he tried to fit that reality into the shorthand of official categories. That these labels failed to describe how he felt about himself should not have troubled him much, but so many people had faith in the categories that he was inclined to believe the problem was with himself, and not the check boxes. That was where he became confused.

Lee juggles a number of themes: conservative society's view of homosexuality,  religion and bigotry, bisexuality, and others - without ever muddling up the book. This is not easily done, and is a testament to her skill. The novel is laced with subtleties - metaphorical imagery, expertly-drawn secondary characters, and symbolism. Even the name of the protagonist is an interesting symbol: Paul was the apostle who had perhaps the greatest metamorphosis, the one who struggled the most with personal demons, and a preacher himself.

For me, one mark of sophisticated writing is that it is not simply narrative. Occasionally, the best writers weave in a little personal philosophy, something for the reader to chew on intellectually a bit. Another beautifully-rendered paragraph:

His desire for Ian had the force of an ocean, a tornado, or a mountain. The mountain defies any effort by humans to tame it. You can build at its foot if you like, but when the mudslide comes, you'll be buried regardless of ordinances or zoning laws. None of that exists in the face of nature. Nature has its own order. There is no motive to ascribe to the mountain. It does not kill with vengeance or purpose. It just evolves as it does, and whatever human order we try to create is temporary at best. If sexuality was a force of nature, then wasn't that closer to God than the human laws we try to impose on it?

The most important point that any review of this book needs to make is that it is if anything a courageous work. The author has chosen to write subjects that it may not be politically correct to talk about in many circles. She risked as much backlash from the Left as from the Right.  But she has presented an intelligent, well-considered novel that forces those on either side of the fence to look more closely at the complex issues in our society today.

It is interesting to see how the author handled the world of the everyday life of a church. As someone raised in that world, I found it extremely well-done: realistic and fair.  The author carefully painted a comfortable, comforting atmosphere, so that when it comes crashing down the reader is deeply affected. As a reader, I was somewhat bothered by the book's reluctance to address the reality that there are more liberal churches than the one presented. I felt that a picture was being painted that wasn't fair to all churches, in an era when Christianity is poorly understood to begin with. However, upon more consideration I realized that it is not the business of this book or its story to address all that: this is ultimately a story about one man, one church, one group of believers. It doesn't need to address the wider political reality.

Finally, it should be mentioned that although Angel is a deep read, Lee has a way with humor that makes the book even richer. The San Francisco Chronicle has said of her work, "Lee's dry, humorous tone makes her a charming companion... She has a penchant for wordplay that is irresistible." Witness this passage: 

When an ordinary-looking person wears an ugly hat, you assume he is out of touch with fashion. When a young and beautiful person wears an ugly hat, you assume you're the one who doesn't get it. 

Technical literary points:  The only structural objection I can offer about the book is that the author has placed at the beginning of each chapter a short paragraph or two concerning mountains - their history, their geology, their social significance and therefore their symbolism. I believe that her point was the timelessness and enormity of these structures, as compared to the timelessness and enormity of Nature's truths. I can appreciate that, and I applaud the uniqueness of the attempt as a literary device. However, it often felt very intrusive, and the interruption in the flow of the narrative was by the second half of the book so overwhelming to this reader that I found myself - reluctantly and with some guilt - skipping those passages.

Angel is a unique read, pleasurable from beginning to end, terribly thought-provoking, and above all, brave. Do yourself a favor and pick it up.

----------------

Angel is widely available both in paperback and in eBook formats.

Metro Detroit native Laura Lee divides her time equally between writing and producing ballet educational tours with her partner, the artistic director of the Russian National Ballet Foundation. In addition to her novel, Angel, she is the author of more than a dozen non-fiction books with such publishers as Harper Collins, Reader's Digest, Running Press, Broadway Books, Lyons Press and Black Dog and Leventhal. She has also written one collection of poetry (Invited to Sound), and a children's book (A Child's Introduction to Ballet). She brings to her writing a unique background as a radio announcer, improvisational comic and one-time professional mime.

The Haunting 3 : Conclusion of a Milestone in Erotica

Ricky Roman and Arnaud Chagall. Courtesy Cockyboys. 

NOTE: Whether I am reviewing a book or film, my interest is in appreciating the artfulness and quality of a work, not in blind praise or unfair criticisms. It is my humble hope that through this discussion of plotting as it relates to this film, writers and anyone who deals in narrative as art, can find something valuable to keep. I hope that I can offer the viewer/reader something to think about, and all creators something to consider for future projects. For me, part of supporting fellow artists is giving a fair and honest review of their work; that is a personal ethic that I take seriously. The following review is not PG-rated; if you are offended by sexually explicit language, do not read it. 

This review contains a few spoilers; please do not let those dissuade you from viewing the episode! If you haven't seen Episode 3, please view it before reading.  

*** 

"Gay porn awards shows don't give out awards for videography, editing, scores, and scripts, but if they did, this is where all the nominations would come from." - The Sword, review of The Haunting

The final installment of Jake Jaxson's innovative, courageous, and beautifully-made three part gay porn film for Cockyboys, The Haunting, was released today to much anticipation - not only from loyal fans and curious porn aficionados, but from many professionals in the porn industry.  Jaxson in the past year has established Cockyboys firmly as the studio to watch: not only are the short videos increasingly decorated  with the characteristics that set them off from others in the gay porn world as something different, forward-thinking and classy, but his series Project Gogo Boy and The Haunting, are such a stretch from the standard and norm, that they have made many a jaw drop. Beyond the merits of the individual episode or the individual series, Jaxson has indisputably and forever  changed the industry - something for which he can be hugely proud. If he keeps this up, he will force gay porn, and eventually hetero porn, to increasingly consider questions of production quality - and the combination of coherent, intelligent plot with erotica.

I believe that I am the only non-porn blog to review The Haunting. (See my review of Parts 1 and 2.)  Consequently, my review is a bit different: others look at the porn, the camerawork, perhaps the overall production.  I look at the production, and the plot and narrative quality.  I have brought such reviews to this blog because I believe that we have begun our way down an important path - with Jake Jaxson at the helm - at the end of which we will see quality literary narrative merge with explicit sex scenes. And why not? It has happened in literature - we have seen story and explicit sex scene merge in the past decade as never before in the world of books.

Courtesy Cockyboys.

Now, whether we have seen it merge successfully all that often is up for debate. But to have moved forward is enormous! I don't believe that every book needs a sex scene: however, I do believe that - sex being a basic and integral element of human experience - it is not only acceptable and legitimate but healthy, that we as a society have come to the point where books can be beautifully-written, narratively sound, and contain sex scenes that advance and enhance the plot and the reader's experience.  The same should be true of film. Sure, mainstream feature film has given us cheap sex scenes for some time now; sexually explicit in a healthy sense? - I would argue "no". Too many are gratuitous, have little to do directly with advancing plot in any meaningful way, and God forbid we see male frontal nudity. Forget a quality gay sex scene. We have a long, long way to go.

For me, The Haunting Part 3: A Kiss Before Goodnight, was the most challenging of the three installments of this film. Jaxson had previously established with Part 1 a storyline involving flashes into the past, and a strong tie-in with a narrative involving the present. Scenes involving past flashbacks were infused with an old-fashioned feel - accomplished by strains of classical music, soft-focus camera-work, vintage clothing, and antique artifacts - that served both to draw the viewer into the story and add to the creepiness of the storyline. In the ending seconds of both Part 1 and Part 2, there was a startling surprise of a moment that quickened the viewer's heartbeat (and believe me, I'm not exaggerating that!) and set up questions about the next installment. It was genius: fans were engaged through the weeks in between releases.

The viewer's expectation, then, going into Part 3, was a tidy resolution of plot, more creepiness, and the continuation of the mood set in Parts 1 and 2, and of course some quality explicit sex. This third expectation was granted. It's the first two I wish to address, again from the point of view as one whose life is literature.

(Warning: Spoiler!) Narrative tension exists when a conflict is established and draws the viewer/reader along to the end. That may be the "end" of an episode or the end of a series. Timing is everything, and in the world of literature as in the world of film, it is something that takes practice. In Parts 1 and 2, Jaxson's plot design was near-flawless: even as the reader was watching the scenes unfold, he or she was wondering what, whom, why - it never stopped. Right up until the last startling, mesmerizing moment. Here in Part 3, however, the mystery that drove Parts 1 and 2 is revealed and explained in literally the first few minutes, ending narrative tension. Now Jaxson might argue - and I think rightly - that he was trying to then shift the tension to another conflict - that of an artist who finds his well of creative inspiration empty.  I have to admit, I didn't get this clearly: I was a little surprised to find it in Jaxson's introductory note to the episode: I had been so anxious to view the episode that I hadn't read it until I was 2/3 of the way through viewing the film. I thought "Really?"  I don't know if a little more in the way of showing the private life of the artist, revealing what others gossiped about him, or dialog, would have helped; as a writer I could think of several ways to accomplish it. The point is, this conflict - which could have and should have replaced the first and driven the entire episode from there - was not clearly established. It is a shame, because it reduced this episode to more porn film than a plot-driven erotica piece, as were the first two.

Roman, Chagall. Courtesy Cockyboys.

The biggest issue was the lead character himself. One thing that is difficult for a writer to learn is that a lead character must be sympathetic: he may be a pig, but he must demonstrate that he is human, understandable and relatable, and worthy of pity if not respect. If he is not three-dimensional in this sense, the audience is not interested in him. The lead character here, artist Klaus Heist (played earnestly and adeptly by Christian Wilde), is not a nice person: that is all well and good. The problem is that Klaus has no redeeming quality, nothing that allows us to understand him, relate to him, or care what happens to him. As a viewer, I got excited when I saw a spark of something late in the film - when a few paint strokes upon his canvas incite a vision experience in which he sees the past and what has happened in the house. I thought that it would somehow have an effect on him, that he would finally have some revelation and exhibit an iota of humanity.

This brings us to the second element necessary in successful plot, besides conflict: there must be change. Usually, this change must happen to the lead character or characters: he or she must experience a revelation, make a decision, take an unexpected turn. If it had been clear that Klaus Heist was struggling with his inspiration, and if it had been clear that the vision led to his successful resolution of that problem, the plot would have worked. As it was, we are given a decidedly unpleasant lead character, with dubious conflict (certainly none that we care about), and a merely interesting moment that should have led to resolution.

It is very difficult for a writer - or a filmmaker - to clearly see a difference between what he understands about his own plot, and what the reader/viewer will be able to glean.  How many hints to you give? When are you being too obtuse? And what is the point at which you pound the audience over the head and insult intelligence?  The work of an artist is to learn what these boundaries are, and that comes with experience.

There were other things that were very interesting indeed about this film. Particularly intriguing was the dichotomy between the two sex scenes. Both were very drawn-out but never less than hot, and Jaxson used them to make a point about sex and pornography. In the first, unlikeable lead character Heist seduces - through intimidation as much as heat - the young real estate agent (Max Ryder - in a really nice performance) selling him the house. This scene occurs very early in the film. Heist is a practiced lover, but not a very passionate - or COMpassionate one. He is one of those you see in porn films, where if he were in your bedroom, after five minutes of the near-continuous degrading, demeaning, and decidedly mean-spirited dirty banter, you would be tempted to slap him and scream "Just shut up for chrissakes!". It's enough to make you lose a hard-on. (Well, you know what I mean.)  It was so excessive that I wasn't sure whether I wanted to giggle or scream at the screen; that combined with the coldness established by the lead character, made me want to fast forward through the scene. But I sat tight and trusted Jaxson's instinct, and I was right to do so: at the end of the scene, Heist throws a towel at the young agent and spits out a chilly, "Now clean up and get out", leaving the young man hurt and confounded. (Ryder is excellent here - the emotion on his face is subtle but convincing - you feel used for him.)

In the second scene, which occurs at the end of the film and takes place within Heist's vision of the past, and between lovers Raif and Joe (played quite competently and movingly both in this episode and previous, by Arnaud Chagall and Ricky Roman, respectively - lesser actors in these roles would have altered the effectiveness of the films greatly), the romance is palpable, the mood quite different. Here, the occasional dirty talk is done lovingly, in stark contrast to the previous sex scene. This enormous contrast provides considerable food for thought, both about the porn world and about sexual human nature.

Self-portrait, Jake Jaxson, 2012.

I missed the creepiness factor in this episode. The storyline which provided it was gone when the mystery was blurted out early.  After that, we seemed to be taken in a direction in which we hadn't traveled before, which was never creepy and much less interesting. I wonder if a few minutes of ending - both to show the change evolution in the lead character and to revisit the poignancy of the love story shown in the earlier episodes - would have wrapped this all up more successfully.

The same high-quality production values that were present in the first two episodes of The Haunting are evident in this one: soft, gold-tinged lighting, alteration of focus to change mood, very competent acting from amateur performers, beautiful setting and music. In earlier episodes the beauty of the decor and the soothing nature of classical music made a stark contrast with the tension of the ghost story. Here, without much ghost story, these elements were simply a pretty setting.

I want to emphasize that which I said in my earlier article on The Haunting: watching this will amaze you. Early in the hours after the release of Part 3, Zachary Sire wrote in a review for the gay porn blog The Sword that "...Cockyboys' Haunting finale should make other gay porn studios very, very scared . . . no other studio is taking adult film to places . . . that it's never been before." Sire is right. Jaxson has dared to tread on untested ground: explicit, story-driven erotica and good quality filmmaking can be successfully combined, and he has proven it.

“Gay porn awards shows don’t give out awards for videography, editing, scores, and scripts, but if they did, this is where all the nominations would come from.” - See more at: http://thesword.com/cockyboys-haunting-finale-should-make-every-other-gay-porn-studio-very-very-scared.html#sthash.LZ0Cv3Yo.dpuf

Watching this film is fascinating, thought-provoking, and hot. Considering the overall package - episodes 1-3 of The Haunting - Jaxson has established himself not only as an innovator in his industry, but as a storyteller and innovative filmmaker. As is true with any artist of unusual creative vision, or any filmmaker of talent, he can only get better and better, his vision can only stretch further and to new, even more unexpected limits. I can't wait to see what he does next: it's guaranteed to be no less than inspiring.

***

The three episodes will be available soon on DVD as a complete film. Check Cockyboys.com in coming months for details. 

no other studio is taking adult film to places like…well…places that it’s never been before. - See more at: http://thesword.com/#sthash.NPSIP9By.dpuf"

CockyBoys’ Haunting Finale Should Make Other Gay Porn Studios Very, Very Scared - See more at: http://thesword.com/#sthash.NPSIP9By.dpuf

See the official trailer for The Haunting.  The trailer for Part 3 alone is here.

The price of a trial membership at CockyBoys.com is well worth seeing these films for literary and film-making merit as well as for some beautiful men doing what they do best.

Visit Cockyboys and Jake Jaxson on Twitter at @cockyboys .
See Jake Jaxson's website at http://www.jakejaxson.com . 

HUMOR! Now why couldn't I write this??

Recently, a friend suggested I write humor for a blog he hosts. I told him I was terribly flattered, but I can't write humor; friends would tell you that in my real, outside-the-internet life, I'm actually pretty damn funny. Go figure . . . I write dark, emotional novels.

I have been studying humor writing - I'm convinced that people who can do this are just wired a certain way: their brains translate the eccentric, hilarious way they view the world, into the keyboard. With me, the eccentricity goes out my mouth, and never makes it onto a keyboard. But I say it here out loud - you're all witnesses - I will learn to write humor. Maybe this decade!

Meanwhile . . . I present for your consideration and amusement the funniest thing I have run across this week, by young model Max Ryder, who lives in New York City and apparently is far too familiar with the joys of riding the subway. Thank you, Max, for this side-splitter! If you ever need an alternate career, consider comedy writing, seriously. You'll make a fortune! Meanwhile consider yourself the holder of a standing invitation to write posts for this blog!

(Max's blog - not suitable for work or the prudish! but always entertaining and often touchingly  insightful - is at http://www.maxryder.com. )

***

Max Ryder's Tips for Riding the MTA

If you’ve ever visited New York and you haven’t used the mothah fucking MTA then, well,  you’re NOT missing out on much.  Besides . . . well . . . hobos that piss on the floor, rats with 3 feet, and black girls in cheetah print. Wait - don’t forget the pick-pocketers, AIDS, and did I mention the hobos that piss on the floor?

It’s disgusting, but living in NYC, unless you want to always get ripped off by Ghandi cab drivers, you learn to tolerate the subway. Personally, I’ve grown to love what tourists call ‘the underground’… It’s actually one of the places where I actually have time to think. It’s cool to go down there with your headphones blasting some Lana Del Rey and your notebook; you’d be surprised at all the cool ideas you get. Actually, I wrote 2 of my most commented-upon REAL TALK posts while riding from Brooklyn to mid-town in the subway. All the cool kids take the subway anyways… Katie Holmes even takes it.

It’s not that bad, but if you aren’t EXPERIENCED or PREPARED you can end up somewhere in Harlem with no wallet and phone… So I’m going to provide a couple tips that can make your first experience one that you don’t regret.

Step 1: Don’t ever make eye contact. You can get shot, stabbed, or beaten. Unless they’re famous, a model, or have a big bulge.

Step 2: Avoid all Nicki Minaj impersonators; don’t be blinded by their bright hair… they have a dark soul.

Step 3: Never leave your wallet, cellphone, money, or baby in any UNZIPPED pocket. They will get stolen.

Step 4: Make sure you never hold on to any railing, bar, door while riding the subway. Do use old people with canes, friends,  and Asians. REMEMBER hobos pee on them.

Step 5: Don’t ever take photos of people's weird shoes… no matter oh hard you try to sneak it. You’ll forget flash is on and they’ll punch you in the face.

Step 6: Never take the subway after the club. No matter how sober you think you are, you will pass out and wake up with your shoes stolen (yes, this really happens).

Step 7: If you’re a girl with big boobs, expensive jewelry, and "fuck me" boots NEVER ride the subway after 11:30pm. You will be sold into sex trafficking.

Step 8: Make sure you’ve downloaded my lifesaver while taking the subway, the iPhone app: iTrans NYC. Use it for finding which train to take, transferring trains, train times, nearby subway stations, and info on service advisories, delays or cancellations.

I hope these helped you prepare for your next ride on the MTA. I promise it’s not bad and you WILL survive if you follow those pointers. Trust me either I know from experience or this has happened to someone I know. Try to always ride w/ a buddy!

x
Max

© Copyright Max Ryder 2013. All rights reserved.

Photo of Max, looking not tough enough for the MTA, courtesy Jake Jaxson.  
© Copyright Jake Jaxson 2013. All rights reserved.  

 

Characters: The Inspiration of Attraction

Years ago, I read an interview with Mark Twain in which he discussed his characters. Perhaps it is accurate to say that, in American literature at least, few writers have drawn more memorable characters than Mark Twain did. I was just a young, green writer at that time, and I was interested to read that he had based Tom Sawyer on a real person that he knew - a friend from his own childhood. The character of Huckleberry Finn, on the other hand, was based upon three characters merged.

In my young writer's head, I had assumed that every character was made up, from out of the thin air of one's imagination. This seemed the only pure way to go about it - to do otherwise was taking a shortcut, cheating somehow. And to admit that a character was some sort of muddy hodgepodge of three people, why that was blasphemous!

Now, years later, my mind has opened with experience. Perhaps real persons truly fascinate me now - far more than a creation made solely of my own limited imagination could do. I suppose every writer has a different method and finds a technique that works best for him or her personally - but for me, I have learned what is to me the most interesting and exciting way to build a character from the ground up.

The artwork in the illustration to this article comes from artist Rowan Lewgalon. It was a surprise Christmas gift to me. It is based upon a character I write for an ongoing project in which I am involved - a sort of medieval story (11th century) where each writer has developed a character and adds chapter installments in turn. My character is a young Welshman/Breton Celt.  Braith ap Derfael was born of many years of interest in the Celtic culture of the early medieval period. What a joy it was to incorporate those interesting details about live in that place - which I learned almost thirty years ago now - into a story setting. Once I had pulled all those details together, I knew who Braith was - his history, his heritage, what his eyes saw, what his mind worked on, how his heart felt.

But that was only a shell of a character: I needed to know, in order to describe him and help the reader see him, other kinds of details. I needed a clear picture in my own mind of Braith as he moved through the streets of early London. I needed to see him move, his facial expressions, hear his voice, predict his physicality. I find personally that the way to draw a strong physical sense of character is to base it upon real people - if I can visualize in my mind someone I have observed closely, that clear image seeps into my work, draws the reader closer, and makes the character a stronger experience for the reader.  And here is the key: the only way I can know so many details about the physical essence of a character, is to have based it upon someone with whom I was enamoured.

Now I don't mean enamoured in the romantic sense. I mean enamoured in the sense that the person fascinates me. It's so much more than cerebral: there are some people who move us deeply, who we feel some knowledge of instinctively, before we really do know them.  Our experience of their presence in the world changes us, and we can't look away.  They may be someone who is truly a friend; they may be a family member; they may be a teacher or mentor; they may be a person whom we have encountered in the course of life who seemed troubled and lost, but held some magical, mesmerizing quality all the same; they may be an entertainer or other public personality.

In my own life, I am particularly drawn to two things:  people who are creative and innovative in their lives and mode of thinking, and people who are strong-willed in some sense.  Not coincidentally, my main characters have these traits as well. It is logical, fascinating, inspiring and lucrative for me to take the personalities I admire in real life and transfer them to my writing.  I'm not saying, however, that I think of someone I like and simply write them as a character, trait for trait. Not at all. Rather, I use the physical essence of a specific person from real life, and then write a character around that.

Look closely at Braith: those who know me recognize a certain entertainer. Rowan did not do this by accident: although Braith has little in common with a modern-day musical artist, she recognized small elements in my descriptions of Braith's looks, movements, speech pattern, etc. that suggested a specific person.  She was correct: keeping this person in my mind's eye made drawing a physical image of Braith very easy.

In my novel Gentlemen's Game, the character of Greyson - both physically and in terms of speech pattern and movement - is based upon a character from a television series I follow closely. I believe I borrow his looks from the actor, and his demeanor more from the character he plays (the character being very different from the actor's normal demeanor). In that sense, Greyson is a combination of two people. Other details - his profession, carelessly fashionable dress, past history - came from my imagination.  Thus, Greyson is uniquely mine, but because I was able to visualize a real person as I describe him, he rings truer in the reader's mind. I am able to present a picture in sharper focus to the reader.

The character of Jack in the same book is a little tougher. I saw Jack in my mind's eye physically, and he was also based upon someone I knew, but he was a much younger version. Still, having a real person set in my mind allowed me to write a better Jack.

For my story Quandary - upon which an upcoming novel is based, many readers are struck by the young character of Ryf. This character was a mix that was fascinating to me: he was a combination of another entertainer physically, with exaggerated edginess, and also a little of a teenager I know thrown into the mix. When I combined these two real people with elements of my own experience and imagination, I came up with an extremely unique character - nearly eccentric, and thus memorable - and once again I was able to paint a very sharp image of him physically for the reader.

Now, I look back on Mark Twain's words, and in the garish light of age, I understand I think what his technique must have been. He took people he knew, added and mixed, and came up with unforgettable characters because he was able to recall, visualize, and relate to the reader a very specific phyical presence for his characters - based upon looks, mode of dress, speech pattern, gestures and expressions - all the details that make a person fascinating. 

Next time you're feeling that you can't see a character clearly - pull that list from your mind of the people you are most strongly drawn to in life. Visualize those individuals who hold your gaze and attention - whether for positive or negative reasons - those people for whom the details of their essence are etched in your mind. Use the clarity of that vision, along with your imaginings, in your description to paint a picture for your reader that will render a character truly one of a kind - unforgettable!

Review: The Rebuttal

Review: The Rebuttal
by Romell D. Weekly
Genre: Non-fiction (Apologetics)
5/5 Stars * * * * * 

Pastor Romell D. Weekly had a revelation. In 2008, troubled by the anti-gay feeling he saw in the congregation of his Missouri church, and the anti-gay rhetoric he heard from other theologians, he began to do something he hadn't before: to study the Bible in great depth, with cold hard logic and an objective eye. His instinct told him that insisting that he himself read the "clobber" passages in the Bible - those that are used routinely to condemn homosexuality - in their social, historical, theological and literary context, would lead to the truth.

I was raised in a liberal church. The Congregational Church - more formally known as the United Church of Christ (U.C.C.) - was the first to openly welcome and advocate for, the GLBT community, back in the 1970's. It's basic tenets support acceptance and tolerance of ideas. The notion that the Bible would be used to reject, to shame, to exclude, to justify hatred and the denial of dreams and the dissolutions of families, was something foreign to me, and still shakes me to the core when I encounter it. Equally, the anger present in the GLBT community toward Christianity as a whole is disheartening to me: I have never known how to explain, how to prove, how to shout loud enough to be heard over the intensity of fury, that not all churches operate in the same way. And of course, I myself see the bigotry in churches that twist the religion of my youth, and don't know how to confront it intellectually, when their entire theology is built upon hatred, exclusionary thinking, and blind emotion. And so it was with a sigh, a lot of skepticism and a tiny bit of hope, that I sat down at a cafe on Sunday with a large pot of coffee, to dive into The Rebuttal.

But Pastor Weekly surprised me at the first paragraphs, and went on to do it again and again. The new perspective that Weekly's studies had given him, had offered a life-changing choice: placate his congregation, stay quiet, toe the line  - which meant leaving  centuries of misinformation and bigotry unchallenged; or stand up, tell the truth, encourage the changing of minds, and endure the consequences.  He made the braver choice, lost his congregation, and was faced with building a new one from the ground up.

Weekly has gathered his arguments into The Rebuttal: it offers a logical, informed presentation of the arguments that anti-gay "Christians" rely upon to propagate a mythology that caters to - as Weekly describes it - predetermined negative attitudes toward gays. Weekly - all the while maintaining a calm, respectful, informative tone - directly addresses the assertions of six of the most prominent anti-gay theologians of modern Christian scholoarship: Robert Gagnon, Dr. James Dobson, Joe Dallas, Thomas Schmidt, James White, and Jeffrey Niell. His attacks are never personal, they are focused solely on the instability of the argument.

The book begins with an overview of the history of the anti-gay position in terms of Christianity. Weekly focuses on two issues. First, he looks at the tendency of human nature to form an attitude and then interpret scripture to back it up. He discusses the ways in which this has obviously been in play historically and in terms of the modern-day teachings from some Christian groups.  And then - for we history fanatics, the fun really begins - Weekly discusses each of the commonly-quoted passages used to back up bigotry, examines them through a correct historical and social context, and then carefully dismantles each one. He uses a broad view of the history behind each passage - social movements and customs of the era, as well as comparison to like passages - to put specific verses into context. He drives his point home again and again - that not one of the controversial passages stands up to scrutiny as proof of the validity of anti-gay thought, when examined in these contexts. In the case of each passage, he finishes by looking at the writings of the six men listed above and discussing precisely why each argument lacks merit.

Weekly is one of those rare people who reached a frightening turning point in his professional and personal life, and has stood up to the status quo and accepted the personal cost without complaint, his eyes intent on the prize: which in his case is the mission to educate and to recreate a Christianity that is a safe and welcome place for all, regardless of sexual orientation.  The Rebuttal is easily accessible to the casual reader : the language is conversational and non-scholarly, while the material itself is meticulously researched. Arguments are clearly and skilfully presented, and points thoroughly discussed. It is a comfortable, enjoyable, enlightening, and ultimately extremely hopeful read.  It is everything, really, that a rebuttal of this long-standing fallacy should be.

View a trailer for The Rebuttal here. 

The Rebuttal can be purchased through Amazon (where it is available in paperback and for Kindle download) and at other retail outlets, or directly from the book's website, from where one can also download a free chapter.
 
Pastor Romell D. Weekly is the pastor of New Revelation Christian Church, in Saint Louis, Missouri. He is also the founder and president of Judah First Ministries, a non-profit organization committed to advocating truth and justice within the Christian community and society.

Interview: Author A.V. Barber

Andrew V. Barber, whose first book was released under the name A.V. Barber, is an accomplished poet and essayist. His unique writing style combines poetry and prose, and ranges from easy, straightforward writing to the more complex. His collection Me, My World, and I (2012) is a delightful mix of photography, artwork, musings and poems. He is currently working on a romance novel, Lion Hearts with writer Maree Ward-Russell.

Andrew Barber : I was born on the 16^th August 1969 in the small Fenland Market town of Wisbech and grew up in the villages nearby. From the age of 16, I developed a passion for travel and have been a bit of a rolling stone ever since.

I wrote my first poem in 2011 and lost my heart to writing poetry soon after. My debut book, Me, My World and I, was launched in the autumn of 2012. I love nothing more than sitting before a log fire on a cold, dark winter’s day with a glass of brandy and a keyboard.

Lichen Craig : Andrew, I have been looking forward to this!  Readers should know that you are one of the kindest people I know, in addition to being talented. I'm pleased to be able to introduce you to people who don't yet know you and your work!

Your work is unique in that your poetry can be very prose-like, and your prose can read like poetry.  That style really defines you. The other big point to make about your work is that you write about the common man, everyday subjects, everyday beauty, emotions that we all can relate to. It is obvious from reading reviews that, that quality really appeals to readers!

Your first book-length collection of poetry, “Me, My World, and I” has been fairly well-received. I think you have something to be really proud of, since your style of poetry is complex compared to much modern poetry and could have proven intimidating to the average non-academic reader.  Do you have any thoughts yourself on why the book appeals to people?

AV : First of all, thank you for your very kind introduction, people are always so very nice, repaying that in kind is easy.

I am not an academic and was far from being a scholar at school, I guess the truth is, I am just an ordinary guy who himself feels intimidated by the institution and their interpretation of poetry. Perhaps this shines through?

I wanted to paint a picture of the world through my eyes. As I say in the early pages of the book, you don’t have to agree with what I write, even disagreement is a reaction.

I really love to write in a classical style and I am not a fan of long drawn out poems, my aim was to create short pieces that are easily read and have meanings with which the reader may easily associate.

Most of my works have metaphor but I invite the reader to make their own interpretation. I believe that the consumption and enjoyment of poetry doesn’t have to rely on the reader seeing the same meaning as the poet.

I also include prose with each poem giving background to the work. From what I am told, many people tend to read the poem, then the prose, before going back to read the poem again, this time with new meaning.

I guess all of these things may help, but mostly I just hope that my work is enjoyed for what it is, words from the heart about life.

LC : I find your “essays” on your blog fascinating, in that what you dub “essay” is really a sort of prose poem. Again, as in your book, we see the melding of prose and poetry. While you are writing freeform as in prose, your words contain a continuous stream of metaphor, imagery, hint rather than blunt statement . . . all the elements of a poem. Again, as in your book, we see the melding of prose and poetry I see few people mixing prose and poetry successfully, as you have. Is this a style you developed over time?

AV : Indeed it is, and the process is ongoing. I am really still learning my craft; I haven’t been writing very long and am still very much finding my way.

When I write, I feel a rhythm within the lines and spend quite some time in the edit phase shaving words here and adding words there. It was never a deliberate act to write in this way, more an accident that came from a wish to shape lines and make them flow in a pleasant fashion.

I love the use of metaphor because it allows you to create more than one story at once and leaves the interpretation entirely open. Imagine writing a book where 10 people may see a completely different start, middle and end.

LC : Are you still working on the “postcard project”? I know that it has a lot to do with travel – and you are well-traveled and love it – and that it will feature the same prose style poetry as does your first book. What else can you tell us?

AV : Postcards should hit the shelf around October of this year. It has some similarities with my first offering too, in that the two books share the same format, chapters formed from one poem, 2 pages of prose and a picture.

I have always wanted to write a travel book, but wanted to give it a slightly different slant. This isn’t a book that describes the best places to eat or the best hotels but more a look at the sights and sounds of Europe through the eyes of a poet.

I have a lot of work to do between now and August, and am still researching destinations for some of the chapters, but it is an exciting project.

LC : Tell us about your new project, Andrew!  You are working on a romance novel, Lion Hearts with writer Maree Ward-Russell, where the story takes place in medieval times during the Crusades?

AV : This really has taken on a life of its own. It’s odd really because formally we don’t begin work until August but there are already a number of Lion Heart essays, a popular fan page and a well developed back story. Maree has also added two “chapters” of spoiler prose with a third coming - so we have quite a bit of momentum.

I have always wanted to write a novel but knew absolutely nothing about how to go about it. Maree has been great in giving me guidance and as a result we are fast building a plot. When August comes around we will really hit the road running.

The story follows the adventures of two lovers, Merek and Lilly, during the Third Crusade. This is a period often depicted with deeply romantic overtones, being as it is, the late twelfth century and the reign of Richard the Lion Heart.

The plot so far is really quite beautiful, it’s a love story with twists and turns, battle, betrayal and intrigue.

LC : Andrew, I’m always curious . . . what is your background in literature?  When I read the first lines I ever saw from you, I was strongly reminded of the years at university that I spent studying 19^th century English poets – you particularly bring to mind Tennyson, Wordsworth and Coleridge for me.  Where does your voice come from in your own opinion?

AV : It is an enormous honour to have my name uttered in the same breath as the masters, not alone have comparisons drawn, thank you. I would say that these poets, along with the Bronte sisters, Mary Barber, William Blake and Alexander Pope are those I consider to be my favorites.

I don’t have a literary background, as I mentioned earlier, I was never considered a scholar at school and due to teaching methods, failed to enjoy English Literature as a class.

I guess for this reason I still flinch a little when people call me a poet, I am still expecting the academics to pull me to pieces or other “poets” to debunk my work.

I really only started reading poetry after I had begun writing. I used Google to learn about rhyming schemes, meter and styles and adapted my style to suit what “felt” best for me. My work is entirely from the heart and formed from my love of the classical style.

Of course I missed out on a lot; I was 41 before I wrote my first poem and 42 before I formed my deep interest in the work of the masters.

LC : What writers have influenced you?  Both in terms of sheer inspiration and/or in terms of style?  Why do these particular people speak so strongly to you?

AV : I enjoy the work of Bill Bryson, his prose are very down to earth and lead you on a journey in such a way as you feel his equal. I guess this played some part in the way I approached the prose in Me, My World and I.

Another would have to be my good friend Kelvin Fowler, a published poet and author from New Zealand. He is also my co-author in a current collaboration called Black & White. It was he who originally encouraged me to write and he offered the early support that lead to where I am now. His work is very different to mine, but that is the beauty of all forms of art, diversity.

Maree Ward Russell has played a big part in my writing because before I started working with her I had no idea about things such as back story and how to properly plan. I have just finished her book The Transient and this did play some part in the inspiration behind my work entitled “Elsewhere”.

I guess the other would be C.S. Lewis, I remember losing myself to The Lion, the Witch and The Wardrobe at primary school and formed an immediate interest with the concept of creating new worlds through words.

LC : Do you write daily? Is that discipline, or does it come easily for you?

AV : I have a hectic day job that comes with travel and responsibility so sadly my writing still largely has to take a back seat. I set myself targets and try where possible to stick to them, but it is very hard.

I try to produce essays for my blog every Tuesday and Saturday, these are important because in the autumn of this year I plan to publish a book featuring these works  along with a few more written specifically for the project.

In between times, there is my work on Postcards, poems for Black & White with Kelvin and my work with Maree on the back story for Lion Hearts.

LC : How old were you when you began to write? Was it poetry or prose?  Did you aspire to be a poet, or has that come in later years?

AV : From primary school onward I loved to write stories. In my teenage years I wrote a lot of paranormal fantasy and science fiction, all of it in long hand and all of it very badly. But my dream always, was to one day see my name on the cover of a book.

Due to my academic background, I never would have dreamed that would day I would be writing and reading poetry and had it not been for Kelvin, I may never have done so.

LC : As a novelist and a former writer of non-fiction, I find that poets are a different breed altogether!  They seem much more solitary in their work, perhaps less gregarious, much more contemplative. Am I crazy?

AV : I do like space and time on my own so I guess if your theory is correct I may have always been a poet and just never known it. I have always analyzed everything, to the degree that it is a weakness. Everything has to be filtered and thought about deeply.

That said, I do love socializing and really enjoy being around family and friends – just as long as I can withdraw and have my own space in between times!

LC : What do you like most about writing? What do you like least about it?

AV : I love being able to create worlds and move characters around within their space. I also love being able to express myself in a way that allows me to “unload”. I really love the feeling of elation that takes over when I finish a piece I am pleased with. Writing has also allowed me to meet lots of very nice people, so that should be included too.

I dislike the frustration that comes with gazing at an empty screen with a flashing cursor. I also struggle with the constant fear of not being very good, or being torn apart by academics and poets.

LC : Where do you ideally see your writing going in the future?  How should it evolve?  What are your goals in say. . . ten years?

AV : My ultimate goal is to make it my fulltime profession so I guess a more traditional publishing contract would be a very big step for me. It is very hard to get noticed in literature and perhaps even harder for a poet.

I would like to continue learning styles and methods and evolve my work accordingly. This means challenging my boundaries and pushing new limits which is not without risk.

I certainly would like to keep myself busy with a regular stream of new work hitting the shelf each year and would love to see Lion Hearts grow into something big!

LC : Is there anything else you would wish readers to know about you? 

AV: Only that I am very grateful to you for this interview and to them for reading it.


See my review of Me, My World, and I right here at LichenCraig.

Andrew’s wonderful, inspiring blog can be found at http://www.avbarber.com .

Find his book, “Me, My World, And I”  at Amazon.com .

Follow Andrew on Twitter at @authorAVBarber .

Read about “Lion Hearts” on Facebook .

Andrew’s Facebook page can be found at http://www.facebook.com/pages/Me-My-World-and-I/223078817817559

Review: Me, My World, and I by A.V. Barber

Me, My World, and I

A.V. Barber

AuthorHouse, 2012

4/5 stars
(See Reviews Guidelines)

When I was growing up, there was a calligraphed poem hanging on the wall of my bedroom, that my mother had hung there when I was very young. It was written by one of my great-grandmothers. It was a sort of lyrical lullaby to a child – it’s music and rhythm and rhyme simple, but softly enticing.  It hung on that wall as long as I lived there, and for several years after -during which I occasionally came home for a visit. I had gone on to adulthood and earned a degree in writing and literature: I knew simplistic poetry when I saw it. And yet, something about that poem charmed me through all those years - for whatever depth it lacked, it captured and held the ear of the reader, and there is something to that. As I read Me, My World, and I, this childhood poem came to my mind many times.

I spend a lot of time reading complicated prose, and on occasion complex poetry. Anyone following my blog knows that I truly love the complexity of real innovation in writing. And so it was a surprise to me that I enjoyed this book so thoroughly: its simplicity is refreshing, its words don’t challenge the reader to work too hard cerebrally, but rather to just relax and drift through the beautiful ride.

The book is a collection of the author’s poems about everyday impressions in the life of an ordinary man, interspersed with some easy but thought-provoking essays – contemplative musings on the meaning of the world around us and of living - and some nice black and white photos and watercolor tossed into the mix. The overall affect is a portrait of the life that we all live in common, and it’s terribly pleasant. Here is an example, a particular amusing poem about the common emotion of envy:

The Grass is Greener

Your grass is always greener, 

And warmer shines your sun. 

For those who live on your side, 

The fight’s already won.   

Here’s my glass half-empty, 

But yours is still half-full. 

I am wrapped in nylon, 

While you’re in cotton wool.   

I work so hard for nothing, 

Your money grows on trees, 

And so you’re always healthy, 

While all I do is sneeze.   

You have perfect eyesight, 

Yet glasses I must wear. 

Through my tinted lenses,

You’re so lucky I would swear.

This poetry is not the least sophisticated; there are no revelatory metaphors or skin-tingling descriptions. One will not find stunning, deeply moving, emotion-jolting poetry here – nor even poetry that requires much thought to absorb, but I’m fairly certain that this is just what the author intended. The poems are more a gentle coaxing into a specific frame of mind, from which one goes on to read the accompanying essay provided for each poem. The essays are well-considered and several left me thinking for several hours. Anglophiles will particularly appreciate the uniquely British imagery and sensibility to the poems and essays.

It is interesting that the author has more recently publicized much more complex poetry, forcing the reader to recall the great lyrical poetry of 19^th century Britain.  I would encourage the reader of this book to watch for further work from this author. Meanwhile, wait for the end of a tough day, make a cup of tea, put your feet up, and treat yourself to this soul-nourishing read. 

A.V. Barber's Me, My World, and I is widely available through Amazon.com and other retailers.

See my interview with A.V. Barber here!