Through such experiments, Lee seems preoccupied by the need to make this familiar form something different from what we think it is, so that it can more capably capture a reality that has fast been veering into the unreal. It’s not just that the world outside the novel has made this jump, but also that we cannot evade the world’s strangeness when the storytellers, and the characters into which they breathe life, increasingly come from such different perspectives.
When my wife and I moved from New York City to Los Angeles last August, I felt a tremendous sense of relief. Not because I was happy to leave New York or entirely confident that we’d made the right decision, but because I was just so glad not to have to think about it anymore. I had spent the previous year locked in an ongoing internal debate about the merits and drawbacks of living in New York, trying to decide which of our problems would be solved by leaving and which ones would follow us around wherever we went. We constantly discussed moving, and when we saw friends we talked about it with them, too. In the end, we spent so much time thinking about leaving that it seemed like the only way to get on with our lives was to just do it. Which we did.
The book documents its time, a time when homosexuality was illegal, and still described in medical books as a mental illness. It is one of the best firsthand accounts of what it was like to be gay in the mid-20th century — ostracized — separate from the mainstream world. It reveals, through its characters, how young men couldn’t admit, even to themselves, that they were what society deemed perverted.
At the LARB, Scott Korb interviews Rosie Schaap, who offers up a theory that bars and churches are both a kind of “sanctified space.” To get more insight, you could also check out her Rumpus interview, or even go watch her mix cocktails (above) with Kurt Andersen of NPR. (You could also just go buy her book.)
"There is always something lost, or exchanged, when the imagined world evoked by the written word, unique for every reader, is replaced by a provided set of visual references. In this particular case, the artist is faced with translating the unbelievable, even the metaphysical, into visual imagery, and within a relatively constrained form." Jenna Brager on Hope Larson’s graphic novel adaptation of A Wrinkle in Time.