Fiction

New York trollops

I was in no mood to hang around with politically correct activist sex workers who didn't know where to wax. Fifth in a series.

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New York trollops

Tuesday, 2/15/00: The morning after the night off

In the cab on the way to Carnegie Hall last night, I felt my temperature rising as I checked the clock on my cell phone. As usual, I had not given myself enough time to find a taxi — a bad habit that I mostly indulge in with boyfriends and rarely with clients. I closed my eyes to block out the Valentine traffic jam on Second Avenue.

I opened my eyes at Park Avenue and 57th. Two girls in smart black suits got out of a limo in front of the Four Seasons Hotel — where I would be tonight if I were working. Maybe I could somehow escape from this Sinderella Spiral and become, like Jasmine, a sexually active spinster — a woman with a past, a future, and no serious boyfriend. A woman without nosy future in-laws who ask awkward questions. A woman with less to lose! All the pieces of my life can’t possibly fit together for much longer. Something’s got to give — but what?

When I got to my destination, Matt was waiting in the lobby, looking a little shy — and rather adorable in the tie I gave him for Christmas, the one with small yellow giraffes on a bright red background. He’s mine! I thought, with a sudden surge of confidence. His face lit up when I approached.

“Each time I see you,” he murmured affectionately, “it’s a kind of revelation to me.”

I melted against the arm of his jacket and my regrets faded. The pieces do fit, I thought. With Matt, I have a future. My body, still tingling with anxiety about its checkered past, now felt safe, desirable, mysteriously protected.

My doubts drifted out of me during the recital. Later, in his bed, I closed my eyes while he — quite happily — did all the work. I reveled in my laziness and encouraged him to take his time.

Wednesday, 2/16/00

A phone call this morning from Jack! “Suzy? Are you available today?”

“I’m sorry,” I said carefully. “I, um, have an exercise class in five minutes — can’t talk.” You should never tell a john you’ve blacklisted him. He’ll want to have a long conversation with you, attempting to explain himself, pledging to reform — or trying to convince you that he’s innocent. Or he’ll try to find out who spread the word of his misdeeds, if he’s vengeful. So I’m accidentally unavailable when Jack calls. Unlike Eileen, who feels the need to confront her foes, I’m very clear about not wanting to have enemies in this business. “Can I call you back?” I suggested, as a stall.

“No, don’t call me at work,” he said nervously. “My son’s in the office. Okay, fine, call, but if he answers, just act like you have a wrong number. Call me before five — I want to see you,” he added abruptly. “I’ll come right over.”

My other phone started ringing, and I quickly hung up.

“It’s me!” Allie announced. “I just saw Jack!”

“But he just — When? Where? What’s going on? Where are you?”

“I just got home. We had lunch at La Côte Basque.” She giggled and added, “He gave me an envelope. You’ll be proud of me. I stood my ground! I told him we couldn’t have sex. He said I should keep the envelope anyway. There’s enough in here for … oh, wow. I think I made the right decision.”

“Well, he just called me.”

“He called you?” Allie sounded incredulous.

“When?”

“Just now!

There was silence. So Allie met with him, took his money, and left him with an unrequited hard-on.

“And what did he want?” she asked. “Did he talk about me?”

“What do you think he wanted? Look, if you insist on playing head games with Jack, he’s going to look for satisfaction elsewhere. And no, he didn’t say anything about you. The man is not a eunuch. Even if he agrees to act like one when he’s having lunch with you.”

“Well, I’m not possessive! I don’t care who he sees.” There was a pause in which I said nothing. Doesn’t care who he sees? Nobody asked her! But I didn’t want to be the one to point this out. “And don’t forget the NYCOT meeting,” she reminded me. “You promised to come! See you tomorrow?”

That meeting. Ever since Allison got involved with “the sex workers’ community,” I’ve noticed a definite loosening of standards. I think I preferred it when she was a Recovering Hooker, trying to kick the habit.

“Allie, you’re playing a dangerous game,” I started to warn her. “You’re not being professional about this — ” But she had already hung up.

Later

Amazing news from Karen about Franklin Street. The owners are staying put. Apparently, the wife suddenly panicked at the prospect of moving to the Upper East Side. She broke out in hives! Canceled the deal on their new condo. Had to forfeit a mortgage broker’s fee. Turns out this is the second time hubby has tried to pry his wife away from her cultural roots. And lost a mortgage broker’s fee.

“They’ve got all this money,” Karen sighed. “And the husband’s a partner at — .” She named some white-shoe-sounding law firm. “But she gets an hysterical illness whenever she has to go above 14th Street! And now that she has this child, well, she’s never going to let him tell her where to live.”

“Oh, dear,” I sighed back, trying not to sound too relieved.

Saved by a bourgeois bohemian’s worst hang-ups! I love Manhattan and its many varied neuroses. The neighborhood caste system is alive, and all’s right with the world. Or at least with the borough.

Thursday, 2/17

Pumpkin time — home at last.

Tonight, as I was leaving for the NYCOT meeting, I suddenly realized I had no idea where I was going. With my keys dangling in the door, I dashed back inside and had to boot up my laptop just to retrieve the address; I’ve been careful not to print out any of Allison’s recent e-mail. I cringed as I reread her message:

The New York Council of Trollops (NYCOT) wants YOU. As sex workers, we have been penalized for daring to transcend patriarchal concepts of sexual virtue that have kept all human beings in a state of sex-negative paralysis for millennia. Be we prostitutes, be we strippers, pro-dommes, or phone-sex workers, we are all sexual and social healers. As we enter a new millennium, we honor the history of all whores, take responsibility for healing the sex-negativity in our lives and in the penal code, celebrate the contributions of sex workers everywhere … “

When I saw the location, I groaned; my outfit was all wrong. Wear a casual fur on Avenue C and you’ll be totally misinterpreted, maybe even assaulted — what was I thinking? Suddenly, my lunaraine mink sweater looked less jaunty, less casual, and more controversial.

As the cab pulled up in front of a run-down red-brick walk-up, I was glad I had changed into my quilted black jacket, the perfect transitional outfit for traveling below 14th and back. A coat for all zip codes. You can’t tell what it costs unless you look carefully — at the inside.

On the second floor, I was overwhelmed by an aroma of burning sage, and by Allison’s latest role model. Roxana Blair is New York’s most politically correct ex-hooker. When she isn’t organizing NYCOT meetings, she facilitates VagInal Empowerment Workshops, coyly referred to as Group VIEWs. Roxana also believes that intimate relationships interfere with our sexual empowerment by discouraging women from perfecting their masturbation skills. Whatever!

So far, I’ve resisted her efforts to recruit my, er, body for a weekend VIEWing. Roxana and I have reached what I would call a vaginal detente: you don’t show me yours, and I won’t show you mine. But I did agree to attend the NYCOT meeting for Allison’s sake, on the strict understanding that this was not, repeat not, one of Roxy’s vaginal encounter groups.

“Nancy’s here!” Roxana mooed to the room. “Welcome!” She was dressed in an oversize tie-dyed T-shirt, which rode up when she hugged me. At the sight of Roxana’s unkempt pubic hair, I froze. Have I been tricked into joining one of her G-spot search parties? And why doesn’t she wax?

“I haven’t seen you in months,” Roxana continued, completely ignoring my alarmed expression. “Not since our lunch at Zen Palate.” (That’s when Roxana tried to befriend me by ordering 20 different kinds of wheat gluten followed by tofu for dessert. She was under the mistaken impression that because I look Chinese, I must be a vegan Buddhist. I haven’t had the heart to tell her that, where I come from, Chinese people are Catholic or Anglican — and carnivorous.)

I glanced around the room and saw a skinny girl in her twenties with short spiky hair and a U-shaped nose ring. Her black bra was peeking out of a half-open leather vest, but she, unlike Roxana, was wearing pants. Her jeans had holes in the knees, but, mercifully, not at the crotch. An overweight woman with chin-length gray hair, wearing a long flowered dress and black sneakers, handed me a sign-in sheet.

“For the NYCOT mailing list,” she explained cheerfully.

“I don’t want to be on any mailing list!” I said, unable to control my shrillness. “Where’s Allison?” And where were all the other members?

Nobody else seemed to care — much less notice — that Roxana was chairing this meeting without her panties. Allison appeared, carrying some paper cups and a large pitcher of red liquid.

“Oh, Nancy’s here — good. Everybody help yourselves to cranberry juice!”

“This needs sugar,” the skinny girl with the nose ring complained.

“It’s made with Hain’s unsweetened concentrate, and it’s very good for the bladder,” Roxana told her. “This is a sugar-free dwelling, Gretchen.”

“Well, we’re going to discuss inclusiveness,” the girl replied. “If we want to do outreach to the entire sex industry, we have to acknowledge different kinds of cultural norms.”

Allison scribbled dutifully in her Kate Spade organizer and looked up. “What else is on the agenda?” she asked brightly.

“We have two new members,” Roxana announced. “Gretchen and Nancy.”

Members? When did I say I was becoming a member? I guess there are no free vegan lunches. Gretchen and I regarded each other from across the room with wary expression-free eyes.

“So, why don’t we all introduce ourselves,” Roxana continued. “Please tell the room who you are, what kind of sex work you do, and why you’re here.” As members began to introduce themselves, Roxana jotted notes on a huge yellow pad, nodding emphatically.

“I’m Belinda,” said the gray-haired woman. “I’ve been a dominatrix for 20 years. All my friends know I’m a pro-domme, I have an ad in Corporal, and I’m a proud bisexual volunteer at the Gay and Lesbian Anti-Violence Project, a member of the Lambda Independent Democrats, and a founder of the Lower East Side Coalition. And I’ll be speaking at this year’s Leather Leadership Conference in D.C. I joined NYCOT because I want to make the world a better place for the next generation of sex workers.”

How does she find time to work?

“Also,” Belinda continued, “I’m having a dispute with the billing department of Screw about an ad I was running. The patriarchal males who control the adult publications are threatened by pro-dommes because we’re strong independent women who don’t give blow jobs. Now I noticed that Nancy, here, says she doesn’t want to be on the mailing list. I’d like to know why — ”

“That’s wonderful!” Roxana interrupted. “Can we limit the introductions to introducing ourselves and wait until Nancy has her turn before we start the actual discussion?”

I was not exactly looking forward to explaining myself to the downtown dominatrix who doesn’t give blow jobs. (Or take care of her hair.) Fortunately, Allison gave me some breathing time.

“I’ve been a sex worker for eight challenging and fulfilling years,” she began. It was bizarre to hear her lapsing into NYCOTspeak — “sex worker”? She beamed at Belinda, who beamed back. “I just want to say that lately I have been aware of the goddess within every sex worker. For example, my friend Nancy, whether she wants to be on the mailing list or not, has been –”

“I think we should limit ourselves to ourselves,” Roxana interrupted again. “Wait until Nancy has spoken.” Her gentle New Age manners were beginning to wear off.

The girl with the nose ring took the floor. “I’m Gretchen. Today I run a needle exchange program in Hunts Point and I have a masters in public health, but I worked on the street for eight years.” When everyone sat up, she began to vent. “The hookers’ movement is always talking about changing the laws, but what are you doing for IV-using street workers?” she asked. “Nothing! You’re all just talking to yourselves! You can’t go to Hunts Point and expect to reach women on the street by telling them how fulfilling your life is,” she told Allie. “You’re out of touch with reality. I was out there at the age of 15 — whoring! And what were you? A fucking cheerleader?”

Allie went rigid — and looked rather startled. Like the proverbial creature caught in the headlights.

“If there’s a goddess, why would she allow cops to lean on teenage girls for blow jobs? Without condoms!” Gretchen added.

Roxana cleared her throat but didn’t scold Gretchen for veering off-topic. Or for impugning Allison’s high school career. So much for limiting our introductions to ourselves! Do I detect a double standard? Unbridled, Gretchen began to berate Roxana’s elitist attachment to sugar-free beverages.

“You can’t have a policy like that at group meetings,” Gretchen told her. “You’re excluding people like me. You can’t do outreach in Hunts Point with sugar-free beverages!”

Roxana and Belinda seemed to enjoy Gretchen’s tongue-lashing.

“I want you to know that I feel privileged to be having this dialogue with you,” Roxana mooed. “I wasn’t aware of the classist assumptions I was making.”

Belinda, the dominatrix, chimed in. “Heroin should be legalized,” she said, in a rather submissive tone.

Heroin. So that’s it. I was wondering how anyone with such a pronounced sweet tooth could be so skinny.

“Um — where is Hunts Point?” Allison humbly inquired.

“The Bronx,” Gretchen said with a knowing sneer.

I managed to introduce myself as “Um, Nancy, I’m a working girl.” That was all I wanted to say.

“Thank you so much for coming,” Roxana said to me. “We want you to think about joining this committee.”

“This committee?”

“This is the steering committee. We really feel the lack of your perspective around here.”

My perspective? Does that mean I should have worn my mink sweater after all?

- – - – - – - – - – - -

Later, as we searched Houston Street for a cab, I tried to give Allie moral support. “How can you be expected to know the geography of the Bronx? You have no reason to go there!” I carped. “Gretchen didn’t have to be so snotty about it.”

Ignoring my remarks, Allison gave me a curious look. “Why don’t you talk to her about your past?” she asked. “Didn’t you start working when you were 15?”

“That’s none of Gretchen’s business.” (Besides, I was still, technically, 14 when I started hooking.)

“But you share a common experience as sex workers!”

“Gretchen and I have nothing in common. I never had to give a blow job to a cop, and I never worked on the street. And I’m beginning to wish I’d never told you anything about my life, because you obviously don’t understand it. Don’t you dare start talking to Gretchen about me! Do you hear?”

Allison blinked, hurt by my outburst, but not for long.

“You should reach out to her,” she said firmly. “I see a lot of potential for a mutually healing dialogue!”

“With Gretchen? She’s not interested in making friends with me. Or you, for that matter. Don’t kid yourself,” I snapped.

“NYCOT is committed to healing the divisions between sex workers. We Are All Bad Girls,” Allie intoned. “Roxana says we have to expect — embrace — our growing pains … The process of empowerment involves change, and change involves — ” A vacant cab interrupted Allie’s train of thought, and we got in.

As we headed up 1st Avenue, Allison continued to chatter. “Change — sometimes even for the sake of change — can reveal our hidden strengths as agents of social change … ” At 59th Street, she ran out of steam and changed the subject. “I’m going to be interviewed next week. Did I tell you? The producer called today. Roxana has to go out of town that night, and she says I’m ready to represent NYCOT publicly — ”

“You can’t go on TV! Have you lost your mind? Everybody in your building will recognize you! And nobody will ever work with you again! Do you think Liane would let you work for her if she saw you on — ”

“Noooo, silly, I’m going to be on the radio – it’s a call-in show!” Allison reassured me. “Besides, Roxana takes all the TV calls. She says I’m not ready for TV.”

I breathed a sigh of relief. Roxana’s grabby sense of turf should keep Allison off TV for quite some time.

“What was that Roxana was saying about ‘my perspective’?” I asked. “I hope you haven’t been telling her about my past.”

“We don’t have a woman of color on the steering committee. NYCOT is facing the challenge of diversity. We need a committee that looks like New York.”

“Let’s see: You’ve got a dominatrix who’s a partisan Democrat. A heroin-addicted streetwalker with an attitude. And a blonde who’s always late with the rent,” I said. “If that isn’t a committee that looks like New York, I don’t know what is.”

Allie frowned and opened a small compact. She dabbed her nose. “Jack showed up again — I wasn’t expecting him! I was seeing someone, and my doorman buzzed. He said, ‘A gentleman wants to bring a plant upstairs.’ So I told him I would pick it up later. Then Jack started calling me” — she lowered her voice so the cabdriver wouldn’t hear — “while I was trying to get this guy off! And the phone wouldn’t stop ringing because Jack knew I was in the apartment. He left a bunch of messages, begging me to pick up the phone. Why do men say ‘pick up the phone’ when they know they’re already in voice mail? It’s crazy! My customer was really nervous. He took forever to come — all those interruptions!”

Recalling the interruptions, she looked flustered.

“He’s acting like a lovesick teenager!” I said. “An adult sends flowers — or brings them when he’s invited.”

“You’re right,” she said, with an odd smile. “He is.”

“And it’s not amusing when” — I dropped my voice, too — “a client does that. It’s a stalker thing. Completely unacceptable.”

“Well, I do have a doorman to protect me from stuff like that.”

“Great. Jack’s making a spectacle of himself in front of your doorman. And screwing up your existing business! You’re going to be sorry you took that money.”

“I know what I’m doing,” she proclaimed.

“That thing Gretchen said. Were you a cheerleader?”

In a stiff voice, she said, “That’s completely irrelevant. It has nothing to do with any of this. I don’t want to talk about it.”

“Sorry! I didn’t know it was such a sensitive subject.”

She feels perfectly okay about barging into my past and bringing up my teen hooker years, yet she’s hung up about … being a cheerleader? I guess she’s embarrassed. Being a former cheerleader won’t help her — or might even hurt her chances — in a popularity contest that puts so much store in a girl’s street cred. She may have changed, but she hasn’t exactly grown. In fact, she’s still a cheerleader; Allie hopes I’ll reveal my history to Gretchen because it will make her look better for having brought me to the meeting. Trying to use me to increase her own credibility as a hooker! You’ve gotta watch these cheerleaders — they’re an exploitive breed. Even when they think they’re being avant-garde, they’re really trying to be popular.

Anyway, home sweet home — where I’m greeted by my boyfriend’s amorous voice mail. He’s working late at the office, he misses me, he’ll be finished at … just about now. But I’m not in the mood for an impromptu sleepover! Being stuck in Roxana’s living room for two hours, surrounded by the reek of incense and badly dressed girls, has completely turned me off to all forms of lovemaking, paid or unpaid. And besides, I’m saving myself. For an early-morning date at the Carlyle with Jasmine. Do I call him back? Pretend I’m not around to get the message? What is the etiquette when a working girl becomes engaged?

Lately, I’m paranoid about having him in my apartment. I worry about Matt finding things while I’m fast asleep. Like those over-the-top black crotchless panties I wear for Milton. With the red frilly opening. Yikes.

- – - – - – - – - – - -

From the forthcoming book “Diary of a Manhattan Call Girl” by Tracy Quan. Copyright (©) 2001 by Tracy Quan. To be published in August by Crown Publishers, a division of Random House, Inc.

“Frankenstein” remixed

This masterful new adaptation of Mary Shelley's classic novel may be the best interactive fiction yet

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This originally appeared on The Chimerist, a site devoted to the intersection of art, stories, and technology.

Whatever interactive fiction is (and we’re still figuring that out) it suffers from all the problems of traditional fiction and then some. The vast majority of novels and short stories aren’t much good, but when a branching fiction — along the lines of the old “Choose Your Own Adventure” children’s books — fails to engage, the first impulse is to blame the form rather than the content. Let “Frankenstein,” just released by Inkle Studios and Profile Books, serve as a reproach to that reflex. The app is a creative, subtle and sensitive adaptation of Mary Shelley’s classic novella, and it has singlehandedly renewed this critic’s hopes for interactive fiction.

What this “Frankenstein” isn’t is a replication of the source text with the addition of a lot of digital doohickeys like sound effects and illustrations that animate when tapped. The app is all about the text, even if it is beautifully framed by period art and anatomical illustrations. The reader is presented with a screenful of narration and then offered one or more responses to it. The preferred response, when tapped, delivers up another screen of text. (In an absurdly pleasing visual touch, these appear as sheets of paper fasted together by straight pins.) According to the press materials, the reader’s responses will shape the way the narrative is presented, although not to the degree of substantively changing the plot.

This is an important point. The pleasure of storytelling lies in the dynamic between the surprising and the inevitable. The reader wants to feel the story is going somewhere, that its events follow from each other in meaningful, but not too obvious ways. When a story can go anywhere, it feels meaningless. In Mary Shelley’s novella, which is saturated with the Western tradition of the tragedy, Viktor Frankenstein’s character is such that he must create a monster, and the monster’s body is such that he can never belong among human beings however much he yearns to. A “Frankenstein” that ended with either misfit finding a comfortable place in the world would be a travesty.

But that doesn’t mean the reader doesn’t long for the story to unfold otherwise; that’s the nature of tragedy. The great insight that writer Dave Morris brings to this adaptation of the novel is that while a reader cannot significantly change the outcome of the story, the interactive element can change the shading and flavor of the tale. It can be mournful and reflective or action-packed. The creature and his creator can show greater or lesser ambivalence about their own behaviors. The ambiguity of both figures is baked into Mary Shelley’s novella, and while Morris has nearly doubled the word count of the original, this mostly amounts to playing up or down what’s already there.

Morris — a novelist who has written graphic novels, games and, yes, Choose-Your-Own-Adventure stories for kids — has changed the original text in other ways, as well. (Let’s take a moment here to point out to all future narrative app developers that hiring a real writer who actually knows what he or she is doing is totally worth it.) He’s moved the setting to revolutionary France, a choice that shows shrewd understanding of the idealistic political climate that affected Shelley’s thinking; the new Republic is its own kind of Frankenstein’s monster. He’s also eliminated much of the 19th-century framing of the tale and converted it into two present-tense narrations. One is Frankenstein’s dialogue with either himself or a (possibly imaginary) companion. The other is a second-person account of the monster’s first weeks of life as it spies on a family of dispossessed French nobility and has the chance to observe the loving relationships it can never enjoy itself.

Morris presents the reader with choices I’ve not encountered in other interactive fictions. Is humanity mostly good, or mostly evil? Does the most recent development make you (the monster) feel hope or despair? Is the revolution the dawn of a brave new world or a descent into chaos and barbarity? While I’m usually skeptical that present-tense narration increases the “immediacy” of a story, in this case, it really does work, particularly in the sections concerning the monster. Depending on your own outlook, you may urge him to keep trying to connect with humanity, or promptly forward him on to homicidal rage.

In either case, the narrative is shaped not by the reader deciding to turn left or right, to go down into the cellar or to get out of the house — the usual actions offered on the choose-your-own menu. Instead, the options have more to do with personality and interpretation, beliefs and ideas. As a result of the reader’s choices, the characters seem more like him- or herself, with a concurrent ratcheting up of emotional investment. To my surprise, I found myself more moved by this adaptation of the Shelley novel than I have been by the source text. (Although the app does include the original if you want to compare and contrast.) This is the only interactive fiction I’ve ever read with that quintessential, old-fashioned readerly avidity: the hunger to know what happens next. Of course, I already knew, but that didn’t matter at all.

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Laura Miller

Laura Miller is a senior writer for Salon. She is the author of "The Magician's Book: A Skeptic's Adventures in Narnia" and has a Web site, magiciansbook.com.

“The Cove”: A mysterious skull

A new novel begins with a shocking discovery that takes us back to love and life in the South during World War I

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This article appears courtesy of The Barnes & Noble Review.

Ron Rash’s atmospheric, strangely uncomplicated novel, “The Cove,” begins with a scene of melancholy and abandonment, the promise of obliteration, and a shocking discovery. It is 1953 and a man called Parton, a scout for the Tennessee Valley Authority, is investigating a remote parcel of land in North Carolina’s Appalachia for inhabitants who will have to be evicted in advance of the valley’s inundation. In a small notch — from which the book takes its title — over which looms a light-exterminating, anvil-shaped cliff, he finds a deserted farm. Pasture fenced by sagging barbed wire, a collapsed barn, a cabin and two wells are the desolate relicts of past life and labor. The general doominess of the setting is further enhanced by an ash tree decked in charms against evil forces, dead American chestnut trees (victims of the plague that wiped them out across the land), and the memory of the now extinct Carolina parakeet. Parton, thirsty, manages to winch up a bucket of water from one of the wells — and with it a human skull.

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I give little away in revealing this, as it occurs on page 4; it takes another 243 pages and a step back to the late summer and autumn of 1918 to discover the skull’s owner. It is then, during the last months of World War I, that the story takes place. At its heart is Laurel, a young woman afflicted with a large birthmark. She is shunned by the residents of the nearest town, Mars Hill, who believe that the cove is cursed and that she herself is a witch. Both her parents are dead, and with occasional help from a neighbor, she survived the previous summer alone on the farm while her brother, Hank, was away fighting in France. He has returned, absent a hand but resolutely capable and preparing for marriage.

In passage after passage, Rash describes life and work on the farm in its dailiness — the preparation of meals, tending to chores, mending clothes, setting fence poles, pulling wire — creating a sense of order and industry that would seem to promise future happiness and prosperity. But as the initial scene of desolation and death promises the reverse, an air of menace and foreboding pervades the story. And, indeed, like the waters that will inundate the farm decades later, powerful, destructive forces are gathering outside the cove.

On one of her forays to do her laundry in a stream away from the farm, Laurel hears and secretly observes a young man resting in a makeshift camp, playing a flute; days later she finds him near death, stung by a swarm of wasps. She brings him home; he recovers and produces a piece of paper saying that his name is Walter and that he cannot speak or read or write. As we — unlike Laurel or Hank — have already learned that a man has escaped from what turns out to be an internment camp for Germans, we get the picture. Walter won’t speak, but he will help with the farm, and this he does handily, capturing Hank’s admiration and gratitude — and Laurel’s heart.

All the while, anti-German hysteria is escalating in Mars Hill, a volatile temper encouraged by one Sgt. Chauncey Feith, a preposterous character ripped from a handbook of one-dimensional villains. Vainglorious, opportunistic and cowardly, he is a jingo, a sneak and a bully. The son of a politically connected banker, he has been deployed as the town’s recruitment officer, thus avoiding the perils of the battlefield. He has gone about this zealously, congratulating himself at every turn for sending young men off to the war and priding himself on being an “unsung hero, because you couldn’t go around telling people that any man can hold a rifle and stand in a trench but only a select few could do what a general or commodore or recruiter did.” That’s Chauncey Feith for you — believe it or not.

If Walter were to show up at Mars Hill and be recognized, there is no question that he would be strung up as a Hun. Meanwhile life and love go on at the farm. Walter helps Hank in sinking a second well, and the description of digging and lining it deep, deep in the earth is wonderfully potent. Indeed, Rash’s material detail, depiction of work and evocation of place — of nature, woods and stream, the play of light and the oppressive dark of the monstrous cliff — are truly splendid. Still, between the threat of a lynching and scenes from the cove, a vacuum yawns, and into it flows one simple question stripped of complexity: Whose skull? Or, put another way, happy ending or sad? The answer, when it comes, seems perfectly arbitrary.

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“Kingdom Come”: Terror in the London suburbs

A new novel traces an advertising executive's search for his father's murderer in a menacingly bland town

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This article appears courtesy of The Barnes & Noble Review.

J.G. Ballard was born in 1930 in Shanghai, China, and returned to England in 1946, having been interned with his family in a Japanese prison camp, an experience that inspired his most popular novel, “Empire of the Sun.” Ballard’s astonishing fiction ranges across continents and galaxies, but a quiet London suburb was his home until his death in 2009, and it is to the suburbs that he returned in his last novel, “Kingdom Come.” In its opening pages, the narrator, a London advertising executive named Richard Pearson, travels to one of the “perimeter towns dozing against the protective shoulder of the M25″ to find out who murdered his father.  It sounds like the setup for a cosy English mystery.  But this is Ballard.  It will not be cosy.

Barnes & Noble Review“The suburbs dream of violence,” Ballard declares as we enter the blandly menacing town of Brooklands. Among this “placid sea of brickly gables” Richard searches his father’s flat for clues to the life — and violent death — of a parent he barely knew, a pilot who had “flown millions of miles … and then died in a bizarre shooting incident in a suburban shopping mall.” Three others died, and the suspected gunman, a mentally unstable local, is arrested but then released. The police, the family lawyer, the doctor who treated Richard’s father — all appear to be hiding something, while many respectable Brooklands residents seem to have formed a fascist militia.

When Richard first witnesses a racist attack, he concludes that “a new kind of hate had emerged”; its hub is the Metro-Centre, the mega-mall in which his father was killed. During one visit, Richard sits beside the mall’s manmade beach, where Julia Goodwin, his father’s doctor, has arranged to meet him. “The wave machine had been turned to its lowest setting,” he notices, “and a vaguely gastric swell, like a suppressed vomit reflex, flowed across the colorized water.” This languid, sickly image could only be Ballard’s. No other writer so effectively alienates his readers — and his protagonists — from an everyday reality that he reveals to be shifting, often nightmarish terrain.

At the same time, he soothes us. In “Kingdom Come,” as in Ballard’s short stories and in novels like “Crash,” the rhythmical balance of the sentences has a tranquilizing effect, like the shushing roar of the ceaseless traffic on the motorway outside Brooklands. Richard, too, seems oddly numbed as he probes his father’s involvement with local thugs, falls in love with Julia Goodwin, and is increasingly drawn to the Metro-Centre and to the figure of David Cruise, the mall’s TV celebrity.

The novel’s pace quickens as violence spreads and the Metro-Centre comes under attack. “Fights broke out, fists flailing through the workmanlike rise and fall of police truncheons” as screams are drowned out “by the blades of army helicopters cuffing the night air.” Soon the mall becomes a fortress, hostages are taken, and the wave machine churns up a corpse. Emerging from the wreckage, Richard predicts that “In time … an even fiercer republic would open the doors and spin the turnstiles of its beckoning paradise.” In his final, elegiac vision of suburban apocalypse, Ballard once again allows us to imagine the unthinkable.

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Gay literature’s new wrinkle

Nobel-winner Herta Müller has written a dazzling new gay novel. Does it matter that she's heterosexual?

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Gay literature's new wrinkle (Credit: iStockphoto/RapidEye)

This week sees the publication of “The Hunger Angel,” by the Romanian-born German author Herta Müller. It’s her first novel to appear in English since she won the Nobel Prize three years ago, and the book, set in a Soviet labor camp in the years after World War II, arrives in America trailing behind it a passel of rave reviews in the European press: a masterpiece, they say, to be put next to Solzhenitsyn or Primo Levi.

But, more quietly, “The Hunger Angel” is something else – a major addition to the tradition of gay literature, and a rare evocation of gay life in the war years and after. Leo, the narrator, is just a teenager when he’s deported from Romania to the Ukraine, but he has already had his first “strange, filthy, shameless and beautiful” assignations in the town park and the local bathhouse. At first he sees his deportation as a welcome escape from his Nazi-supporting father, and a mercy for the mother he truly loves, for in his own eyes he is a double disgrace: not just gay, but an ethnic German who sleeps with Romanians. In the camp, hunger becomes all-consuming, and he longs for home, but he also watches fellow skin-and-bones detainees sneak off to an industrial wreck for sex and knows, “If I’d been caught in the camp I’d be dead.” “The Hunger Angel” lets a gay man embody universal themes of suffering and endurance but also captures the unique contradictions of gay desire – a substantial accomplishment, and one that’s even more impressive because Herta Müller is a straight woman.

Müller is part of a small but growing number of heterosexual writers publishing novels that not only include gay characters as central parts of their narrative, but are largely about gayness itself. It’s a trend that suggests that homosexuality may no longer be the taboo it once was, for writers — and for readers.

These days, in American and British fiction, at least, it’s no longer uncommon for straight writers to feature gay characters in a novel. Think of Claire Messud, whose “The Emperor’s Children” examines a young gay writer’s friendship with his two best friends, both straight women. Or read Jennifer Egan’s “A Visit From the Goon Squad,” which features a young gay kid experimenting first with drugs, then with sex. More recently, Chad Harbach in “The Art of Fielding” didn’t just feature a gay and decidedly not butch baseball player, but a 60-something, theretofore straight college president who falls in love with him. (These examples all feature gay men, obviously: Straight writers’ interest in lesbians is usually less edifying, as any gay person who endured Philip Roth’s “The Humbling” will remind you.)

Yet while straight writers now include gay characters as a matter of course, putting gay people at the center of a book remains all too rare. Gay characters can help straight writers write a book of larger scope, but a novel that concentrates on gay characters is automatically “gay fiction” – and that, sadly, still puts readers off. Gay novelists know all too well that without the right promotion, their books can end up relegated to the “LGBT interest” section of the bookshop, somewhere between the Spartacus travel guide and “Homosex: 60 Years of Gay Erotica.” (If, that is, the bookshop even stocks gay books; if, moreover, the bookshop hasn’t gone out of business.)

For straight writers, taking on gay subjects isn’t just an imaginative risk, it’s a commercial one. And therefore the list of examples is brief, but even so, they suggest that reader opposition to gay-themed books is on the wane. Although fantasy and science-fiction writers may have taken earlier steps, it wasn’t until the 1990s, with Pat Barker’s Regeneration trilogy, that a straight writer saw major success with gay literary fiction on both commercial and critical terms. The Regeneration trilogy,  with its cast of both real and fictional characters during World War I, had a built-in audience among British readers who grew up reading poets like Siegfried Sassoon or Wilfred Owen. Yet on the first pages of “The Eye in the Door,” the middle book, they were plunged into a rough (and fantastically hot) sex scene between two officers of different class backgrounds, complete with war wounds from Passchendaele and bedside Vaseline. “The Eye in the Door” goes on to detail the horrible persecution of gays in the British civil service, sometimes even by closeted gay men themselves, while in “The Ghost Road,” the last novel of the series and the one for which Barker won the Booker Prize, Sassoon, Owen and fictitious soldiers spend page after page thinking about their desire for men, and about the gaps between the military’s sometimes surprising tolerance and the cruelties of civilian life.

You see similar contrasts of confidence and doubt, narcissism and self-loathing, in Annie Proulx’s short stories, most famously “Brokeback Mountain.” The subsequent film was anxiously promoted as a “universal” love story, but Proulx insists that her two ranchers aren’t any old star-crossed lovers, and that gay desire has a special character. Ennis and Jack aren’t just incapable of having their love accepted by society; much more fundamentally, they hate themselves for loving who they love. Proulx told the Paris Review that she now gets fan mail from readers who have rewritten “Brokeback Mountain” with a happy ending, like the stale 18th-century tradition of letting a victorious Hamlet marry a not-drowned Ophelia. “They can’t understand that the story isn’t about Jack and Ennis,” Proulx lamented. “It’s about homophobia; it’s about a social situation.”

Homophobia is naturally a major theme in straight-written gay fiction, but it’s not all about tears and the law. In “Call Me By Your Name,” from 2007, the straight writer André Aciman looked at the enduring power of first love through a teenager’s overwhelming desire for another man, complete with lashings of sex in the forest, at the sea, and in the streets of Rome. (You will never eat a peach again without thinking about what those two guys do to a piece of fruit.) Straight novelists are even beginning to write about gay history, and in particular HIV/AIDS. Tristan Garcia’s “Hate: A Romance,” co-translated by the Paris Review editor Lorin Stein, examined not only the devastation of the first years of the disease, but the virulent debates between proponents of safe sex and more radical gay activists who see barebacking as a political act. That is the sort of thing even many gay writers are not yet ready to discuss.

It can only be a good thing that the terms of gay fiction are expanding to include not only more readers but more writers. Yet gays have been writing about straight people for hundreds of years, and while straight writers who write gay fiction are celebrated for taking a risk and for imagining something beyond their own experience, gay and lesbian writers who do the opposite, such as Colm Tóibín in “Brooklyn” or Sarah Waters in “The Little Stranger,” don’t really get the same credit. Perhaps this is because straight love and desire is omnipresent; perhaps, more homophobically, it’s because we still think gay writers “naturally” have such powers of imagination. Either way, while the situation has improved, gay fiction still suffers from ghettoization, and while straight writers may be mindful of the risks they take in depicting a minority to which they don’t belong, gays who turn to straight subjects can find the new, larger audience for their books bewildering. Michael Cunningham observed as much back in 2000, when he was asked about the success of “The Hours.” “I can’t help but notice,” said Cunningham, “that when I finally write a book in which there are no men sucking each other’s dicks, I suddenly win the Pulitzer Prize.”

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Jason Farago is a regular contributor to the Guardian and writes criticism for the London Review of Books, n+1, Frieze and other publications. He is also editor of Art in Common, a blog on art and urban life.

Pulitzers snub fiction

No novel won the coveted prize this year, but does that mean nothing good was published?

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Pulitzers snub fictionDetails from the covers of "Train Dreams," "Swamplandia!" and "The Pale King"

The news that no Pulitzer Prize for fiction would be awarded this year came like a slap across the face to a book world still reeling from a Department of Justice suit filed against publishers trying to forestall an Amazon e-book monopoly. Double ouch! But does the Pulitzer snub mean that no good fiction was published in America last year?

I would (and have) argued otherwise, most strenuously; 2011 was an exceptional year for fiction, American and otherwise. I also suspect that the Pulitzer Board itself has not turned up its collective nose at every book produced by American novelists and short story writers in 2011. The Pulitzer Prize may wield far more clout with book buyers than any other American prize for fiction. It can turn an obscure title into a success and a modestly successful title into a bestseller. Readers take it seriously and snap up the books it honors by the thousands. But that doesn’t mean that the Pulitzer Prize for fiction doesn’t suffer from the same problems that afflict every literary prize, no matter its size or influence.

I have some insight into those problems because I served on the Pulitzer fiction jury two years ago. I can’t talk about my jury’s deliberations, however — that was part of the deal. I can tell you that choosing the winner of the Pulitzer Prize for fiction is a two-tier process, a fact that even people well-versed in the literary world tend to forget.

The first tier is the jury’s selection. Three jurors (usually an academic, a critic and a fiction writer) are responsible for wading through huge boxfuls of books. Anyone can submit his or her book to the Pulitzer competition for a small fee, and believe me: anyone does. We got hundreds and hundreds of them, including many self-published novels with titles like “The Bikinis of Alpha Centauri,” most of which read as if they’d been run through Google Translate into Farsi and then run back again into English before being committed to print.

From the many submissions, the jury picks three titles to recommend to the Pulitzer Board, and the board picks the actual winner, as well as selecting the winners of all the other Pulitzer Prizes. The board does have the option to select a title not on the jury’s list, but it rarely does so nowadays.

The heyday for picking no book at all was the 1970s, a time of considerable cultural upheaval and conflict. In 1971, the board rejected titles from Eudora Welty, Saul Bellow and Joyce Carol Oates. In 1974, a stellar jury consisting of Benjamin DeMott, Elizabeth Hardwick and Alfred Kazin (three titans of literary criticism) unanimously recommended that the prize go to Thomas Pynchon’s “Gravity’s Rainbow.” The Pulitzer Board dug in its heels and said no. In 1977, the last time the prize was not awarded, the jury favored ”A River Runs Through It” by Norman Maclean and the board shut them down.

Why? According to the critic and experimental novelist William Gass, who wrote a notorious diatribe on the subject, the Pulitzer Board’s taste is hopelessly mainstream, middlebrow and unadventurous. (In 1941, most of the board did pick Ernest Hemingway’s “For Whom the Bell Tolls,” but one member — who happened to be the president of Columbia University — put the kibosh on that because he considered the book immoral.) However, Gass’ complaint seems an absurd cavil to level against an institution whose power and influence resides precisely in the fact that it speaks to a broad audience.

The Pulitzer Board consists of working journalists and journalism professors, most with a deep respect for literature but relatively little familiarity with the literary world. This can be a strength and a weakness. The Pulitzer’s excellent record at singling out literary works that also appeal to a lot of readers is one reason why it has so much more influence than “insider” prizes like the National Book Award.

However, because the Pulitzer Board is fairly representative of educated Americans, it surely includes a lot of people who don’t really have time to read fiction — or, at least, literary fiction — anymore. Past boards might have been able to settle on a title that most of them had read even if it wasn’t offered as a finalist by the jury; reading at least a few of the “big” novels published during the year was something a lot more people did before the Internet and cable TV came along. In 21st-century America, the novel has become a marginalized and Balkanized art form, and even when avid fiction fans compare notes, they often find they’ve read nothing in common.

Chances are good that the three novels recommended by this year’s Pulitzer jury — “Swamplandia!” by Karen Russell, “Train Dreams” by Denis Johnson, and “The Pale King” by David Foster Wallace — are the only three serious new novels many of the board members read last year, apart, perhaps, from one or two others. These people are, after all, pretty busy doing things like editing the Denver Post and running the Columbia Graduate School of Journalism, jobs that are a lot more time-consuming than they used to be, as well as selecting the winners in the other Pulitzer categories.

By all accounts, the group could not reach a majority on any of the three titles recommended by the jury. It’s certainly unlikely that enough of them read fiction widely enough to agree on an alternate choice. In that, they truly are representative of American readers, and that bodes worse for our national literature than a year without a Pulitzer winner.

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Laura Miller

Laura Miller is a senior writer for Salon. She is the author of "The Magician's Book: A Skeptic's Adventures in Narnia" and has a Web site, magiciansbook.com.

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