Showing posts with label Gay Author. Show all posts
Showing posts with label Gay Author. Show all posts

March 22, 2018

Author Alan Hollinghurst Opens Up About His Gay Writings and Secret Affairs

 Alan Hollinghurst , 2009

Alan Hollinghurst is an English novelist who likes to explore private, secret lives. His characters are often gay men — sometimes living in an earlier era, when they wouldn't use the word "gay" to describe themselves.
Hollinghurst, who won the Man Booker Prize in 2004 for The Line Of Beauty, has written a new novel called The Sparsholt Affair. It begins in Oxford in 1940, when a bunch of college friends spot a handsome young man through a window. He is David Sparsholt, and he's headed off to fight in World War II. Over the five sections of the novel, the narrative jumps forward decades in time, eventually bringing us to London in 2012. 
Along the way we watch British society change, and we watch characters age and raise families. But there's a lot we don't see. Many of the most dramatic moments of the story happen between sections — off the page.
"I got more and more interested in writing narratives that are affected by major things," Hollinghurst says. "I mean, in [Hollinghurst's previous book] The Stranger's Child, the first World War happened between two of the sections, and in this one, most of the second World War happens between two of the sections. And I think, essentially, these are things which I'm not all that interested in describing. But what I am interested in is the effects of these major things. And they're not necessarily just wars — they might be large social changes or legal changes, which particularly affect this book."
In 1967 — when Hollinghurst was 13 years old — homosexuality was decriminalized in Great Britain. That's one of the large social changes we talked about in an interview.

Interview Highlights

On if Hollinghurst's life would have been different had he been born significantly earlier or later
I don't think about it much, but I suppose in a way I'm thinking about it in a book like this. And Johnny Sparsholt, David Sparsholt's son, yes, who is, I think, two years older than me, is sort of passing through a similar trajectory of social change.
I mean, I do think that — this is something that I've written about since my first book, The Swimming Pool Library — the way that the young gay people in the present have little idea of the history of their kind, as it were. And that it's hard for them to imagine the struggles and the demands of more difficult early periods.
On the novel's arc from discreet mid-century affairs to today's smartphone hookup apps, and if something is lost in the modern era of romance
Well, I would infinitely rather live in the liberated present. But from the point of view of the writer, I do think that that earlier period is more rewarding and fascinating to write about because of the secrecy, the private codes of behavior, the sense of attendant risk — danger that comes from pursuing something illegal. And if everything is out in the open, the sort of things that I like exploring — the nuances of concealment, people not actually quite able to say or do what they mean — are lost. And I don't mean that the present can't be written about. But I think there's a general nostalgia amongst a lot of writers for the period before smartphones.
On being described as having 'made gay sex literary' 
I don't play my own trumpet, but I think it hadn't — gay sex hadn't been written about in a literary way before the '80s. I mean, it was one of the fascinating things to me, in writing my first book The Swimming Pool Library, which came out 21 years after the decriminalization, to find that this whole area of human experience had barely been covered in a literary way. So I thought I had this thrilling new opportunity to explore this area, and I did so with some gusto. You know, having done it, I think I've tapered off, rather. There's not nearly so much in-your-face sexual activity in my later books.
On the way more people have openly self-identified as gay over time
I think you can say the opposite too — that definitions of sexuality are now becoming much more fluid. I'm very struck particularly amongst younger people I know, have — there are some who declare themselves to be non-binary. And I think I myself have felt more interested in writing not to categorize homosexuality, but to explore it. So there's a lot of sexual ambiguity in my last couple of books in particular, and bisexual characters, and — I've written quite a lot of books about gay men, and I feel much more drawn now to this much more ambivalent territory of sexuality.

It is adamfoxie's 10th🦊Anniversay. 10 years witnessing the world and bringing you a pieace whcih is ussually not getting its due coverage.

April 1, 2016

At 14, in Parks and Bathrooms,“I first discovered queer communities that let me have sex”

Image result for novelist garth greenwell

The ones of us who acted on the hormonal impulses of young sex would know that if you were attracted by some other boys it was not easy to find a willing partner. If you acted upon those (need for sex, touching, kissing, holding and being held by another boy) needs and wanted to keep it secret, it would not be the boys locker room. At least in my case that was for starring, measuring, comparing and that’s about it. We all have different ages if at all,  when we caved and had our first teen year encounter (s). We do know that some kids are more brazing than others and the amount of hormonal disposition varies. Having said that some gay kids are ready as soon as they turn from a little boy into a little man.

Alex Clark on The Guardian tells the story of novelist Garth Greenwell. This man Greenwall takes us through his adventures as a very young kid in one of his novels. That is what attracted me to post this story since I have written and posted articles about the sexual escapades and adventures of gay men prior to 2015. What makes the reading interesting is the age and then as he adds the events like a sculptor adds clay to his work making it more tantalizing with details. On this case it’s his writings that become a work of art.
In a crowded hotel coffee shop in Bloomsbury, Garth Greenwell is giggling guiltily as he recalls the moment he considered bunking off his publicity tour in favor of going to the theatre with the novelist Alan Hollinghurst, whom he had just met for the first time. A stern look from his publicist knocked that idea on the head, but you can understand why the otherwise dutiful Greenwell might have been tempted. He first read The Swimming-Pool Library as an undergraduate, “and it just knocked me flat”; Hollinghurst, he says, is “one of the essential writers for me”.

I had thought of Hollinghurst as I read What Belongs to You, Greenwell’s astonishingly assured debut novel, but questioned whether the parallel came to mind because both writers create vivid, enclosed worlds filled with ambiguous and shifting relationships between gay men. In fact, though, the greater similarity lies in their ability to blend a lyrical prose – the prose of longing, missed connections, grasped pleasures – with an almost uncanny depth of observation. “I knew he was performing a desire he didn’t feel,” writes the unnamed narrator in the novel’s opening pages, “and really I think he was drunk past the possibility of desire. But then there’s something theatrical in all our embraces, I think, as we weigh our responses against those we perceive or project; always we desire too much or not enough, and compensate accordingly.”

“He” is Mitko, a 23-year-old Bulgarian whom the narrator, a teacher at the American College of Sofia, encounters in the bathroom of the National Palace of Culture, and whom – breaking one of his own rules, a rule founded in pride rather than ethics – he pays for sex. The remainder of the novel, told in three starkly named sections, “Mitko”, “A Grave” and “Pox”, describes the bond that develops between them over a few years, its changing power dynamics, its swings between tenderness and menace. In its midst, we are returned to the Kentucky of the narrator’s birth, and his painful relationship with his homophobic father. 

That middle section, a masterful study in alienation and escape, shares ground with Greenwell’s own background and, he acknowledges, “cuts very close to the bone”, despite the “firewall” that he tries to maintain between life and literature. He was born in Louisville, Kentucky, in 1978, and was kicked out of the house by his father when he was 14; they have been estranged for more than 10 years. He says: “Certain things that the narrator’s father says to him in the novel, my father said to me, and especially that moment when the narrator’s father rejects him, and says you’re not my son – those are words my father spoke to me.” The act of writing, he explains, “was so scary and painful because I confronted things that I had spent a long time running away from, and it was really the act of writing that let me confront them”.

When Greenwell’s parents separated, he went to live with his mother. It was the start of a long journey out of Kentucky, which took him, via scholarships, to an arts academy in Michigan, graduate degrees at Washington University in St Louis and at Harvard (where he also abandoned a PhD, realising that he needed to write more creatively) and thence to a life as a high-school teacher that eventually brought him, like his narrator, to Bulgaria. And it was the realisation that, in Sofia, he could find something of his own early life “which was really the spark of the novel, this weird recognition I had in this very strange place, especially working with young people, for whom I was the only openly gay person they had ever met in real life. And having them tell me their stories, that for all of the differences and all the particularities of their story, felt like they were telling me my story, of growing up gay in Kentucky in the early 90s, with this kind of very near and low horizon of possibility drawn across your life.”

He had chosen to teach because he felt he had a debt to those teachers, in Louisville and Michigan, who had “saved my life” by encouraging him to explore his musical ability and, by extension, his larger potential. But Greenwell’s story – and the story of What Belongs to You – is not simply one of educational success, nor even of getting out of your restrictive home-town. It is also one of accessing what he calls the radical potential of queer communities – and of discovering the havens, both physical and emotional, that gay men have made for themselves in otherwise inhospitable terrains. In this way, he contends, there is a link between poetry and cruising, “because like poems, cruising carves privacy out of public spaces. Poems are a kind of private communication that occurs in public speech. And I think cruising is that too: a training in reading occult codes; a way of seeing a significance in the world that most people don’t see.” For him, Walt Whitman, with his “dignifying gaze”, his frequent passages through crowds and momentary interactions with others, is “the great poet of cruising”.
Back in Kentucky, when he was flunking his English classes, when he was imbibing the message that to be gay “is to be taught one lesson about your life, and it’s that your life has no dignity and your life has no value”, Greenwell found something that would, for all its transience, confer those things upon him. Aged 14, in parks and bathrooms, “I first discovered queer communities that let me have sex”, places that would allow him to experience queerness “as something that could be a source of joy and intimacy and human connection”.

He was, he concedes, having indiscriminate and unsafe sex, and was the recipient of “a kind of luck you don’t earn” when he escaped illness; he also acknowledges that places such as these can lead to people being victimised, or assaulted, or used “in instrumental ways”. That notwithstanding, he remains convinced that cruising parks are valuable places that “need to be written about with much more richness and nuance, especially by heterosexual culture and by a kind of normalising homosexual discourse, a homo-normative discourse”.

For him, this is related to being asked repeatedly whether he would consider himself to be a “gay writer”. This, he understands, is a fraught question for many writers, who for decades have been told “if you write books centred on queer lives, where the gay guy isn’t just one strand, or a friend, then there are straight people for mainstream readers to identify with – but if a book really is centred on gay lives, you’ll be in this gay ghetto”.

But, he says, he has never accepted that – in fact, he thinks quite the reverse. “Absolutely I am a gay writer. And not only that, I want to tell gay stories about gay communities for gay readers, because I think that this incredible progress that queer people have made in things such as marriage equality have come at the cost of a mainstreaming narrative that has homogenised queer lives in a way that has sacrificed far too much and, tragically, has further marginalised the most vulnerable members of the queer community.”
He talks further about marriage equality as “really a marketing battle: it was about packaging queer lives in a way that allowed the value of those lives to be seen by people who are disgusted by queer lives” – although his point is also that this is probably an inevitable and necessary stage that any minority rights movements has to go through. Where that becomes problematic, he insists, is when those at the edge of the movement become further distanced, as when human rights campaigners “at their rallies in front of the supreme court in support of marriage equality, said, Oh trans person get off the stage.”

Ultimately, he says, “any project of liberation has to have as its goal the multiplication of legitimate models of life”. Pulsing through What Belongs to You is Greenwell’s suggestion that there is something substantial and significant in the relationship between Mitko and the narrator. The fact that they first meet in a bathroom – rather than a shop, or a cafe, or even in a club – is hardly accidental; what Greenwell is trying to show is that in places such as these, “people like my narrator and Mitko can meet in a face-to-face way that is unstructured by authority. Those spaces scramble the categories by which we organise our life, categories such as class and race, and they allow for human connection across that space.” That belief is supported, he argues, by the fact that cruising spaces persist even where “relative queer privilege is most pronounced” – places such as Hell’s Kitchen in Manhattan, for example – and that they have not disappeared even where oppression is in retreat.
Greenwell is fascinating on the legacy of oppression, questioning whether the “triumphant narrative” of gay liberation “has made it difficult to acknowledge the shame that gay people still carry around”. Where does the shame come from, and why does it persist? For him, he says, it goes back to the lessons he was taught in Kentucky about the value of queer lives: “I know that there’s no validity in them. I don’t believe them. And yet I will never get to be a person who was not taught those lessons.”

How, then, to translate these ideas into a novel so delicately sprung, not to mention one that takes place in the complex arena of sex work? The key appears to be in a kind of commitment to ambiguity and indeterminacy. Some of this is down to linguistics – much in the book turns on the gaps between English and Bulgarian, and in particular the word priyatel, which Mitko deploys to mean friend, boyfriend and client. Some of it is structural: while the narrator appears to control the story, and we are never granted direct access to Mitko’s consciousness, Greenwell shows enough to allow us to empathise with him. It is a novel of transactions, of inequalities, and of fine moral judgments; the narrator, it is clear, could leave Bulgaria whenever he wished, while Mitko, who becomes increasingly frail, is trapped.

Greenwell, who started his writing life as a poet – getting up at 4.30am to work for two hours before his teaching day began – first wrote about Mitko in a prize-winning novella of the same name, which he recast to become What Belong to You’s opening section. Now, he is working on a series of short stories, all set in Bulgaria and with the same narrator, that “fall into the interstices of the novel”. Like the writers he admires, WG Sebald, Thomas Bernhard and Javier Marías, he is drawn to the idea of a body of work that seems as though it is all one book, or, as with Sebald in particular, a territory in which the reader wanders. It is perhaps too soon to say precisely what Greenwell’s own fictional territory will look like – but even this early on, the landscape looks too riveting to miss.

January 23, 2014

Gay Author Lashes at Homophobia in Kenya

Binyavanga Wainaina

African literary light Binyavanga Wainaina says he's known he was gay since he was 5 though he did not have a homosexual encounter until he was 39.
To celebrate his 43rd birthday, the prize-winning Kenyan has published an online essay telling the world that he is gay. His story contributes to an increasingly fierce debate about gays in Africa and is a protest against laws that seek to further criminalize homosexuality.
It is illegal to have gay sex in most African countries. Gays in many parts of the continent face severe harassment, physical threats and judicial punishment. Kenya has a law banning sodomy. Uganda, a neighbor to the west, recently passed legislation that calls for life in prison for some gay acts.
Wainaina's essay, painful to read, this week announced what he wishes he had told his mother before she died 14 years ago: "I am a homosexual, mum."
In an interview with The Associated Press on Wednesday, he said he came out to help preserve his dignity.
"All people have dignity. There's nobody who was born without a soul and a spirit," he said. " There is nobody who is a beast or an animal, right?
"Every one, we, we homosexuals, are people and we need our oxygen to breathe."
Wainaina, whose hair is dyed in rainbow colors, lashed out at recently passed laws against homosexuality in Nigeria and Uganda. He also criticized Russian President Vladimir Putin, who faces criticism over Russia's law banning "gay propaganda" aimed at youth.
"I can't sleep at night because there are people who I may know or who I don't even know ... who may be dying or being beaten or being tortured right now in a Nigerian cell or three weeks ago in a Ugandan one," he said.
Dennis Nzioka, a gay right activist in Kenya, welcomed Wainaina's public announcement and said his prominence may influence other gay people in Africa and Kenya to come out publicly — particularly the older professionals who have been living a double life.
Nzioka said Wainaina's announcement was both inspirational and courageous.
"Courageous, because to do this in the Kenyan society knowing very well what he can face; ostracization and rejection," Nzioka said.
He said the reaction of most people was negative and is symptomatic to the homophobia that exists in Kenya.
In Nigeria on Wednesday, thousands of protesters demanded the executions of 11 men arrested for belonging to gay organizations.
Demonstrators threw stones into the Shariah court in the north Nigerian city of Bauchi until security officials fired into the air. The judge closed the court abruptly so the accused men could be safely returned to prison.
They were detained in a frenzy of arrests of alleged gays apparently precipitated by this month's passage of a new bill that further criminalizes homosexuality. The Same Sex Prohibition Act makes it illegal to even hold a gay meeting — a law that human rights activists say will endanger efforts to fight AIDS.
In Kenya, homosexuality is not a crime, but the law forbids sodomy, and partners of the same sex are likely to receive extra attention from police. Wainaina said he is not afraid to come out. He accused weak leaders of politicizing sexual orientation.
In Nigeria, President Goodluck Jonathan signed the new law as his own party fractured over his perceived desire to run for re-election next year.
"You are like, mmm, what's a cheap, easy way to score points, because you always need gangs right? Every human being has a bit of gangster in him," Wainaina said. “You should press the right button."

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