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Product details

Paperback: 214 pages

Publisher: Routledge; 1 edition (February 20, 2003)

Language: English

ISBN-10: 1560234148

ISBN-13: 978-1560234142

Product Dimensions:

6 x 0.5 x 8.4 inches

Shipping Weight: 11.7 ounces (View shipping rates and policies)

Average Customer Review:

3.2 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#1,098,040 in Books (See Top 100 in Books)

Short pieces on fifty unknown gay novels from the first half of the 20th century. The two other reviewers say there's inaccuarcies all over the book and such but I knew nothing about these works and found his reviews fascinating. He gives a brief synopsis of the novel, explains why it's important to gay literature and writes whatever he can find about the authors. His writing style is ocassionally too obscure and I don't agree with all his decisions--"The Folded Leaf" while a great book is NOT about gay men. Still I'm glad I purchased the book and read it.

I'm surprised at some of the other reviews of this book as I have enjoyed it very much and will keep rereading bits of it. It seems to me that Anthony Slide has brought an admirable clarity to his survey of these fifty novels, and the descriptions are really interesting, even if, in some cases, reading the whole novel might be rather less so. He says up front that they are generally books of the second rank and have hence disappeared from view, with the odd exception. But there can be something hilarious about the convoluted, melodramatic plotting that characterises a book like Twilight Men by Andre Tellier, and reading one precis after another brings this out. The stereotyping and negative judgments abound in these books which mainly date from 1920 to 1950 - the fact of choosing gay subject matter was more likely to be a way of getting attention or creating "interest" in this way than a plea for greater tolerance or understanding. One example of this is Michael de forrest's The Gay Year which now seems utterly hilarious, although it wouldn't have done at the time - more like kicking someone when they're down. It's a measure of how social attitudes have changed, as is the whole book (Slide's). Not that everyone is negative - or that gay writers were by any means all positive about being gay. When you set this against the well chosen reviews - often from quite erudite sources - that Slide quotes from, and then further against his own comments, what you get is a fascinating, multi-layered book laid out in short chapters that take you through one novel each. Some of the writers are famous as screenwriters or in another genre - John Buchan, for instance, or the writer of The Lost Weekend or The Red Shoes. There are also a small number of books you want to go away and read for yourself, such as Denton Welch's Maiden Voyage, Georges Eekhoud's A Strange Love: A Novel of Abnormal Passion, or Nial Kent's The Divided Path. The prize for the most outrageous and bizarre book has to go to Stuart Engstrand's The Sling and the Arrow, a deliriously overheated story of matrimonial murder with a husband increasingly bursting out of the confines of his secret lingerie while imagining his wife as a boy and lusting after a Coast Guard after spying on him having sex, who also gets the same wife pregnant. The murderer is also very cowardly, apparently, on top of everything else!This book fills in a vital gap in our overview of gay literature of the period, and in the way it reflects attitudes, is a measure of how far things have moved on. It's also a reminder of how deep-seated prejudice can be, and of how the battle against homophobia is still far from won even in places where lawmakers have gone all-out to try and put gay people on the same footing as everyone else. The situation is still far from utopian, even without looking at other countries where basic rights are still denied. Added to that, it is compellingly interesting, and covers the ground in a parallel manner to Vito Russo's much more widely known study of the same area in cinema, The Celluloid Closet.

The first published American novel directly dealing with a gay man as its protagonist, A Marriage Below Zero by Alfred J. Cohen was printed in 1899. There were other works of importance before Fuller's as well. Many in the thirties were published by Greenberg and the previous reviewer is correct that the Greenberg documents are available at Columbia Un. A main difficulty here is that the novels need to be placed in the context of the time they were published. For those who ae looking for a more complete discussion of gay male novel in the USA through 1985, THE GAY NOVEL is available on Amazon.

The author of this book seems not to have done very much research, and his aesthetic sense is questionable, to say the least. Thus, for example, he has little enthusiasm for Henry Blake Fuller's novel, Bertram Cope's Year (1919), which happens to be a fascinating, witty, Jamesian picture of American college life in the early 20th century. (Further, in the very first sentence of his description, Slade misstates the protagonist's age -- a mistake I would normally treat as insignificant, except that that Fuller goes to great pains to explain this detail and its importance). Anyone who wonders if Bertram Cope's Year is worth reading should just look at the amazon.com reviews.As for his research skills: Slide can write in his preface (p.4) that there must have been a gay editor at Greenberg Publishers "but his name is not recorded." It obviously did not occur to Slade to look at the Greenberg Publishers archive at the Columbia University Library, where the name of that editor (Brandt Aymar) is apparent to anyone who cares to look. Slide can devote a chapter to Myron Brinig's novel, This Man is My Brother, without even mentioning that Brinig wrote another fascinating gay novel, The Flutter of an Eyelid. Slide can devote a chapter to the novel All Things Human by "Stuart Benton," (pseudonym of George Sylvester Viereck), without any mention of Viereck's extraordinary gay novel The House of the Vampire (1907). That novel receives extensive discussion in James Gifford's study, Dayneford's Library: American Homosexual Writing, 1900-1913 (Univ. of Mass. Press, 1995), and so one must conclude that Slade didn't read Gifford's book -- an odd omission given that Slide's own book bills itself as a "reference guide to fifty works from the first half of the twentieth century."In short, while it was certainly a worthy effort to try to bring these novels to greater public attention, it would have been better left to someone with a better understanding of gay literary history, better research skills, and a greater willingness to be engaged by these novels.

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