Here you can see at top above the cover art and back cover (with blurb by the stupendous and kind Katy Naylor, of Postcards from Ragnarok and the voidspace) followed in the second image by the internal frontispiece of the book, which is being published by the equally magnificent and kind Alien Buddha Press. Look for me on Amazon, and acquire a copy for yourself! Shadowoperator (Victoria Leigh Bennett)
Two Books of Traditionally-Shaped Petrarchan Sonnets on Home and Empire With a Contemporary Ethos and Twist–by Alex Guenther

Today, I am going to do something I rarely do, and review two books at once. They are by the same poet, Alex Guenther, a force to be reckoned with in the poetic world and widely known and celebrated on Twitter and other social networking sites for his poetic acumen. Being by the same author is not normally or naturally a reason to put them both in the same review, however, except that by that means I can best compare and contrast them for the reader, and hope to convince the astute consumer of good poetry that though they have certain distinct similarities, they are different enough for anyone to want to own both of them. They are available from various subsites, and as you can see from the image above, one need only go to bitly.com/sonnets2021 to locate these sites. But first to the conviction that these books are worth investing in for the small cost and the large satisfaction to be gained from reading them through.
The two books are respectively “the heave” and “the deodar seeds,” and they were simultaneously released. According to the author, they were begun during the original lockdowns of the first Covid period, which seems to have been a period of intense reflection and soul-searching by the author. The lack of capitalization in the words, according to Alex, a witty and intensely erudite soul, was due to the fact that they were composed on a phone, which called for easy manipulation; later, though still not due to any e.e.cummings-like assumptions of manifesto, this form of writing became preferred for its own sake, possibly a result of the poet’s self-aware but unassuming modesty. “the heave” is a book written more in reference to modern-day life in cities, particularly Eastern cities, as the author and his wife have resided for many years now in the East, and are now resident in Bangkok, Thailand, where Alex teaches and writes. “the deodar seeds,” in contrast, is a book about exploration, conquest and empires, and has a quite broad scope, treating not only of Eastern conquerors, explorers, and literary figures/saints, but also of a few Western or European ones.
Both books are Petrarchan sonnets, being fairly standard in rhyme scheme and meter, except for the odd sound effect or forced rhyme and an occasional extra syllable. Their style is similar, yet in both cases, the rhymes are often quite unique and highly imaginative, with a standard, expected rhyme being quite rare. As well, and this is a major and particularly attractive quality, the enjambment–or carrying over of meaning from the end of a line and resolving the thought with a portion of the next line instead of using end-stopped lines–the enjambment! It produces something of the juggling and oftentimes jarring rhythms of contemporary daily life, and prevents the poems from having a quality rhymed poetry is often criticized for, that of sounding jog-trot and bouncy, too unintentionally comic. Though Guenther has a succinct and piercing wit in the literary sense of the word “wit,” he is never foolishly comical or silly. In fact, though there is no pomposity about the two books at all, it is impossible to read them without reference to the intellectual qualities of the bright and far-reaching examinations of the poet’s chosen topics. In both books, there are many, many words and concepts introduced which would at first be quite foreign to an uninformed or not widely traveled Western person, but there is no reason at all to fear the encounter with these perhaps previously unencountered concepts or facts: Alex is always a good poetic host, and uses such words and concepts in a self-explanatory way, without being condescending.
Now, to the differences: though the two books, “the heave” and “the deodar seeds” are very alike in sonnet paradigms and generally in style, yet the pace of “the heave” is quicker, possibly to convey the haste and scramble of modern life, whereas the tempo of “the deodar seeds” is slower, more considering of all the explorations, discoveries, pilgrimages, and empires discussed. “the deodar seeds” deals with various colonial dreams, and the explorers, artists, holy figures, conquerors, and victims of these imperialisms. “the heave,” on the other hand, deals with the modern streets, shades of experience, and mental and emotional states of contemporary empires, the fragmented, dissonant, sometimes nightmarish echoes of contemporary personhood. There in fact is more of a personal, intense quality of reflection in “the heave,” for a total of 54 sonnets, whereas the 108 sonnets of “the deodar seeds” are personal mainly in the way Alex offers some of them as imaginative explorations of interior states of mind of various world-famous figures, a sort of dramatic monologue in sonnet form.
As a final means of making my points, I would like to offer two sonnets through “fair use” form of quotation, one of my favorites from each book. First, from “the deodar seeds”:
alaric on the walls let oil-black plumes of mingling smoke arise; the visigoths are taking rome. we've won mere plunder; little justice has been done. The vaunted roman dream, we've learned, applies to citizens deemed worthy in their eyes-- not streams of stateless refugees who've run to seek asylum from encroaching huns. they turn us back, and teach us we're despised. they mock our leather trousers and our shoes; we lead their armies; still they keep us down, and gothic blood has often stained these streets; we sought security, and were refused. we tried our best to serve the roman crown; perhaps they will respect us in defeat. The genius of the above is that without distorting the historical element, Alex Guenther has driven home the universal and topical elements of Alaric's discourse. Now, from "the heave," one of the resolving and latter sonnets: to a lotus o beautiful, for doubly floating; no-- say triply; rising from frog-spawn and mire, then hovering as pale empetalled fire on slender stem, amid the ukiyo or shifting world of transitory show in which we swim suspended, where desire breeds pain--where we, until our cells expire writhe blindly as the tadpoles down below. impossible, since nothing is beyond or separate from matter's pulsing swarms; impossible, since all is baited bluff, this apparition from a fetid pond; your gently glowing, pale empetalled form is floating briefly, beautiful enough.
This second sonnet of my quotation is consonant with the Buddhist view of life, which Alex is conversant with and which he avers is his preferred outlook. Nevertheless, he is not morose or gloomy, but instead maintains a humorous and gentle persona. He appears on Twitter on Thursdays at @PoetsCornerALW, curated by another poet whom I have recently reviewed–Arthur L. Wood–and also contributes tweets of the occasional haiku, which can be found on his profile timeline, or on your own timeline feed. Also, he is available for converse on two other sites: http://www.facebook.com/alex.guenther.104, and http://www.instagram.com/guentheralex. And, if after you have read the books, you would like to contribute further to a fine poet who clearly knows poetry, history, and human nature, you can do so at http://www.paypal.com/paypalme/guentheralex.
Shadowoperator (Victoria Leigh Bennett)
PLEASE READ (AND ENJOY, IF POSSIBLE) MY COMIC POEM ABOUT LOVE, BODY IMAGE, OVID, AND ALEXANDER POPE ABOUT IN THAT ORDER–SENSE OF HUMOR REQUIRED FOR UNDERSTANDING
HELLO, READERS #POETRYTWITTER, #WRITINGCOMMUNITY, FACEBOOK FOLLOWERS, ALL AND SUNDRY! ANNOUNCING THE SELF-PUBLICATION OF A NOT-THAT-LONG POEM (WELL, OKAY, SEVERAL PAGES, BUT I PROMISE NOT WITHOUT DRAMATIC INCIDENT). THIS POEM IS ONE I WROTE AT A TIME WHEN I WAS MYSELF STUGGLING WITH LOVE LOST, WITH INSECURITY ABOUT BODY IMAGE, AND WHEN I AT LAST RESOLVED THAT TO LAUGH AT MY OWN TROUBLES AND INVITE OTHERS TO DO THE SAME WAS THE ONLY SOLUTION. EDITORS DO NOT LIKE THIS POEM AND WON’T PUBLISH IT. SOME I KNOW HAVE SPACE LIMITATIONS OR DON’T PUBLISH COMIC POETRY, OR HAVE TOO MANY DEMANDS UPON THEIR ATTENTION, BUT OTHERS I SUSPECT OF BEING WHAT USED TO BE CALLED “GRIM SOBERSIDES,’ WHO ARE AFRAID TO LAUGH AT ANYTHING NOT STRICTLY ON THE APPROVED LIST OF TOPICS LEST IT COME BACK TO BITE THEM. THIS IS MY POEM, ABOUT A CONFLICT OF MY OWN, SO I CAN PUBLISH IT WITH IMPUNITY; NO ONE WILL INTERFERE WITH MY LAUGHING AT MYSELF (AND MOCKING ALEXANDER POPE’S “THE RAPE OF THE LOCK” AND OVID’S “THE ART OF LOVE” AT THE SAME TIME, BOTH OF THEM REAL MISOGYNISTIC TEXTS, THOUGH THE FIRST WAS MEANT FOR HUMOR AT WOMEN AND THE SECOND FOR MALE EDIFICATION ABOUT WOMEN. LAUGH ALONG WITH ME THEN, AND MY JOG-TROT RHYMES OF NON-SERIOUS VERSE, IF YOU DARE).
Arthur L. Wood’s “Scarlet Land”–A Poet’s Development from Being Mainly a Love Poet to Being a Diagnostician of the Poet’s Landscape and Condition

Copyright 2021, Arthur L. Wood, Cover design, Hugh Rochfort
Having read Arthur L. Wood’s first collection of poetry, Poems for Susan, with its tender strains of love poetry and its far-reaching set of influences, one might be at least partially prepared for his second collection, Scarlet Land. Here also, there is sometimes tenderness of language, and the influences, both submerged and spoken of directly, are equally far-flung. But the tenderness here is more tempered with a certain cynicism, an acquired knowledge of more of the world in the tone, a certain sated weariness from time to time in the language, which yet does not make the poetry dull-witted with rancor or wearisome to read.
In Scarlet Land, the poet as a figure has not only the topic of love to contend with; he is also embattled in that same sensation of love, embattled in society, in poetic invention, in many things. And of course, in the background lurks always the awareness, like Rimbaud, Verlaine, Baudelaire, of being a poet in a condition or time of disease: just as in 2020, Covid appeared in Poems for Susan overtly, here it appears more insidiously, in the background as one is aware of the unhealthy influence. There are songs of dismay at modern conditions:
I cannot find my England. Does she lie in dust I sweep, Does she hide away in sunshine, in darkness does she creep, Does she hum a pagan melody and converse with the stars, Is she frightened by the madness and the music from the bars? I cannot find my England.
There are poems investigating or betraying to view a poet’s states and choices:
What more can I do? I've channelled the poets, I've died so many times, Yet so few are listening; I've written ten thousand Miraculous rhymes-- What more can I do? ************************** So many great poems! What more can I do? Tell me, would you please tell me, Because I haven't a clue-- I get up each morning, I shower and dress, Then die many times; Another call centre Awaits me, I guess. ************************* Or, taking a line through Milton, more affirmatively: ************************* Let my body starve! Let my soul rejoice! I cannot fail my task, I must be precise! I'll reinvent the songs With the trumpet of my voice, And pave the path of poesy That leads to paradise!
Raymond Keene, OBE, comments in his Foreword to the book that this is “fraught territory,” and indeed, in this book, the poet allows himself to be used nearly as the canary in the coal mines is used, who is the barometer (if he lives or if he dies) of whether or not there are unseen and dangerous substances being breathed by those around him. It is certainly in Scarlet Land a more “fraught” mental and moral landscape than in the previous book.
As to the structure of the poetry, Wood has always been good at achieving a sense of closure of the poetic material, regardless of whether the poem ends on a refrain, on a variation of a previous statement, or even if the contained sentiment diverges from the poetic shape by not being conclusive. He has also not disappointed in continuing his genius with metering and rhyming, though there are herein a bit more of poems in blank verse.
Sprinkled throughout, though not devoted to any one individual love by name as was the case in the previous book, there are still some hopes given out for the persistence of human love. The characteristic love poem here now occurs in spite of negative conditions, not so much in the absence of them as was the case in Poems for Susan:
While We Love
The world of raging fire, The cold and dark abyss, The fluctuating chasm, Are nothing while we kiss. The lake of burning sinners, The acid in the sky, The hole within the middle, Are nothing while we sigh. The steel-whitened seaweed, The limping one-eyed dove, The corpse upon the mountain, Are nothing while we love.
All in all, though the poetic voice is often strained here, the poet frustrated in the extreme to the point of sketching it all out for the reader, we see here a more complicated and mature poetic schema than before. Poems for Susan was an astounding and magnificent book, but it was the poet’s courtship of his subject and his talent; Scarlet Land is the beginning of his alchemical marriage to the same.
Shadowoperator (Victoria Leigh Bennett)
A.S. Byatt and Professor Jeffers–My Essay on Their “Big Historical Books” That Can’t Seem to Find a Publisher (Here It Is)
Some time back, I revised an essay on A.S. Byatt which I had written some years ago because at last I had found another book which I find equal and commensurate to it in stature and able not only to carry on the tradition Byatt established but to ring such changes on it as need to be rung for a different society and such disparate traditions in this country as need urgently to be united. On the basis of having read about 100 pages of Professor Jeffers’ book The Love Songs of W. E. B. Du Bois, I presumed to decide that this was the proper “inheritor” of the tradition Byatt had written in. There may possibly have been some inequity in the fact that I had not finished Professor Jeffers’ book, but I am continuing to read and will naturally do a full review on it when I have been able to finish, as I do with every book of stature which I have an opportunity to read. In my own defense, I would offer such personal facts as that I have also been reviewing other works recently, some of which I took up before Professor Jeffers’ book, others of which were easier to proceed with due to the simple fact that, whether prose or poetry, they were shorter. Also, I am almost certainly going to be forced to move before Christmas or shortly thereafter, and I have been getting ready and packed for that, and have been looking for Senior Housing. Perhaps I should have waited, but I was so eager to share the insight that I went ahead and revised the essay to include the prediction, no, the insistence, that the United States now has a book (there may somewhere be another, but this one is truthful about so many things, and it is a book of our contemporary centuries, too).
This book seems to me, at least, to be not only as enjoyable as Byatt’s book (all mysteries to end soon, I promise), but to be as informative if not more so, and as representative of a people’s culture, whether one is discussing that of the African-American citizens of this country or of our country as a whole, because it doesn’t leave the country alone and hanging, but speaks well for our culture as a cultural artefact. We should be just as proud of it as the British are of Byatt’s book (here it is), The Children’s Book, which only has as much to do with children as any historical book does, as it is a great deal more about the history and mores of the time. I have peeked ahead into Professor Jeffers’ book, but I didn’t want to do this too much before I wrote my final article to come in the future, because I didn’t want to take the risk of possibly issuing a spoiler and ruining it for the many readers who are still reading around me, as I don’t want to hear ahead of time either. And, this book also has a group of children as main characters. I say this in a certain amount of bewilderment as to why I haven’t been able to publish this article, aside from whatever my own skill with words may or may not be, which I leave to my readers. It may only be one of a host of other essays about the new book from a better variety of writers, or perhaps the difficulty has to do with simple editorial lack of space in previously committed journals. I don’t know. But I feel I don’t want to wait longer to cast my vote for the new book, always bearing in mind that I will review it again at better length later on.
It has occurred to me, that even in the two or three revisions this essay has gone through, I may be guilty of some oversight or intellectual injustice. If so, I am willing to hear the fault, from whomever feels they are qualified to tell me what it is. I want to know if I am in the wrong, because these are important issues: the societal issues raised about the status and well-being of a young black citizen and her family and associates in the United States are just as important as the looming issue of WW II was in Byatt’s book, and in my reading judgment are as well and interestingly handled. So, here is the essay: I invite comment, as always. [Thanks to D. L. Keur of the now defunct online journal thedeepening.com for printing the first version of the original Byatt essay, and for original permission to reprint.] Shadowoperator (Victoria Leigh Bennett)
Todd Dillard’s book “Ways We Vanish,” and How We Can Find Ourselves Again in Its Pages

One of the hardest things for a reviewer to do is to select out the particular and most essential things which set any work apart from others within even just our own memories, or to perhaps find adequate words to paint pictures of words, not to mention taking account of any that others we’ve read might have isolated for attention. So, reviewers may decide that a particular line or phrase, an image or even a whole poem deserves to be quoted. Gven my own lack-and-well-a-day penchant for the hauntingly and suddenly rhymed, pointed line in a piece where nothing else rhymes, I could select lines from Todd Dillard’s book Ways We Vanish such as the final lines from “If You Are What You Eat Then Today I Am a Flood on My Mother’s Death Anniversary”: “I too have let a child splash in rising waters/just to watch them run home, shivering, to me./I too have left the front door open and invited in the sea.” Or, eschewing that tactic, I could pick the whole of the poem “Scratch Offs,” in which the governing metaphor is that of scratch off tickets, and the poem covers the track of time, of birthdays and whether and how much things from year to year change or stay the same. But this work–though it comes in two separate books, and there are differences between them–functions moreso than some as a whole on the single topic of a life celebrating, coping with, and sometimes intensely grieving, family love. There are more incidental poems, but they seem to operate as isolated moments, moments of freedom from the overwhelming, moments of curiosity about the outside world which can be spared from family life only occasionally.
First and foremost, this is a book of much spiritual and psychological cleanness, not versus being dirty or underhanded, but in the sense that it has a very special sort of subtext. Usually, when people say “This has a subtext,” they often mean “This has an ulterior motive,” or “This has an anterior, hidden meaning,” and often they also mean “which I don’t entirely like.” Others simply assume that everything has some sort of hidden/dishonest subtext. Here, however, if Ways We Vanish has a subtext, it is an exciting one, for poetry, because the “ways we vanish” are ghostly in the sense of being “ways we manifest,” the “ghosts” not being only the beloved dead and the past and gone moments that are manifested, but the living and present and in so far as the future is spoken of at all, even that. All are luminous with their own manifestation.
The ghosts are very alive here, because the beloved ones always have a place, whatever pain has gathered about them as they lived or are living, and though I wouldn’t like to suggest something possibly sentimental or maudlin about a book which has such a clean, tight texture to its poetic stories, there is the same sort of sense in it of the dead persons as well as the dead moments still having a place in one’s contemporary history as there is in Wordsworth’s poem “We Are Seven.” The difference being, of course, that here the voice speaking is one of an adult who knows the reality of death, not that of some “simple” country maid being interrogated in the Romantic haze of an elderly statesmanlike poet.
One of the poems I liked the most from the book is “Love Poem to My Brother As He Gives Our Father a Shave,” a poem which pictures two brothers with their father in a hospital room. There is a comparison made about the sound of the scraping blade on the father’s cheek which is one of the loveliest and most touching I have ever heard: “..that sound,/follicle scraped from flesh,/like tearing open/an envelope–its letter/good news–it says/you are alive/and the ones who love you/most are here, touching/your knuckles, wrist,/as if there grows on the body/a kind of Braille–“.
In fact, in general, the book is even at its most intellectual moments not a hidden text which one must decode and decode again; rather, it is a rough wolf’s tongue lick to its cubs and its mate as a sort of vade mecum into the true realm of poetry, the interior places where grows the root of poetry: fellow feeling, family feeling, and creature feeling, such passages as those sharing tears and laughter with a small child: “my laughs love and mourn and see/they are like living that way.” Here is a poet who is not afraid to say such things in the poetic voice, because they are from the excavations of the sometimes long-buried human voice, and he knows it. And in reading this book, we too can find ourselves and our loved ones again, however long and away the time has been since we last were able to think in this way and say these things ourselves. Rather, here Todd Dillard says them for us, in the saying of them for himself.
Shadowoperator (Victoria Leigh Bennett)
“at first & then”–a transitioning series of poetic anthems by Danielle Rose

Danielle Rose’s first chapbook, for that’s what it is, is a phenomenally impressive piece of first work, with none of the perhaps to-be-expected over-concision of such an item. It is enough, gently enough, but not too much or more than enough. It is, however, more than enough to establish a place for her among those who know and love poetry. Nor is it a bit of preciousness, a fault that short poetry books can fall heir to, especially when they take up such complicated subjects as being trans-, and furthermore attempt to capture the experience as it passes or has passed. For here, Rose has adopted a delicate but comprehensive poetic shorthand whose condensation is a sheer delight.
The poetry in this book is first of all modeled in formal cadences like the tones of Sapphic fragments, or all that we have remaining of Sappho, short clauses and phrases barely welded together, but at the same time sensate and sensible in their pulsing resonances. Throughout, the experience of transitioning sexually is rediscovered and reemerges, moving from earlier stages of awareness (“at first”) through and always through imagistically rich moments to the second stage (“& then”). It doesn’t stop there, however, but keeps on going, surrounding itself with the experience of difference as if to transition once is to acquire forever the habit and ability of change, of meta-phoring.
The book begins with the image of a suicide, sparcely but feelingly imagined as it must have been, in a mirrored world of isolation and aloneness, as if to question whether the buried woman inside must be likewise sacrificed. In the first part of this book, interior and exterior distances are examined. In some ways, the sense of isolation with the experience is so complete that there is no sense of human exchange in the poems, until “my mother’s tears” are mentioned in the final poem of the first half, which is cast in the form of a recipe for “gender swap potion.” But the sexuality has not been without incitement: there is a poem a few pages before this, a poem which bestows a certain fascinated gaze on the male-female experience: it is entitled “on walking outside with my morning coffee at 9:00 am to find my new neighbors fucking like cottontails in their backyard.” It is a vivid and frolicsome poem of a frank voyeurism, one which is not prohibited and not even particularly noticed by the performers being watched.
Much of the poem abounds instead in natural images and creatures, but contact with them is also fragmented and tangential, which is not a fault, but an attempt to locate the experience of difference in a topos of natural life. This is the picture of a mind informing itself from literature, science of various kinds such as ornithology, with the cadences of poetry, and then desperately sometimes only accepting these as enough, other times couching the experiences in near-refusal, or at least despondency. The word “empty” or the concept of an emptying-out-of occurs repeatedly, but not always in the same sense: at first it is in an emotional sense of desolation. Then, it becomes something taking place more in a comforted sense of achievement at being thought, for example “pretty in soft light,” “pretty like a swarm of bees passed out drunk in a yellow flowerbed/pollen floating/all in soft light so pretty”
The reward for the writer, here, is not held back from the reader; this is not a selfish poesy: in the final four words of the last poem, entitled “an inventory of things that have changed,” is the repeated word “joy.” For in the end, from its opening lines to its closing anthem, this is a book about possibilities.
(Shadowoperator: Victoria Leigh Bennett)
“Two Natures”–“Un Certain Sourire” for a New Generation and a Different Sexual Orientation

Jendi Reiter’s 2016 novel Two Natures follows a rich history of novelistic suggestion and tradition, though the subject matter is drawn from a time not that long ago, the 1990’s in New York City. It lends itself to other titles, as well: if Two Natures were not evocative enough, it might almost be called The Choice: is a person one sort of being, another sort of being, and how does one decide what to do to live with or heal a split in one’s own psyche?
Even more, it might be seen as a relative of Françoise Sagan’s Un Certain Sourire for a new generation and a different sexual orientation. In that book, as the female protagonist is trying to decide about her lovers, she thinks “Car enfin, tout au moins quand on est jeune, dans cette longue tricherie qu’est la vie, rien ne paraît désespérément souhaitable que l’imprudence.” As Bentley Rumble‘s rewardingly close translation has this: “Because finally, at least when one is young, in this long swindle that is life, nothing but carelessness seems desperately desirable.”
It is in fact carelessness which simultaneously tempts and distances Julian Selkirk, the young gay hero of this novel, as being in the middle of the vivid and abruptly changing world of the 1990’s in New York City’s fashion community, and being at the same time involved to a greater or lesser extent in the amorous exchanges that go on all around him. He attempts to negotiate a deal with his God, a god from his Southern background who does not always consort well with the contemporary scene of Julian’s sexual orientation.
Julian is a fashion photographer addicted to assigning values in an aesthetic way to surfaces, to externals, all the while trying to see beneath the surfaces of people and events himself, in order to survive and seek happiness. And the “carelessness” which I mentioned before is something he must be very aware of and leery of in the era of the AIDS epidemic. Still, he is always drawn onward, into risky situations and into mourning for those who have fallen victim to AIDS, and he must constantly be assessing how he will evaluate those of his friends whose behaviors and choices flash up vignettes morally as clear as photographs and yet as confused in their significance for him as double exposures.
More than just being a history of Julian’s accomodations to his situation and moments of growth and decision, this is a romance novel for the gay male community, with none of the quick, easy answers of a cheap trade romance tale. Instead, it is a genuinely fraught romance in the sense of the original French “roman,” a powerful narration of a portion of a man’s life and its loves in the French style, following the bright and sometimes frightening or threatening kaleidoscopic, shifting pattterns and cutting edges that one sees through the lens imperfectly when one is the central viewer; to someone not involved in the changes and their visions, it seems like only a matter of putting the kaleidoscope tube aside, of refraining from vision and wisdom.
But our Julian Selkirk is not a refrainer, and in the course of this novel, follows a path of wisdom-gathering all his own, in dealing manfully, as it used to be called, with everything from a difficult and abusive family situation to the changing fortunes and sometimes collapses of his heroic icons and of celebrities whom he must rely upon for his manner of making a living for himself.
And there is no lack either of scenes of passion, frank and explicit and enticing without being undignified or in any way what one would describe as pornographic, for they are written always from the perspective of a kind of love without sentimentality, and yet sentiment itself is often there. There is a sharingness and a fellow-feeling in these pages that if read with sincere commitment to the human situation do not lend themselves to mockery, derision, or denial. Go along with this author, won’t you, regardless of what your own orientation, or what you may think you already know of that of others, and discover for yourself how faith can be broadened to be inclusive of even those perhaps very different from you, or maybe you may even learn something more about the true nature of love in others. I heartily recommend this book as it covers the entire spectrum of its readers’ experience, from that of the primer for those just finding themselves re: their awareness vís-a-vís this gay life, to that of the already aware/involved.
Cover design by Don Mitchell, Saddle Road Press. Used by permission of the author, Jendi Reiter.
(Shadowoperator: Victoria Leigh Bennett)