Bare with me for a moment as I go on a tangent. Recently, I’ve been obsessed with re-watching the Netflix adaptation of Alice Oseman’s Heartstopper series and IÂ couldn’t realize why other than it’s a fantastic series and adaptation, but then I read this book and it all clicked into place: queer joy.
Growing up in the 1990s/early-2000s I’d say 85%+ of all depictions of LGBT characters were tragic or left to interpretation and this is a prime example of that. Having the opportunity to watch Charlie and Nick in Heartstopper as they discover happiness and joy, even with setbacks, mental health issues, and added TV drama, is just such a wonderful feeling of relief and joy that I float along every time I watch it or listen to the soundtrack or think about it. And this is in stark contrast to Roy and Nathan, the protagonists of Grimsley’s second foray into the novel.
Jim Grimsley is probably one of the most depressing writers I’ve ever read, and yet I keep going back to him every 5-10 years. Depressing may not be the correct descriptor, he just writes such desolate books and truly embraces the southern gothic style and maybe that’s what draws me to him?
Watson reached out to me about this way back in July of 2017, well ahead of publication. Unfortunately, due to an impossible work-life balance and other random crap I only just now got around to reading it.*
This was harder to read than I thought it would be. Not because of anything I’ve personally experienced, but because it kept hitting me over and over that what was happening in this book was not happening in the 60s, 70s, 80s or even 1990s.