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New Arceneaux essay collection finds humor in autobiography

Houston-born writer recalls childhood, Beyonce, Jesus and more



Michael Arceneaux, gay news, Washington Blade

Michael Arceneaux brings dead-pan humor and self-deprecation to his new book of essays. (Photo courtesy Atria)

‘I Can’t Date Jesus: Love, Sex, Family, Race and Other Reasons I’ve Put My Faith in Beyoncé’

By Michael Arceneaux


256 pages

Maybe you’re among the unenlightened. Flea-infested hookups don’t make you smile. You don’t genuflect before Beyoncé. Don’t worry. Dive into “I Can’t Date Jesus,” a debut essay collection by writer Michael Arceneaux. You’ll emerge laughing out loud at post-hookup fleas and worshiping Beyoncé.

Literary mavens talk of  “original,” “wryly humorous” and “insightful” authors the way politicos spit out talking points. Yet with Arceneaux, no other words will do. What else can you say when a book’s dedication alone makes you check your privilege while laughing? 

“Once an old high school classmate told me … in Houston that I would end up working in Burger King,” Arceneaux writes, “because I had majored in journalism. This book is dedicated to dummies like that who don’t know when to shut the hell up.”

“Also: pay fast food workers livable wages,” he adds. 

Arceneaux, born in 1984, raised in  Houston and a Howard University graduate, is a black, Southern queer man. His funny, spot-on work has been published and heard widely.

Arceneaux’s bio is dizzying. He’s a regular contributor to sites from Essence to Into to the Root, and has written for publications from The New York Times to The Washington Post to Vogue to NPR’s Code Switch to Buzzfeed to Comedy Central Online. His fans enjoyed his political and pop culture commentary on his humor blog The Cynical Ones. Essence magazine called Arceneaux one of the top #BlackTwitter voices. He’s been featured on media outlets from MSNBC to NPR to BET to Viceland.

It’s no wonder that Arceneaux aficionados are happy to see “I Can’t Date Jesus,” a compilation of 17 of his essays, in a book. There’s the pleasure of not only reading his pieces in book form but of learning more about Arceneaux’s personal life. The volume is a memoir and commentary on being a black, Southern, queer, recovering Catholic chock full of biting, often hilarious takes on politics and pop culture.

Arceneaux grew up in a working-class family. His dad drank too much and abused his mom. His mother loved him, but believed that homosexuality goes against the teachings of Christianity and the church. Even at age 5, Arceneaux, though he didn’t have a name for it, knew he liked boys. When he and another little boy at the daycare center found that their tickling game is “fun,” Arceneaux got nervous. “Fun came at a price, however,” Arceneaux writes, “if you were caught.”

Once Arceneaux was caught behind the playground pulling his pants down in front of another boy (who responded in kind). 

“It was like show and tell: the remix,” he writes. “I knew that I had enjoyed what I was doing, but I also knew that others — namely my parents — wouldn’t share my enthusiasm.”

At age 6, Arceneaux learned what his feelings for other boys could be called. But, it wasn’t a Mister Rogers teachable moment. His Uncle Daniel (his dad’s brother) died of AIDS. In response to Daniel’s death, his father said “Fuck that faggot.”

“That slur is what will always hit me in the pit of my stomach,” Arceneaux writes. “More important, this is how I learned how being different could lead to your demise.”

Coming out for him was a long process involving awkward attempts at sex, running away from and then greeting his Howard classmates at a gay Pride parade and Beyoncé. Why is Beyoncé his “lord and garroter?”  Because, Beyoncé, who like him went to Welch Middle School in Houston, is “home” to Arceneaux. 

“Beyoncé’s stance on remaining exactly as she’s always been no matter what is happening around her,” he writes, “has instilled in me the strength to remain the Gulf Coast ratchet bird I am.” 

Arceneaux writes about the personal and the political — from racism to marriage equality to Madonna to Donald J. Trump — with David Sedaris’ blend of humor and pathos and James Baldwin’s dazzling, lacerating honesty. Woe to any white editor who tries to box him into writing about “black homophobia, AIDS, sexual racism.”

You leave “I Can’t Date Jesus” wanting more and that’s a good thing.



Film fans will love ‘Hollywood Pride’

A celebration of queer representation in Hollywood



(Book cover image courtesy of Running Press)

‘Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film
By Alonso Duralde
c.2024, Running Press
$40/322 pages

You plan to buy lots of Jujubes.

They’ll stick to your teeth, but whatever, you’ll be too busy watching to care. You like the director, you know most of the actors as first-rate, and word is that the newcomer couldn’t be more right for the role. Yep, you’ve done your homework. You read Rotten Tomatoes, you’ve looked up IMDB, and you bought your ticket online. Now all you need is “Hollywood Pride” by Alonso Duralde, and your movie night is complete.

William Kennedy Laurie Dickson likely had no idea that what he’d done was monumental.

Sometime in the very late 1800s, he set up a film camera and a wax cylinder to record a short dance between two men, hands around one another’s waists, as Dickson played the violin. It “was one of the very first movies ever shot,” and probably the first film to record men dancing rather intimately alone together.

Back then, and until well into the 20th century, there were laws against most homosexual behavior and cross-dressing, and very rigid standards of activity between men and women. This led to many “intense relationships between people of the same gender.” Still, in World War I-era theaters and though LGBTQ representation “was somewhat slower to get rolling” then, audiences saw films that might include drag (often for comedy’s sake), camp, covert affection, and “bad girls of the era.”

Thankfully, things changed because of people like Marlene Dietrich, Ramon Novarro, Claudette Colbert, George Cukor, Alfred Hitchcock, and others through the years, people who ignored social mores and the Hays Code to give audiences what they wanted. Moviegoers could find LGBTQ actors and themes in most genres by the 1940s; despite politics and a “pink scare” in the 1950s, gay actors and drag (still for comedy’s sake) still appeared on-screen; and by the 1960s, the Hays Code had been dismantled. And the Me Decade of the 1970s, says Duralde, “ended with the promise that something new and exciting was about to happen.”

So have you run out of movies on your TBW list? If so, get ready.

You never want to start a movie at the end, but it’s OK if you do that with “Hollywood Pride.” Flip to the end of the book, and look up your favorite stars or directors. Page to the end of each chapter, and you’ll find “artists of note.” Just before that: “films of note.” Page anywhere, in fact, and you’ll like what you see.

In his introduction, author Alonso Duralde apologizes if he didn’t include your favorites but “Hollywood has been a magnet for LGBTQ+ people” for more than a century, making it hard to capture it completely. That said, movie-loving readers will still be content with what’s inside this well-illustrated, well-curated, highly readable historical overview of LGBTQ films and of the people who made them.

Come to this book with a movie-lover’s sensibility and stay for the wealth of photos and side-bars. If you’re up for binge-reading, binge-watching, or Date Night, dig into “Hollywood Pride.” Popcorn not necessary, but welcome.

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‘On Bette Midler’ is a divine new read

Part charming, part nostalgic, and very affectionate



(Book cover image courtesy of Oxford University Press)

‘On Bette Midler: An Opinionated Guide’
By Kevin Winkler
c.2024, Oxford University Press 
$29.99 232 pages 


That word’s appropriate in this situation. Fantastic, that’s another. Transcendent or celestial, if you’re of that mind, or perhaps anointed. There are many adjectives you can use for a performer who transports you, one who sings to your soul. Sensational, breathtaking, outstanding, or – as in the new book “On Bette Midler” by Kevin Winkler – another, better word may be more suitable.

Born in Hawaii a few months after the end of World War II, Bette Midler was named after film star Bette Davis. It was a perhaps auspicious start: despite a minor disparity (Midler’s mother thought the movie star’s first name was pronounced “Bet”), young Midler seemed at a young age to want to follow in her almost-namesake’s footsteps. By age 11, she’d won accolades and prizes for her performances and she “yearned to be a serious actor.” As soon as she could, she headed for New York to seize her career.

Alas, her “unconventional” looks didn’t help win the roles she wanted but she was undeterred. Unafraid of small venues and smaller gigs, she “just blossomed” in New York City. Eventually, she landed at the Improv on 44th Street; the owner there helped her negotiate some minor work. Another man became her manager and secured a job for her at the Continental, a New York bath house strictly for gay men. She was hired for eight summer nights, Friday and Saturdays only, for $50 a night.

Almost immediately, her authenticity, her raunchy language, and her ability to relate to her audience made her beloved in the gay community. Midler’s tenure at the Continental expanded and, though legend points to a longer time, she worked at the bath house for just over two years before moving on and up, to television, recording studios, movies, and into fans’ hearts. Still, asks Winkler, “Did it really matter what stage she was on? She touched audiences wherever she performed.”

In his earliest words – and, in fact, in his subtitle – author Kevin Winkler reminds readers that “On Bette Midler” is a book that’s “highly opinionated, filled with personal contemplations…” He is, in other words, a super-fan, but that status doesn’t mar this book: Winkler restrains his love of his subject, and he doesn’t gush. Whew.

That will be a relief to readers who wish to relish in their own fervor, although you’ll be glad for Winkler’s comprehensive timeline and his wide look at Midler’s career. Those things come after a long and fascinating biography that starts in 1970, takes us back to 1945, and then pulls us forward through movies, television appearances, stage performances, and songs you might remember – with appearances from Barbara Streisand, Barry Manilow, and Cher. It’s a fun trip, part confidential, part charming, part nostalgic, and very affectionate.

Despite that this is a “personal” book, it’s great for readers who weren’t around during Midler’s earliest career. If you were and you’re a fan, reading it is like communing with someone who appreciates Midler like you do. Find “On Bette Midler.” You’ll find it divine.

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Architecture junkies will love new book on funeral homes

‘Preserved’ explores how death industry evolved after WWII



(Book cover image courtesy of Johns Hopkins University Press)

‘Preserved: A Cultural History of the Funeral Home in America’
By Dean G. Lampros
c.2024, Johns Hopkins University Press 
$34.95/374 pages

Three bedrooms upstairs. That’s a minimum.

You need a big kitchen, a large back room would be a bonus, you want lots of bathrooms, and if you can get a corner lot, that’d be great. The thing you need most is a gigantic all-purpose room or maybe a ballroom because you’re planning on a lot of people. As you’ll see in the new book “Preserved” by Dean G. Lampros, not all living rooms are for the living.

Not too long ago, shortly after he took a class on historic preservation, Dean Lampros’ husband dragged him on a weekend away to explore a small town in Massachusetts. There, Lampros studied the town’s architecture and it “saddened” him to see Victorian mansions surrounded by commercial buildings. And then he had an epiphany: there was once a time when those old mansions housed funeral homes. Early twentieth-century owners of residential funeral homes were, in a way, he says, preservationists.

Prior to roughly World War II, most funerals were held at home or, if there was a need, at a funeral home, the majority of which were located in a downtown area. That changed in 1923 when a Massachusetts funeral home owner bought a large mansion in a residential area and made a “series of interior renovations” to the building. Within a few years, his idea of putting a funeral home inside a former home had spread across the country and thousands of “stately old mansions in aging residential neighborhoods” soon held death-industry businesses.

This, says, Lampros, often didn’t go over well with the neighbors, and that resulted in thousands of people upset and lawsuits filed. Some towns then passed ordinances to prohibit such a thing from happening to their citizens.

Still, funeral home owners persevered. Moving out of town helped “elevate” the trade, and it allowed Black funeral home operators to get a toehold in formerly white neighborhoods. And by having a nice – and nice-sized – facility, the operators were finally able to wrest the end-of-life process away from individuals and home-funerals.

Here’s a promise: “Preserved” is not gruesome or gore-for-the-sake-of-gore. It’s not going to keep you up all night or give you nightmares. Nope, while it might be a little stiff, it’s more of a look at architecture and history than anything else.

From California to New England, author Dean G. Lampros takes readers on a cruise through time and culture to show how “enterprising” business owners revolutionized a category and reached new customers for a once-in-a-deathtime event. Readers who’ve never considered this hidden-in-plain-sight, surprising subject – or, for that matter, the preservation or re-reclamation of those beautiful old homes – are in for a treat here. Despite that the book can lean toward the academic, a good explanatory timeline and information gleaned from historical archives and museums offer a liveliness that you’ll enjoy.

This book will delight fans of little-know history, and architecture junkies will drool over its many photographs. “Preserved” is the book you want because there are other ways to make a house a “home.”

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