‘And Then We Danced: A Voyage into the Groove’
By Henry Alford
Simon & Schuster
You can’t stop your feet. They need to move, to tap tap tap, to side step and do-si-do. The music’s on and you gotta move. You can’t help it, your toes gotta go and in “And Then We Danced” by Henry Alford, you take the lead.
Think of all the times you danced in your life.
Your first was likely some bouncy-toddler thing you did and the adults around you laughed. Later you endured embarrassing and awkward boy-girl classes or school events until you became cool (even if only in your mind) and snuck into clubs. You’ve danced at weddings, for fun, for joy and Alford has danced for work. He’s a journalist who immerses himself in his subject in order to write about it but, in the case of dance, he’s been immersed his whole life.
Dance, he says, is a “universal language.” If you suddenly found yourself in Siberia and you began dancing, nobody would mistake what you were doing. It’s an art but it’s much more.
Dance, he says, is a way of “social entrée.” Cotillions and debutante balls are good examples, dancing in a club falls into this category and if you ever took classes from an Arthur Murray studio, you get the picture.
Politics can step onto the dance floor, Alford says. Think about your favorite candidate on the campaign trail, dancing with potential constituents. Or think of the Cakewalk, a dance that was “originally devised as a way for slaves to mock their masters.”
Teenagers know that dance can be a form of rebellion; icons such as Isadora Duncan and Martha Graham knew that, too. Dance can be a form of emotional release, happy, sad or angry, and it can involve one’s entire body, almost without thought. Any good church choir can tell you that dance is spiritual. With the right group, it can bring on feelings of nostalgia. And dance, if you need it, can be healing.
There’re a few pleasant little surprises to this book about moving your body: it’s also author Henry Alford’s memoir, and it’s a series of mini-biographies of dancers you may know and admire. And it’s delightful.
Part of the reason is that Alford uses his youth as example here: he was a gawky kid who tried very hard to ignore his gayness, an attempt that made junior high boy-girl dances understandably more awkward. His tales are mostly universal (who didn’t hate forced dance class?) and they’ll make you laugh, while anecdotes of researching to write this book are woven between the life stories of Murray, Duncan, Graham, Savion Glover, Toni Bentley and other dancers, as well as lighter-side dance history through the ages.
Yes, there are a few incredulous moments here, but the joy in this book supersedes any sadness. All in all, it’s a quickstepper, and for a hoofer, ballet lover, line dancer or anyone who shimmies and bops, “And Then We Danced” will have you on your feet.
‘Playing the Palace’ a campy, fun rom-com read
What happens when a prince meets an event planner
‘Playing the Palace’
By Paul Rudnick
If you loathe romance or hate to laugh, then skip this book.
If you’re looking for a rom-com that’s as fab and campy as Provincetown or Rehoboth Beach on a summer night, “Playing the Palace” by Paul Rudnick is the book for you.
Reading “Playing the Palace” is like sipping a delicious frozen Daiquiri.
Carter Ogden, the neurotic, good-hearted, Jewish, funny, out, gay narrator of this frothy romance, becomes your BFF and drinking buddy at the opening sentence, “It’s still weird, waking up alone.”
The plot of the book is simple: Carter, 29, is an associate “event architect” (in plain English – event planner) in New York City. He makes ends meet by living with wacky, supportive roommates.
Carter, a native of Piscataway, N.J., and IHOP aficionado, is feeling dejected as he approaches his 30th birthday. His ex, an actor, has left him. He can’t help but wonder if he’ll ever find love again.
Until, at work, he meets Edgar, the Prince of Wales. Edgar has come over from the United Kingdom to speak at a charity event for a group that works to provide clean water to countries that need it. And, this being a fictional prince in a rom-com, Edgar is openly gay.
As you’ve been forewarned, we’re not dealing with realism here.
Edgar sees Carter and asks him to give him tips on how he can get his speech across more effectively.
From that moment on, the two – the IHOP-loving event planner and the future King of England — are in a fine romance. (Edgar is an orphan. His parents were killed in a plane crash.)
Their quest for the happily-ever-after involves pancakes, projectile vomiting, social media and a Thanksgiving meet-up of Carter’s Jewish aunts and Edgar’s grandmother, the Queen of England.
By itself, the story of “Playing the Palace” might seem predictable. What makes it sizzle – why you laugh out loud even as you root for the romance to work out – is its narrative voice.
“Playing the Palace” is a funny, sometimes touching monologue in the voice of Carter.
You’d have to have a heart of stone not to love Carter when he says he “addressed my problems to the framed photo of the late beloved Ruth Bader Ginsburg on the wall of my tiny, partitioned bedroom.”
Writing a whole novel as a monologue could fizzle out if other writers tried it.
But, Rudnick a gay novelist, playwright, essayist, screenwriter and humorist, is a master of this form.
His plays, produced on and off-Broadway include “Jeffrey,” “I Hate Hamlet,” “The Most Fabulous Story Ever Told” and “The New Century.” He’s won an Obie Award, two Outer Critics Circle Awards and the John Gassner Playwriting Award.
Rudnick’s novels include “Social Disease” and “I’ll Take It.” “Gorgeous” and “It’s All Your Fault” are among his YA (young adult) novels.
His screenplays include “Addams Family Values,” “In & Out,” the screen adaptation of “Jeffrey” and “Sister Act.” He wrote the screenplay for “Coastal Elites,” the comedic satire that debuted on HBO last year.
Something of a polymath, Rudnick is, according to his bio, “rumored to be quite close” to film critic Libby Gelman-Waxner, whose reviews have appeared in Premiere magazine and Entertainment Weekly.
A frequent contributor to The New Yorker, his essays have appeared in Vanity Fair, The New York Times and Vogue.
As you might expect, the volume is chock full of pop culture references and wit. “I took a shower using my new manly body wash,” Carter says, “which is exactly the same as the female version, only with simplified graphics and a steel-gray, squared-off bottle, as if it contains motor oil and testosterone.”
It’s not surprising that Rudnick told Entertainment Weekly that he’s working on a musical of the movie “The Devil Wears Prada.”
Reading “Playing the Palace” is like seeing a Broadway musical.
“I was looking into eyes that were so radiantly blue I either wanted to faint or yell ‘just stop it,’” Carter says when he first sees Edgar.
“Playing the Palace” is a show-stopper.
Drew Pisarra’s ‘dangerously funny and queerly inventive brain’
‘You’re Pretty Gay’ shatters expectations and social mores
Is there anything more absurd than this, wondered gay poet and writer Drew Pisarra. Pisarra, then, was an assistant to a paralegal at a toothpaste company.
Fiercely protective of the pattern on its toothpaste, they wrote letters to rivals who, they felt, were infringing on their copyright.
Even when their competitors were in countries in the middle of a civil war, “They would write back, ‘we can’t respond now, we’re in a war,’” Pisarra said.
But that didn’t soften the heart of the toothpaste company. They’d insist that “this most important matter be dealt with as soon as the war ends,” Pisarra said.
If you think that authors don’t encounter the absurdity and grit of everyday life or that all writers do is drink coffee (or sip stronger libations) while looking at the sunset, you haven’t met Pisarra.
Pisarra, 56, whose new short story collection “You’re Pretty Gay” is just out from Chaffinch Press, has worked at everything from ventriloquism to domestic work.
The word “unique” is so hackneyed that it’s a cliche to say it’s a cliche. But there’s no other way to describe “You’re Pretty Gay.”
This collection “is a prime example of Drew Pisarra’s dangerously funny and queerly inventive brain,” said Kevin Sampsell, author of “This Is Between Us.” “Each story is its own performance, its own shattering of expectations and social mores.”
Pisarra, who lives in Manhattan, gives readers a mosaic of wit, surrealism, sex, queerness, memory, mortality and self-discovery.
In “You’re Pretty Gay,” there are gay bars in New York and New Orleans.
You’ll find everything from adolescent bullies fighting over a rare caterpillar to a character taking an AIDS test and, later, meeting up with Mrs. Claus.
“Mrs. Claus I didn’t even know you were alive,” says the narrator of “Arctic Chill.” “I didn’t even know you were real. I haven’t received a gift from you or your husband in ten years.”
Another of Pisarra’s tales revolves around a trip to hell. “I love traveling,” says the narrator of “The Hat from Hell, “I got this hat when I was in Hell back in 1992.”
In “Granny,” siblings gather after their mother’s death. “All anyone could remember of her was that chair, how she sat in it for the last 40 years,” Pisarra writes, “immobile as ‘Jeopardy’ and the ‘Wheel of Fortune’ glared at her night after night.”
Pisarra’s characters yearn to find love, sex, and who they really are.
“In my quest to bed mankind, I tended to avoid perfection’s rejection,” says the narrator of “Every Man for Myself.”
Pisarra, whose first short story collection “Publick Spanking” was published in 1996, was born in Orange, N.J. When he was in the third grade, he moved to Maryland. There, except for living in Oxon Hill for a year, he grew up in Silver Spring.
When Pisarra was growing up, being gay wasn’t even remotely on the horizon. “There was such denial in the culture then,” Pisarra said.
From early on, he had feelings for men. “I had a crush on a boy in kindergarten,” Pisarra said.
He consulted books and a priest, which wasn’t helpful. They said he’d grow out of it.
“As a teenager, I recognized that I hadn’t outgrown it,” Pisarra said.
Pisarra was a college freshman when he came out. “I sobbed the night I came out,” he said.
He was out in college, Pisarra said, “but I wasn’t getting laid.” That changed when he moved to New Orleans after college.
Pisarra graduated from Hofstra University in 1987 with a bachelor’s degree in theater.
In college, a professor had the students sit in a circle. Then, the teacher told them how she thought they’d be cast.
“She told me, ‘you’re a grotesque,’”Pisarra said, “‘You won’t work until you’re in your fifties. Because your face and body don’t match.’”
Pisarra was relieved to hear this. His sense of relief was related to being a young gay man in the late 1980s.
“I wasn’t interested in being closeted,” Pisarra said, “I wrote. I wanted to perform. I wasn’t interested in conforming.”
Since then, Pisarra has been creating – performing and writing his own material. Some of the stories in “You’re Pretty Gay” were originally created for the stage.
“I don’t write that often,” Pisarra said, “I started writing the stories in ‘You’re Pretty Gay’ 20 years ago.”
A prodigious reader, Pisarra has always “written to some degree,” he said.
Pisarra got turned on to writing poetry when he went to a meeting of a gay and lesbian writers group.
“There were, like, 10 people in this apartment,” Pisarra said, “there was a terrible woman sitting next to me.”
He would have dropped out of the group, if he hadn’t met writer Mare Davis, now his close friend.
“I said to her, ‘I never want to see any of these people again except you,’” Pisarra said, “She inspired me to get into poetry.”
Davis wrote the introduction to Pisarra’s poetry collection “Infinity Standing Up” (Capturing Fire Press).
Released in 2019, the volume of sexy, playful sonnets received glowing reviews from the Washington Post, the Blade and other outlets.
“Devour me! Think me not some crazy nut!,” Pisarra writes in one of his sonnets.
With lines like these, he gives Shakespeare a run for his money.
Pisarra has held a variety of jobs – many of which have involved the arts. He has helped homeless people with mental health issues to find housing.
“I ran a writers group for them,” Pisarra said, “I encouraged a super-talented woman to send her work out.”
The woman and Pisarra submitted their work to the same magazine. “Her work was accepted. Mine wasn’t,” he said, “I was thrilled!”
In an unusual career twist, Pisarra, who received a literary grant from the Café Royal Cultural Foundation, toured a ventriloquist act entitled “Singularly Grotesque.” He created the act after the Portland Institute for Contemporary Art commissioned him to develop a new solo piece.
“I was wandering around the library aisles and I found two (self-help) pamphlets on talking with ‘multiple’ selves,’” Pisarra said, “and I thought this is ventriloquism in a nutshell.”
Pisarra hadn’t watched much TV. But that didn’t keep him from interviewing with AMC to be its director of digital media.
“I thought why not,” Pisarra said, “it would be a chance to see what else is out there in the world.”
He worked on the websites for “Mad Men” and “Breaking Bad.” “It was a pleasure to be part of the online team for these cultural phenomena!” Pisarra said.
With Molly Gross, Pisarra co-founded Saint Flashlight. In this project, he and Gross find inventive ways to get poetry into public spaces.
One of the project’s most innovative efforts has been putting haiku on movie marquees. It’s fun to see people, looking up, counting the syllables, Pisarra said. You sweat when you put the letters up on the marquee, he added.
“It’s part of the fun! It makes you feel like you’re making something matter,” Pisarra said.
He doesn’t want poetry to be confined to “The New Yorker.” “It should push the envelope,” Pisarra said, “It’s not just for the upper crust.”
‘The Guncle’ never wanted kids but now has two
Novel is as charming as they come with a surprise ending
By Steven Rowley
The situation you’re facing isn’t one you wanted.
You had no wish for it; in fact, it’s 100 percent the opposite. Not your circus, not your monkeys, as they say. So usually, you’d follow your instincts and run but this time, you surprise yourself by stepping up and taking ownership. Now it is your problem but, as in the new novel, “The Guncle” by Steven Rowley, that’s more than OK.
Sara had been his friend first.
Patrick wasn’t exactly happy when she married his brother, Greg, but she managed to make it work and he loved her for it. He loved her first, actually, and he never let her forget it.
But now she was gone and Greg had asked the impossible: would Patrick – gay man, former TV star, Palm Springs fixture, no-responsibilities Patrick – take Greg and Sara’s kids, nine-year-old Maisie and six-year-old Grant, for the summer so Greg could go to rehab while grieving the death of his wife? Could the kids’ GUP (Gay Uncle Patrick) step up?
No. There was no way that Patrick was taking temporary custody of two kids – but then his older sister, Clara, copped an attitude, rolled her eyes, and told him he was “off the hook.”
And so Greg headed to rehab after the funeral and the kids went home with Patrick to Palm Springs. It would be a long 90 days.
Grant was cute but full of questions; Patrick learned to make things up. Maisie was nobody’s fool and Patrick learned to hide his passwords. He gave them “Guncle” Rules (gay + uncle = guncle), life lessons, and stories about their mother – but past that, what does a gay man who never wanted kids do when he suddenly has two of them?
He takes them to the museum way too often, that’s what. He takes them to five-star restaurants and cringes when they order kid food. He lounges with them in the pool, gets them a dog, lets them put up a Christmas tree in July, hugs them, and throws a party.
And he loves them.
There are four words that best describe “The Guncle”: A. Dor. A. Bull.
That’s it. This novel is simply as charming as they come and don’t be surprised if you can almost hear your favorite actors as any of the characters here. Don’t be surprised, either, if you spend your vacation racing to reach the ending you think’s coming and you’re wrong.
Indeed, author Steven Rowley offers the perfect mix of snorts and sobs here, snarky fun one minute and pathos the next but neither emotion is belabored or forced. That gives readers room to enjoy the tale as it unfolds and grows like an inflating pool toy, and to watch the characters twisting wistfully in irresistible, concentric circles.
Your ticket’s in your hand, your suitcase is packed, your destination is close, but you need a book to get you there. If you’d love to immerse yourself inside a sweet novel like “The Guncle,” then step right up.
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