Books
‘Call Me By Your Name’ sequel ‘Find Me’ evocative but lacks original’s power
Aciman keeps readers waiting masochistically while introducing new characters


Unusually close father fixations, intense longing, the first flush of new romance that’s as scary as it is exciting, oh — and pretty much everybody here is bi. These are the major themes of “Find Me,” the sequel to “Call Me By Your Name.” Out Oct. 29, it continues the stories of the same-sex lovers Elio and Oliver that Andre Aciman introduced in his 2007 novel, memorably adapted into a 2017 movie with Timothee Chalamet and Armie Hammer.
I’m gonna stay pretty vague here and keep this as spoiler free as possible. If you want more on setting and premise, that’s easily available online. I went into this 100 percent blind and found the experience quite satisfying. “Call Me” director Luca Guadagino has said he’s planning a sequel of his own that would pick up a few years after the film (the book had an episodic final third not depicted in the movie) with Elio and Oliver navigating through the AIDS era. “Find Me” eschews that scenario altogether.
“Find Me” (**1/2 out of four) really takes its time gathering steam. I can’t necessarily say that’s a bad thing — one of “Call Me’s” biggest charms (in both book and film form) was its unusually languid pace, which so deftly captured the feel of a lazy Italian summer in which Elio and Oliver discovered each other. The pacing, though, worked much better in the earlier book as it was more suited to the timeline of the story. For Aciman to take his same good, ole’ time covering — as in the book’s first section — just a few days’ time, often feels laborious.
Not helping matters is how suddenly he’ll speed things up at whim. One particular same-sex romance in the middle section of the book dubbed “Cadenza” starts off with Aciman’s trademark detail in which no thought or action is deemed too fleeting or throwaway to not share. We’re treated to passages like: “… and then he asked if he could shampoo my hair, to which I said of course he could, and while the shampoo sat on my hair after he’d rubbed it in, I heard him wash himself, only then to feel his fingers rubbing and prodding my skull time and time again.”
That’s all fine and good — sensory detail can be powerful — but then just a few pages later: “Thursday that week we met again at nine at the same restaurant. Friday for lunch. And then for dinner as well. After breakfast that Saturday, he said he was going to drive to the country …” It’s such an extreme pick up of the pacing you almost feel literary whiplash.
Musical motifs form the book’s four sections — Tempo, Cadenza, Capriccio and Da Capo. Told in first person, it takes awhile in each section to figure out who’s speaking and where we are. And be ready to wait. I mean, really wait. Elio is first mentioned by name on page 107; Oliver is alluded to first on page 139. We first see his name on page 233.
As one plods through this leisurely pace, it’s always in the back of the mind whether or not Aciman will deliver a satisfying enough finale to have justified his long roundabouts. That’s, of course, up to each reader to decide, but I would have preferred not spending so much time in the lives and passions of new characters like Miranda (who figures heavily in Tempo, the longest section at a whopping 117 pages) and Michel, a central figure in “Cadenza.”
I was, at first, grateful to have been spared equally detailed prose about Micol, Oliver’s wife of many years, and how they ended up together. And yet, in retrospect, it would have yielded a bit more insight into Oliver, the more inscrutable of the central couple in “Call Me.” He ends up feeling like an afterthought here. Yes, we do get inside his head a bit in Capriccio and Da Capo, but it feels underdeveloped. In Cadenza, Aciman spends dozens of pages detailing Elio (a pianist) cracking a musical mystery (he’s given a handwritten score of murky origins). It’s mildly involving and ends up having some poignance, but ultimately factors — as is common with these types of red herring plot devices — way less in the grand scheme of the story than you’d think considering the attention it gets.
Aciman’s biggest failure here is his inability to differentiate his characters enough as they navigate the throes and blushes of new love. Told always in first person, they narrate things like, “we were staring at each other, and yet neither of us was saying anything. I knew that if I uttered another word I would break the spell, so we sat there, silent and staring, silent and staring, as if she too did not want to lift the spell.” By the end of the book, we’ve been treated to three rounds of this sort of thing from three different perspectives but the voices aren’t distinct enough to justify such poring over these mini-moments.
One might argue that’s the point — Aciman is noting how similar these mating rituals, this flirting is across the board, male or female, gay (more like bi) or straight. But he introduces, then tosses aside so cavalierly such major characters in his story while making us wait, almost masochistically, to discover the fate of Elio and Oliver, it ends up feeling more like a long trip around Robin Hood’s barn than the insightful dissection of human emotion he clearly intends it to be.
In fairness, do these things ever really work? One thinks, of course, of everything from the recent “The Testaments” (the sequel to “The Handmaid’s Tale”) to “Go Set a Watchman” (sequel to “To Kill a Mockingbird”). Are these projects ever terribly satisfying? What would that even look like in Elio and Oliver’s world? Do we want them together setting up house with a white picket fence? We’d hate him if he’d killed one of them off. What does one do with this conundrum?
Aciman has made a noble effort and the book is engrossing, even at his pace, which is actually saying something. But ultimately too much time is spent on rabbit trails with the goods way too rushed over in the final section (Da Capo is a mere 13 pages) to prove effective, much less as shatteringly evocative as “Call Me.”
Books
I’m a lesbian and LGBTQ books would have changed my life
Misguided parents pushing Montgomery County court case

As a child born in Maryland in the 80’s, I had very few LGBTQ+ role models other than Elton John and Ellen DeGeneres. In high school, I went through the motions of going out on Friday nights with boyfriends and dancing with them at prom, but I felt nothing. I desperately wanted to fit in, and it took me until my senior year of high school to finally admit to myself that I was different – and that it hurt too much to hide it anymore.
When I think back on those years, I feel the heartache and pain all over again. I used to lay awake at night begging God not to make me gay. When a boy on my Cross Country team accused me and my friends of being lesbians, I scoffed and said, “You wish.” I hid my true self in cheap wine coolers while my hate for myself festered.
I found healing in books, my creative writing class, and my school’s literary magazine. Writing allowed me to hold up a mirror to myself and see that I could be many things: a loving daughter and sister, a supportive friend, a dedicated member of the Cross Country team, and also a girl who wanted a girlfriend. In my love poems, I evolved from ambiguous pronouns to distinctly feminine ones. When I felt ready to tell my best friend, I showed her one of my poems. To my surprise, the world did not end. She smiled and said, “It’s a good poem. Are you ready to go to the mall?”
I’m one of the lucky ones. When I finally did come out to my parents, they told me they would always love me and want me to be happy. That’s not the case for more than 40% of LGBTQ+ youth, who are kicked out of their homes after they find the courage to tell their family who they truly are. We are facing a mental health epidemic among LGBTQ+ youth, with 41% seriously considered attempting suicide in the past year, the vast majority living in homes that aren’t accepting.
Some of the dissenting parents in Mahmoud vs. Taylor argue that inclusive books aren’t appropriate for elementary school kids. To clarify, these books are simply available in schools – they aren’t required reading for anyone. There is nothing sexual or provocative about stories like “Uncle Bobby’s Wedding” or “Jacob’s Room to Choose” that send a very simple, non-political message: We all are different, and we all deserve to be treated with respect. Opting out of books that show diversity, out of fear that it might “make kids gay” fails to recognize a fundamental truth: art, pop culture, even vegan food cannot make someone gay. I was born this way. There were times I wished that I wasn’t, and that was because I didn’t have books like these telling me it was OK to be who I am.
I wonder how many parents opting out of these books will end up having a LGBTQ+ child. It is both horrible and true that these parents have two choices: love and accept your LGBTQ+ child, or risk losing them. Now that I’m a parent myself, I feel more than ever that our one aim in parenthood is to love our kids for exactly who they are, not who we want them to be.
For several years, a grocery store in Silver Spring, Md., displayed a poem I wrote for my mother in my school’s literary magazine. I wrote about how she taught me that red and blue popples can play together, and that Barbie doesn’t need Ken to be happy. I imagine that maybe, a girl passing through the store read that poem and saw a glimpse of herself inside. That spark of recognition – of I’m not the only one – is all I wanted as a child. I was able to find my happiness and my community, and I want every LGBTQ+ child to be able to do the same.
Joanna Hoffman was born and raised in Silver Spring, Md. She is the author of the poetry collection ‘Running for Trap Doors’ (Sibling Rivalry Press) and is the communications director for LPAC, the nation’s only organization dedicated to advancing the political representation of LGBTQ+ women and nonbinary candidates.
Books
A boy-meets-boy, family-mess story with heat
New book offers a stunning, satisfying love story

‘When the Harvest Comes’
By Denne Michele Norris
c.2025, Random House
$28/304 pages
Happy is the bride the sun shines on.
Of all the clichés that exist about weddings, that’s the one that seems to make you smile the most. Just invoking good weather and bright sunshine feels like a cosmic blessing on the newlyweds and their future. It’s a happy omen for bride and groom or, as in the new book “When the Harvest Comes” by Denne Michele Norris, for groom and groom.

Davis Freeman never thought he could love or be loved like this.
He was wildly, wholeheartedly, mind-and-soul smitten with Everett Caldwell, and life was everything that Davis ever wanted. He was a successful symphony musician in New York. They had an apartment they enjoyed and friends they cherished. Now it was their wedding day, a day Davis had planned with the man he adored, the details almost down to the stitches in their attire. He’d even purchased a gorgeous wedding gown that he’d never risk wearing.
He knew that Everett’s family loved him a lot, but Davis didn’t dare tickle the fates with a white dress on their big day. Everett’s dad, just like Davis’s own father, had considerable reservations about his son marrying another man – although Everett’s father seemed to have come to terms with his son’s bisexuality. Davis’s father, whom Davis called the Reverend, never would. Years ago, father and son had a falling-out that destroyed any chance of peace between Davis and his dad; in fact, the door slammed shut to any reconciliation.
But Davis tried not to think about that. Not on his wedding day. Not, unbeknownst to him, as the Reverend was rushing toward the wedding venue, uninvited but not unrepentant. Not when there was an accident and the Reverend was killed, miles away and during the nuptials.
Davis didn’t know that, of course, as he was marrying the love of his life. Neither did Everett, who had familial problems of his own, including homophobic family members who tried (but failed) to pretend otherwise.
Happy is the groom the sun shines on. But when the storm comes, it can be impossible to remain sunny.
What can be said about “When the Harvest Comes?” It’s a romance with a bit of ghost-pepper-like heat that’s not there for the mere sake of titillation. It’s filled with drama, intrigue, hate, characters you want to just slap, and some in bad need of a hug.
In short, this book is quite stunning.
Author Denne Michele Norris offers a love story that’s everything you want in this genre, including partners you genuinely want to get to know, in situations that are real. This is done by putting readers inside the characters’ minds, letting Davis and Everett themselves explain why they acted as they did, mistakes and all. Don’t be surprised if you have to read the last few pages twice to best enjoy how things end. You won’t be sorry.
If you want a complicated, boy-meets-boy, family-mess kind of book with occasional heat, “When the Harvest Comes” is your book. Truly, this novel shines.
The Blade may receive commissions from qualifying purchases made via this post.
Books
Chronicling disastrous effects of ‘conversion therapy’
New book uncovers horror, unexpected humor of discredited practice

‘Shame-Sex Attraction: Survivors’ Stories of Conversion Therapy’
By Lucas F. W. Wilson
c.2025, Jessica Kingsley Publishers
$21.95/190 pages
You’re a few months in, and it hasn’t gotten any easier.
You made your New Year’s resolutions with forethought, purpose, and determination but after all this time, you still struggle, ugh. You’ve backslid. You’ve cheated because change is hard. It’s sometimes impossible. And in the new book, “Shame-Sex Attraction” by Lucas F. W. Wilson, it can be exceptionally traumatic.

Progress does not come without problems.
While it’s true that the LGBTQ community has been adversely affected by the current administration, there are still things to be happy about when it comes to civil rights and acceptance. Still, says Wilson, one “particularly slow-moving aspect… has been the fight against what is widely known as conversion therapy.”
Such practices, he says, “have numerous damaging, death-dealing, and no doubt disastrous consequences.” The stories he’s collected in this volume reflect that, but they also mirror confidence and strength in the face of detrimental treatment.
Writer Gregory Elsasser-Chavez was told to breathe in something repellent every time he thought about other men. He says, in the end, he decided not to “pray away the gay.” Instead, he quips, he’d “sniff it away.”
D. Apple became her “own conversation therapist” by exhausting herself with service to others as therapy. Peter Nunn’s father took him on a surprise trip, but the surprise was a conversion facility; Nunn’s father said if it didn’t work, he’d “get rid of” his 15-year-old son. Chaim Levin was forced to humiliate himself as part of his therapy.
Lexie Bean struggled to make a therapist understand that they didn’t want to be a man because they were “both.” Jordan Sullivan writes of the years it takes “to re-integrate and become whole” after conversion therapy. Chris Csabs writes that he “tried everything to find the root of my problem” but “nothing so far had worked.”
Says Syre Klenke of a group conversion session, “My heart shattered over and over as people tried to console and encourage each other…. I wonder if each of them is okay and still with us today.”
Here’s a bit of advice for reading “Shame-Sex Attraction”: dip into the first chapter, maybe the second, then go back and read the foreword and introduction, and resume.
The reason: author Lucas F. W. Wilson’s intro is deep and steep, full of footnotes and statistics, and if you’re not prepared or you didn’t come for the education, it might scare you away. No, the subtitle of this book is likely why you’d pick the book up so because that’s what you really wanted, indulge before backtracking.
You won’t be sorry; the first stories are bracing and they’ll steel you for the rest, for the emotion and the tears, the horror and the unexpected humor.
Be aware that there are triggers all over this book, especially if you’ve been subjected to anything like conversion therapy yourself. Remember, though, that the survivors are just that: survivors, and their strength is what makes this book worthwhile. Even so, though “Shame-Sex Attraction” is an essential read, that doesn’t make it any easier.
The Blade may receive commissions from qualifying purchases made via this post.
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