#Monarchs out my window — #amwriting

I love this season — the end of the summer, cicadas singing and everything coming to fruition. This year I have obsessed with growing sunflowers, planted some new bee balm, and dozens of new milkweed plants among other plants including basil, rosemary, and tomatoes.

We have a bee friendly garden (pesticide-free) and I’ve found that if you leave them alone they leave you alone.  This year the monarch butterflies have found us.  My office window looks out on the backyard and every now and then, I look up from writing and see the orange wings of a monarch fly by. (My office is on the second floor.)

I told my partner about this and said the butterfly is saying thank you for providing it with sanctuary in our backyard. Maybe she is. And I am saying thank you back.

To learn more about my novel THEY, a biblical tale of secret genders (published by Adelaide Books New York/Lisbon), click here.

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The #Unicorn, The Mystery shortlisted for The Adelaide Literary Award — #amreading #literaryawards

I still wonder — why would anyone want to capture me?  Why didn’t they just leave me alone. Was I that important?

Three short fiction excerpts of my novel The Unicorn, The Mystery were shortlisted for the Adelaide Literary Award  2018 (short stories, Vol. One).  To read the flip version of the 2018 anthology, click here.

The Adelaide Anthology is also available for purchase as a print copy.  To learn more about the print copies of the Adelaide Literary Awards, click here.

You also can view excerpts of me reading from The Unicorn, The Mystery on short YouTube videos by clicking here

 

 

To learn more about my novel THEY, a biblical tale of secret genders (published by Adelaide Books New York/Lisbon), click here.

 

 

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The #Unicorn, The Mystery short listed for the Adelaide Literary Award — #amreading #LiteraryFiction

Three short fiction excerpts of my novel The Unicorn, The Mystery were shortlisted in the Adelaide Literary Award  2018 (short stories, Vol. One).  To read the flip version of the 2018 anthology, click here.

The Adelaide Anthology is also available for purchase as a print copy.  To learn more about the print copies of the Adelaide Literary Awards, click here.

You also can view excerpts of me reading from The Unicorn, The Mystery on short YouTube videos below.

 

 

 

 

 

To learn more about my novel THEY, a biblical tale of secret genders (published by Adelaide Books New York/Lisbon), click here.

 

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Lesbian artists from Parisian history “discovered” in Never Anyone But You, reviewed on This Way Out — #amreading #LGBTQ

Note: This piece is airing worldwide this week on This Way Out (TWO), the syndicated LGBT radio show.  Click here to listen to the entire show.

(TWO is the first international LGBTQ radio news magazine.)

 

I was just telling a friend that the Left Bank of Paris in the 1920s and 30s – and the lesbians that still live on in history and my imagination — is my favorite era. Then a copy of Never Anyone But You arrived. This book is heralded as “A literary tour de force,” is written by Rupert Thompson and published by Other Press in 2018.  The writing does live up to its reputation and, just as importantly, the story holds together.

As the novel wanders through Paris, the reader glimpses cameos of legendary places and people – most notably the bookstore “Shakespeare and Company” run by Sylvia Beach and her partner Adrienne Monnier.  But as I turned the last page and wiped the wetness from my eyes, I realized that it wasn’t the history that got to me.  It was that the author exquisitely captured the life time of love that existed between these two women who are actual historic figures.

The story opens in 1909 when teenage Suzanne Malherbe and Lucie Schwob meet, fall in love and scheme about how to have a life together.  Through a series of events, Suzanne’s mother marries Lucie’s father.  This renders the two teens step sisters, a convenient cover for the social mores of the time. Suzanne paints and Lucie writes.

The two “sisters” reinvent themselves with male names.  Lucie takes the name Claude and Suzanne goes by Marcel.  They move to Paris (from a provincial town in France where they were from) and become involved with the Surrealist movement. In the 1930s with anti-Semitism on the rise (Claude is from a Jewish family), they leave Paris for the island of Jersey, off the coast of France, where eventually they are forced to deal with Nazi occupation.

Along the way are interesting asides, such as this quote from the well-known writer of the time and place Djuna Barnes, who described Paris as having “the fame of a-too-beautiful woman” meaning that as Thomas wrote, “One could be overwhelmed by Paris. One could become sated.  And it was hard for a city to retain that kind of allure.”

Early in their relationship when the two girls chose their male names, the author writes:

            “And then, in a finger snap, my new name came to me, the name that would be mentioned in the same breath as hers, and it flew straight from my brain into my mouth and out into the air.  “Marcel Moore.”
“What?” Claude too, it seemed, had been in something of a trance.  I repeated what I had said.  Marcel, after her uncle.  I had never met him, but I admired him, both as a writer and as a spirit.  And there was another factor.  Marcel was a man’s name, and yet it sounded feminine. I liked the way it loitered between the genders, as if it couldn’t make up its mind.    Claude was nodding. “And Moore?”     “It’s an English name.”   “You wanted to set yourself apart … “        “Yes.” Though the truth was, I had chosen the name to appeal to the Anglophile in her. Also, she claimed she was related to George Moore, the Irish novelist.   “How did you think of it?”             “I don’t know.  It just arrived.”     Claude leaned her elbows on the table, her slender forearms upright and considered me.  “Marcel Moore,” she said.  “That sounds like someone I could love.”

 

The novel covers a fair amount of history.  And while it is obviously well-researched, enlightening and the thing that first hooked me, it was the love that I remember, the love between these two women Suzanne and Lucie and the names they gave themselves, Marcel and Claude.

 

To learn more about my novel THEY, a biblical tale of secret genders (just published by Adelaide Books New York/Lisbon), click here.

 

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Oscar Wilde’s Legacy on This Way Out int’l radio this week — #LGBTQ #amreading

Note: This piece is re-airing worldwide this week on This Way Out (TWO), the syndicated LGBT radio show.  Click here to listen to the entire show.

(TWO is the first international LGBTQ radio news magazine.)

History is a messy business.

After all, it does involve human beings.

I have not thought this until now — specifically when I read the 2017 biography titled Oscar’s Ghost, The Battle for Oscar Wild’s Legacy by Laura Lee by Amberly Publishing in England.

 

The book covers some new territory. It portrays the struggle for literary control over Wilde’s estate.

But the first one hundred and fifty pages or so were about the events of Wilde’s life — event that led up to the struggle over his writing by the two men in his life.

This was fortunate for me because (in full disclosure), I had not read any of the previous biographies about Wilde. Here’s the short version. Wilde was born in 1854 in Dublin, Ireland, went to college in England, married a woman as custom dictated, became a well-known writer, discovered he was gay, fell hopelessly in love with a younger man named Lord Alfred Douglas and went to jail for that love in 1895. He was then released from jail in 1897 and in 1900 died penniless.

It was interesting to read that the well-known line — “the love that dare not speak its name” — was a line of poetry written by Lord Alfred Douglas that was used in the court case against Oscar Wilde. It was equally fascinating to read that when Oscar spoke of his devotion to Lord Alfred Douglas (nicknamed Bosie) in the courtroom that the attendees of the trial applauded. This is proof that people (at least some of them) are always more enlightened than the laws that govern them.

Oscar was found guilty and went to jail. In prison, he wrote what is arguably his best work titled De Profundis (Latin for “from the depths”), a letter to Lord Alfred Douglas. We have this work because Oscar handed it to his good friend and literary executor Robert Ross who was also his occasional lover.

The long-essay did not portray Lord Alfred Douglas in a good light. After all, Douglas was the reason that Oscar had gone to jail and lost everything. Nevertheless after Oscar’s release from jail the two men reunited and for a short time lived in Naples. After Oscar died an untimely death from a rare disease in 1900, Lord Alfred Douglas learned of the existence of De Profundis and that it was written as a letter to him. Because of this, he considered it his personal property and went into a litigious rage.

The two men knew of Oscar’s involvement with each other and for a while they were good friends. The enmity that grew between them after Oscar’s death was unfortunate. But we do have Robert Ross to thank for establishing Oscar Wilde’s legacy.

In the conclusion, the author notes how fast things have changed:

“In March 2014, same sex marriage became legal in the UK. A little more than a year later it became the law of Oscar Wilde’s native Ireland. In January 2017, Wilde was posthumously pardoned, along with 50,000 other gay men who had been convicted under a law that no longer exists. It can only be hoped that we are finally entering an era when men who love men can, indeed, be dead to all sense of shame.”

To learn more about my novel THEY, a biblical tale of secret genders (just published by Adelaide Books New York/Lisbon), click here.

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Reflecting on TWO Decades (plus 10) of #Queer Radio Commentary — #amreading #lgbtqbooks #queerradio

Note: This short reflection is re-airing worldwide this week on This Way Out (TWO), the syndicated LGBT radio show in honor of its thirtieth anniversary.  Click here to listen to the entire show.

(TWO is the first international LGBTQ radio news magazine.)

 

This is Janet Mason.

I’ve been writing and recording commentary for This Way Out for almost two decades. I’ve long been intrigued by the intimate nature of radio.  I have memories of being shaped by the radio — whether in the car, in the house or early in my life as an adolescent, alone in my room in my parents’ house but connected to the world through the magic power of radio.

It was through radio that I heard the voices of my favorite writers — often people I would come to read, and sometimes — when I was lucky — people I would later meet and on at least once occasion take classes with. As a child, I discovered the world through books. It makes sense that I would want to keep those worlds alive by writing and recording commentary on literature, particularly literature that reflects queer life.

When I first came out — or a few years before — I would listen to my local lesbian-feminist radio show. Yes, I said lesbian-feminist.  It was that long ago.  A lot has changed.  But some would say the more things change, the more they stay the same.  Occupying queer space on the radio airwaves is as important now, as ever, to the LGBT community.

It has been my privilege to work with This Way Out, to provide you with queer literary commentary over the years. Every now and then I hear from a listener and always I am moved.  Not only do I get to be part of a very important worldwide LGBT news wrap and vehicle for queer culture, but I get to be part of the listener’s world also.  In being connected to the world-wide LGBTQ movement, I feel larger than myself.  In the words of the great gay bard Walt Whitman, “I am large, I contain multitudes.”

 

To learn more about Janet Mason’s new novel THEY, a biblical tale of secret genders click here.

 

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A Unitarian Universalist reading of Tea Leaves

Yesterday, a the Unitarian Universalist Church of the Restoration in Philadelphia, I read a passage from my book Tea Leaves, a memoir of mother’s and daughters as part of a service on ancestors that I presented.  Click here to see the reading on YouTube.  I’ll post the accompanying “Dharma Talk” and photographs tomorrow.

I am going to read an excerpt from my book Tea Leaves: a memoir of mothers and daughters.  This selection is taken from a meditation that I did with my mother toward the end of her life.

I look beyond my mother and grandmother to the other women standing higher on the hill. Their arms outstretched, faces beatific. I turn around and lay back in my grandmother’s arms. A warm breeze rustles through the grass, bending the long stalks into a green wave. My knees relax as I go limp. I am weightless in the air, held securely in the crook of my grandmother’s arms. I feel the firm grip of her hands. The broad fingers, that in her life were calloused and cracked, now cradle me with gentle strength. She speaks to me without words, telling me I am going back…back…to a place where I have come from but have never been…

As she passes me back to the woman standing behind her, I look up into a face I have seen only in old faded photographs. My own features mirrored back to me: the same square chin and full cheeks chiseled from the triangular lines. A flash of recognition passes between us, filial. Her features have changed from the few old photos I have seen. Fear has fallen from her face like a mask. Her strong hands cradle me, the resilience of a woman who knelt and scrubbed and, when she could do no more, kept on kneeling and scrubbing. The features of her face that were once tense and drawn have softened into wrinkles that fold easily in on themselves. Her face is lined with immeasurable wisdom. Dissolved in the cadences of time, transmuted between life and death, is the contempt she felt for her only daughter: my grandmother, abandoned by her husband, who raised two children on her own and was destined to live out the same fate as her mother. Staring into her blue gray eyes, I feel the tension in my shoulders dissolve. Tensions that I have never acknowledged, passed down to me from my mother, and to her by her mother, back to my great-grandmother and beyond.

More than a century of forgiving and forgiveness passes between us. I am safe, secure in her arms, feeling waves of compassion flow over me as she passes me back…

…..

I am passed back to great grandmothers and great great grandmothers before that. I go back before the rise of feudalism resting on its foundations built by the greed-driven church fathers, back to the green pastures lush with fruits of plenty growing next to clean waters. I think of my mother reciting the Twenty-third Psalm and suddenly understand her tears:

Yes, there was a time when we feared no evil.

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