your fault, after all. The general theme of the bleeding heart varieties is "nobody understands me." It doesn't seem to matter that he doesn't understand them either.
Then there is the sex-and-mayhem gay novel . . . usually the work of a diligent hack who knows only what everybody else knows from reading the daily headlines. There is the breast-beating "message" novel. There seems to be a tacit agreement among some sophisticated homosexuals that if they are brighter, wittier, braver and better than their peers, they're going to be gay.
Such messages as these and also the "We'd all be so nice if you'd give us a chance," or "Well, damn it, why don't you try it so you'll know what we're talking about" are obviously beamed to the heterosexual readers, but I'm afraid those readers tune out when they come upon them. And homosexual readers blush and wish they could turn the whole piece off, or at least, turn it down.
The genuinely good story attempts to take the homosexual aspect of a person's life as just one of a number of problems he has to face. It may play a paramount role, but it is not the impetus for the story, the sole dramatic gimmick and the only reason for the reader to take any interest in the character.
A genuine story with true-to-life characters, well-plotted and well and understandingly written, does incalculable good in making the condition. of gay life comprehensible to general readers. And more and more, as the stigma attached to homosexuality dissipates and enlightened circles come to accept it matter-of-factly, gay novels are finding an audience among heterosexuals. These people read for information as well as entertainment. One can only hope that they pick at least some of the honest and worthy novels available from among all the pot-boilers.
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GEORGE WELCH
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