History has
weight.
I sometimes
see complaints about historical (or contemporary) fiction in LGBTQ groups on
Facebook. The sad story, the impossible love, the violent end to romance—these
are too prevalent in LGBTQ fiction. Where do we get to be the heroes? Where do
we get to see happy endings for us?
It’s a fair
question but I’m left with a counter question: How real do you want the fiction
to be? Could Oscar Wilde’s story have been much different than it was? How do
you write his happy ending unless you’re doing speculative fiction/alternative
history?
My novella, Cary and John, is somewhat historical in
that the letters between the men are written in the early 1970s, but there is
also a contemporary part, the narrative between the daughters of the men. They
are not, to put it mildly, queer activists. When I first started shopping the
manuscript around, one gay publisher responded in part, and I quote, “. . . too much page time was given to the daughters, whose
homophobia overwhelmed the narrative and was not moderated even at the end.”
I could argue about the subtle shift that I think the
daughters make by the end of the book, but I admit it is subtle and little bit
the point. That moment when the shift begins was what I was most interested in
writing about. I gave the titular characters as happy an ending as I could, given their circumstances, but without
expanding the scope of the book drastically, any more than a subtle shift was
all the daughters earned. Yes, I could have expanded the scope of the book, but
that wasn’t the story I had to tell.
Certainly, LGBTQ folk are not alone in this. I hear similar
frustration from other communities. Why are so many books about American Black
experience centered on slavery? Can Native fiction writers escape the weight of
lost land and residential schools? Obviously, there are very good books by
Black and Native authors that do not center those experiences, but the weight
of being racialized in a way that resulted in those atrocities are still in the
background. How can they not be?
And I begin to ask, myself only until now, what if our
desire to see ourselves as the hero of stories really just wanted to be part of
the empire story? To read a biography of any U.S. president will center on his
presidency and whether or not he was a good leader or not. Even if he’s assessed
as less than heroic, he became president “because,” not “in spite of.” A
biography of Wilde will focus on his literary accomplishments, but it’s a bit “in
spite of” him being gay. Would Harvey Milk’s political accomplishments be
noticed at all if he’d not been assassinated? Are there happy endings for Rudolf
Nureyev, Liberace, Rock Hudson? Are what we want when we pine for happy
endings, are we wanting to be more powerful, more traditionally successful,
dying of less politicized causes?
This may be why a some BIPOC fiction has turned to
futurism. It’s a way of envisioning a future where the previously oppressed can
unambiguously end up a hero with a happy ending. It’s envisioning the
redemption and reversal of a long history of injustice. There’s something sad
as well as victorious in a movie like Black Panther, where we have to invent a
place that remained untouched by European colonization. It’s an attempt at “what
could be” as well as “what might have been.”
Jesus died a death of political and religious intrigue. His
hero story is upside down, a nobody who should have disappeared into the
history of other nobodies executed by the state. Whether you’re a Christian who
believes in a literal resurrection or a Christian or atheist or other religious
who sees the resurrection story as a myth like the story of Zeus becoming the
supreme god of the Greek pantheon, the power of the story continues on in the
lives of millions of Christians, but it is not a hero story in any classical
sense of the word.
I confess I want gay heroes. I want gay heroes who have
happy endings. But I’m beginning to check my desire, to see if it’s because I
want to take part in the overarching stories of power and imperialism. I take
part in those stories daily as a white man, an inheritor of the comfort and
position afforded me by European colonialism. If there are heroes for me,
perhaps it is in the community that some slaughtered saint left behind.