” Jack didn’t think he was a nonconformist; he simply loved Will. If he could have magically turned himself into a girl whom Will would want to marry, he’d have done it without hesitation. He’d have converted to Catholicism, become a woman, borne Will’s many children, shopped for dresses at Peck and Peck, learned to cook Rice-A-Roni— ” (Part I, 6, p.111)
As the novel’s title suggests, it’s Jack who is initially brought into sharper focus. Raised in an eccentric Midwestern family, Jack has been a bright student and chooses to study Chinese art history in college. We learn nothing about his parents although much dire history is hinted at. Moving to New York after graduating, it is at the high-end, conservative, but also snooty Northern Review that he experiences the coup de foudre that will determine the course of his life (and the book), plunging him deeply in love with the metrosexual Will Wright, a reserved, oddly handsome, and snobbish aspiring novelist who unfortunately lacks the talent.
In the early sixties, when I’d met him, I’d thought of his queerness as a deformity, a scandal, something akin to a heroin addiction or pedophilia or membership in the Communist Party. I’d liked Jack in spite of this, but since I’d known it could get him fired, I’d been determined to keep it a secret. (Part II, 4, p.268)
Will’s unassailable heterosexuality becomes the catalyzt for Jack’s emerging homosexuality—or more like libertine hedonism. Jack sleeps with other men but only sees these lovers as stand-ins, unsatisfactory substitutes for the real object of his desires. Will eventually falls in love with Jack’s close friend Alexandra, a New York heiress and beauty. It’s almost ten years later when the two friends run into each other by chance—and hither begins Will’s narrative. He is bored with the wife, his marriage falters—yet another crisis that heralds his closeness to Jack, who, acting as a bizarre kind of Pandarus, sets him up with the plump, sexually voracious Pia.
As Will indulges in the sexually and socially transgressive delights of his extramarital affair, Jack again finds himself falling in love with his friend again. But this time he’s more mature to handle it. It’s a deep relationship that has matured over the years, ripe with trust. It’s the primary friendship for them both during this period of their lives. This book, despite all the bodily indulgence and surgical details of physicality, is about friendship. White neither sentimentalizes nor overemphasizes Jack and Will’s friendship; it’s complex and filled with tension and unspoken conflict as any close relationship, but because two men speak so un-self-consciously about their bodies, their sexuality, and their preferences, they transcend it all—even in 1960s New York. The female characters fall short: debutante Alex and slutty Pia, are just cardboard cutouts with no more than convenient characteristics. The ending is also hasty and abrupt. The peculiar and persistent nature of male bonding is the the book’s great strength. But it’s obsession with physical aspects of sexuality renders it shallower than Edmund’s earlier works.
392 pp. Bloomsbury. Hardback. [Read|Skim|Toss] [Buy|Borrow]
Filed under: American Literature, Books, Contemporary Literature, Gay Literature, Literature | Tagged: Books, Contemporary Literature, Edmund White, GLBT Literature, Jack Holmes and His Friend, Literature |