Bestseller Kindle The Family of Max Desir release From the back cover copy Max Desir loved his Italian American family even after his iron willed father exiled him from its intimate innner circle Max
Bestseller Kindle The Family of Max Desir release From the back cover copy Max Desir loved his Italian American family even after his iron willed father exiled him from its intimate innner circle.Max Desir loved his lover, Nick, with whom he openly took up life first amid the enchantment of Rome, then amid the realities of New York.Two loves so deeply felt in a man so painfully divided. A viral Kindle The Family of Max Desir Odd but fairly engrossing. I expected this to be just like the other books by Ferro's fellow compatriots in the so-called Violet Quill group: another dreamy, exquisitely crafted, sex-soaked account of post-Stonewall NYC like you find everywhere in Edmund White, and which reach their apogee of perfection in Andrew Holleran's breathtaking Dancer from the Dance. But although this book does thrum along like a hazy, post-coital memory, it's not really about being gay, or living in New York -- it's about grief. In that way it reminded me of Tony Kushner's "Angels in America," which is obviously (at times stridently) about being gay and being a New Yorker, but which is at its heart really about how a family of friends deals with the fact that death has now taken up permanent residence at the very core of all their relationships. This book examines the same conundrum, but chooses as its test case an actual blood-related family, rather than a spiritually connected/self-selected family (managing to very sophisticatedly make no value judgement on which form of family has stronger, more painfully severed, ties). Also like Kushner (or I should say looking forward to Kushner, as Max Desir came first), this book has its share of surreal, mystical moments, with a host of alien visitations, voodoo ceremonies, talking ghosts, and the like, which are just jarring enough to make you step back and think, but not so strange that it doesn't seem part and parcel of a universe whose logic has been overturned by disease.ALSO also like Kushner, the central character of Max Desir feels -- like Kushner's main man Louis Ironson -- pretty flatly rendered, and comes off like a total pill. Max's aggrieved widower father John is a much more vivid character, more eager to confront his inner self and grapple with the spiritual ramifications of what death and love can do to a person. Perhaps this was deliberate. Both Ferro and his partner Michael Grumley (a fellow Violet Quiller) were dead within 5 years of this novel's publication in 1983, at the height of the AIDS epidemic. Maybe Ferro's novel is saying that the real fear of death is that there is no queer way to voice a fear of death, no way to grieve that feels authentic to his queer experience. Is there really a way now, nearly 30 years later? Can sadness and depression even be specifically gay? Ferro doesn't seem to have the answer, and Kushner, for all his talents and all the pyrotechnics of his "gay fantasia," doesn't really have much more to add, either.