Month: August 2011

McKinley M. Hellenes’ Thoughts on Lenny Bruce is Dead by Jonathan Goldstein

On By Novel NicheIn Guest Reviews3 Comments

Published in 2006 by Counterpoint Press.

“It was happening so fast. He had this funny feeling that it might be him. It might be him that this was all about …

This is how you become a certain way. This is how you become who you are.”

–Jonathan Goldstein

Reading Lenny Bruce is Dead is like channel surfing through a movie that occasionally, and terrifyingly, reminds you of your own life in shocking and embarrassing ways. Goldstein’s style is both guileless and visceral, with a humour and delicacy that reads like the sort of poetry you hesitate to call poetry because poetry doesn’t usually have so much ejaculation in it. It is the seamless contrast between the obscene and the transcendent that gives the writing its profound power. Imagery, gorgeous and decadently crude, completely unconnected to the narrative, lingers for days:

“He liked jerking off to flappers. These women were all dead but their spirit lived on in his erection and when he came, they died all over again.”

There is a sort of magic realism inherent in certain imagery that lends a lucid, dreamlike quality:

“We all saw that we were really the size of Chrysler Buildings and sex was about angels dying from the sheer beauty of it all and that the greatest pornography of all was the human imagination.”

The prose is infused with a longing for which there is no cure, except perhaps to read books like this one.

The novel, the scanty plot of which concerns a young man called Josh whose mother dies and leaves him and his emotionally helpless father alone to cope with her absence, is held together and made cohesive by remembered moments of his life that lend context to the dishevelled present:

“He ran through the snow and all he could see was white. It was as if he was dead and nobody could see him. At the depanneur, he walked through the aisles and pretended he was car exhaust.”

The novel is filled with small, breathtaking moments like that, moments that rip you backwards through time until you are a kid again, eating cereal while watching early 1980s cartoons in your He-Man underpants. It somehow evokes perfectly whatever time period in which you grew up and the time when life was the most confusing. You know you will never be happy like that again, except in retrospect.

The narrative is broken up into tiny increments that are the literary equivalent of snapshots taken randomly out of the album and scattered on the floor. These little vignettes are memories not only of Josh’s childhood and his dead mother. They also include the sordid details about all the girlfriends he has ever had, his relationship with his father, his rabbi, several of his friends, the coming of the Moschiach, and an arch nemesis or two. It isn’t a novel about coming of age, however. It has nothing to do with resolving parental issues, or coming to any conclusions about the mysteries of the human condition. Goldstein’s style has a disquieting morbidity, reminding you at the least likely moments that you are afraid to die. Certain lines of dialogue and internal narrative that perfectly articulate all the insane thoughts you don’t have the courage or imagination to put into actual words. Thoughts too profound to share out loud are expressed so simply, they almost seem mundane:

“He woke up in the middle of the night and felt nothing but that he was alive. This was the panic he kept trying to describe. Being.”

Each paragraph of Lenny Bruce is Dead is a novel of its own. Cut each one out and slip them into fortune cookies. Break one open when you need to reminded that any stupid, shitty forgettable moment of your life is beautiful and irreplaceable, no matter how disgusting or embarrassing it is. It will tell you over and over: You are completely and irretrievably alone, but you are not the only one. There is no prize for most pathetic, least loveable, or easiest to confuse. We’re all in this boat together and it’s sinking, so don’t miss out on any opportunity you get to jerk off or get laid or eat something you know will give you diarrhoea later, but what the hell. “One day there will be no difference between anything.” Goldstein writes, “It’ll all be the exact same thing. One day you’ll look in the dictionary and there will be only one word and you’ll just have to make do.”

There are books you love for reasons you can’t explain. It has little to do with what the book is about. None of the essential plot points are more meaningful to you than the ones in any other book. It isn’t the way the narrative resolves itself perfectly or charmingly unravels at the last possible minute, so you’re never quite sure if you got it or not, or even if you were supposed to. If you worry about whether or not you are “getting” a book, Lenny Bruce Is Dead probably isn’t for you. If you want a book that gets you, even if you don’t get it, then give it a try. I doubt you will be disappointed. And if you are, at least you will feel understood. Goldstein’s narrative is seemingly plotless and disjointed until at the end of it all, you look back and say, Okay. I sort of get it now. Can I just start again, please? I promise I’ll pay attention this time.  For what has been called an experimental novel, there is no gimmick here. Just an honest and hilarious and deeply human story that has haunted me for nearly a decade. I’ll keep reading it, again and again, for all the decades to come.

McKinley M. Hellenes is a writer living in the Ruskin area of Mission, British Columbia. Her writing has appeared in various magazines of ill repute. She is currently at work on a novel about Post-War Vancouver and a Feminist look at Holocaust survival, for which she received a Canada Council for the Arts Grant. She spends her days waiting for the seals to come take her away. In the meantime, writing stories suffices.

22. On Dark Shores 1: The Lady by J.A. Clement

On By Novel NicheIn Requested Reviews, Reviews 20111 Comment

Published in 2011 by Weasel Green Press.

“For a time, a countless time, there had been nothing more than ceaseless water, stinging bone-sand, and the wind, keening; but suddenly the wind died and the grinding waves smoothed down to uneasy swells. Sounds whispered over the unquiet waters like a chanting of spells; at first they held no more meaning than the mourning wind or the hissing sea-spume, but then came a sound that caught and held, like the anchor of a ship.”

Nereia is a resourceful thief, quite likely the best pickpocket that the small, salt-sprayed fishing town of Scarlock has seen. Though bitterly weary of her trade, she perseveres for the welfare of her sweetly trusting younger sister, Mary. Orphaned since Mary’s infancy, both girls live uneasily in thrall to Copeland, a small-time shady businessman with big-time aspirations, in the acquisition of which he intends to involve Nereia, whether she willingly consents or no. Bolstered by his stoic bodyguard heavy, Blakey, Copeland proves himself distressingly capable of meting out punishment to those who would liberate themselves from his iron grip of control. Despite her prior knowledge of this, Nereia cannot help but make a desperate bid for freedom. In so doing, she pits her gritty resilience against Copeland’s well-crafted cruelty. The quietly slumbering village that witnesses their struggle, and the startling events wrought of its consequences, may well hold more time-brined secrets than its shuttered windows and sea-slick walkways suggest.

Reading the expository opening paragraphs of On Dark Shores 1: The Lady prompted my best hopes for a gracefully constructed and fertilely imagined creative landscape. In these lines, we are introduced to the cast’s main players not by name, but through their dreams, all of which are uneasy, tempest-tossed. Tidings are being washed ashore which will bode ill, we are given to understand, and this hinting at future upheaval is admirably conveyed through Clement’s subtle associations of geographical tumult with individual distress. It is evident that we are reading the work of someone who enjoys implementing literary ornamentation, someone who is mindful of the importance of strongly crafted situations, and equally worthy characters to populate them.

That being established, however, the novel lacks a certain evenness of successful storytelling. There are beautiful, glowing passages, to be sure, but there are also areas which appear to have missed a similar application of consistent, dedicated layering. Much of the novel’s narration is dependent on third-person accounts of events, which provides the writer with a broad canvas for perspectives. Given the number of personages to whose inner thoughts we are privy, the potential richness available from multiple non-omniscient narrative seems only hinted at in promising glimpses, without ever truly being deeply sustained.

Reading Clement’s depictions of the natural terrain of her novel offers the surest marker of appreciation for her descriptive prowess. The polish and gleam in her lines often shines most brightly when she writes about the sea (which, given the title of the series, might be intentionally done, or not.) For instance, it would be difficult to savour the following:

“The drizzle had stopped, but the light was failing across the restless sea; the smoothed steel swells were growing wind-tipped and wild with hissing spray.”

and then declaim Clement as talentless; quite the contrary. If she were a consistently uninspiring, yawn-soliciting producer of paltry prose, that would render this review short and dismissive. The difficulty lies in aligning her bountiful caverns of gorgeous writing with her other fictive terrain that is decidedly less lush. Much of the dramatically-infused dialogue featured in character altercations is less riveting than it could be; this is not to suggest that the author ought to puppeteer her players into uttering phrases only as she would say them. The beauty of dialogue (and third-person limited narration alike) lies in allowing an imperfect, biased, disjointed accounting of things; yet without authorial polish and poise, neither scenario nor character appears in their intentional (and thus convincing) lack of lustre. Instead, the writing suffers; the writing appears unmade, neglected, merely patched up with good intentions and talented flourishes, not soundly caulked through in an expert’s hand.

I do not suggest that there aren’t gems to be unearthed in this first installment of the On Dark Shores series; there are. Previously mentioned is Clement’s proficient sculpting of the geographical vistas of her story; the land and sea speak to us as convincingly as Scarlock’s residents and visitors, at times, perhaps more so. Among the highlights of narrative lie expository snippets from townsfolk who aren’t crucial to the machinations of the main plotline (or are they?) such as Niccolo, the fisherman who, early on, provides a piece of fateful information, and spends the rest of the story accounting to himself for its unintended results. Another minor character who prompts intrigued speculation is the proprietress of the local brothel, referred to enigmatically as Madam. Her past is storied, checkered with less than savoury happenings, and if she becomes a central figure in the events of the series’ next installment, I sense that it will be all for the good. Do not be surprised if you find yourself yearning for more revelations concerning the mystical mother of the Shantari and her monumental upcoming journey. Hungering for elucidation on the second novel’s skeletal premises, beckoning beyond our reach, is an excellent effect engendered by a first-part installment, but not if it comes at the risk of souring or, worse, sapping our interest in the events of the book currently in our hands.

Clement does a formidable job of constructing a world outside of the primary events of the novel; this holds its own drawbacks as well as delights. Often, the concerns and preoccupations of the fringe characters are more compelling than the principal ones. Nereia herself is the most glaring disappointment. She possesses all the requisite building blocks for Clement to create a rollickingly outstanding heroine. Instead, she wanders through the plot’s progression (which is less haphazard and more sketchily dubious, reading as though telling segments of it had been left on the cutting floor) with spirited gumption, certainly, but without the visible progress necessary to substantiate her full self. By this I mean that she owns enough moxy and fortitude to establish her as a warrioress worth our time, without sufficient context-crafting, without the heady, darkly glowing internal monologues and stream of consciousness narration that would have furnaced her fighter’s tale so convincingly.

On Dark Shores 1: The Lady tips itself out of favour by anchoring its plotline with a forcibly forward slant towards the remaining two books in the series, not allowing for the bountiful breathing space to truly come into its own. Its gracious writing style, dedication to fleshing out particular characters and literarily-cast foundation recommend it; its incoherency, implausibility of certain situations and disjointedness make one hope for a far more spectacular sequel. I do hope for it. There is brilliance in this authoress’ dusky world of wailing wind and water…muted, perhaps, but visibly gleaming all the same.

J.A. Clement’s engaging website, Wandering on Dark Shores, features comprehensive updates on her writing process and plans for the full series, as well as a host of purchase links for the first novel. You can also follow her on Twitter, here.

A free electronic copy of this novel was provided by J.A. Clement for review. The opinions expressed in this review are entirely my own, and are not influenced by her generous gift of gratuitous literature.

21. A Game of Thrones by George R.R. Martin

On By Novel NicheIn Reviews 20113 Comments

Published in 1996. This Edition: Bantam Dell Random House, 2011.

Winner of the Locus Award for Best Fantasy Novel, 1997.

Shortlisted for the Nebula Award for Best Novel, 1997.

Shortlisted for the World Fantasy Award for Best Novel, 1997.

“Wind and words. We are only human, and the gods have fashioned us for love. That is our great glory, and our great tragedy.”

We’re not in Middle Earth any more, baby.

Don’t get me wrong — you’d be hard-pressed to find a more earnest Tolkenian stalwart than your humble reviewer. I begin with Tolkien, not to disparage or dignify Martin by comparison, but to posit that both men have crafted worlds beyond measurable value in the genre of adult fantasy.  A Game of Thrones, first in the A Song of Ice and Fire saga (and here is a series that deserves such a title, not other current pretenders that feature incandescent undead and perpetually blue-jeaned werelings), is worthy of a place on the loftiest pedestal you polish for your high fantasy, for reasons both dirty and divine.

Winter is coming. These are the the watchwords of House Stark, proud and patrician defenders of the North of Westeros and rulers of Winterfell, its ancient castle fortress. Presided over by principled Eddard Stark, his loyal wife Catelyn and their five children, Winterfell enjoys a lull of peace before the arrival of Eddard’s best friend, the King of Westeros’s Seven Kingdoms, Robert, who presses the former into becoming his ‘hand’, his second in command and principal advisor, to rule at his side in King’s Landing, many leagues south of Winterfell. Eddard’s beloved bastard son, Jon Snow, seeks his own livelihood elsewhere, denied the companionship and security of a permanent place in the Stark familiarity he’s known his entire fifteen years. He rides even further north, to fringes of civilization and the Wall, a massive ice bulwark spanning 300 feet long and towering 700 feet tall, hewn by Brandon the Builder to defend Westeros against the threat of wild creatures both known and beyond human imagination. Jon “takes the black”, swearing his fealty to the Night’s Watch, a band of ebony-clad soldiers charged with the protection of the Wall against every possible threat. Meanwhile, across the narrow sea from Westeros, wily, dispossesed Viserys Targaryen, last male survivor of the royal line King Robert slew, dreams of nothing but regaining the crown he deems his birthright. He sells his young sister Daenerys in marriage to fierce Dothraki warlord, Khal Drogo, in hopes of attaining a vast legion of horsemen to recapture the kingship at his command. These concerns involve the three-pronged storyline of A Game of Thrones, but they are a mere glimmer behind the bedezined curtain of plots, subplots, and tributaries of storylines stemming from even these.

Two major criticisms I’ve read of A Game of Thrones is that it’s appallingly overconcerned with the sociopolitical intrigues of the monied elite, as well as guilty of favouring a decidedly misogynistic slant. Given that the titular game refers to an ongoing series of intellectual manipulations and sleight of hand coercions for ruling power, I cannot see how the selfsame intrigues would not come to the fore. It is worth noting that it is not always the monied elite players of the game who yearn for power, however. All have aspirations, and the aspirations of all are keenly documented, not merely those of royal bloodlines. The concerns of the peasantry, the commonfolk, the ‘little people’, are admittedly less prevalent, but they do occur. They oil the machinery of the grand conquests; they litter the battlefields of bad decisions. The fact that they do not speak as much surely says a great deal about them, the position they hold in society, and the stratification of society itself. When they do speak, which is not, it ought be noted, a rare occurrence, merely a less frequent one, it is always believably, and in service of plot strengthening, theme reinforcement and general expository goodness.

As for the lack of strong female characters in the novel, yes, there are several less of them than their male counterparts. George R. R. Martin’s prerogative in writing of more men in positions of power than women can hardly be called a misogynist’s work, if this is the sort of creative world he wishes to establish. Refusal to read the book on these grounds seems like lazy feminist pointscoring that owns no basis in logical assertion: would a novel densely populated with women warriors and leaders offend the rights of men? I’m all for reading about the ascent of gorgeously-sculpted women in literature and life, and the stories of Daenerys Targaryen and Arya Stark are well worth the stories of ten less lovingly-limned leading ladies.

A densely worded world needs vibrant, achingly alive characters to populate it, else all its lavish description has been for naught. Martin moulds such figures in abundance, and charges them with the telling of the thousand and one tales within these pages. The narration of the novel is entrusted to eight principal players (excluding the hair-raising prologue, delivered to us by minor figure, Will). They are:

  • Eddard Stark, Lord of Winterfell, Hand of the King of the Seven Kingdoms, a man burdened beneath the bastion of being almost entirely too good;
  • Catelyn Stark, Eddard’s loving wife, supportive of his every decision, save his emotional proximity to his bastard son;
  • Jon Snow, newly-appointed man of the Night’s Watch, who chose to serve for honour but finds the reality decidedly more grim;
  • Sansa Stark, Eddard and Catelyn’s eldest daughter, exceedingly fair of face and soft of courage, the polar opposite of her sister;
  • Arya Stark, as steel-tempered as any aspiring knight, and more than many, no less resolute than her brother;
  • Bran Stark, whose dreams hold far more than the fodder of mere daylight imaginings;
  • Cersei Lannister, radiant wife of King Robert, who is more than passing attached to her equally lovely twin brother, Jaime;
  • Tyrion Lannister, also called The Imp, younger brother of Cersei and Jaime, and, as he himself would be quick to point out to you, a dwarf.

The utter lack of authorial omniscience in the narration makes each account from each character sing all the livelier. One becomes so engrossed in the tale told, for instance, in Tyrion’s chapters, which are brimful of well-executed wit, wordplay and self-deprecating humour, that to see them come to a close often elicits a frown of annoyance. Switching from Tyrion’s narration to Arya’s, especially after being left on the crest of a dramatic, jaw-dropping development, or a particularly arch comment from The Imp, seems frustrating for the first page, until Arya’s pugilistic perseverance entirely wins us over. We part ways with her at the end of each of her chapters, musing ‘ah, if I only had a daughter/sister like that… why can’t I be more like Arya, anyway?’

It is in this respect that Martin’s cast reminds me of Tolkien’s: for the archetypal luminescence by which readers best enjoy identifying themselves. There is no underdog who can read Tyrion’s half-bitter, half-humoured introspectives without at least a tinge of knowingness, just as no mother, made frantic with desperate love for her children, can deny that they, like Catelyn Stark, would not cut their hands to the quick, to save a slumbering son. The personages within A Game of Thrones could be used to construct a tarot deck of emblematic figures, each character occupying a central or minor slot. What tempers this universal accessibility, however, is that none are drawn with too thick a brush in one overarching quality. Tyrion, for instance, may distinguish himself from the ruthless egoism of House Lannister and his siblings, but his penchant for exquisite enactments of cruelty makes for spectacular reading. Viserys Targaryen rules over his half-crazed compulsions and his little sister with a mercilessly iron fist, but Daenerys remembers him for his passing peaceful jaunts as well, for his quietly hungry boyhood dreams of a better life for them both, in a kingdom across perilous waters. The impression is sustained in nearly everyone we meet in these pages, of a life preceding their appearance in the narration, a life with all its innumerable associations, foibles and moral complexities. Reading characters who are less richly envisioned, less convincingly wrought, will be all the more telling for having read Martin’s, here.

Neither is the folkloric beating heart of the world of Westeros, and all that lies beyond it, treated with any less attention to detail. A Game of Thrones is prefaced by an exquisitely rendered map, pure cartographic delight in the tradition of Tolkien’s own storytelling legacy. There is history in every fireside account, in every mug of ale passed between hands in each tavern of ill repute. There are gods, both old and new, the ancient weirwood deities of the Godswood, beneath whose heart tree Eddard muses for guidance and polishes his greatsword of executioner’s blood; the pristine new gods of the septons and septas, the star spirits that the Dothraki believe to be the fallen dead. The novel is tapestry, a liberal and forceful commingling of belief systems as rich and dense as freshly shed blood, as deep as the darkest magic.

One could do much worse than to wander from Middle Earth into Westeros.

Charting Children’s Literature: The Maiden on the Moor, Nungu and the Hippopotamus

On By Novel NicheIn Charting Children's Literature4 Comments

There is no genre quite like children’s literature when it comes to the creation and sustenance of our most ethereal, elemental dreams. Even the most notoriously bookshy of us remember the tales of our childhood. Even if your favourite youthful adventure or fantasy is not in any book you know, surely it was told to you…whispered in your ear during a rowdy recess break, or murmured across a campfire. If parents allow themselves to release their grip on adult sobriety, they, too, derive an equal pleasure from reading to their children, as their children delight in the listening and the looking, the reaching out to touch ornately patterned pages.

I have never denied myself the joy of reading a child’s book, of immersing myself in the story, of delighting at the quality and expressiveness of the illustration — and I daresay I am the merrier for it. Deciding to embark on this feature sent me back to the bookshelves of my parents’ house, where I grew up, where I often return. Instinctively, I knew just where to find certain titles; memory drew me back to them unerringly. Others I discovered by searching, rummaging through stacks, disrupting fine layers of dust. The revelry of rediscovery was no less than the satisfied thrill of anticipation. I read; I reread. I traced out lines of familiar faces and places, amazed at how it all came back to me, wondering whether it ever really left.

Beginning now and continuing indefinitely (as far as the road may wind, hopefully), Novel Niche will feature two children’s books each month. Some of these books I read when I was in pinafores, thigh-high white socks and brilliant red ribbons. Some I savoured in a business suit and sensible heels. All are beloved to me, and I am pleased to share them with you.

The Maiden on the Moor, written by Marilyn Singer, illustrated by Troy Howell. Published in 1995 by Morrow Junior Books, New York (an imprint of HarperCollins).

This tale first came to me at the age of 21 or so.

On a bitterly cold, windswept night on the moors, two shepherd brothers and their dogs stumble upon a barely-stirring raven haired beauty. Her mystery and fairness of face enchant the younger sibling, who carries her to his humble cottage home to protect her from the unforgiving winter chill. Lonely in the depths of his heart, the young and noble shepherd sings to his slumbering love, in the hope that she will awaken from her frosty reverie and consent to be his constant companion. Awaken she does, when the shepherd is asleep, but it is to take a surprising journey, one nigh-impossible to predict, with both devastating and uplifting results.

What enchanted me?

This book opens with a medieval English verse of “A Maiden on the Moor”, adapted by author Marilyn Singer. The rest of the tale is told in a gracious, gently lilting tongue. Howell’s art is expressively suited to this wintry fable of loss, love and redemption. His hand is at once light and constant; each brushstroke line adds to an interpretation of a landscape both subtle and powerful, peopled by souls governed as much by the magic of the moors as by the demands of their own hearts.

Lines for Life:

“In the evenings, when he returned from his flocks, he sat at her side. At first he, too, was silent. Then he began to talk of his life as a shepherd, his love for the moors. He told her how in the spring the pale yellow flowers perched like birds on the broom brushes. He spoke of summer’s shining days, its sea of heather, purple and green. But he did not speak of the sadness in his heart.”

This book would be best beloved by:

♣ someone who appreciates the beauty of a sad and happy ending, intertwined.

♣ all lonely hearts that long for love.

♣ all bewitched, bewitching maidens who know themselves.

Nungu and the Hippopotamus, written and illustrated by Babette Cole. Published in 1978 by Macdonald and Jane’s, London (now defunct).

I first opened these pages when I was 5 or 6.

An enterprising young boy, Nungu, sets off in search of the mischief-making hippo who has swallowed up the entire Umvuvu River, which once flowed right around Tubu Island in the heart of Africa. Nungu’s grandfather, a fellow Tubu islander, gifts Nungu a special hiccuping medicine, formulated to make Madam Hippo expel the stolen river from her tummy. Armed with this, a particularly tempting pumpkin and his personal store of courage, Nungu sets out with his faithfully lazy donkey Masheety, to find Madam Hippo and restore the Umvuvu to his people.

What enchanted me?

I must have puzzled and puzzled for hours over how an entire river could exist in the belly of a hippo, no matter how magnificent her proportions. Even though I was a wee sceptic, even then, Nungu and the Hippopotamus never failed to delight—it still does. I smile in admiration of Cole’s storytelling, as I contemplate Nungu’s heroic quest: who among us would have gone hippo-hunting in our youth? The author’s illustrations are fine, precise and brimming with charming detail. Each panel is a work of art.

Lines for Life:

“What will you give me in return for this water,” said Madam Hippo.

“Do you like pumpkins?” asked Nungu, as if he didn’t know.

Madam Hippo smiled a great wide smile. “It just so happens that there is nothing I like better,” she said.

This book would be best beloved by:

♣ an adventurous and enterprising spirit.

♣ a lover of fireside tales and folklores.

20. And Then Her Mouth by Portia Klee Jordan

On By Novel NicheIn Requested Reviews, Reviews 20113 Comments

[This is a review of an erotica collection. It should not be read by anyone who is too young to read erotica.]

Published in 2010 by Xynobooks.

I’ve long been of the opinion that there ought to be some measure of subtlety in the writing of sex. A panting slather of erogenous zone names, rubbed together on the page, leaves me distinctly… dry. A preponderance of “bulging, turgid members” meeting “quiveringly helpless mounds” leads to a laziness of craft—just because the parts fit together doesn’t mean a writer need mash them in textually ’til they’re sore, and we’re bored. Portia Klee Jordan’s audacious, poetic and elegantly perverse collection, And Then Her Mouth, works toe-curlingly well for me because it doesn’t aim to evade the subtle artistry of good writing. It dives into it, gaping-mawed, and sucks us in—and we go; willingly, we go.

A principal selling point of this gathering of dirty divulgences is that they’re not a precocious tween’s teeth-cutting panty twisters (though you might stumble across at least one ingenue ripe for the picking among these pages). These are eighteen investigations of a persistently purple desire. The word ‘purple’ comes at us at many a turn in these tales – lurking ’round one too many a corner, for my liking. Still, if it best expresses, for Jordan, a particular aura, a no holds barred zone of throbbing openness, then a few too many purples are a miserly toll, spare change you won’t miss as you speed along this open highway of well-weathered pleasure-seekers. One gets the impression, while reading, of lives dipped deeply in lust and self-examination alike, which flavours each vignette with intensity, fire and fever, meriting belief and arousal.  Whether these dirty stories are drawn from the velvet of the author’s own beaded bag of tricks, or not, she is owed a nod of approval for sparing us staid contrivances and sophomoric storylines.

Moral ambiguity makes the sensory ravaging you’re offered from each tale all the sweeter. You’re liable to find a kink for each sexual bent in Jordan’s repertoire, delivered sans ethical interference. In “Pretty Me”, following a nerve-humming exchange with Marcel the drag queen, formerly staid Patricia wrangles a cross-dressing, gender-torquing fetish out of her husband Gerald, with the aid of electrical tape, fishnets and theatrically imposed cruelty. The entirety of “III. Onomatopeter” is a single wicked sentence in celestially sordid punning. “II. Statutory Grape” plies us with the stream of consciousness hunger of a thirty year old observer for a girl whose “breasts are so new they’re surprised to be there”. Far less is on the menu than one might imagine, in “Eat Me”, the concluding piece of the collection, in which Melanie and the narrator have earned their absent gag reflexes for reasons culinary and otherwise. The author keeps scales of reckoning, blind or otherwise, out of her telling. The result: we get to decide how we feel about each scenario, and the freedom of this safe, sultry space is in itself back-archingly good.

My favourite of the eighteen (eighteen being such a primed number for this collection, in quietly declarative ways: the ‘official’ threshold for sexual release, versus the organic compulsion to explore the body/bodies of others much, much earlier than that) is unabashedly, hands-down, skirts-up, “Summer is Cold Here, Linnea”. Beautiful lesbian Dianna finds ways to thaw the nights of her work-imposed Alaskan chill, and intersperses her anatomical explorations with thoughtful missives to her lover Linnea, who (we assume) languishes for her, back home. The narrative cleaves cleanly down a line of epistolary versus confessional styles, rethreading the chasm between the couple, while emphasizing how much grey space there is between what they know about each other, and what they imagine to be true. As Jordan serves this wryly reflective tale that twists into us by turns both tender and intemperate, we marvel at the supple flow of her prose, the authority of her character construction. The introduction of Dianna establishes a plausible portrait of a flesh and blood Sapphist, not a cardboard and estrogen The L Word placeholder.

“Dianna loved women. She loved them. Her personal attachments, the emotional depth requisite for any long-term, soul-serving relationship, these were always with people of her own gender. She knelt down at the altar of worship and buried her mouth overflowing with the physical manifestation of love and awe in the tufted, fleshy crevices of the sex of the Goddess, the Mother of Us All, with whole-hearted, unshaken devotion. And sometimes she had sex with men.”

In the length of time it takes to share a clove cigarette with a dark-eyed stranger, “Summer is Cold Here, Linnea” breathes potent draughts of queer identity interrogation into us, and sweetens their consideration with two artfully lubricated sexual forays. A tour de force in miniature, it’ll leave you just as reflective as ravaged, and solicit many a damp-fingered reread. If you deem the last line of the story to be anything other than the epitome of tongue in cheek wordcrafting, plotwrangling excellence, then let me know—we’re ripe for a debate.

The poetics of Jordan’s pornography establish her as a sensual raconteuse well worth the consideration of the refined reader, the one who’s bookmarked special tracts in his sexual textbooks, the one who’d wager that she knows a thing or three thousand about fiction that enlivens, thickens the breathing, alerts the pulse. These lines from ‘Manipulation, Retribution’ display evidence of how beauteously the author connects our excursions into eros with her deft mappings of human emotion.

“The sounds coming out of my mouth aren’t conscious, aren’t really my own; they are from some other place, some Lovecraftian pit of tentacled grief. I give voice to a sorrow so great it has no name, to a feeling of loss so yawning and empty that from the first it sent us back shaking and looking over our shoulders to the warm cave fire, to rub shoulders with the others of our kind and turn our backs on our understanding of mortality.”

We glean these grief-soaked revelations from the story’s protagonist as he lies across his homemade sawhorse, abandoning his body to a brutal cropping from two courtesans, in the dungeon he and his late lover Martika made, together. ‘Manipulation, Retribution’ is as much a submissive’s playground of utter delight as it is a wise, emotionally spent man’s retrospective on all the things he’s hewn, and all the losses he’s incurred, through living and loving, and the well-stretched canvas he’s made of his life, in the name of non-conventional lust.

If And Then Her Mouth swiftly becomes your 2011 Bible for all things decidedly non-chaste, do let me know. If you’ve been reading those colour-by-numbers guides to literary kinkiness, consider this study in sex and the human psyche your graduation certificate… but please, try not to smear it. Unless, of course, that’s your thing. Portia Klee Jordan wouldn’t judge, I daresay, and neither will I.

You can purchase And Then Her Mouth directly from Portia Klee Jordan’s publisher, Xynobooks, as well as peruse their collection of archived and forthcoming titles.

A free electronic copy of this novel was provided by Nick Maloich at Xynobooks for review. The opinions expressed in this review are entirely my own, and are not influenced by his generous gift of gratuitous literature.