Failmeter Review: David Leavitt’s Literary Works


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Failmeter Author Review – David Leavitt

“Because sometimes I think gay writers only write for a gay audience, which is a mistake. The point is, human experience is universal, and there’s no reason why straight people can’t get as much out of a gay novel as gay people get out of a straight novel.” From The Term Paper Artist.

(Warning: Spoiler alerts for titles mentioned)

David Leavitt’s books occupy a prominent space on my bookshelves and friends I invite into my study inevitably display one of two reactions. Polite disregard by those unfamiliar with the author, or a sly, questioning glance from those who do. Yes, unfair as it would be, Leavitt has long been considered a “gay” writer by some circles. For example, his works were for years displayed alongside Hollinghurst’s and White’s in Singaporean bookshops, under the queer bracket of gender studies. Only in recent times have Leavitt’s books been moved to the mainstream literature shelves. Leavitt’s collection itself does little to change the image of him being a gay fiction writer too. Openly gay and with the bulk of his protagonists homosexual, it is understandable why the perception exists. This is regrettable, for Leavitt was once hailed as the first LGBT writer who would successfully transit from the gay market to the mainstream. And while homosexual life is a recurrent trope in his stories, it is always presented under broader, more universal themes. Themes about family, conflict, loss, and especially the curious, ambiguous dynamics that exist between parent and child.

Entry

Leavitt’s first book, Family Dancing, was published in 1984 and beyond that, he continued to release short stories collections and novels that were favoured with positive reviews. His literary success soon reached the point where he was touted to be the first LGBT writer who would successfully cross over from the gay fiction market to the mainstream. To understand why this was felt to be so, one just needs a cursory reading of his works. Whimsical, stoic, elegant, Leavitt’s brooding tales are often interlaced with an underlying bitter sweetness towards life. His prose is measured and his plotting restrained, and unlike works by authors such as Robert Rodi, comic campiness is decisively shied away from. A lot of times, his stories are also episodic frames, with little resolution or exclamation. In this sense, they perhaps fulfil what the serious literary market demand for in a short story. That letters be compact, well-crafted snapshots of life. No preaching. No ranting. Let the reader enjoy the liberty to form his own conclusions at all times.

The most exemplary of this winning approach, in my opinion, was found in Leavitt’s first novel, The Lost Language of Cranes. A tragic comedy of sorts, the tale resolved around a small American family, one in which both the father and the son were gay. The climax of the story, if it could be considered as one, was a cringing dinner scene whereby every remaining secret came under brutal light. With that, the story ended. The suffering men of that family went to bed fitfully, clueless how they would be unravelling the mess. The mother ruminated on the upheavals of her life while gulping cold milk. The reader is left to wonder whether there could be any adequate solution at all. Rather dismal sounding, but somehow there exists the hint too that everybody wouldn’t be too worse off in the end. One way or another, life would compel them to sort things out. And maybe, just maybe, there might be a happy ending. It depends on how you interpret the characters and predict their futures.

The Lost Language of Cranes, in that sense, possesses many of the makings of a literary masterpiece. It is not without its flaws of course, for example, I continue to find the key metaphor of the crane-child ungainly. In his subsequent stories, Leavitt, as befitting a rising author, further refined his style and at opportune moments, also displayed his capability for lighter, humorous prose. His next milestone as an established writer came in 1993 with the release of While England Sleeps, a novel set against the Spanish Civil War and markedly unlike any of his earlier works. Unfortunately, what should have been Leavitt’s first permanent marking on the international literary scene quickly turned into his worst setback. While England Sleeps was vehemently sued for plagiarism. The matter was resolved out of court but it forever dampened Leavitt’s career and reputation. By some literary analysts, Leavitt never fully recovered from the incident. And none of his subsequent works achieved the level of recognition he once enjoyed.

Exit

I read While England Sleeps during a European winter vacation. I bought the novel in a Parisian bookstore, and read it late into the night while on an overnight train down to Madrid. My feelings towards it, it was splendid. There was an epic, Hemingway type of a feel to it, running away to join a foreign war and all that. Injected into the story were also poignant observations about social class and division. Once again, though the protagonist is gay and in Spain because of his male lover, homosexuality was just a plot moving device. Examined instead are the wider, universal themes of intimacy and loss. Best of all, and in true Hemingway style, the protagonist’s lover died miserably. The protagonist was left to survive the tragedy alone, on a cold ship back home.

Having enjoyed the book immensely, I scoured the Internet for reviews upon returning home. I was aghast subsequently to learn of the notorious lawsuit behind the book. The poet who sued Leavitt for plagiarism, Stephen Spender, employed the choicest words in his accusation, stating that Leavitt had made weaved a pornographic fantasy based on his biography. (While England Sleeps had more sex scenes than previous Leavitt works, though I personally wouldn’t consider it pornographic) The lawsuit was eventually settled out of court, with the novel withdrawn and revised. The incident seemingly over, While England Sleeps went on to win a finalist prize with the Los Angeles Times and Leavitt himself released several other titles in years to come. For me though, a permanent pallor was casted over Leavitt’s works. The lawsuit is always brought up in any extended review of Leavitt’s works and I admit I was substantially affected. For a long time, I refrained from reading any David Leavitt books.

This was unfair, and on hindsight, childish. It is mostly what prompted me to write this author review too. Whatever the reality behind the lawsuit, the concrete truth was that Spender himself agreed to the settlement. Moreover, Leavitt’s skills as a writer continued to be proven in his subsequent works. Arkansas, his 1997 collection of Novellas, contained the same sort of emphatic observations characteristic of his earlier works. The Page Turner began as a comedic romp around Europe, but effortlessly segued into a story about the tragedy 99 per cent of musicians suffer i.e. they would never achieve international renown. In every sense, Leavitt’s capabilities and devotion were not diminished. In fact he even embraced the Spender incident; one of the novellas in Arkansas was based on the lawsuit.  As a reader of his works, I ought to have considered myself rewarded. While once gifted, Leavitt was now also worldly. His writing gained a deeper, more astute edge. One is assured Leavitt truly understands what interpersonal conflict is when he writes about it.

Sadly, while I have returned to Leavitt, the market as a whole declined to do so. Leavitt continued to be published, but his foray into mainstream, “respectable” literature was over. Famously, Drew Patrick Shannon, in an article for the International Journal of Sexuality and Gender Studies, stated that the lawsuit “allowed critics to reinforce the boundaries between gay and mainstream literature that Leavitt had previously crossed.” Leavitt is enshrined, entombed as a gay fiction writer, albeit a graceful one. His books might be displayed with other literary masterpieces on bookshelves, but it is unlikely that they would be included in a critic’s list of “100 books you must read” anytime soon.

Re-entry?

To me, the other tragedy is that the Spender incident eventually did feel to affect Leavitt. His works post year 2000 have a certain, pomposity? Plenty of flashy phrases and bombastic words, but lacking the kind of terse, crystalline insight I so loved in his early works. It felt almost as if Leavitt was working double-time to burrow his way back into the mainstream market, and overdoing it. The whodunit-ish “twist” at the end of The Body Of Jonah Boyd didn’t impress me at all, instead it felt trite. The Indian Clerk I decided to skip for on the whole it didn’t feel to be a Leavitt story. It felt more to be an experiment into a recognised and established sub-genre; that of the fictitious (romanticised) biography set in exotic colonial times. With his latest book, The Two Hotel Francforts, things could be taking a positive turn though. I haven’t read this yet, but the synopsis promised all the elements I look for in a Leavitt story, intricate mis-relationships etc. Plus, it is set historically, and that’s one setting Leavitt has proven himself adept at. I look forward to reacquainting with Leavitt once again. Based on the reviews found online, I am in the belief that I wouldn’t be disappointed.

Would I Recommend Reading David Leavitt?

I’m sure you could tell that I remain a devoted reader of David Leavitt despite the Spender incident and my criticism of his newer works. And so instead of stating whether I recommend reading him, I would address the two “concerns” about reading his stories.

1) The gay element. There is plenty of gay sex in his stories. They are typically written matter-of-factly, with little glamorisation or campiness. By that I mean the sex scenes are plot movers. If you are fine with watching Brokeback Mountain or the Ian-and-Mickey parts of Shameless, you wouldn’t have any issues with them. If you rather be flogged than read a sentence about a dude kissing another guy, I strongly suggest you not start on a Leavitt book.

2) The plots. As mentioned, Leavitt’s stories frequently lack dramatic twists and climatic resolutions. One of my friends once criticised his stories to be dreadfully boring and frustrating. If you expect stories to have decisive conclusions, life-changing epilogues etc, then Leavitt is not for you. You would find his tales to be weary treks through misty mires. An endless wait for something dramatic to happen, but nothing to ever come.

Failmeter Conclusion

Level 1.5! A winner in most aspects. Refer to here for review system.

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LGBT, author review, David Leavitt, gay fiction, mainstream

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