Tuesday, August 18, 2015

My First Book Published (originally posted 3/13-14)

I want to take the time and announce that my first book "In God's Silence" has been published!  I decided, after talking with my good friend Thurman P. Banks Jr. to self publish through Amazon's "CreateSpace".  Thurman's second book has also been published through "CreateSpace" and his book is titled "The Light of a Bright Sun" and we spoke shortly before it's release.  Thurman has self-published both of his books and felt that in today's world that most major publishing houses want an author with a following, and that is created by self-publishing.

Anyway, long story short that is the route I decided to go as well.

"In God's Silence" is the fictional story of Christoph Baecker who as a young man is living in Berlin, Germany during World War II and is gay.  This over 300 page story was initially inspired when, last known gay Concentration Survivor, Rudolf Brazda died on August 3, 2011 at the age of 92.  The first draft started out as an eight page story for a Creative Nonfiction Class I was attending (at Kent State Stark) that at the end of the semester became twelve pages.  My teacher than approached me and asked if I had thought about this story as my Honor's Thesis Project and I had to reply "No, I hadn't."  This teacher then went on to say that he felt I was onto something and give this topic some thought.  Long story short, two years of research, writing and revisions later I have a now published book.

The book is listed as fiction as the characters are all fictionalized but the events are not.  Every event has happened to some person somewhere during the horrors of the Holocaust and are painfully yet exquisitely written.  If you buy one book this year, this is the book to buy!

"In God's Silence" can be directly ordered from:

 http://www.amazon.com/In-Gods-Silence-Charles-Dale/dp/1495438635/ref=sr_1_fkmr0_1?ie=UTF8&qid=1394726670&sr=8-1-fkmr0&keywords=in+god%27s+silence+Dale%2C+Charles

for $15.00  Inscribed copies can be ordered through me also for $15 plus shipping.  Checks and money orders only at this time and can be sent to:

Charlie Dale
P.O. Box 347
Canal Fulton, Ohio 44614

I also wanted to include in this post a short introduction teaser to this incredible book....



Chapter One
“In thoughts from the visions of the night, when deep sleep falleth on men,
Fear came upon me, and trembling, which made all my bones to shake.”
Job 4:13-14


It was his heavy falling, slow footsteps that woke me.  His dense feet made gradual strides across the colorless room. They stopped once, briefly, and moved again even slower, once more making the inevitable frightening.  I was simply petrified.  I had every right to be after all these months imprisoned here.  What was it that brought him to my jail cell so early in the morning?  What brought him to my cell at all?  If I disgusted him so much why did he visit nightly and sometimes two or three times a night depending on how much he desired me.  Desired to be near me. Or was it because he punished me every time he was done with me? That it wasn’t about the pleasure he took from me or my body, but the violent beatings and the cruel angry words he would scream at me that gave him his real pleasure? 
My existence the last ten months seemed to have hung on satisfying him every time he came to my cell.  Even though his presence shattered my mental state, it was my decision to give him what he wanted each time he came at me. In my heart hoping it would delay his brutal treatment of me before his feet left my cell.  I hated him for it, but what was I to do?  Could it be too much to ask for the life I had before I came here?  Was it too much for him to see me as a man, just like he was?  Could it be impossible that I would ever be seen as his equal?  

"The Light of A Bright Sun" by Thurman P. Banks, Jr. : My Review


Every now and then you get the distinct and renowned pleasure of reading a book that changes everything you think you know.  A book that makes you view the world in a whole new way because it shakes your very foundation, and that book is “The Light of A Bright Sun” by Thurman P. Banks Jr. 
(This review is based on my reading a pre-production copy of the book) This is Banks second foray into the literary world and Banks has risen to new and glorious heights with this masterpiece that you will not be able to put down.  Banks is the unknown author whose name should be on all of of our lips.  He simply is that good!
            The narrative text begins in present day, but a good portion of the book is also set in the past.  First July 27th, 1976 a date which changes the entire course of one story, August 1986—which is where a good bulk of the story is told, February 1987, and April 1987—which is where the remaining fair portion of the story is told.  The timelines are well thought out, well constructed and we flip-flop between the present and past very easily.  The reader is left with no questions unanswered and no way of not knowing exactly when and where we are.  The literary narrative could not have been told without this changing of timeframes, and in this case is one of many strong points to which Banks has brilliantly achieved.
            The first four pages of the text we are set in present in day, in what we are lead to believe is a hospital room with someone connected to a heart monitor.  Characters within the first four pages are not given any names and this type of narrative is vividly played out until the final chapter when these characters are revealed.  This theme of mystery is cleverly and wonderfully sets into motion a stage of intrigue that commands you to continue to turn the pages.  It is this aspect alone that kept this reader guessing at these characters identities until the very end when this reader was pleasantly surprised at the outcome.  One quote from this book I believe sets the entire stage to which this masterful text is set:
“I’ve slipped into madness again, he thinks, laughing lightly.  So be it if I am in the middle of madness, he assures himself, you have to be a little crazy to truly stay sane in this world anyhow” (Banks Jr. 2).

Set in the “coastal Connecticut town of Hayward” (Banks Jr. 5) the story really begins July 27th, 1976 with the main character Thomas Thompson, not Tommy but Thomas, an eight year-old boy that Banks calls a “hero without a cape—living a life of created greatness in an unhurried world and overachieving mind” (Banks Jr. 5).  Thomas after a game of baseball makes the simple decision to walk home rather than ride his bike.  This simple decision sets us into “Fifteen unwanted minutes (that) can change a life however, and not always for the best” (Banks Jr. 6).  For it is in walking home that Thomas is brutally raped by two teenage boys, who happen to be the residents of Laro School. 
“Only tears and terror remained as he whispered in shock to the wind, “I’m a boy.  I’m a boy” (Banks Jr. 10)…. They left him there, naked and betrayed by his own purity…let God be the raped child if he so allows his children to be treated that way, and then maybe we’ll see where his faith resides” (Banks Jr. 11)
            This violent act sets into motion a narrative within the text that makes Beverly Weston of the “August: Osage County” fame and her story look like June Cleaver and “Leave it To Beaver”.  This best can be seen within the text when Banks writes:
“Madness—that is what our lives truly are—a bundle of thoughts and lies, which like strings, we know are destined to break, yet we still continue to hang ourselves upon” (Banks Jr. 15).
            What sets the narrative apart from stories similar to “August: Osage County” is Banks incredible skill at telling stories that are both brutal and moving, horrible yet inspirational and painful truths in which we grow and grow beyond our wildest imaginations.  Banks has us “One minute spent kneeling in glory, the next for a lifetime of pain” (Banks Jr. 16) which is what Prudence Cecilia Main or better known as Prudie and or Mumma does; and especially after her husband, Joseph, abandons her and Thomas.
Prudie is twenty-seven years old when this event happens and sends Prudie into a tailspin of religion and possible mental instability.  But Banks in a moment of true clarity says, “If prayer truly worked, would there really be any need to keep praying” (Banks Jr. 42). This theme of religion versus faith and childlike believe are “toyed’ with by Banks in ways that are new, challenging and creatively dealt with in a fashion that this reader has not seen before.  All aspects of the ideas of religion, faith, belief, trust, hope and forgiveness are exquisitely dealt with and we the reader walk away not only where these characters stand in these issues; but we, I believe, are also given insight into what Banks knows to be true. 
Time passes, as it must, and Prudie meets and ends up marrying a man she met in a bar named William Theodore Crowley or better known as Willy. Banks describes Willy as:

“A regular predator (womanizer)—the tall and handsome handful as he had been dubbed by the barflies (Banks Jr. 18)… the lazy dreamer, so uncoordinated he would trip over his own feet (Banks Jr. 20).

Willy is an alcoholic and has a tendency to cruelty.  This cruelty that is played out throughout the two hundred fifty nine-page text and, the height of this can be seen when Willy gives Thomas a cross-hook that ends up in eight stitches. But it is Thomas who has a “fear of the known and unknown…a worry of the world that would forever hang on his shoulders” (Banks Jr. 49)
Willy and Prudie are destined for a life of hardships and not merely for the fact that Prudie is pregnant. Willy is hopeful it will be a boy, but fate deals a cruel hand when Maybeline is born.  Not only is Maybeline, nicknamed Maybe, is a girl but she has Down Syndrome.  This simple act of birth causes Willy to despise life and fate even more; for what kind of God would cause such things to happen. However, it is Maybe that teaches Thomas and us the reader:
“That life is nothing more than a mirror, and what we see in others, is often no more than a reflection of ourselves.  But even a person with sight can be blind” (Banks Jr. 49).
It is the character of Maybe that brings--- this incredible story of struggle, pain, loss and grief ---some form of hope.  It is in Maybe’s “disability” that hope, faith and ultimately triumph emerges.  Even when Pastor Carr, Mumma’s minister violently rapes Maybe when she is ten years old, Maybe rises above the violence, the horror and the pain in a singular act of true forgiveness, that left this reader crying and struggling still some twenty-seven years later to emotionally forgive his rapist.

Pastor Carr has a daughter Mary Sue who is also a pivotal player, even though she is a bit of a slut in the beginning of the story.  But even our first notions of Mary Sue are skewed when we learn that Mary Sue has been the victim of incest at the hands of her own father. This theme of sexual abuse and assault is a reoccurring one within the text and Banks, in my opinion, has a true and deep understanding of this issue that many authors do not.  It is when Thomas is eighteen or nineteen years old that she has a sexual dalliance with Thomas even though she is engaged to Roger Burdick who is in the military.

 There is another mystery to the real father of Mary Sue’s child, and why I do not want to give away to much of this storyline—as it is one of Banks strongest and most moving storylines—I will say I was surprised at the outcome because Banks draws such a believable story to which we belief as “gospel”.
There are moments of extreme violence in this book but Banks does not go into theatrics or gore for gores sake within what he has written.  There is an ease and simplistic beauty to even though most violent of scenes and a metaphysical growth that comes from this story of deep pain and forgiveness.  

By the end when Banks has so entrenched us into his masterful story that we reading faster than we thought imagined—simply so we can read the text, to get to the next part of the story--- we are drawn into the most painful and beautifully written story I have ever read.  It has an ease of moments that are much like Nicholas Sparks “The Notebook”, it has a touch of “Philadelphia” and a smattering of “Precious”; but make no mistake this book is none of those things and yet we are reminded of a more tender, compassionate time that by the last page left me weeping.
            
Banks is a literary force to be reckoned with, and with a teaser of his next novel “Between the Heavens” at the end of this one--- I predict a glorious future for this “new” writer.  A future that has me running to buy this book or any other he happens to pen.  Thank you Thurman for an incredible journey with characters who have become family:
“Most of us slither away from the light by way of machine or man, in senility rather than divinity, never to resurrect ourselves, as if unable to climb up the mountain.  We fade away in the depth of our souls, here one moment, gone the next.  How tragic.  How beautiful. How human” (Banks Jr. 252).
This is one book everyone should write.  Banks has risen above and beyond his first book “Beyond John Dunn” which was spectacular as well, but this, if possible is even better.  Run out today and buy your copy!

Bad Writers vs. Good Writers


The difference between good writers and bad writers has little to do with skill. It has to do with perseverance.
Bad writers quit. Good writers keep going. That’s all there is to it.
Good writers keep going
Photo credit: Flickr (Creative Commons)

Good writers

Good writers take time to write. They craft and re-craft a piece. They spend hours and days, revising. They take criticism and feedback, listening to both the external and internal voices that drive them.
And they use it all to make their writing better.
They’re resigned to the fact that first drafts suck and that the true mark of a champion is a commitment to the craft. It’s not about writing in spurts of inspiration. It’s about doing the work, day-in and day-out.
Good writers can do this because they believe in what they’re doing. They understand this is more than a profession or hobby. It’s a calling, a true vocation.
Good writers are perfectionists, but they’ve learned the discipline of shipping.

Bad writers

Bad writers don’t understand this, and that is precisely what makes them bad writers. They presume their writing has achieved a certain level of excellence, so they are closed off to the concept of editing or rewriting.
They can seem haughty, prideful, and arrogant. But really, it’s laziness and fear (mostly fear). Why don’t they edit? Why don’t they write ahead? Why do they give into the myth of the overnight genius? Because they’re afraid of putting the work in — and failing.
As a result, their work is scattered and disconnected, not nearly as good as they think.

How to be different

I meet a lot of people who are decent writers but think they’re great. I used to be one of them. Stubborn and pig-headed, I didn’t want to change. I didn’t want to grow. I wasn’t that good.
When I ask people to rewrite a guest post or make suggestions on how to improve their writing, they get defensive. Or more often the case, I never hear from them again. It is a rare occasion that I hear from a writer who asks for feedback and means it. Many want to get together for coffee; few want to write.
A good writer is humble. Regardless of skill, he is committed to seeing the writing process through to completion. No matter how grueling or hard, he will write. And he will get better.
So what can you — the aspiring writer with something to say — do?

Make a choice

Choose to be different. Keep going when others do not. Go the extra mile that most won’t go. Be amazing by persevering.
Take the crap job that pays nothing. Offer to be someone’s understudy or apprentice. Put the hours in, pay your dues. It will pay off. But you will have to work.
Don’t coast on talent alone. Let it remind you of the responsibility you have to honor your gift. And if you’re not that good, well here’s the good news: you can get better.
You can outlast those who are lucky and out-work those who are lazy.
This all begins with humility. Which really means a willingness to listen and change. To do the work and become a professional.
If you do this, if you take the time to make your work great by never settling for good enough, it will make all the difference.
So start persevering today.

Common Writing Mistakes



 by K.M. WEILAND | @KMWEILAND from 

http://www.helpingwritersbecomeauthors.com/2014/01/common-writing-mistakes-choppy-prose.html

Most Common Writing Mistakes: Choppy Prose

Reading choppy prose is like driving on a washboard road. It might be ever so slightly exciting at first, but it quickly becomes irritating and exhausting. The constant jarring of incomplete thoughts and abrupt punctuation prevents readers from sinking into a story. You may be striving for simplicity, but sometimes that very lack of sophistication in sentence structure can end up confusing readers.

Three Causes of Choppy Prose

The root of choppy prose is almost always poor sentence construction. At the root of these bad constructions, we often find three culprits:

1. Run-ons

A run-on sentence is one in which two or more independent clauses are joined without proper conjunction (“and,” “but,” “or,” etc.) or punctuation (semi-colon). The result is a sentence that runs on and on. This might seem like it would produce an effect opposite to choppiness, but, in fact, its breathlessness hurries readers along and mutilates what might otherwise be an effective construction.

FOR EXAMPLE:

Ariel arrived at the train station only two minutes late, she ran down the platform, she screamed at the train to stop, she had to get on!

2. Fragments

A sentence fragment is the opposite of a run-on: an incomplete clause, lacking either subject (noun) or predicate (verb). The abruptness of the missing half creates a jerky style that can make the author look uneducated and create confusion for readers.

FOR EXAMPLE:

Ariel gave up and stopped short. Cried. So unfair. Now, what would happen to her? Doomed, of course. She sat down on her suitcase. Because she had no more strength left in her legs. Maybe the next train? Or when someone took pity on her.

3. Semi-colons

The semi-colon is one of the most elegant of all punctuation marks. But it’s also one of the easiest to misuse. Authors can unintentionally use semi-colons to chop their prose to bits. Most of the time, this happens when one of the clauses the semi-colon is dividing fails to be independent (in essence, becoming a fragment).

FOR EXAMPLE:

A kind man in a fedora stopped beside Ariel; to see if he could help. She sniffed; looked up. This was her lucky day after all; or maybe just miraculous.

How to Fix Your Choppy Prose

Once you’ve identified what’s hacking up your prose, the remedy is simple enough: ruthlessly excise the offenders! Separate your run-ons into correct clauses or sentences of their own, smooth out your fragments with proper punctuation, and either remove the semi-colons or build independent clauses on either side of them.

FOR EXAMPLE:

Ariel arrived at the train station only two minutes late. She ran down the platform and screamed at the train to stop. She had to get on! Finally, she gave up and stopped short. Tears welled. This was so unfair. Now, what would happen to her? She was doomed, of course. The strength melted out of her legs, and she sat down on her suitcase. Maybe the next train would leave soon? Or perhaps someone would take pity on her. A kind man in a fedora stopped beside her and asked if he could help. She sniffed and looked up. Maybe this was her lucky day after all—or maybe it was a miracle?
The prose here is still pretty lean, but now it also flows more intuitively and clarifies the scene for readers rather than confusing them with nebulous half sentences. Cleaning up your choppy prose is as easy as that!


Friday, August 14, 2015

Craft Essay: "Body Counts: A Memoir of Politics, Sex, AIDS, and Survival" by Sean Strub




 Sean Strub in his sweeping memoir does something no one before him has done and that is to talk candidly and freely about what AIDS has been for the past thirty years.  There is an honesty and frankness to Strub’s voice, but one of the small issues is that you have to sift through a “documentary feel” that the majority of the book is written in. When one does find one of these moments of insight to Strub’s “soul” that is when we as the reader are further drawn into him and his identity as survivor.  Randy Shilts and his monumental book “And the Band Plays On” is the only other book that previously comes close to what Strub has done in narrating this awful disease.  The same disease that killed Shilts and that has inhabited my body as well as Strub’s.  Body Counts” is in part similar to “And the Band Plays On” as both have many moments were it comes off as documentary in style loaded with dates, places, times, people, politics and the movement that took place that finally brought AIDS to the forefront of everyone’s lips.  However, what Strub manages to do that “And the Band Plays On” may not have done is make this disease a singular man’s narrative versus that of the community.  It is these moments of vulnerability that Strub soars.  The first example comes during an ACT UP (AIDS Coalition To Unleash Power) demonstration in New York’s Saint Patrick’s Cathedral that Strub once and for all faces the church of his childhood in an act of defiance.
“This is the moment—my moment to confront the church—when instead of repeating ‘the body of Christ’ as expected, I am to make my political statement.  But I have not prepared one.  When I rehearsed this moment in my mind, I imagined I might break into tears or erupt in rage because no slogan—in fact, no words at all—seemed adequate” (page 3).

The church was the cause of so much grief and turmoil in Strub’s life as well as countless other gay men. In many regards some facets of religion still are tumultuous despite changes that even the Pope has made.  Strub, however, turns this moment of defiance, homophobia and lack of action--- from the church--- into something much more personal and much more resonating, the loss of his lover.  Beyond the inaction and bigotry of the walls and institution of the church is the outcome of those actions---- the countless deaths of people living with AIDS.  The inaction of the church has become a calamitous action.  Yet, while this has happened for the church, Strub in once brief second doesn’t know what to do or so in his “political statement” as there is nothing prepared.  So many of us in those singular seconds before and even while taking action had no plans of what we were to say.  For many of us, like Strub, we didn’t need to say anything at all, because there are no words for grief that overwhelming and that all encompassing. This could be the very reason Strub strips away all of the extraneous details of the narrative, strips away even his language to the barest of choices to showcase that pain.  It isn’t about all of the details; the only detail that matters is the pain of his loss.
Like Strub I am one of those gay men whose life has been torn asunder by the church before my coming out and even after. My partner Ron and I were deeply involved in a Greek Orthodox church, with a priest who loved and accepted us as part of his family, but in our hour of need, when Ron died in 2002 denied to acknowledge our love for each other within the walls of the congregation.  Strub uses his moment to acknowledge his loss not only in front of the church, but also in front of the Cardinal who has wrecked so much havoc for the LGBT community of New York:
“May the Lord bless the man I love, who died a year ago this week,’ I hear myself say.  My voice begins as a tremble but finishes strong.  Police standing a few feet away are ready to intervene… but he looks me in the eye and gives me the wafer” (page 3).
In this instance of his wavering and unsure voice he acknowledges the “crimes” the church has committed and by speaking his personal truth requires the Cardinal to acknowledge those crimes as well.  The writing here, much like Strub’s own voice---within that moment--- are trembling but finishes strong.  You can hear his uncertainty and maybe even fear even though he never textually addresses either of those issues.  He doesn’t have to address these issues as metaphorically those moments are within the written text.  This could be the attitude I take when I go to write about my moment of confronting our church when I requested to be the last person to walk past Ron’s open casket during the service, bending over, and kissing him on the lips one final time.  I took my seat and the priest forever closed the lid, as I loudly wept.  My words when I go to describe this need to be stripped away much in the same manner of Strub’s and that the emotion is what needs to resonate.  The emotion becomes the “description” of the scene.
Strub has also moments where he paints a vivid picture of his surroundings that one can see them, taste them, touch and smell them.  This is a skill that plays out beautifully throughout the four hundred pages.  The earliest example can be seen when speaking about his foray into gay bars in Washington D. C.
“The club was in a nameless warehouse district amid a small strip of sex-oriented businesses—including a gay strip club and an adult bookstore—several blocks southwest of the Capitol.  The streets were poorly lit, and when clouds obscured the moon, they were dead dark.  Prostitutes trolled the loading docks… clustering under corner streetlights” (page33).
This is one of many examples Strub has throughout the book and some of those examples while not only being vivid descriptions but also being painful.  There is a sense of pain in the “nameless warehouse district”, “street poorly lit”, and “clouds obscured the moon”.  You can sense this “worthlessness’ in his descriptions.  Strub abandons, if you will, a sense of his stripped down language and adds just the smallest sense to it to make it a bit more while still being pared down in nature.  Instead of the text taking on the emotional it has taken on a worthlessness that could be argued resonates within the earliest days of the AIDS movement.  That for many, in the earliest days of the HIV/AIDS crisis felt a worthless and Reagan and his inability to speak about AIDS for so long did nothing but add fuel to our feelings of worthlessness. It is in these moments that he leaves you not only speechless but also feeling his pain and humiliation.  This can be seen when Strub has accepted an invitation to move in with “an older jock” (page 36) for $256 a month in rent.  This scene becomes violent rather quickly when he says:
“With his other hand, he pulled down my pants, then wet his finger with spit and started to wiggle it in my anus, cooing about how tight it felt.  I cried out in pain, unable to escape… he pulled down his gym shorts and penetrated me… ‘Just relax your only going to make it worse… Oh fuck your bleeding,’ as if it were my fault” (page 37).
            It is hard not only to see the injustice of this situation but to be reminded that yes, beloveds, men are raped as well.  Not only are men raped, but also in many instances these same victims suffer shame beyond repair that they were the victims of rape. Strub doesn’t go into theatrics here describing every last detail, and in many ways we don’t need it.  But, Strub does slow the pace in which we read the text.  It seems as if the punctuation gives you room to breath or at the very least catch your breath.  I found myself reading a bit slower. Strub though in a stroke of genius even pushes the envelope even further when later he discusses the very reason for this deep abiding shame that lasts for decades:
“Indeed, in the early years of the epidemic, it was common to hear about men with AIDS who claimed they never bottomed…AIDS forced a mass exodus from the closet. Acknowledging being penetrated by another man was an even deeper level of closet to transcend” (page 130).
Of course AIDS and rape usually are not discussed in the same breath but this idea of deeper shame of being the “bottom” partner in a gay male sexual encounter is the real issue.  That there is some sense of being less masculine or less manly because you are the passive partner in a sexual encounter, and in my opinion, speaks volumes to the gay/bisexual/down-low/men--- which have sex with men population that who would never, and will never be able to admit to being the passive partner.  It is more than society who holds this stereotype in place but we as gay/bisexual/down-low/men who have sex with men---who may or may not bottom.  But Strub deals with this issue in such honesty and, I feel, compassion that one can no longer deny our own societal and self inflicted shame.
AIDS, of course, is a large portion of this narrative and it would be a huge disservice not to speak to how Strub deals with this issue of AIDS and how AIDS has changed in the thirty years from its first appearance in those who contracted it.  Strub first speaks of the impending “doom” by saying:
“Just as unimaginable was that a virus, then unknown, was already spreading secretly within my closest circle of friends, from one gay man to another, and that it would soon obliterate entire communities” (page 68).
            Strub in this instance has brought the insanity of those earliest years to a level that best describes exactly what was going on for those of us who have been in the “trenches” since nearly the beginning.  The first person I knew who died of the then “Gay Cancer” was 1986 and I was a mere nineteen-year old boy.  Those earliest years are some of the hardest years because so little was known and so little had yet to be started, while our internalized fear, guilt, shame and hatred did nothing more than separate us and in many cases murder even more of us.  For some of us, we were labeled “sex negative and self hating” (page 138) because we promoted a healthier alternative to sex by embracing safe sex.  After all HIV/AIDS diagnosed persons should and would no longer be having sex.  How naïve.  While for many of us our lives became:
“Wondering hospital hallways, I always glanced at names on the doors on the way to whomever I was visiting.  Several times, I went… without intending to visit anyone in particular, knowing there would be someone I knew who was there” (page 191).
            There is a sense of remembrance for me while having read Strub’s book, of where we have been, what we have lived through and for some of us, myself included that we have survived to give voice to a generation of people who have died and have been silenced forever.  There is a large sense of grief while I read Strub’s book and a sense of survival’s guilt as well, that I have simply stood the test and have come out alive when most of my HIV/AIDS diagnosed friends have not.  I am a generation of HIV/AIDS diagnosed persons who have very few friends who can speak to those times, and to who we were as well, as to whom our friends were.  This in and of itself could be the very reason behind making this book so powerful.  Strub is among the blessed to have stood the test of time and simply survived.  But with that survival also comes a cost, which is what I would like to discuss next.
“My throat tightened before I picked up the receiver.  As soon as I heard (Dr.) Sonnabend’s gentle voice, I knew.  The hospital had just called to inform me that Michael had died.  I couldn’t speak.  My chest heaved as if to release sobs or an anguished wail, but nothing came” (page 212).
            Grief is certainly a part of Strub’s book.  Some would say a good part of the book.  But, mingled in with that grief are hope, faith, courage, activism, sex, and life, which in all reality is much like life. There is even in the darkest of hours the sense of life moving forward, life going on whether we want it to or not.  Grief for so many of us, myself included, became overwhelming, all encompassing and the force that drove us forward especially when that grief become so utterly personal.  For me it was when my beloved Ron, who I still am deeply in love with.  Not a day goes by I don’t long to hear his voice, kiss his lips and embrace me and it and him have simply been stolen from me.  Strub speaks to this phenomenal loss as well when he speaks of his best friend, mentor and business partner Stephen Gedin:
I have never met a man I admired more; his death slams the very worst pain and Loss in my heart.  I hate this fucking disease.  No one deserves the agony we have endured for two decades… He is, was and will always be my beloved hero.  I so desperately to believe in a hereafter, one without disease, where Stephen and so many other friends can play and cuddle and love one another” (page 372)
This singular moment is where Strub is his most vulnerable.  We know it because of the text he has written.  It is in the event of Stephen dying that he enormous loss has become too unbearable.  But it is not in the event of Stephen’s death alone, it is in the very language that Strub uses to illustrate his deepest emotions, his frailty and his inability within the moment to cope.  It is this sense that readers, especially me, connect to him on a much deeper level.  That beyond this feeling of a documentary style text we have a man, his life, his emotions and his skills or lack there of, to live a life with AIDS for thirty years.  That even beyond the very realms of the disease of AIDS is a life—Strub’s life as well as my own.  AIDS for many defined who and what we are, or in some cases who and what we were.  It has taken a long time for some of us to come to the conclusion that we are more than are disease.  AIDS is what we have and not who we are.  Strub, like many of us have come to accept that AIDS has shaped who we have become and that without AIDS we would not be the people we are; that the biggest life lessons, for many of us, have come about because of AIDS.
“I have to acknowledge that AIDS, as horrific as it has been, has been, has shaped my character, centered my values, and taught me important lessons.  I’ve learned that life has the most meaning when I advocate or care for others” (page 392).
            I know for myself that AIDS has been the foundation to which most of my life has been built and that I have no regrets.  My AIDS activism, my writing on AIDS, the written performance piece that became part of a play and even my arrest for civil disobedience in Washington DC have all played apart into making myself who I really am.  Out of AIDS I have become this compassionate, empathetic, caring, supportive, and loving man.  Who would I be without AIDS, I have no idea who that man would even be; but what I do know is that AIDS has been and will continue to be a very vital part of my life much like AIDS has been for Strub.
Strub’s speaks about the present issue surrounding AIDS which include barebacking, legal repercussions if HIV status is not disclosed and the very prison system to which those living with AIDS who are convicted end up living.
“The pieces are rapidly falling into place for further criminalization of people with HIV.  The (mandatory) name-reporting campaign (in 1998) has come to fruition, with some of the traditionally strongest allies of people with HIV essentially giving up the fight” (page 392).
            AIDS is not the “manageable chronic” illness that much of media reports that it is that the consequences and repercussions for an HIV or AIDS diagnosis are still very real and for those diagnosed within the twenty-first century are very different to those of us diagnosed during the onslaught of this disease.  That for those diagnosed today there is not the support system in place that we once had for those diagnosed.  For example Stark County, Ohio, where I live, has one and a half cases at the “AIDS Taskforce to help every single person living with HIV/AIDS and that taskforce is not a stand alone facility but part of the MRDD facility as well as the Deaf and Blind Association of Stark County housed in the Senior Citizen’s building.  In its heyday Cleveland had eight ASO’s (AIDS Service Organizations) and now has only two, one of which is open only part time.  PWA’s are no longer members of the board of director’s at ASO’s and volunteers have become a thing of the past for the most part as AIDS has become an actual career.  There is urgency to the new face of AIDS and what AIDS has become but, unfortunately, few are truly listening.