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Wrong, in the talented hands of writer Rodney Garland (yes, necessarily a pseudonym!). Good fiction is dramatized with conflict-action-suspense. To the max, Garland skillfully exploits every ounce of the above "dismal" earlier-time situation to create a "dramatic" almost timeless good read filled with human drama thus.
The "meat" of the backbone-plot lets Garland parade the people and the possibilities. Dr. Tony Page, a psychiatrist, finds that his close friend (and yes, one-time lover) Julian Leclerc, has committed suicide. And so, for self-protection from blackmail/exposure, Tony goes on the trail of finding out why. To this plot add the "seasonings," as Tony's quest lets a whole parade of people emerge. It's a Hogarth-portrait of "homosexuality in urban England then." Julian's business-partner, married and utterly clueless....Anne, Julian's equally-naïve fiance AND Tony's patient....Julian's army-officer father, homophobic but broken....And a whole gallery of friends-and-lovers of Julian and of Tony. Ron the "questioning" tough, Ginger the married bloke, Hugh Harpley the flitting fairy, a Scotland Yard detective who himself is gay (talk about undercover-undercover). And let us not forget Terry, the hunky blond and sweet houseboy of Tony's.....
So Garland uses the Gay Thing plus British social class-consciousness to enhance suspense and intrigue, via knowledge-vs.-suspicion-vs.-secrets-vs.-mystery. As for specifically gay, "who knows about me, who doesn't or do they, who sort of knows? As for general social class, the novel richly employs the British novel's (and society's) keen deep hyper-awareness of class (lower, middle, upper) as a key primary marker of identity. We see Dr. Page reading the situations for clues, not only of sexual orientation, but of social status. Clothing, speech and accent, lifestyle all "peg" the person in rank. (Heavens, was lower-class status as stigmatizing as queerness?)
"Chef" Garland takes equal parts of social danger-risk-oppression, various personality-types, and class-consciousness. Bakes all together and serves up a flavorful read indeed. I wish more fiction (novels, stories) had this book's dynamic conflict-action-suspense so carefully, but effortlessly, built into every chapter. Oppressed, oppressive gay London in the 1950's is transformed into a good story thus.
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As a new teacher, I have found this series invaluable in preparing my lessons. I think you'll like this one.
This book is the first to describe how to help these patients. Very often physical therapy is too vigorous for them, their symptoms become worse, they complain more and and in an attempt to convey their problem can appear very neurotic. They are not; they are just in pain.
This excelent book will be a comfort to patients who will feel understood probably for the first time and an excelent guide to those who are trying to help these poor people
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