But where Kramer was polemical, Holleran was poetic - more quietly political, Kushner said, but political nevertheless as a pioneer in literature for a post-Stonewall age. “Dancer” was released the same year as Kramer’s brazen satire, “Faggots” both were cautionary tales about the moth-to-flame nature of gay nightlife, and both reach their climax on Fire Island. It is his ability to make our ‘gay’ feelings so evocative.” “I think that is why young folks are still so drawn to him and his work. “Andrew really is the standard-bearer of taking all of our wayward contemporary gay desires and internal melodramas and making them not only legible but beautiful,” said William Johnson, the program director of PEN Across America and the former deputy director of Lambda Literary. It’s not unusual to see a Fire Island neophyte clutching a copy of “Dancer” on the ferry from Sayville, N.Y., as if reading it were a rite of passage. “One of the first things I remember about ‘Dancer From the Dance’ is that it lands on the notion that all of us are self-invented people, and that behind that is a difficult and somewhat concealed past, as if in coming out there’s a reverse closeting that’s very Fitzgeraldian.”Įven if that point hasn’t always registered with a wide audience, Holleran has meant an immense deal to gay people, of all ages.
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“Fitzgerald is also a writer about loss there’s this sense with both of people inhabiting something that’s already disappeared,” he said. But his works are inarguably literature, said Tony Kushner, the “Angels in America” playwright. Fire Island culture is described without context camp and cruising are a given. Holleran - unlike, say, Truman Capote or Gore Vidal in the generation before him - has never tailored his writing to a straight audience. As recently as “Grief,” a reviewer for The New York Times wrote that his books “can seem so determined to speak for their disenfranchised gay characters that the works become inaccessible to anyone else.” Critics and publishers, often with more than a whiff of homophobia, were slow to acknowledge and appreciate chroniclers of gay life like Holleran. That’s an opinion most likely to come from a gay reader, though. Larry Kramer, the author and prickly luminary of AIDS activism who died in 2020, once called him the Fitzgerald and Hemingway of gay literature, “but for one thing: He writes better than both of them.”
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If “Grief” was a farewell to the generation of Holleran’s parents, said Will Schwalbe, Holleran’s editor, here, “there’s this feeling that we’re up next.”įew have examined loss with the lyricism and sensitive observation that have been hallmarks of Holleran’s novels.