A Genre-Bending Haunted Bookstore Story: The Sentence by Louise Erdrich

the cover of The Sentence

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I kept hearing people rave about this book when it was new. I heard it was a cozy read about someone working in a bookstore haunted by the ghost of a customer. So imagine my surprise when the book begins with the main character remembering a woman she had a crush on convincing her to steal a body that turned out to have cocaine on it, which is how she got a life sentence. That wasn’t what I was expecting.

I hadn’t heard anything about this having queer content, but we know from the first chapter that Tookie is bisexual! It doesn’t use the word bisexual, though, and in the rest of the book, she’s in a long-term relationship with a man, so I suppose most people thought it wasn’t worth mentioning. As someone who’s always on the hunt for more queer books, though—especially by BIPOC authors, and especially especially by Indigenous authors—I wish someone had told me so I could have picked it up sooner!

This is a really difficult book for me to summarize. My overall impression is of a comforting, even cozy read, but as you might imagine from what I said in that first paragraph, that’s misleading. It’s also about death, racism, and Covid-19. It’s mostly set in an Indigenous bookstore; during Tookie’s time in prison, she fell in love with reading, and when she got out, she started working at the bookstore.

One of the regulars of the bookstore is Flora, a white woman who is heavily involved in the Minneapolis Indigenous community, and who hints at having an Indigenous grandparent with little to no evidence. She was annoying enough when she was alive, but after she dies—while reading a possibly deadly book?—she’s even worse. She begins haunting the bookstore and even tries to possess Tookie, in the ultimate form of cultural appropriation.

Meanwhile, the events of 2020 in Minneapolis play out, including loved ones hospitalized from Covid, and protests against the murder of George Floyd raging through the nights. Tookie’s marriage with her husband is complicated and somewhat fraught, and her relationship with her stepdaughter is even more difficult. When her stepdaughter shows up pregnant on their doorstep, looking for support, Tookie has to try to repair their relationship and unearth her nurturing side.

As I describe it, nothing about that sounds cozy—except, maybe, the bookstore setting. But Erdrich is such an incredible writer, especially when it comes to characterization, that I just fell into this novel. I loved Tookie’s voice so much, and all the characters, including Tookie’s family and coworkers, felt real. That network of support around her made this feel comforting even as she dealt with horrific circumstances.

This was my first Louise Erdrich book, and I’ll definitely be reading more. While the sapphic content isn’t the focus of this story, I can’t help but recommend this incredible, genre-bending read in any context I can.

Alexandria Bellefleur Continues to Make Seattle the Romance Capital with The Fiancée Farce

the cover of The Fiancée Farce

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In a year of reading romance novels, I have learned a lot about the genre. First, and most importantly, I enjoy it so much that I usually read an entire novel within a single twenty-four hour period. Another thing that I have noticed—something that threatens to temper that enjoyment from time to time—is how often romance plots revolve around class differences and wealth. Romance, it turns out, often costs money. Considering one of the main conventions of the romance genre is the grand gesture, that should be no surprise. Most of the time I can overlook this pesky intrusion of reality, but I was less successful in doing so while I was reading Alexandria Bellefleur’s latest, The Fiancée Farce (2023).

Before getting into The Fiancée Farce, I want to talk about Bellefleur’s previous three novels: Written in the Stars (2020), Hang the Moon (2021), and Count Your Lucky Stars (2022). These three Seattle-based novels share a cast of characters who I very much wish were real people with whom I could be friends. As someone who wishes she still had her Rainbow Brite doll, I am partial to Elle, one of the main characters of Written in the Stars. Darcy, the grumpy to Elle’s sunshine, is a great combination of ice and red hair. I could also easily see myself as Annie, the protagonist of Hang the Moon, who has found herself directionless and alone. She comes to visit her best friend Darcy in Seattle and meets Brendon, the man who wants to sweep her off of her feet.

Okay, so the M/F romance in Hang the Moon was definitely my least favorite part of these three novels. My second least favorite part, though, was Brendon’s obsession with grand romantic gestures. The convention of the grand gesture bothers me on some level because I don’t really think that it proves much of anything about one’s feelings for another person. Indeed, to me, it proves access to wealth and/or resources, which is why it should be no surprise that Brendon is the CEO of a matchmaking app company. Now, don’t get me wrong—Bellefleur approaches issues of class much more effectively in Count Your Lucky Stars. And, yes, I know that romances are escapist. Still, give me J.Lo’s “My Love Don’t Cost a Thing” over Richard Gere at the end of Pretty Woman any day.

Another potentially expensive romance trope is the marriage contract trope. While I understand the convention of money changing hands in a fake dating/marriage contract situation, six million dollars is quite a lot of money. That is how much Tansy Adams needs to keep her stepmother from selling her father’s beloved independent bookstore, above which she lives in an apartment filled with memories of her deceased parents. The novel begins with the culmination of a six-month-long deception, the purpose of which is to mollify her overbearing family. According to Tansy, she has been dating a woman named Gemma. Except Gemma isn’t real. Well, that isn’t entirely true—Gemma is real, but she is a romance cover model who Tansy has never met. Well, that also isn’t entirely true—Tansy hadn’t met Gemma until she arrived at her cousin’s wedding. The same wedding where Tansy had just inadvertently caught the bouquet.

The Fiancée Farce exists in the same Seattle as Bellefleur’s previous three novels. If Bellefleur is not on the city of Seattle’s payroll yet, she should be, because I have never seen a better advertisement for the Emerald City than her novels. Of course, the reality of living in Seattle requires a cost-of-living conversation, a conversation that lives at the heart of The Fiancée Farce. Ultimately, the plot of the novel revolves too closely around the exchange of money to capture the whimsy of Bellefleur’s previous three novels. Gemma’s family, the van Dalens, as well as her friends (who have clearly spent some time with Rory Gilmore and Logan Huntzberger in the Life and Death Brigade) too persistently hammer in the trope of immoral wealth. There is also a subplot involving Tucker van Dalen that I could have lived without. We get it—rich people often don’t behave well.

Bellefleur creates a cast of awful family and eccentric friends to show that Gemma van Dalen is not like them. The reader, though, is ready to believe that from her first appearance, not to mention that half the book is from her point of view. If Gemma didn’t have a heart of gold, how could she possibly earn the love of down-to-earth and delightful Tansy? I think the answer to that question is what I have taken away the most from a year of reading romance novels: the delight in reading these novels is that I know what is going to happen, and it makes me happy. The author’s main responsibilities are to create characters who I’d like to meet in real life and to ensure the delight of predictability. Of the four novels by Alexandria Bellefleur that I have read in the past month, The Fiancée Farce is the one that sparked the least delight. Tansy is adorable, and Gemma indeed has charm—but I hope that Bellefleur will dump the rest of the van Dalen family into the Puget Sound in her next novel.

Content Warning: revenge porn

Liv (she/her) is a trans woman, a professor of English, and a reluctant Southerner. Described (charitably) as passionate and strong-willed, she loves to talk (and talk) about popular culture, queer theory, utopias, time travel, and any other topic she has magpied over the years. You can find her on storygraph and letterboxd @livvalentine.

Elinor reviews The Argonauts by Maggie Nelson

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The Argonauts is an amazing book. It is a memoir but not a neatly narrative one. It’s been called “genre-bending,” which it certainly is. I’d describe it as a meditation of family, queerness, gender, love, bodies, connection, and a whole lot more. Nelson quotes academic theorists as readily as she shares visceral, personal details from her life. The book primarily focuses on Nelson’s relationship with and marriage to genderfluid artist Harry Dodge, being a stepmother to Dodge’s son from a previous relationship, and being pregnant with, giving birth to and parenting the couple’s younger son. Each of these topics is examined thoughtfully through multiple lenses, giving the reader plenty of food for thought.

This book offers up many intriguing questions without giving easy answers. Everything from assumptions about pregnant women, reified identity, personal expression, death, and the act of giving birth get a turn. I find it hard to summarize such an eclectic and fascinating book while truly doing it justice. It’s creative nonfiction at its best.

I’m also grateful that I read it exactly when I did, just after I finished graduate school and nearly at the middle of my pregnancy. It was the only book I’ve found that spoke about the personal experience of pregnancy, let alone queer pregnancy, in a way that rang true for me. The questions about parenthood and marriage that it raises were extremely relevant to me and I found myself jotting down references for further reading.

It can be fairly academic in places. I appreciated this, but others might not. It’s short but dense with ideas, and I’m glad I took my time reading it. Going slowly with it allowed me to absorb the subject matter and I doubt I would have enjoyed it as much if I’d read it in a rush.

I highly recommend this book to anyone interested in queer family and partnership, or just a truly unique memoir.

Elinor reviews Lesbian Marriage: A Sex Survival Kit by Kim Chernin and Renate Stendhal

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I love reading about relationships, sex, and queer women. I especially like to read about lesbian marriage, since I’m one of the only women I know who’s married to a woman. I was incredibly excited about Lesbian Marriage: A Sex Survival Kit. Written by a married lesbian couple who have been together for nearly thirty years, I thought this book would offer unique insight and be fun to read. Sadly, Lesbian Marriage was an exercise in disappointment, starting with the title. “Kit” implies something along the lines of a workbook, with activities or writing exercises to complete. I was eager to try these but other than a few lines in the three chapters of introduction, there weren’t any activities or exercises for readers. The rest of book breaks down into twelve chapters about different relationship challenges, each beginning with a story of a queer woman or couple, followed by the authors’ thoughts on the story, then a list of “Do’s” and “Don’ts,” a weird illustration, and occasionally a blank page with “Notes, Scribbles, Doodles” written across the top. The authors called the advice section a “Toolkit” for reasons I didn’t understand. It turned out to be one of many things I didn’t understand about this book.

Clocking in at just 138 pages, and more than a dozen of these blank pages or tangentially related illustrations, there isn’t a lot of meat this book, and none of the topics go very deep. Chernin and Stendhal picked twelve topics to explore, with no explanation for why they selected these particular issues. Some of these, like extramarital desire or the impact of grudges on your sex life, seem pretty universal. Others, like a chapter called “The Genital Corset” (which is not as interesting as it sounds) about a woman who is mad at her partner because the partner doesn’t have orgasms with her, were overly specific. Meanwhile, topics I expected—like body image, identity, pregnancy and parenthood, disability and health issues, STIs, BDSM, non-monogamy, and past abuse and sexual assault—were either not addressed or presented in bizarre extremes. Lesbians raising children appear only in the story of a couple living in a two-bedroom house with their four adult daughters, two of the daughters’ partners, and a grandchild. None of the couples in the household had the privacy they needed, obviously, and this had a negative impact on all the couples’ sex lives, but the story was so over the top that I had trouble applying the lessons from the chapter to my own life.

In a chapter called “Butch and Femme: The Habit of Roles,” the couple discusses their difficulties around their elaborate sexual role play, but the role of power dynamics in a marriage is barely examined. Despite the chapter title, butch and femme identities are simply treated as synonyms for “top” and “bottom” respectively. As a femme this reductionism bothered me. I think the authors were using this story to make a point about getting stuck in limited roles, but conflating this with the identities of butch and femme was not helpful, and I was unclear how the couple was actually resolving the tension in their relationship.

I also didn’t understand how the authors found the couples in this book. Often the authors described these stories as being reconstructed from “listening sessions,” but never explained what a listening session is. Are they therapists writing about their patients? Are these their friends? Couples they found while researching the book? They gave no context to the couples, and sometimes didn’t even give the women names, which was confusing.

The strongest stories were about Chernin and Stendhal’s relationship, including their powerful tale of weathering Chernin’s affair with a younger woman. However, nearly every Chernin/Stendhal story describes a way their relationship either improved or works well, and most of the other couples’ stories seem to show people who are doing things wrong and struggling. It read to me as smugness from the authors, rather than real illustrations of lesbian couples who worked out challenges in their marriages.

I had trouble determining who the intended audience was supposed to be. Some chapters seemed aimed at older, long-time partners, while others seemed focused on women in new relationships deciding whether or not to commit to marriage. One chapter was about young single queer woman who was ambivalent about the concept of marriage entirely. None of it seemed aimed at a queer newlywed like me. This might explain why I heartily disagreed with some of their “Toolkit” advice. I found it irritating that they offered up prescriptions about marriage that left no room for a differing philosophy of relationships, while presenting them in a “Do” and “Don’t” list that didn’t explain why they’d come to these conclusions.

Their advice sometimes contradicted other advice they’d given. In early chapters, they tell readers to make sex a priority even if you’re busy or not feeling especially sexual. Later they present the story of a woman who wants a sexless marriage, though her wife does not, as a jumping off point for assuring the reader that it’s okay to stop having sex if that’s what you want. They offered no suggestions for the partner who didn’t want or expect a sexless marriage, or when to make sex a priority and when to embrace celibacy. Desire discrepancy is very common, and I expected them to address it with a little more consideration and creativity in a book with the words “sex survival” in the subtitle.

Their conclusions didn’t always seem to line up with the story they chose for the chapter either, with frustrating results. One of the most obvious examples of the authors missing the point of the story was a chapter about a cisgender woman who is uncomfortable that her boi partner is considering transitioning and/or having top surgery. The couple is also debating getting married, but the woman—the only half of the couple we hear from—does not want her partner to transition or identify as male. Chernin and Stendhal use this story to tell readers that marriage does not fix your relationship problems. It seemed to me that the issue wasn’t this at all, and the woman’s concern was about signing on for a marriage with someone whose self-identification and appearance might change. She was quite ignorant about trans and gender variant people too, which was putting strain on relationship with a gender variant (and possibly trans) partner. The authors could have used this story to make a broader, yet relevant, point if they’d acknowledged that one of the scary things about marriage is that you committing to someone who you know will grow and change–and that you’ll change too. You don’t get a guarantee who either of you will be in twenty years let alone what you’ll look like, which is something every married person wrestles with. Or the authors could have focused on the genuine, specific concerns around gender in a useful way. As far as I know, there isn’t a book about how to be a decent partner to someone who is gender variant and/or trans (if there is, please let me know in the comments!). A book like that is sorely needed, and this story could have been followed up with thoughtful, appropriate, and helpful advice on the subject. Instead, the authors seemed like they hadn’t read the story. Plus the woman used some transphobic language in the story that could have been edited out or responded to by the authors, but was simply glossed over. I was disturbed that the woman’s partner wasn’t given an opportunity to speak. It was a pretty raw story, and wasn’t handled with the care it warranted.

Similarly, the story in a chapter about not holding grudges featured an interracial couple from different class backgrounds. The conversation with peppered with microaggressions from the wealthier white partner, and the authors didn’t challenge these comments or discuss the impact these might be having on the relationship. Even when the woman of color called her partner out on a particularly racist comment, Chernin and Stendhal didn’t back her up, which make me lose respect for them. It was pretty clear to me from reading this story that the problem wasn’t just about holding grudges. The white woman was hurting her partner over and over and failing to acknowledge it, and it was destroying their relationship. How could the authors present themselves as experts without seeing this? Chernin and Stendhal chose these couples to write about, and chose to include problematic comments, so they should deal with what these couples said. The fact that they didn’t is troubling.

Occasionally this book has common sense advice, but you can find common sense relationship advice on Autostraddle or in the partnership chapter of The Whole Lesbian Sex Book, with more suggestions for putting it into practice. Skip Lesbian Marriage.

1/5 stars