Shira Glassman reviews “The Dresser and the Chambermaid” by Robin Talley

All Out: The No-Longer-Secret Stories of Queer Teens throughout the Ages by Saundra Mitchell cover
I’ve been really lucky in my reading material these past few years. The blossoming of affordable queer lit on the indie book scene as eBooks and social media marketing transform how we find each other has validated my adolescent needs in the best of ways. However, once you’re finally fed, and your needs met, that’s when you notice that some of your more specific preferences are still eluding you.
That’s me with queer costume drama. Basically, thanks to a childhood drenched in the glorious excesses of operatic theater, I long for our presence in 17th and 18th century adventures. I want big skirts and glitter and palaces. But for some reason, probably thanks to Austen, Regency romance (early 19th century) completely dominates the world of historical/costume drama fiction whether the main characters be queer or not.
Frankly, I didn’t think I’d ever get my Baroque romance.
But then Robin Talley’s story, “The Dresser and the Chambermaid”, in the recently released queer YA historical anthology All Out, satisfied all my most specific, most picky, most “can I get this with a salad instead of fries?” needs all at once. I am so happy with this story, even though it’s only a short story. Let me number the reasons.
1. It takes place in the early 1700’s. As I said, we never get to play in this sandbox in our romantic reading, usually. Or any other reading, for that matter! I’ve searched on Goodreads and with few exceptions (like Escape to Pirate Island, another f/f fave rec of mine) the books set during this era tend to be about people coping with the current political situation instead of the chiefly personal ordeals that comprise much of escapist weekend reading.
This story, however, is not about that. This story is a Baroque-set story that yet manages to be about people dealing with their own lives, and not European royalty bashing each other over the heads with ideological and economic bludgeons. You know, like the eight hundred and fifty trillion Regencies! (Don’t get me wrong. I enjoy the hell out of them and can rec a couple. BUT STILL.)
So what does that mean for the reader? It means you get: Baroque excess in terms of setting (glittering palaces, ballrooms filled with huge dresses you have to walk through the door sideways in, frou-frou wigs). This pleases me.
2. It stars working-class women! Yes, I know: a historical romance where BOTH leads work for a living? Amazing. Which means they are totally relatable even in this day and age, and plus, we should be supporting reading about regular people in general. Obviously I love a good princess, and this story has other cool royalty moments, too, but I like supporting this as well. It fits my values.
3. A historical romance between two women where the fact that they’re both women IS NOT PART OF THE PLOT CONFLICT AT ALL. For me, this is glorious. The plot conflict instead of is the bumpy road to better employment, and the possibility of professional jealousy. Now, it’s not set in some kind of alternate reality where Baroque England was magically Hip and With It. They’re just playing it secret and subdued like they would have if they were real. As do the other gay characters in the story, because:
4. The two leading ladies aren’t the only queer rep! There’s a gay man who’s one of the servants and he has a crush on one of the upperclass dudes, but that particular upper class dude is dating another upper class dude, and the little lesbian servant commiserates with him about it and it’s just so adorable and real and reminds me of the wlw row at my temple (yes, we have a row) and the way we all interact.
If I haven’t sold you yet, let me add that:
5. There is a ton of other f/f rep in this book from all over history and I enjoyed most of it. Dahlia Adler’s story “Molly’s Lips” is set just after Kurt Cobain died, and the girls are supporting each other through it. There is also ANOTHER Baroque-era story, this one set in colonial America involving two teenage girls who run away from their respective marriages (to dudes) to become lesbian pirates. I also loved the jazz-age one about the child actress who’s grownup now and not a movie star anymore, who meets a waitress who’s still star-struck by her even though she’s no longer a household name. And there’s great trans m/f rep as well but I’m not going to discuss that in this review for obvious reasons; I will eventually review the whole book though so stay tuned if you follow me on social media.
So: thank you, Robin Talley. I’m so glad this one little short story is a thing. To other writers: if you’re planning something like this, please keep me on your radar and let me know once it’s out!
Note to readers: because it’s from a major publisher, All Out is more likely to actually already be at your local library than some of the indie lit we usually discuss here. I am so happy for those of you who benefit from this because of parents or money that usually keep you from queer lit with happy endings.
Shira Glassman’s latest release, Cinnamon Blade: Knife in Shining Armor, is a high-heat f/f romance between a superheroine and the damsel-in-distress she keeps rescuing. She has written one Baroque romance of her own, “Gifts of Spring” in Queerly Loving Vol. 1, but it’s m/f starring a trans woman mage and a Jewish acrobat, not f/f, so be aware if you read exclusively f/f.

Danika reviews As I Descended by Robin Talley

As I Descended robin talley

When I heard a YA book was coming out that was a lesbian boarding school Macbeth retelling, I was already on board before I had even heard that it was by Robin Talley, the author of one of my favourite lesbian YA books.

This isn’t a direct retelling of Macbeth, but it does cover most of the main plot points, and it delivered exactly the kind of broody atmosphere full of revenge plots that I was hoping for. There are some great nods to the original story, including the chapter titles all being lines from the play, but it also works if you haven’t read or seen the play–or if, like me, you read it years ago and have to Wikipedia the plot details. The haunted boarding school (built on a former plantation) adds to the creepy factor, pulling in a strong Southern Gothic vibe.

As I Descended immediately drops us into this atmosphere, with the main characters summoning spirits with a Ouija board. I really enjoyed this brooding story, but I was surprised when the genre started to slip slightly into horror territory. I would definitely warn anyone planning on reading it that there are triggers common to horror, including blood and violence, as well as a blurring of reality.

It’s probably silly to mention in a review of a Macbeth retelling, but this gets very dark. If you only read LGBTQ books with a happily ever after, this isn’t the book for you. These are deeply flawed people, and the relationship at the heart of Descended is an unhealthy one. Maria (read: Macbeth) and Lily (read: Lady Macbeth) obviously are devoted to each other, but Lily knows how to manipulate Maria and uses that information. Maria initially seems to be an ideal student and friend, but as soon as she begins to lose that moral high ground she can’t seem to stop slipping.

It’s enough to have a lesbian YA Macbeth retelling, but there are other elements going on in this narrative as well. Maria is Latina, and her understanding of what’s happening to her and the spirit(s?) in the school comes from her relationship with Altagracia, her childhood nanny, who taught her how to communicate with spirits. Mateo is also Latino, but he has a different understanding of the spirits at the school. Lily is desperate to overcome being seen as just “the girl with the crutches”, and is terrified of adding “lesbian” to that.

Mateo, Brandon, Lily, and Maria are all queer, so no one character has to represent all of queerkind. That way, although a Macbeth retelling has a low survival rate, this doesn’t feel like a “Bury Your Gays” situation, because a) it’s a genre that demands a high death rate and b) no one character is The Gay.

I did feel like I couldn’t quite understand why Maria changed so drastically over the course of the book, and I was surprised at the tone change from “delightfully broody” to “I’m legitimately horrified”, but those are small complaints.

I would definitely recommend this one, especially on a blustery fall evening.

Amanda Clay reviews What We Left Behind by Robin Talley


“Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no; it is an ever-fixed mark, 
That looks on tempests, and is never shaken…”

If only.

Toni and Gretchen have been in love from the moment they met, dancing with each other’s dates at the Junior Homecoming Dance. They don’t differ, don’t disagree, don’t want to do anything but be together. Even after they graduate,   they’ve got it figured out: Toni to Harvard, Gretchen to BU and there will only be a few subway stops between them. Then Gretchen accepts a last-minute admission to NYU and suddenly everything changes. It’s not that she doesn’t love Toni, she just needs to find out who she is, who she can be on her own. And once Toni gets to Harvard and hooks up with the Trans* group, she starts to wonder who she is as well.   It’s a year of change, a year of discovery, love and loss. Who will they be when it’s all over? What will they be to each other?

What We Left Behind is a very good read. The story of Toni and Gretchen–  their actions and reactions, thoughts and feelings–  is not one we’ve read before. All the characters, main and supporting, are so well-imagined and well-presented the reader is at once drawn in to their world; the dialogue so realistically rendered it speaks in the ear.  You want to root for the girls, for their relationship, and for the people they are realizing themselves to be. The disconnect breaks your heart even as it breaks theirs. The only criticisms I have are small~ Toni’s quest for a gender identity label can sometimes seem a bit like a list of every gender expression tumblr has to offer, and in no part of Great Britain is Guinness ‘the ultimate British drink’, but these are minor quibbles and easily overlooked in a major work.  Beautifully done.

Danika reviews Lies We Tell Ourselves by Robin Talley



This is a powerful book. Lies We Tell Ourselves is about Sarah, one of the first black kids to integrate into a formally all-white school in Virginia, 1959. The other main character is Linda, the daughter of a staunchly segregationist public figure. The two find themselves inexorably drawn to each other.

The premise alone was enough to make me immediately want to pick this one up: an interracial teen lesbian romance in the 1950s? That is not something I’ve read about before, and I’m glad that we’ve gotten to the point where it’s something that can be traditionally published. Immediately the book throws us into the reality of Sarah’s experience. It begins with the ten black students attempting to fight their way through a screaming mob of white protesters to enter the high school, an unending litany of racial slurs, insults, chants, and threats. Sarah attempts to keep her head up during this daily assault by white students and faculty, enduring countless humiliations while trying to get an education.

One of her tormentors is Linda, and I was unpleasantly surprised to have the narration switch to her perspective less than 100 pages into the book. Linda is an interesting character, because though she may not be immediately likeable, she does feel realistic. It’s a look into the mind of, well, a racist of the 1950s. She parrots what her father espouses, despite the fact that she fears and resents her father. And throughout the book, her views do change, but they are excruciatingly small steps in the right direction, still firmly in racist territory.

My immediate thoughts during Sarah and Linda’s growing to each other was How could Sarah like this girl?? Though Linda may not have been the one throwing rocks, she still actively participated in Sarah and other black students’ torments. While they meet in secret after being assigned to a school project together, Sarah and Linda get into passionate debates about integration and other issues around race. Sarah doesn’t bat an eyelash at Linda’s regurgitation of racist beliefs. But at the same time, I realized that it actually does make some sense. For one thing, Sarah feels completely isolated. She is the only black female senior in the school, and that means that there’s no one going through her exact situation that she can talk to. Her parents don’t seem to grasp just how bad things are at school, and her white classmates won’t even sit within two desks of her, nevermind talk to her. Having someone she can be herself with, can say exactly what’s on her mind to, would be a relief, even if that person didn’t understand. I also, of course, have to take into account that Sarah is still a teenager, falling for someone for the first time. She’s not the first person to see her love interest with rose-coloured glasses and think that she’s capable of change. Add to that the confusions of falling for a girl in 1950s America and it actually seems pretty realistic.

Linda seems like an ambiguous character by the end of the book. Are we supposed to like her? Are we supposed to sympathize with her? She makes progress, but it’s only a small bit of progress. She makes sacrifices, but are they really enough to counteract the damage she’s done? Her attitudes and actions may be understandable (given her upbringing), but that doesn’t make them excusable. As much as I cringed reading Linda’s thoughts, I do think I appreciate her inclusion in the book as a representative of the opposition of integration, and of the people on the other side of the battle for civil rights. Because Talley represents her as not a one-dimensional caricature or a monster, but a flawed person. And I think that’s important because it shows how important it is to be aware of your own position in terms of power, privilege, and oppression. It’s easy to be complacent, to go along quietly with the status quo.

I did have one major issue with the book, however. [spoilers, highlight to read] The violence against a black boy, Chuck, seems to be used just as a plot point in Sarah and Linda’s relationship. Specifically, the moment when Linda announced angrily, complete with racial slur, in front of a large group of people, that Chuck had been with a white girl–something she did spitefully just because he insulted her singing, was the moment where I couldn’t imagine how Linda could ever come back from that. I don’t believe that she was so naive that she didn’t know how a crowd of white people would react to that. In fact, it seems like that’s exactly why she said it. And to say something in anger that could get him lynched? I don’t know how Sarah could ever forgive her for that. I couldn’t, as a reader. And the fact that her corresponding action to make up for it was to write a newspaper article saying “I still don’t support integration, but maybe a crowd of white boys shouldn’t beat a black boy nearly to death just for being black? I think that’s wrong.” does not come close to making that okay. The violence done against Chuck just seemed to be a point of drama between Linda and Sarah, instead of its own horror. And especially given the ongoing legacy of this violence that we can see today, I was disappointed with how it was handled in text. There was even an undertone of “Well, he should have known better to get involved with a white girl, and it was bound to happen even if Linda didn’t say anything.” This element dropped the book from getting a five star rating to four stars for me. [end spoilers]

This was a fantastic read. It manages to tackle a lot of big issues without seeming like there were too many balls in the air, and it adds a lot of nuance to the topics presented. For instance, I appreciated Sarah’s struggle with her religious beliefs, and how her Christianity acted as both a source of strength and also a source of anxiety for her. I also thought it was interesting how though Sarah believed completely in the cause, she began to feel as if her and her black classmates were being used as pawns in this civil rights battle fought by her parents, especially in relation to Linda being a pawn of her father. Sarah and her younger sister, Ruth, also have different experiences at the school and handle it differently.

The most powerful part for me was the “Lies We Tell Ourselves” motif throughout the book. Each chapter is titled “Lie #_: ____” For example, Sarah’s first lie is “There’s no need to be afraid” and Linda’s first lie is “None of this has anything to do with me.” Generally my eyes skip right over chapter titles, but these were so interesting that I made sure to make note of them. They serve multiple purposes: Why does each girl tell themselves this, and how does it help or hurt them? How is it a lie? How does it apply to the other girl? They were also so relateable, though obviously I’ve never gone through anything comparable to Sarah’s experience. But some of them apply to being queer and coming to terms with it, and some are lies that I think all of us have told ourselves at some point, for one purpose or another. This is definitely a book that I would recommend, though it’s not an easy read. I found myself having to put down the book for a while when my stomach was in knots reading some parts. It also has racial slurs on almost every page. If you can get through that, however, I think Lies We Tell Ourselves is well worth the read, and a fantastic addition to the YA genre.