Tag Archives: Lesbian Pulp Fiction

Rachel reviews Last Night at the Telegraph Club by Malinda Lo

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Last Night at the Telegraph Club by Malinda Lo

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I read Malinda Lo’s newest book, Last Night at the Telegraph Club (2021) about a month ago, and I’m still thinking about it. If you’re looking for a slice of mid-twentieth-century lesbian culture with some wonderful Chinese American representation and rich social history, Last Night at the Telegraph Club is for you. Having read many of her books over multiple years, including Ash (2009) and Huntress (2011), I believe that this novel is Lo’s most stunning achievement to date. The world needs more lesbian fiction like this, and I couldn’t get enough.

Set in 1954 San Francisco, the novel follows seventeen-year-old Lily Hu, a young Chinese American girl growing up amidst social, political, and cultural changes—many of which could place her and her family in danger. But Lily’s struggling with more than what’s happening in the world—she’s begun to wonder about herself, too. About who she might be beyond the context of the Red Scare and her family’s expectations. When she and her friend Kathleen Miller arrive at the long-coveted lesbian bar called the Telegraph Club, Lily’s world opens up in ways she has never allowed herself to imagine. But these discoveries are not without consequences, and Lily and Kathleen must struggle against the various influences that threaten them on all sides.

I was unable to put this book down. The rich, immersive quality of Lo’s writing really painted a picture of queer life in 1950s San Francisco that was alternately tantalizing and educational. So much of this novel reminded me of Sarah Waters’s Tipping the Velvet (1998) in the best way—not just because of the aspects/erotics of male impersonation that Lo employs, but due to Lo’s sophisticated writing and careful detail. It’s clear that this novel was heavily researched, and it really is the kind of Young Adult fiction that shows an immense interest in telling queer stories correctly and for all audiences. Lo obviously has a grasp of various cultural touchstones for queer communities of the period, and her work with lesbian pulp fiction was alternately heart-warming and thrilling—who among us hasn’t encountered our own version of Strange Season?

There is something so high-stakes and fast paced about this novel that kept it from leaving my hands. You’re desperate to see what will happen, which keeps you hurtling towards the end. Lily’s anticipation and desire are infectious, and by the time she enters the Telegraph Club for the first time, I was just as desperate to see inside as she was. What I truly appreciated about Lo’s novel was how universal she rendered queer experience—there were so many moments where I recognized myself (both as a teenager and now) in Lily or Kathleen’s characters. What is particularly special about novel’s like this one is that they make an effort to identify a queer community beyond two individual (and often isolated) love interests. That’s what truly makes this novel so rich and unique, and it makes the reading experience so much wider and worthwhile.

I haven’t been able to stop thinking/talking about or recommending this book to everyone I know. It’s such a heartwarming story that will appeal to queer readers and beyond.

Please visit Malinda Lo on Twitter or on her Website, and put Last Night at the Telegraph Club on your TBR on Goodreads.

Content Warnings: Violence, physical and verbal abuse, homophobia.

Rachel Friars is a writer and academic living in Canada, dividing her time between Ontario and New Brunswick. When she’s not writing short fiction, she’s reading every lesbian novel she can find. Rachel holds two degrees in English literature and is currently pursuing a PhD in nineteenth-century lesbian literature and history.

You can find Rachel on Twitter @RachelMFriars or on Goodreads @Rachel Friars.

A copy of this book was graciously provided by the publisher in exchange for an honest review.

Emily Joy reviews Women in the Shadows by Ann Bannon

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Women in the Shadows by Ann Bannon

I’ve steadily been making way through the Beebo Brinker Chronicles, a classic lesbian pulp series by Ann Bannon, for quite some time. Women in the Shadows is the third book in that series and by far the most difficult to read so far.

This review, by nature of being for the third book in a series, contains some spoilers for the first two books. That said, let’s get into it.

Women in the Shadows picks up after the second book, I Am a Woman, and quite some time has passed. Laura and Beebo are living together in Greenwich Village, and both are very unhappy. Laura feels that she is falling out of love with Beebo, and Beebo is only holding on more tightly, which only pushes Laura further away. When Laura finds herself attracted to Tris, another woman, things start spiraling out of control.

Trigger warnings for this book include domestic abuse (physical and emotional), animal abuse, self-harm, and rape. These are also mentioned and briefly discussed in my review.

When I read lesbian pulp, I always come across parts that are uncomfortable to read. Some of the language used to talk about LGBTQ identities and people of color is jarring. Ideas about sex and consent are very different, too. By nature, pulp fiction is supposed to be sensational and shocking, and I think the effectiveness of the sensation and shock only grows larger as the years pass. Some of the uncomfortable themes are also due to outdated social norms and ideas. I definitely don’t read lesbian pulp with any expectations for it to meet my contemporary ideas, and I think that’s okay.

I expect a certain amount of discomfort when I read lesbian pulp. I think the discomfort is often worth the satisfaction of reading and developing a greater understanding of this fascinating part of lesbian literary history. Even with all of this in mind, I had a very difficult time reading Women in the Shadows.

I think the most difficult part of this book is domestic abuse, both emotional and physical. Primarily, Laura is the abuse victim, as Beebo constantly gaslights her, physically overpowers her, and emotionally manipulates her. If readers are meant to root for Laura and Beebo as a couple, I was definitely doing the opposite and rooting for her to get out of that situation as soon as possible. The abuse is truly hard to read, and anyone who can potentially be triggered by it should be cautioned.

Highlight for spoilers. A particularly uncomfortable scene is when Beebo fakes being assaulted and raped by multiple men, who also graphically killed her dog. Now, I say faked, but when this scene first occurs we read it from Laura’s perspective, and she believes it to be true, so it can be very triggering under the assumption that this truly happened to Beebo. We later find out that Beebo faked it to gain Laura’s sympathy in a play to keep their relationship and keep her from leaving. This means that Beebo beat herself, and also gruesomely kills her dog. Later, when a friend gives her a new dog, she kills that dog too. It’s not fun to read. It’s not entertaining. It’s just difficult.

In the edition that I read, there was an author’s note addressing some of her errors in writing this book, and ultimately, I read pulp with a grain of salt anyway, so I wasn’t entirely put off by what could be considered “problematic”. However, others may feel differently and have different reactions than I did. There is certainly triggering material in almost all pulp novels, but Women in the Shadows seems to have an extra dose, so please do read this with caution if any of the triggers listed at the beginning are not okay for you. Otherwise, this book is a part of lesbian history as all lesbian pulp is, and especially Ann Bannon’s works. That alone makes it worth the read to me, no matter how hard it was to get through at times. But… I highly doubt I will ever reread this.

Danika reviews Pulp by Robin Talley

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Pulp by Robin Talley cover

I have been anticipating this book for a long time. I collect lesbian pulp, and I’m fascinated by the history of this period of lesbian literature. Pulp is a YA novel from two perspectives: Abby, a modern day out and proud lesbian, and Janet, a 1950s teenager just discovering that she’s a lesbian, and what that means for her life. Both of them discover lesbian pulp at the beginning of the novel, and it inspires them and their writing, though in different ways. I had very high expectations for this, and I’m happy to say that it lived up to them.

First, I have to talk about the pulp aspect. This is something that I really nerd out about, and it’s not often that I bump into someone else as interested in lesbian pulp as I am. So I was delighted to read about Abby discovering pulp–the wonder at the over-the-top but incredible covers, the initial disdain then growing appreciation for the genre as a whole, and the fascination with how these books fit into real people’s lives, authors and readers alike. I could relate to Abby’s obsession, is what I’m saying. There are also great easter eggs, if you are a lesbian pulp fan. Not only are real pulp titles name dropped (including Satan Was a Lesbian, which I have as a canvas print in my living room!), but a ton of the characters have the last names of famous lesbian pulp authors/pen names, including Aldrich, Sloane, Hastings, and Bannon (“Bannon Press” is the publisher’s name). And no wonder: not only did Ann Bannon (author of The Beebo Brinker pulp novels) have a blurb on the front cover, she also gave notes on an early draft of this novel!

But enough about my own obsession. Into the actual story! I thought it was balanced nicely between the two perspectives. They mirror each other in some ways (both lesbians, both authors, both enamored with a particular lesbian pulp novel), but they have very different personalities and settings. In Janet’s timeline, I appreciated learning more about the Lavender Scare, particularly in Washington, DC. I had heard of it before, but seeing how it infiltrated every aspect of these people’s lives was chilling–the smallest thing could mean being outed as a “homosexual” and therefore a threat to the nation. You could lose everything, just because someone thought your haircut was too short or that your friendship was too close. You could never let your guard down. Although I liked both main characters, I was particularly drawn to the present day protagonist, Abby.

I should have known I’d like Abby, just from all the reviews that mentioned hating her. I’ve found that any female character who expresses pain is usually seen as annoying by reviewers. Abby is in a horrible sense of stasis: she’s about to graduate, but she can’t even think about college. College means change, and change means acknowledging that her family is falling apart. Abby’s parents are barely home–always travelling for work–and they’re never home at the same time. Meanwhile, Abby’s girlfriend broke up with her last summer, and although she assumed it would be short-term, they don’t seem to be getting back together. When Abby discovers lesbian pulp, she latches on to one particular novel with a happy ending, becoming obsessed with it and the author. This is the kind of love that lasts forever–and what’s the point of love that doesn’t last? Abby is in a lot of pain, and as long as her parents refuse to acknowledge what’s happening, her and her brother can’t begin to process it.

I also enjoyed a lot of the side characters in Abby’s story. She has an out lesbian teacher! (I’m about to become a teacher, so that stood out to me.) One who is knowledgeable about lesbian pulp and can advise Abby on her project revolving around that topic! Abby also has a queer group of friends, including bisexual and non-binary characters (one who uses they/them pronouns). Abby is Jewish, and there are Black and Brazilian side characters as well. And one tiny thing I liked: Abby and Linh (her ex-girlfriend) bonded over reading m/m fanfiction before they dated! That’s how me and my high school girlfriend got together!

I really appreciate this book. Lesbian pulp is something close to my heart, so I hope that this novel introduces queer teens to it, so they can discover the ridiculousness and appeal of it themselves. Personally, I loved Abby as a main character. She is hurting, so she may not always make the best decisions, but that just means that when she does finally break through–when she does begin to face the difficult changes in her life and even embrace them–it’s all the sweeter. Highly recommended!

Kalyanii reviews Don’t Bang the Barista by Leigh Matthews

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dontbangthebarista

If truth be told, my initial interest in Don’t Bang the Barista probably had something to do with my long-held crush on the red-headed, fresh-faced beauty who works the morning shift at the coffee shop a couple of blocks from my office. However, with the turn of the first few pages, it became clear that I had stumbled upon something special. Touted as “a fresh take on the classic genre of lesbian pulp fiction,” Don’t Bang the Barista proves intriguing, endearing and utterly captivating throughout.

Lest anyone be put off, the title is simply an allusion to the advice that Cass offers her friend Kate while discussing the politics of pursuing a barista crush. After all, imagine how awkward it could be if, after a few dates, it all went wrong. Who wouldn’t tread lightly? Yet, could it be that Cass’s concern has more to do with her feelings for Kate than a desire to protect the sanctity of their social space? Cultivating a burgeoning friendship via early morning conversations at the dog park, Cass and Kate enjoy an effortless rapport… until Cass begins to act a bit out of character.

Unable to figure out what lies beneath Cass’s tough-girl exterior, Kate assumes that Cass wants Hannah, the barista, for herself; yet, Kate is too preoccupied with her ex’s return to town to truly reach out and discover what it is that’s bothering her friend. All the while, Cass grows increasingly moody as well as distant. Though others find Cass’s feelings for Kate to be rather obvious, it is only upon determining with whom her own heart lies that Kate discovers it just may be too late.

For all of its light-hearted quirkiness, Don’t Bang the Barista does not shy away from an exploration of the challenges often encountered amid non-traditional relationship dynamics — without any disruption in the tone or flow of the narrative. The way in which Kate supports her bisexual friend, Em, in navigating her desire for a female lover while protecting her primary hetero relationship illuminates just as much about Kate and Em’s friendship as it does the validation of polyamory and conscious/consensual decision-making. The emotional impacts of in vitro fertilization, social alienation and heartbreak are investigated without for a moment compromising the novel’s hip and sexy vibe.

I was struck by the way in which the LGBT-friendly locale of East Vancouver allowed for a more nuanced presentation of the issues mentioned above and a more complex understanding of the characters who encounter them; whereas, in less accepting communities, identity issues — let alone physical and emotional survival — supercede more subtle human needs out of necessity alone. It’s basically a manifestation of Maslow’s hierarchy of needs. Once we feel safe within our environment, we are better able to enjoy the journey toward self-actualization, creating a meaningful and satisfying existence, which at the end of the day is precisely what the women of Don’t Bang the Barista are seeking.

[Editor’s note: also check out Danika’s review!]

Danika reviews Don’t Bang the Barista! by Leigh Matthews

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dontbangthebarista

Kate is a twenty-something lesbian in Vancouver, still recovering from her last break up (which happened a year ago), and hopelessly crushing on her barista. The title is her friend Cass’s number one rule of coffee shop dating, but Kate thinks it might be worth breaking. Don’t Bang the Barista! follows Kate as she tries to figure out who she really has feelings for, and whether she’s truly over her ex.

I expected this book to be a bit of a guilty pleasure fun read. The back cover blurb begins with “Drawing on the classics of lesbian pulp fiction,” and I can definitely see the influence here. (Quick aside: don’t read any further in the blurb, because it gives away everything that happens in the first half of the book.) But for the most part, the tone is different than I’d expect. Kate is introspective and often seems to verge on being depressed. She is still dealing with a lot of issues from her last relationship and finds reaching out difficult. I also appreciated the detail given to secondary characters in the story. Kate’s group of friends all have their own distinct personalities and priorities, and they are all dealing with issues that are only tangentially related to her. They feel like real people in their own right, not just props in her narrative. There are a lot of details included that elevate Don’t Bang the Barista! from a modern lesbian pulp, making it seem realistic–like the ongoing inclusion of Kate’s dog Jupiter, and references to Kate’s work life, and even discussion of biphobia in the lesbian community. On a personal level, I also really enjoyed reading a book set so close to where I live. The west coast queer politics alluded to felt very familiar to me, and it was fun to recognize some landmarks while I was reading.

But this level of detail and nuance also raised my expectations for the novel. Sometimes the tone seemed to change, and what felt realistic would suddenly verge into the soap operatic. I could forgive that because it meant to be inspired by pulp, but it did feel inconsistent. Most of all, though, I was disappointed with the main romance of the novel. I could understand the attraction, but the love interest behaved pretty terribly throughout the book and by the end that seems to be forgotten in a way that genuinely confused me. Kate was initially angry, and then seemed to change her mind and blame herself. Because this is a romance at heart, this aspect really affected my enjoyment of the novel. The characters and detail were really enjoyable, but the romance I just couldn’t get on board with.

[spoilers below]

To be specific, I don’t understand why Kate (and everyone else, the end) blamed herself for Cass’s behaviour. Yes, I get that Cass is not used to serious relationships, and it’s not that her behaviour isn’t understandable, but that doesn’t make it acceptable. First she forcibly kisses Kate while she’s on a date with another woman (and might I add that Cass has never told Kate that she was interested before this point), then she has the gall to laugh it off when Kate confronts her on it? She acted like a complete asshole. And then Kate is the one who reaches out to her when she goes AWOL, and only then gives a half-assed apology. Then they go camping and Cass storms off in a huff because she heard that Kate talked to a hot girl. Then she holds hands with Kate, says it’s the happiest moment of her life, notices that she’s still wearing her ex’s ring, and then storms off again and goes and tracks down previously mentioned hot woman and sleeps with her, ignoring Kate the whole time, still not actually voicing that she likes her. Oh, and abandoning Kate with people she doesn’t even know. So after Kate finds her own way back, she runs into Cass while going out with her ex, and Cass’s first words to her are “Dude. What the fuck,” still with no apology for ditching her, and then gets pissed at Kate for getting back with ex and storms off again. (Side note, I also couldn’t believe that Kate didn’t get that Cass liked her at this point. She said holding hands with you was the happiest moment of her life and you don’t get the hint? She’s been acting like a jealous asshole 24/7?) At this point, Kate is like “Even if she likes me, this relationship could never work, since she can’t communicate at all” (paraphrase), which is completely accurate. Then Cass sees Kate and her ex at a coffee shop together and again storms off in a huff without saying anything. Kate still tries to seek Cass out, unsuccessfully, and then Kate emails her another half-assed apology and says “BTW I’m moving to Amsterdam BYE” (paraphrase). This is the point where Kate starts blaming herself, saying she pushed Cass away, and how could she do that when she now realizes that this is who she loves?? She waited too long! Kate again tries to seek out Cass, but she’s already moved out of her apartment. So she stakes out the airport to try to convince Cass to stay, but Cass brushes her off and won’t let her finish a sentence. Kate thinks “I could see how much I’d hurt her and I hated myself for it.” Because you got together with your ex when Cass had a) never voiced her feelings for you and b) just slept with another woman and ditched you to do so? You’re supposed to feel guilty about that? It might not have been a good decision, but it’s not because it hurt Cass’s feelings. If she wanted to get together with you, she should have stopped being an asshole and also asked you out. And then Kate’s friends tell her she should have told Cass how she felt earlier and Kate just wallows in guilt, apparently having completely forgotten that Cass has consistently been pretty much nothing but jerkish this entire book.

Sorry for the description of basically the entire plot between Cass and Kate, but I had to go back and make sure I wasn’t remembering things wrong. Where was I supposed to root for Cass? Why is Kate supposed to feel guilty? Why is it that them getting together is supposed to be the happy ending? And, might I add, they only get together because YET AGAIN Kate seeks Cass out on another continent this time. Like I said, I liked most of this book, but the romance is so baffling to me that I ended up rating it 3 out of 5 stars on Goodreads. Not a Cass fan, and I don’t understand how I’m expected to be, given how she acts the entire novel.

Erica reviews Bobby Blanchard, Lesbian Gym Teacher by Monica Nolan

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BobbyBlanchard
In Bobby Blanchard, Lesbian Gym Teacher, Monica Nolan playfully revives the genre of the 1950s lesbian pulp fiction novel. The protagonist is Bobby Blanchard, former field hockey star turned Games Mistress at a private all-girls school in rural Michigan. While her teaching skills are next to none, Bobby has no problem with instructing girls and young women alike in more salacious physical activities.

Indeed, upon her introduction to the rest of the faculty, it appears that at least every other faculty member (male or female) has similarly queer tendencies.  The question then becomes, who will be Bobby’s love interest? But before the reader can get too caught up in who might be doing whom and whose eyes are roaming over what bodies, there is a mystery to be solved. The Math Mistress suddenly and mysteriously died the summer before, and the more Bobby—and her rival, Enid, the new Math Mistress—uncovers, the more complicated the scene becomes.

Part murder mystery, part field hockey education, part bedpost notching, Bobby Blanchard, Lesbian Gym Teacher, is as ridiculous as it is entertaining. For any reader who is looking for all the juicy details of Bobby’s conquests, you best look elsewhere. What the novel does offer though is brief and enticing glances into the passionate trysts wherever—and I really do mean wherever—Bobby might find herself! Add in a bit of isolation, teenage lust, and love triangles, and you’ve got yourself a pulp fiction novel that keeps the action moving.

Perfect for a holiday read, a book for the beach, or curling up under the covers to pass the winter nights. With Bobby Blanchard, Lesbian Gym Teacher, Nolan offers a novel that fulfills all the gossip you ever hoped to hear about an all-girl’s school—and playfully reminds us that we really are everywhere.

Monica Nolan has also written Lois Lenz, Lesbian Secretary.

[Check out Erica’s other writing at her website.]

Danika reviews Lesbian Pulp Fiction edited by Katherine V. Forrest

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I didn’t know what to expect from this book. I requested it from Cleis press after being blown away by their title Inseparable: Desire Between Women in Literature by Emma Donoghue, and I hoped this one would be similar, but focused on lesbian pulp. Actually, it’s a collection of excerpts from lesbian pulp books from 1950-1965, with a short introduction that discusses lesbian pulp in general. I devoured the introduction, because if there’s anything I like more than lesbian books, it’s lesbian books about lesbian books.

Following the intro are excerpts from more than 20 novels. They are a great way to get familiar with the feel of lesbian pulp. I have always been amused by the lurid covers and overwrought descriptions of lesbian pulp, but this collection show that there is more appeal to this genre. Some excerpts show that there was great writing done between those scandalous covers, while others show the authentic representations of lesbian life that was being published alongside by-straight-men for-straight-men pulp. I was surprised at the variety in the collection. I had assumed there was a sort of formula for lesbian pulp: girl meets girl, girl gets girl, girl has tragic and sordid love affair, girl goes insane/dies. These stories don’t seem to all fit in the same mould.

I would not recommend trying to read these straight through–like I did–however. The excerpts are chosen well; they give you enough information to be able to piece together the general story, but they are only about 20 pages on average, and by the time you have figured out the thread of the story and gotten into it, it’s already ended. Unlike reading  a short story collection, these are not meant to be read in isolation, so they do require some mental energy to determine context. That is not a negative on the book at all, though! They just would be more enjoyable as something to dip into occasionally, not to try to absorb all at once. If you are interested in lesbian pulp fiction (and why would you not be?!), Lesbian Pulp Fiction should be on your list.

Mfred Reviews Odd Girl Out by Ann Bannon

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Laura goes off to college and meets Beth.  Beth inspires in her a frenzied, frightening passion, which she can barely contain.  Beth, in her loneliness, is drawn to Laura’s worship of her.  They start an affair.  Until Beth meets Charlie, and finally falls in love.

This is basically the plot of Ann Bannon’s Odd Girl Out and on this cursory, superficial level, I sort of enjoyed it.  It’s not the most well-written story I have ever read, and in particular, I found the narrative head-hopping from one character to the next jarring.   However, as a pulp novel, it satisfies.  There are a lot of trembling arms and heaving sighs, a lot of exclamatory statements and women on the brink of overwhelming desires.

As a modern day reader, I didn’t much like it.  Laura, for being the star of the scandalous lesbian plot, fairly disappears from the book for the last half.  When she is present, her character is presented as an underwhelming girl-child, always crying or about to cry.  Beth’s motivations for wandering in and out of a lesbian romance are explained in the most facile psych 101 terms (she wasn’t loved enough as a child!).  Charlie is an odd combination of tender and caveman, having his way in the name of Good & Manly Decision-making whenever the plot requires it.

As a modern day lesbian, I liked it even less.  I will say, that for something produced in pulp literature world of the late 1950s, Odd Girl Out is less judgmental and less condemning than I expected.  There is no happy queer ending, but on the other hand, Laura is able to achieve a sort of self-acceptance that is presented in an admirable light.  Beth and Charlie definitely win the narrative race to heteronormative success, but Bannon carves out a small space for Laura too, and I appreciated that.

Allysse reviews Women’s Barrack by Tereska Torres

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Women’s Barracks is a novel by Tereska Torrès. It depicts the lives of a few women and girls who worked for the Free French Forces that existed in London during World War 2. The novel is a sort of collection of snapshots of their lives. It is based upon the journals the author wrote during her time in the Free French Froces. There is no plot per se but only the portraits of those persons trying to live through the war.

Our point of entry in the story is the voice of the narrator who was one of those women, who experienced everything with the rest of the protagonists in the book. However she never really takes any part in any of the actions. She is a constant presence, someone in whom everybody confesses their story and she merely relates them to us, always staying in the background herself, never involved in anything. She is just a witness relating what she saw and heard. It can be easily understood though. The novel was apparently the first pulp novel to candidly address lesbian relationships and the author married at the time might have not want to be associated with the lives of her characters. She even refused its publication in France (where she lived), but later on published her journals there under another title. I haven’t read or even had a look at her journals so I don’t know how much of the novel is based from her observations and reality compared to and how much she created for the novel.

To get back to the characters… they are a mix of women and girls, all of them out of their country with no home and no family. Dynamics soon takes place between them, the older women trying to protect the younger ones, to educate them. It is an extraordinary time – in the sense of out of the ordinary – and as time goes by and the war doesn’t end there is a loss of hope for everyone. War is becoming the everyday life, chaos normal, and the island that is the Free French Forces constitutes the home of those women and girls. They seek confort among each other, security and reassurance in a world that is becoming familiar, filled with people they understand and that understand them.

The author mentions a few “real” lesbians but they are merely in the background of the novel, appearing here and there but never really taking the main place in the novel. However the author describes to us the relationships of other women who sleeps with other women but are not normally lesbians. I actually like how she describe those relationships. For Claude and Ursula for example it is a simple relationship of love/control/fascination. Claude being much older than Ursula she is sort of her teacher that Ursula idolized. As for Claude and Mickey it is pure amusement. Mickey is depicted as a lover, as a woman always having fun and making the most of life. She simply loves anyone regardless of their gender.

I really enjoyed the novel but I have to admit that at first I expected it to be more scandalous. But then, I remember that I am a reader in the 2010’s and that I definitely don’t live in the same cultural environment and experience as people in the 1950’s.

But still, I didn’t find the novel really shocking and to me it is not about the lesbian relationships that happened during World War 2 between the women of the story. It is a story about people who were all lost in some way, seeking comfort and warmth among each other, clinging to what they knew, to what felt familiar and safe. It is also a novel about life trying to keep on as normal in extraordinary circumstances, a world in which games of love still happened. I especially like this quote “There seemed to be only frenzied sexual adventures, promiscuity, or these sad, strange inversions. I wondered unhappily whether love could exist in out upset wartime world, the plain, faithful love between one woman and one man.” because I feel it sums up the novel quite well. In spite of everything all those women are simply looking for love but don’t know how to find it in a world in which your lover could be taken away from you and die at any moment.

Guest Lesbrarian Orange Sorbet reviews Price of Salt by Patricia Highsmith

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When this novel was published in 1952, it was Controversial with the Capital and thus, naturally, immensely popular. Patricia Highsmith – apparently a pretty renowned author but not a particularly likable personality – wrote it under the pseudonym “Claire Morgan” and denied having anything to do with the book until much later on in life, when it was revealed that it was based extensively on her own personal experiences. It’s toted as dark and mysterious, and said to bear uncanny resemblance to Vladimir Nabokov’s Lolita – and it came first. Recipe for a perfect lesbian-themed book? I thought so.

Here’s the catch: I read it in 2010-2011 (seriously, I read it over New Year’s Eve), not 1952. I liked the book but I wasn’t enamoured by it.

…while we’re talking about enamour, though, let’s get to the good stuff first:

Carol kissed her on the lips, and pleasure leaped in Therese again. […] Her arms were tight around Carol, and she was conscious of Carol and nothing else. And then her body too seemed to vanish in widening circles that leaped further and further, beyond where thought could follow.

(I have to admit I didn’t choose this excerpt on my own – usually I would, but I’ve returned the book to the library so I just googled this.) Highsmith’s prose is powerful and elegant and I don’t only mean this in reference to the lovemaking scenes like above; I particularly liked her descriptions of the setting and the general feel of the book. New York in 2011 is charismatic and alluring, but New York in 1952 is downright sexy.

What I felt was lacking was character development, which is a pretty key element in any book but especially one that’s centred on just two individuals. (I know this sounds somewhat contradictory, but you can have powerful prose without similarly powerful plot progression, as anyone who’s read the original Frankenstein can attest to.) The premise of the characters is interesting enough – inexperienced but already cynical 19-year-old paired with a tired but not quite jaded middle-aged woman – and as I pieced together bits of their stories throughout the book it’s evident that they aren’t your usual lesbian clichés, but at no point did either Therese or Carol become real to me. I was especially frustrated by the lack of build-up to their relationship, because while I could understand (somewhat) why they’d be attracted to each other based on their lots in life, I felt like it was more my own filling-in-the-blanks rather than a narrative that was presented to me. I figure more emotional aspects of their story might have been glossed over in consideration of the era in which the book was written, maybe, because it is not altogether uncommon for characters in books of yesteryear to fall in love for no discernible reason. Nonetheless, I can’t say I didn’t care for the characters: I interrupted my pseudo-New Year’s celebrations to “see if my lesbians get a happy ending.” (Chances are if you’ve read about this book anywhere you’ll know the answer to this, but I didn’t and I try my best to write spoiler-free reviews so I won’t give it away.)

I have to admit that at the end of it, I’m still left in the dark as to why the book is called The Price of Salt. I know it’s mentioned a couple of times in the book but there appears to be no significant meaning to it and I can’t find a satisfactory explanation online either. (The actual price of salt, by the way, is not as easy to determine as you’d think.) This was, to me, quite a waste because it’s an intriguing title and it’s a big part of the reason I chose to read this book.

By way of coming-of-age lesbian novels, I’d still say that Sarah Waters’ Tipping the Velvet takes the cake and then some but The Price of Salt is still an interesting piece in its own right. You’d also have to take my opinion with a heap of salt here because I haven’t actually read that many coming-of-age lesbian novels. This book would probably be better appreciated if actually read in the 20th century as intended, but there’s nothing any of us can do about that eh?

Thank you so much for the review, Orange Sorbet! You can find Orange Sorbet’s blog here, and the original post of this review here.

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