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There’s no denying it, media culture has ushered in a new era of visibility for gays in America. Yet somehow the gay Latino doesn’t fit into this sound-bite identity and usually isn’t included in national media images. Rane Arroyo offers a corrective.
Known primarily as a poet and playwright representing the gay Latino community, Arroyo has also been publishing prose throughout his career and now gathers into this book a storm of writing that has been gaining strength, drop by drop, for more than ten years. How to Name a Hurricane collects short stories and other fictions depicting Latino drag queens and leather men, religious sinners and happy atheists, working class heroes and cyberspace vaqueros—a parade of characters that invites readers to consider whether one is more authentic a gay Latino than another.
Whereas actual hurricanes are given names, the gays given voice in this collection must name themselves—and these narratives in turn reveal something of the "I" of Hurricane Rane. Whether portraying a family gathering as Brideshead Revisited with a mambo soundtrack, recounting the relationship of transvestite Louie/Lois and her bisexual Superman, or bemoaning "feeling as unsexy as an old bean burrito in a 7-11 microwave," Arroyo tracks the heartbeat of his characters through a shimmering palette of styles. Here are monologues, a story in verse, and other experimental forms appropriate to experimental lives—all affirming the basic human rights to dignity, equality, love, and even silliness.
When the AIDS epidemic first hit, many Latino families destroyed any remembrances of their gay and bisexual sons that might betray their pasts to la familia or el pueblo. Arroyo’s writings return the ghosts of those sons to the families, bars, dance clubs, and neighborhoods where they belong. By penetrating to the I’s of narrative hurricanes, these stories honor the survivors of our ongoing cultural storms.
There are multiple forms in Arroyo’s first collection of fiction – several short stories, a long narrative in verse form, a few impassioned performance-art monologues, and more than 40 pages of “flash fictions”: one- and two-page vignettes with enticing titles (“Why Jaimie Won’t Join the Softball Team,” “Posing With Pablo”, “Pablito Goes Butch,” “Lalo Tells of a Lost Weekend After Too Much Saki”) that serve up penetrating, incisive, and innovative slices of gay Latino life. The lead short story, “My Blue Midnights” (which also appears in Wendell Rickett’s superb collection of gay blue-collar fiction, Everything I Have is Blue) sets the tone for the rest of this collection, which manages to be, by turn, lyrical and explosive and funny and erotic: it’s about the cultural tension simmering as a gay man comes out to his Puerto Rican family, even as he’s steered towards the gay bartender - and a new boyfriend - at a family gathering (a celebration “to celebrate the fact that nothing bad has happened for a long time”) by his sympathetic female cousin. The assorted-style stories in Arroyo’s vibrant excavation of social and sexual identity resound with a poet’s spirit and soul.
Publisher : University of Arizona Press
Book, Compilation/Collection/Short Film/Shorts/, Gay Male, Gay/Lesbian, Latino/Latina
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