Review: 'My Government Means to Kill Me'

 ©2022 All Rights Reserved Lynne Perednia

My Government Means to Kill Me
By Rasheed Newson
Literary Fiction
Flatiron

A young man leaves his affluent Indianapolis home in the 1980s, lands in New York City and seeks well, not fame and fortune, but some of the lustier glories of the big city. And since he is a young Black gay man with unresolved sorrow in his heart, a flamboyant attitude and a quick mind, he can only be Trey Singleton in Rasheed Newson's My Government Means to Kill Me.

Trey is a teenager when his life in the Big Apple begins. He knows he stands out. Sometimes, he embraces it and sometimes, he acknowledges that it is not half of who he is.  From his first job as a bicycle messenger, Trey knows he doesn't fit in. He also knows he is going to have to take it if he plans to stay. There is an acknowledgement and honesty to Trey that is immediately endearing. 

Although he knows that "the average person was never going to bestow pity or mercy on me", he also quickly learns that "We are not so narrowly defined as society would have us believe."

Trey soon discovers Mt. Morris, a bathhouse that has not been closed down because of its mostly Black clientele. There, he cruises for quick sex and becomes friends with Bayard Rustin. This Rustin feels and sounds like the little I know of the real Rustin, whether he would ever have been in such a setting or not. Like all the real people mentioned in the novel, each chapter, or lesson, has a footnote when they are introduced that is factual. (Excuse me for a moment. Footnotes! Oh joy! Rapture! My nerdy little heart was delighted.)

Rustin is one of several characters who serve as anchors while Trey bounces around discovering the ups and downs of life in the big city. Rustin serves as both advisor and Greek chorus, telling Trey and the reader of how far things had come even back in the 1980s.

When Trey and his roommate can't pay rent, Trey plows through the old-fashioned kind of research, when one dug through paper documents in dusty basements. He then finagles his way into a rent strike against the landlord who is, of course, Fred Trump. The portrayal of that despot is both a clue into why his son turned out the way he did and a portend of things to come. It is brilliantly written, as are other setpieces with prominent conservatives of the era.

As Trey becomes more involved in his New York life, he is drawn toward activism. The rent strike is the tipping point. In this and all the outer things that happen to Trey, his observations about himself apply not just to the action at hand, but to him. To wit:

If we never meet our despicable adversaries, we'd never be forced to find out how brave, resilient, and cunning we can be.

This bit of wisdom applies to the trauma Trey carries from his childhood, when something happened that he was at least in part responsible for and which is the main reason he left home. In between episodes that portray 1980s New York City and the explosion of the AIDS crisis, Trey deals with his past. It will affect his future. And it will involve confronting demons, both those in his head and those in his family. But one of Trey's great strengths is his self-awareness and knowledge:

We could blame it all on our families, but then we'd never find the keys to unlock our cells.

This self-awareness and knowledge also leads to one of those big "oof" reading moments when the air can leave the reader's innards and tears may come to one's eyes:

What flesh-and-blood man was ever going to immediately recognize the inner beauty and value in me, then make the effort to machete his way through the thorny thickets of insecurities and defense mechanisms surrounding my heart?

As Trey becomes involved with ACT UP, the reason for the book's title comes to the fore. It is a brutal realization that this is how dire things were. And a reminder that we're not that far from seeing how dire things are close to being again:

The point is to let your bruised and bloodied bodies serve as evidence that the government means to kill you, if you so much as protest its bigoted policies.

The novel is not all doom and gloom though. Through all the ups and downs in Trey's life and those of his friends, there is a cheekiness, an earnestness and an honesty to the story that thoroughly anchors it. My Government Means to Kill Me is not only a brilliant historical novel of those times, it is a bold statement of how someone who could have been an outcast doesn't settle for being left out. 

Review: 'Night of the Living Rez'

©2022 All Rights Reserved Lynne Perednia

Night of the Living Rez
By Morgan Talty
Literary Fiction Short Stories
Tin House

A young boy, living on the Penobscot reservation with his older sister and mother, gets older but doesn't seem to grow up in a beautifully written set of connected stories. Morgan Talty's Night of the Living Rez centers on David, or Dee, at different ages in a non-linear arrangement. Talty takes advantage of that narrative construction choice to show how, regardless of what is going on in our young narrator's life, there are some constants that affect everything about his life and the lives of his family and friends.

These constants are mostly not positive, which makes the positive parts stand out all the brighter. The stories also show how strongly connected the positive and not-positive are. In "The Blessing Tobacco", a young David visits his grandmother at her house. She is starting to suffer from Alzheimer's and thinks David is her long-dead brother, Robbie. 

Grammy keeps passing him cigarettes at the kitchen table. He hasn't smoked and is pretty sure he'd get in trouble if he did, but his mother told him to just go along with Grammy if she wasn't herself. So he smokes them and she keeps passing more to him, getting more insistent that he smoke them. So of course he's soon sick. Turns out Grammy was punishing Robbie for taking something that happened years before David was even born.

His mostly quiet mother and his usually distressed sister nurse him and he is sent back to fill his grandmother's wood box. The slight guilting, the quiet back-and-forth conversation that sends him back and the ensuing chat with his grandmother are realistically and quietly portrayed. It is real life. As they sit back down at the kitchen table, Grammy is herself and tells David a joke he finds so funny that he has her repeat it.

When Grammy has a bad spell later, the arguing that David's mother and sister had been doing is dropped as they unite in taking care of of their elder. She again mistakes David for her dead brother. Later, David dreams that he knew Robbie and has memories of them hunting or fishing together. The way the end of the story is written is indicative of why this book can take hold of one's heart and head:

"... and after all that we walked away through mud or snow until I stopped walking but he kept on going and going and going out there in quiet strides through a dark-pined forest until he was gone."

Gone in more ways than one.

David spends a lot of time with his friends. Whether they're playing an elaborate game of sticks and stones, or smoking, drinking and even doing drugs, the boys are together or looking for each other. They are just as apt to steal from each other as they are to give each other things. It's fascinating that they don't hold grudges and fall right back into hanging out together. David even spends significant time living at their houses when he and his mother cannot abide each other.

His father is mostly out of the picture. David's parents divorced when he was quite young and his dad moved away. He isn't a good provider and doesn't come to visit his kids, but when something goes wrong someone usually reaches out to call him and make him part of what's happening. And one of the other family members shuts him out. Again, the pattern is repeated.

The other major character is Frick, his mother's boyfriend who first appears in his role as a medicine man when Paige has a crisis. His role within the family has a most definitive trajectory:

He was a medicine man who had been forgetting to pray in the mornings and at night, forgetting to feed the spirits once a month.

For the most part, the fights and quarrels and bickering and hurtful things separate the characters. But then something comes up and, for the most part, they are there for each other. Throughout everything that happens to each family member in Night of the Living Rez, that love underneath the trauma holds:

Mom had driven fast. Real fast, and she watched me most of the time during the drive, as if I had been her road the whole way to our new home.