There are many types of romantic adventures in the wide world, even within the confines of contemporary realism. Lorelie Brown's Take Me Home plays out an adventure that start with what must be a fantasy for many contemporary lesbians. No, not that sort of fantasy. The fantasy of figuring out just how thoroughly one can blow the minds of disapproving relatives in a single go.
"Thanksgiving arrives in one week and one day. Feeling hemmed in by parental expectations? Are they disappointed by your sapphic proclivities? I can help! The only pay I want is the holiday meal!"
I didn’t know what I was looking for until I saw her Craigslist ad.
I love my family. I’m lucky to have them—well, most of them. But my aunt? I’m so tired of her giving my mom crap because I happen to be a lesbian. So one pink-haired tattoo artist pretending to be my girlfriend will annoy my Christian fundamentalist aunt right back and make my Thanksgiving perfect.
Only . . . Brooke turns out to be cuter and more complicated than I expected. And before you can say “yorkiepoo,” we kiss . . . and abduct a dog together. I want to keep them both—but Brooke isn’t the kind to be kept. Lucky for me, I’m the kind to chase what I want.
How times change! The characters in Mother of Souls are usually more concerned with flying under the radar--and essential component of happiness for a queer woman in the early 19th century. And Antuniet Chazillen wasn't specifically intending to shock Rotenek society in general, and her cousin Barbara in particular, when she embarked upon her new Great Work of alchemy. Margerit Sovitre wasn't intending to shock the dozzures of Rotenek University when she opened her women's college. Luzie Valorin never meant to shock anyone at the debut of her opera on the life of the philosopher Tanfrit. And yet somehow they all turned the world upside down.
The Great November Book Release Re-Boot is a blog series talking about November 2016 releases that may have been overshadowed by unfortunate political events.