Christopher and His Kind

Christopher and His Kind
Christopher Isherwood
Difficulty: Medium
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In 1938, when he was only 34, Christopher Isherwood published his first autobiography, Lions and Shadows, about his schoolboy days at Cambridge with W. H. Auden, Stephen Spender, and other rising literary stars. I think that alone reveals quite a bit about his character, cocky, a little vain (I mean look at that title), writing a personal history before he’s even halfway through his 30s. Or maybe it tells us more about his method. Isherwood was an endlessly attentive and remarkably perceptive observer, and those he observed regularly found their way into his work, albeit by different names. So perhaps it shouldn’t be surprising that someone so young might have so much to say about their life. But trust me, it’s also because he was cocky and vain if his depiction of himself in Christopher and His Kind is anything to go by.

Isherwood didn’t write Christopher and His Kind until his 70s, and it picks up more or less where Lions and Shadows leaves off, documenting his ten year emigration from England to California. In 1929 Isherwood had been living in Germany, enjoying the wild, sexually liberated nightlife he depicted so vividly in Goodbye to Berlin, but the rise of Hitler and the Nazi party forced him and his german boyfriend Heinz Neddermeyer to flee the country. Isherwood then spends the next decade bouncing around Europe, desperately trying to wrest Heinz from the legal clutches of his homeland. Isherwood depicts his journey with the help of his usual perspicacity and detailed journals from the time, writing about his younger self in the third person and giving his story a literary sheen not often associated with autobiography. 

The reason I started this post talking about Lions and Shadows is that Isherwood mentions it frequently in Christopher and His Kind, mostly with regret. What he regrets is his thorough erasure of any mention of homosexuality from a book purported to be autobiographical, and that’s part of his motivation to create this newer one. Isherwood’s young Isherwood is quite a character. An absolute diva, but in an endearing way, cocky, vain, and probably a genius. Faultlessly loyal to his friends, adventurous, highly emotional, and very privileged. His travels were exciting and unpredictable, it was rarely clear which exotic location he’d end up at next, and, not already being familiar with his history, I was never sure what the outcome of his odyssey might be. I don’t have much more to say about this one, an author of Isherwood’s caliber simply speaks for himself.

Also, I would like to formally apologize for using the word perspicacity, but it was too good an opportunity to pass up.

The Motion of Light in Water

The Motion of Light in Water
Samuel R. Delany
Difficulty: Hard
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Oh boy it’s Delany again! My bias should be pretty clear by now, but I can’t help it if the man is responsible for so many essential texts in gay literature, and in so many different genres. This time around it’s a Hugo award-winning memoir covering portions of Delany’s childhood up through the early years of Delany’s extensive writing career. The book offers a fascinating window into both the author and his environment, a newly bohemian, pre-Stonewall East Village. Among the numerous experiences he recounts are his marriage to the lesbian poet, Marylin Hacker, his foray into folk music, a nervous breakdown, and brushes with famous personages such as Bob Dylan, W. H. Auden, and James Baldwin. And of course, descriptions of New York’s homosexual underworld (the memoir is subtitled Sex and Science Fiction Writing after all).

There are a lot of reasons to read this book. The obvious reason is, of course, to gain a greater insight into the mind of a popular science-fiction writer, but that’s only one dimension of it. Interracial marriage, open relationships, pre-Stonewall gay life, mental health, the writing process, civil rights, hitchiking, these are only some of the topics covered by Delany’s memoir. By the age of 21, Delany had already written and published three science-fiction novels and was an active participant in the city’s avant-garde art scene at the time. Perhaps the overflowing creative forces around him contributed to the nervous breakdown that serves as the centerpiece of the memoir. Delany is quite open and matter of fact about it, as he is about everything, from the reality of being a professional writer to the ins and outs of anonymous sex in the city. It’s this frankness which forms much of the book’s appeal.

Besides it’s subject matter, what sets The Motion of Light in Water apart from other memoirs is the intense open-minded gaze Delany brings to bear upon himself. He is unafraid to criticize himself, or to plumb the depths of unpleasant and even traumatic memories. And he does all this with the skill of a grandmaster storyteller. The events and people he depicts are every bit as vivid as those in his science-fiction and makes the memoir feel more like a novel. There are moments throughout the text where Delany descends (or ascends) into the abstract and philosophical, usually when discussing art, and these can feel a bit confusing. But I found that as I read more of Delany’s experiences, I gained a better understanding of what he was talking about. In sum, Delany’s deft depictions of complex and wide ranging issues during a time of significant social change makes The Motion of Light in Water a seminal and essential work for any reader interested not just in gay history, but in 20th-century American history as a whole.