On the battlefields of WWII Europe, Charlie Harris fell in love with Roger Black, and after the war, Roger marched home without a glance back. Ten years later, Charlie receives a cryptic summons and quickly departs for his former lover’s hometown of Whistle Pass.
But Roger Black isn’t the lover of Charlie’s dreams anymore. He’s a married, hard-bitten political schemer who wants to secure his future by destroying evidence of his indiscreet past. Open homosexuality is practically a death sentence, and that photo would ruin Roger and all his wife’s nefarious plans.
Caught up in foggy, tangled events, Charlie turns to hotel manager Gabe Kasper for help, and Gabe is intrigued by the haunted soldier who so desperately desires peace. When helping his new lover places Gabe in danger, the old warrior in Charlie will have to take drastic action to protect him… or condemn them both
Review by Elliott Mackle
The set-up and first chapter of this caper historical are so convincing and cleverly done I thought I’d stumbled onto something wonderful. Unfortunately, eight fast-moving introductory pages do not a successful, or even a comprehensible, novel make.
The hook: Charlie Harris, a lonely bachelor lumberjack, spurned by his army lover at war’s end, receives a two word message: “Need you.” In the past, these words were the signal for sex between Charlie and his battlefield body-buddy, Roger Black. Now, ten years later, assuming the note is genuine, Charlie drops everything and takes off for Roger’s home town, Whistle Pass, Illinois.
The setting is small-town Midwestern America, 1955. The narrative tone, descriptions of landscape and criminal and political shenanigans, however, are more reminiscent of shoot-’em-up western frontier fiction and cowboy movies set a century earlier. Like most such genre confections, much of the action and dialog are overdone and forgettable.
The gist of the novel is a cascade of bloody fights and violent confrontations, faked battles, misidentifications, truck shootings (they shot horses, didn’t they?), empty threats (Roger’s wife Dora proposes to kill someone who’s already dead), a daring escape from a homophobic mob and assorted, mostly unconvincing homo- and heterosexual love scenes. Finally, the fade-out that unites the new lovers, macho lumberjack Charlie and prissy, closeted, beaten-to-a-pulp hotel manager Gabe, comes off as almost a parody of every HEA ending ever written.
Better editing might have helped. Abrupt changes in point of view are distracting. “LT” for Lieutenant (not once but several times); an incorrectly composed newspaper headline, and occasional metaphorical howlers (“Gabe’s heart thumped like the leg of a rabbit in heat.”) suggest that more care might have been taken in the preparation of the finished product. On the other hand, misspellings are few and some of the characters’ voices are lively and distinctive. The cover art, which suggests little about the novel itself, is attractively dreamy and masculine.