Patrick Moore has worked extensively on gay issues as both an
activist and a writer. The author of two novels, This Every Night
and Iowa, he was the founding director of the Estate Project for
Artists with AIDS in New York City. Moore currently lives in Los
Angeles, California, and is developing projects for film and
television.
From the Hardcover edition.
Moore offers a provocative defense of gay male sex culture in the
1970s as well as a jeremiad on the AIDS holocaust of the 1980s . .
. As a detailed examination of the ways in which rage gives depth
to art, Moore's book has no peer in recent memory.
-Publishers Weekly
"Patrick Moore's point of departure is as refreshing as it is
daring . . . [This] slim polemic retains its unorthodox urgency,
calling gay men to return to the sexual vanguard."--Kai Wright,
-Out
"Essential reading for anyone seeking an imaginative interpretation
of recent gay history."
-Library Journal
"A provocative, wistful book . . . Moore's yearning is touching and
his politics refreshingly incautious-a romantic affection for the
entirely unromantic." --Austin Bunn, The Advocate
"This quietly personal book reclaims the past for young gay men and
makes it useable."--Edmund White, author of A Boy's Own Story
A talented novelist who for many years was director of the Estate Project for Artists with AIDS, Moore (This Every Night) offers a provocative defense of gay male sex culture in the 1970s as well as a jeremiad on the AIDS holocaust of the 1980s. The most exciting writing here details New York's provisional "theaters of pleasure" (sex clubs like The Mineshaft, dance clubs such as The Saint) with novelistic atmosphere and a canny ear for interview and synthesis, while Moore's portraits of artists lost to AIDS are also first-rate. Writers Cookie Mueller and Assotto Saint emerge as more interesting than their work, while the late David Wojnarowicz's memoir in particular is vaunted. Art world hackles will rise at Moore's unsympathetic account of gallerist Andrea Rosen's administration of the Felix Gonzalez-Torres estate, as Moore raises the specter of dealers and collectors profiting from the work of the dead and "de-gaying" it in the process. He also recreates the heady, vivid ACT UP era of street activism, recalling how the pink-and-black "Silence = Death" poster ignited the conscience of a generation. Some of Moore's arguments feel more like assertions, in particular his statement that the wild sex pioneered by gay men during the '70s was itself a form of art, although his argument is partly salvaged by a deft reading of Fred Halsted's threatening, aimless porn, and by his witty follow-up that, during the '80s East Village art boom, "art became sex." As a detailed examination of the ways in which rage gives depth to art, Moore's book has no peer in recent memory. (Jan.) Copyright 2003 Reed Business Information.
Moore offers a provocative defense of gay male sex culture in the
1970s as well as a jeremiad on the AIDS holocaust of the 1980s . .
. As a detailed examination of the ways in which rage gives depth
to art, Moore's book has no peer in recent memory.
-Publishers Weekly
"Patrick Moore's point of departure is as refreshing as it is
daring . . . [This] slim polemic retains its unorthodox urgency,
calling gay men to return to the sexual vanguard."--Kai Wright,
-Out
"Essential reading for anyone seeking an imaginative interpretation
of recent gay history."
-Library Journal
"A provocative, wistful book . . . Moore's yearning is touching and
his politics refreshingly incautious-a romantic affection for the
entirely unromantic." --Austin Bunn, The Advocate
"This quietly personal book reclaims the past for young gay men and
makes it useable."--Edmund White, author of A Boy's Own
Story
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