The request to be granted refuge in Britain or the US from victimization based on sexual orientation, religion, tribe, and/or familial ties, as soon as it is uttered before certain authorities, initiates a formal evaluation of the refugee’s narrative, which is held up to impossibly arcane, contradictory, even Kafka-esque standards by asylum officers over endless retellings.
These characters feel like people you might know, people you meet on the dance floor at a Boystown club or a queer apartment party, people you’ve loved and lost.
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“Shame and living, living with it, living through it, living past it. This is what these stories are made of.”
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Beer’s truth is her joyfully cynical perspective on the world as it unfolds before her.
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Adler, in full command of her signature style, presents herself a new challenge, to retrofit her revolution with a few choice accoutrements of tradition.
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“Whether V’s and June’s story is your or my family story,” writes Chelsea Biondodillo, “it is still our story and it should rattle and anger even as it hollows out a soft spot in the heart for these fierce and sorrowful unsung stories.”
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