In a novel as stunning and heartbreaking as his acclaimed debut work, Grimsley recounts the story of a painful first love--between two adolescent boys who bravely sustain each other in a world of domestic disintegration.From Publishers WeeklyWith this heartbreaking story of first love, Grimsley, recipient of the 1995 Sue Kaufman Prize for his first novel, Winter Birds, has crafted another potential award winner. Here he works that novel's theme?a father's abuse of his son?into his sensitive depiction of a love affair between two high-school boys in the rural South. Nathan, a sophomore and the only child of an abusive, scripture-quoting, booze-guzzling father and a nearly invisible mother, becomes smitten with Roy, a senior who lives next door. Almost without realizing it (and with some reluctance on both sides), they begin an achingly tender romance. Ultimately, peer pressure leads to tragedy, and to a sort of metaphysical denouement that may strike some readers as over-the-top. But by that time, Grimsley's scenario has become so poignant and credible that the ending seems almost inevitable. He clearly understands the pain and confusion of budding love, and his present-tense narrative adds urgency and a touching immediacy to his tale. Without ever succumbing to cliche, Grimsley cuts with surgical precision to the heart of these characters' inchoate longings and barely repressed fears. Deceptively simple descriptive passages are hauntingly elegiac, and things left unsaid become as important as words expressed: these players' silences speak volumes. Romantic passion, violence and ultimate liberation coalesce in this singular display of literary craftsmanship. Copyright 1995 Reed Business Information, Inc. From Library JournalFor collections desirous of a "problem" coming-of-age story with a gay theme, this might be a good bet. Grimsley, a Pen/Hemingway finalist for Winter Birds (LJ 8/94), writes smoothly, his Southern settings are evocative, and the dysfunctional family (with an abusive, alcoholic, Bible-toting father) of young Nathan rings true, as does the violence that pervades Dream Boy. Psychologically, what draws Nathan to Roy, the older-boy-baseball-star-with-a-girlfriend, makes sense; but, sexual orientation aside, Roy's interest in Nathan makes much less sense?as if it's supposed to be magic or chemistry. Whatever it is, the treatment is too perfunctory. Similarly, settings can tend toward the formulaic (farm pond flanked by overgrown cemetery?check; deserted, picturesque, haunted plantation mansion?check), and the plot is too subservient to atmosphere and theme. Still, this interesting effort will undoubtedly collect some rave reviews and therefore deserves consideration.?Robert E. Brown, Onondaga Cty. P.L., Syracuse, N.Y.Copyright 1995 Reed Business Information, Inc.
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