The
Phoenix
by
Ruth Sims (website)
352 pages, paper, $16.95
Writers'
Collective
ISBN: 1932133402
[Note: this is a reprise from my Foreword
review, but with more detail]
Like Tess of the d’Urbervilles
or Wilkie Collins’ The Woman in White,
this Victorian novel is replete with plot twists, years-long detours,
providential meetings, villainy, and a great deal of drama. And yet
like Laura Argiri's The God in Flight , it differs
from most other Victorian novels in that the two main characters who
meet and fall in love are both men. One is an adopted son with a dark
secret and a Dickensian background who has taken on a new identity, and
the other is an uptight doctor with a strong religious background that
would have made any Puritan proud.
Kit St. Denys, who began life as Jack Rourke (a street thief and
pickpocket), is an up-and-coming actor in London. He has gone from
poverty and abuse at fourteen when he fatally stabs his abusive father,
to riches when he is adopted by a man who introduces him to the world
of the wealthy and the theatre. Nick Stuart, the young doctor, is a
troubled man who becomes estranged from his strict, unforgiving father
when he goes off to medical school. Although his father is also a
doctor, he is unwilling to allow his son to step beyond the small
village and turns his back on Nick when he leaves home. Kit and Nick
meet after one of Kit’s critically acclaimed performances and, from
there, they begin a troubled but madly-in-love relationship that takes
many years to resolve.
In telling the story, Ruth Sims doesn't shirk her Victorian
responsibilities. She meticulously and in a most interesting way takes
time to tell the back stories of each of the main characters. By the
time Kit and Nick meet, readers already know of Kit's past life, of the
death of his brother at his father's hands, of his mother's
abandonement of him and his brother and their abusive father, and how
Kit comes to be "adopted" by his rich benefactor. Readers already know
of Nick's back-story as well, and of his first experience with another
boy in his village, how it both awakened him to that side of himself, as well as
frightened him of the damnation in it if he ever followed through with
such feelings.
Further, Nick’s religious background causes him the deepest pain in
loving Kit. “He loved Kit in the way God meant him to love a woman. It
was as simple and as soul-damning as that.” While this problem should
have been enough to doom their relationship, Kit has demons of his own,
never able to shake the nightmares of his father’s abuse, nor of the
night he left him for dead. “The old man wrestled with him. Seized his
hand. Forced it down upon … Michael’s rotting flesh ... His hands sank
into soft eyes, into putrefying brain.”
But like any good Victorian novel, these problems are not enough to
keep Kit and Nick from a deep love for each other. Nor is a whole host
of plot twists, including marriage, time, and distance. It is these
plot twists, which I won't reveal, that make this a proper Victorian
read. And Sims writes with authority of the times in which the book is
set. From the drawing rooms of high-society England in the latter part
of the 19th Century, to the days in New York City when the Trusts owned
all the theatres, or controlled them so thoroughly that a play did not
get a billing unless it was approved by the trust. There is also a
convincing description of Circus life, and that of life "out West" in
America of the 19th Century.
And yet, Kit and Nick persevere through numerous reversals of fortune,
years of estrangement, entanglements, and madness in a “snake pit” even
Joan Crawford would find disheartening. Those who enjoy historical
fiction and Victorian novels, especially, will become enthralled with The Phoenix. Sims fulfills the
implied promise an author makes to readers to bring all the subplots
together in a logical and satisfying resolution at the end. The main
characters and supporting cast are fully developed and ones readers
will believe; and like any good Victorian novel, the villain is one who
can be booed and hissed off stage, without being melodramatic.
—Ronald L. Donaghe
|
Bio
Ruth Sims is an anomaly. A cookie-baking Midwestern grandma, she's the
homemaker-next-door who whips up meals from scratch, likes to iron, and
uses a clay flower pot as a chicken roaster. And she's hardly ever
ventured beyond the borders of rural Illinois.
So why the anomaly? Because her conservative upbringing was left in the
dust when she wrote The Phoenix,
a gay love story. Though there are no degrees after her name (formal
education ended with High School) self-education began with the first
book she ever picked up and hasn't stopped since or even slowed down a
tad.
Her personal library contains books that run the gamut from
Forensic Medicine to Latin, Comparative Religions to Gay History, many
biographies, and gutter slang in four languages. Add a love of great
literature and a delight in creative wordplay, and you get a writer
with an imagination that takes her satisfied readers everywhere they
want to go.
She is currently working on another gay novel, Counterpoint. Counterpoint is another Victorian
(I love that period in case you didn't guess.) It's more a clash of
class and cultures complicating the love between two musicians. As
usual with my books, it starts when the characters are young, in their
mid-teens. One is an English-born gypsy violinist, Geoffrey Dohnonyi,
whose mother was a gentlewoman with romantic ideas about gypsies until
she runs headlong into their lifestyle when she elopes with one.
I've done a lot of research into the gypsy life. The other is Dyland,
an upper middle-class young man whose father wants him to do something
useful with his life, not waste it composing music, though the
character, Dylan, has the talent and rebelliousness to be a
barrier-breaking composer. Another character is a famous Machiavellian
violinist who, through Geoffrey's mother's maneuvering becomes both
Geoffery's mentor and his bete noir.
Another character is Laurence, a classical history master at the school
Dylan attends, a man who is wise beyond his years and who becomes
Dylan's first lover. I don't envision it as having a happily-ever-after
ending at all, although I see it ending with Dylan's final truth that
no matter what else he loses he will always have his first and deepest
love—music.
Ruth Sims' Phoenix
Available through
Ingram or Midpoint Trade Books
Phone orders: 800-497-0037
Email orders: Orders@Midpt.com
Author's email: rsims@writerscollective.org
|