Send Her To Me (Siren Publishing Classic)

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Tate instructs Shannon in a thrilling new realm of private-and public-play, pushing her limits with every new scene. Shannon discovers that her inner "Force-Me Queen" is an expert tease, skilled at keeping Tate on the edge. But a creepy stalker has photos and threatens to expose Tate's cover and their back alley scenes.

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Product Details With his younger brother, Ruben, by his side, he flees their hometown only to be arrested for kidnapping and theft. Primula Bond. Little Birds. Anais Nin. Joseph Sheridan Le Fanu. He's edited me since he accepted my first book of poems, Same Life , in Muse channels a complex range of Galassi's experience, offering a gently satirical insider's take on the publishing industry — or the way it might have been in the late 20th century — as well as a hymn to writers and their work.

The novel operates at a brisk, frequently witty clip, introducing us to a cast of semi-recognisable yet enjoyably scrambled characters: charismatic, decidedly un-PC publishers; romantic young strivers; and authors galore, bearing down on their work, occasionally throwing fits, more often engaging ardently and seriously with "the fascination of what's difficult," as Yeats put it. We get sexual shenanigans, European set pieces, double-dealings in business and love. The novel encompasses much, and centers on its figure of romance, Ida Perkins, celebrity poet of the 20th century.

Gabriel's Pretty

In the gloriously confected Ida siren, muse, best-seller, hailed by apparently everyone from T. Eliot to rock musicians , literature — and literary history — has the heroine it wished it had. Galassi's debut is, then, both a love story and a comic opera. We already know the publisher to be a sensitive, erudite poet and essayist, but with Muse , Galassi lets his comedic freak-flag fly.

Yet there is throughout this book a combination of delicacy and vigour.

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It's as if the more expansive zones of the novel genre allowed him to work in multiple modes, to bring his capacity for sharp social observation in line with his lyrical abilities. Indeed, Muse features extracts from the imagined volumes of Ida Perkins. This is one of the many pleasures of the novel — its deeply serious commitment to play. This past spring I was in Florence, visiting some of the places Galassi had recommended — not least places important to Montale.

We have a fairly regular email conversation going, and I wanted to hear Galassi say more about Muse , which is both a departure and, for now, a culmination. He obliged, and our edited exchange appears below. Jonathan Galassi: I think the muse of Muse is an idea: The idea that there are muses, that writers and their art can actually mean the world to us, can change how we feel and think and live. As the president of FSG, did you worry about the knock-on effects of publishing such a potentially scandalous book? Well, let's remember that the book is fiction, and not necessarily straight-up realist fiction at that.

It looks at its subjects through a slightly distorted, rose-colored — and maybe occasionally jaundiced — comic lens.

Nothing and no one in it is meant to be taken literally. Some may feel they recognise traits or foibles of this or that figure, occasionally with reason, no doubt, but the characters are meant to be iconic, avatars of a time and place that has largely gone by the boards. I started from what I knew — that's what they tell you to do, isn't it?

For all its worldly aplomb and satirical elements, Muse is, as the narrator observes, "a love story," a multilayered romance — with poetry, literature, and publishing itself. What are your thoughts on romance, optimism?

Yes, it's a love story, a kind of elegy for a colourful, affection-inspiring way of life that has become historical in many senses, though I'd say the very core of the publishing process, which is the editor's passion for the writer's work, hasn't changed one whit. Everything else has transformed around it, but that foundational recognition, that commitment, is still what it's all about.

It's an utterly genuine kind of romantic love, with all the pitfalls and rewards and chances for misunderstanding, betrayal, and disillusionment — and, yes, lifelong fidelity — that youthful infatuation involves. It's still happening every day, which means that this game is going to keep on being played, though on a different-looking board, no doubt. As a young editor, I can remember moping for weeks and weeks about losing certain projects—and some of that pain lives on in me still.

Muse offers en route a brilliant alternative history of modernism and of 20th -century literature. To what extent is Muse also a semi-clandestine work of literary criticism?

Of cultural history? There's a certain tongue-in-cheek attempt at alternative history. I decided to suppose that Arnold Outerbridge was a hugely popular Stalinist poet — which is highly unlikely beyond the realm of alternative literary history — and that Pepita Erskine, the wildly popular and wildly controversial darling of the self-satisfied liberal ascendancy, was African-American. Why not? This book is meant to be cheeky, irreverent — about something I take utterly seriously.

There certainly could — and should — have been an Ida Perkins in our literature. We'd all be much better for it. Both men obsess about "the one that got away" — the great publishing coup they missed. For Wainwright, it ' s Lolita. For Homer, it ' s Ida Perkins herself. Do you have an Ida Perkins?


The one that got away? If I do — and I have a number — I'm certainly not saying who they are. But all editors have authors they admire whom they wish they'd been able to work with. You'd have to be a block of stone not to. It's part of the game. As a young editor, I can remember moping for weeks and weeks about losing certain projects — and some of that pain lives on in me still.

It's the worst kind of nostalgia, kind of perverse, really: mourning something that never was.

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I'm sure there's a name for it. A good editor helps you to a better understanding of your book—your understanding, not his or hers. There ' s an attentiveness to a range of sexualities in the novel. To what extent is Muse a queer book? Without giving away too much of the plot, let's just say that one of the things Paul learns to appreciate in Muse is that love keeps happening to people in all sorts of surprising ways. Ida is someone who has never been an observer of conventions — except maybe certain poetic ones. She's had four husbands after all, and a long liaison with Arnold Outerbridge, too.

Homer and Sterling are likewise pleasure-seekers as well as seekers after the word. But whether straight or gay, Paul sees his heroes contend with eros in ways that very often don't fit onto the conventional grid. One of the sub-themes of Muse is the liberation of the gay but shackled Paul Dukach. Is that queer? I hope so.