Here is an Amazon review of the novel that taps into an aspect of the book that often goes overlooked--that it might offend some because it is so very and truly "fundamentalist." Interesting . . .
Thanks,
Preston
__________________________________________
Sociology of human weakness, December 15, 2010
By Mej (Atlanta, GA United States)
Preston Allen's novel Jesus Boy seems like quite a departure from All or Nothing. One book is about a man's struggle with gambling, while the other is about a fundamentalist church in South Florida. What both share in common though is human weakness. One could say that Allen is a sociologist of human frailty. The common thread that ties much of his work together is how complicated our lives are, despite the obvious molds we fit into at a cursory glance.
In Jesus Boy, Elwyn is an ignorant 16 year old whose ability as a pianist and gifted apologist differentiates him from other young people in his community. Meanwhile, his sexuality begins to unfold as the leader of his church community dies, and the grieving widow catches Elwyn's eye.
Sister Morrisohn (the grieving widow) comes across as the older (42 yr old) church nugget, whom the community either envies or despises, given her marriage to the leading elder of church the community, who also happens to be her recently departed husband. What we come to find in Mrs. Morrisohn is a past riddled with pain, abuse and a history of emotional content being funneled through sexual expression.
What the two find in each other is a shared brokenness. As each character tries not to yield to temptation, their giving in points to the bigger issues that plague their lives.
The author's ability to weave sexual discourse into the narrative of human need is reminiscent of Toni Morrison's early work. Additionally, the content of this book will also be alienating to some readers, as we also find in Morrison's work as well. Jesus Boy is very Christian...very fundamentalist Christian at that...and some portions of the book can be a challenge to those who have an aversion to this sort of religiosity. Simultaneously, the respect that Allen shows toward these traditions could be read as his satirical take on them. My gut is that Preston Allen's intent is not pure satire. He seeks to unpack the problems and complications we find in any community that works so hard for righteous living. We learn a lot in this process. People are not as they seem. Communities and their leaders are not as perfect as we believe them to be. In the end, our need to believe (something), points more to our needs, than it does to the reality of our beliefs.
Overall, Jesus Boy is not the page turner that Allen's prior book was, but it does have the common characteristic of being movie material. If you've liked his work before, this is well worth the read. Hats off to Preston Allen.
May-June 2010, New York, NY
Preston L. Allen reading at the Pen with Javier Cercas, Siri Hustvedt, Karl O. Knausgaard, Anne Landsman, Thomas Pletzinger, Monique Proulx, Lee Stringer, Christos Tsiolkas, and Tommy Wieringa
Reading at the Pen Festival 2010
Review of Jesus Boy Florida Book Review
The world is rife with temptation for a Jesus Boy the likes of Elwyn Parker, sixteen, member of the Church of Our Blessed Redeemer Who Walked Upon the Waters, Miami branch.
Although the congregation's "faithful" disdain the Holy Rollers as inferior, they welcome "Holy Spirit descending" demonstrations that require church ushers to "rush . . . and drape the velvet shawl over . . . spasming legs, hiding what would otherwise be revealed" in the case of moved-by-the-spirit females. Church pianist/musical whiz Elwyn plays boogie-woogie/gospel as if he had "thirty fingers" and spends his non-church time proselytizing, fasting, and trying to stay "Strong in the Lord."
Trying being the operative word.
Into every enclave of devoutness comes a fleshly disturbance, and that disturbance for Elwyn is Sister Elaine Morrisohn. She's older (by 26 years)—a problem for Elwyn's family but not much of one for Elwyn. ("I saw no imperfections.") She's a sexual dynamo—definitely not a problem for Elwyn. But: she drinks and she smokes (against church doctrine). And: "before she had accepted the Lord, of course," Elaine got her ears pierced. Twice. Wearing jewelry is another church no-no. There are other, larger complications working against the couple. Morrisohn is the widow of Elwyn's patron saint, Brother Buford Morrisohn, the man who bought him a (second-hand) piano and a (second-hand) car. When she was younger, Elaine ran with the wild pack that included Elwyn's father, Roscoe Parker. When she was very young, sexually abused by her father, she gave birth to a son who believes he's her brother.
The woman has history.
Present day, she's clingy.
When Elwyn goes off on scholarship to the University of Florida, bypassing Bible College, she calls him a lot. Drunken, jealous phone calls. Regardless, Elwyn Parker loves Elaine Morrisohn. And keeps loving her through marriage to another woman, the birth of his son, the discovery of a half brother, Elaine's illness and death.
Love has its work cut out for it in Jesus Boy, but in fact love is the true religion preached in its pages. One of the novel's ambitions is to make us love believers, too.
Struggling alongside Elwyn to uphold church-delegated standards of righteousness are his Gran'ma Mamie Cooper, his father Roscoe, and his best friend Peachie. Like the rest of the novel's supporting cast, these three fall short of the holiness bar. It's hard to be church-good. Beyond the demands and dictates of desire, there are these pesky impediments of family deception, outright lies, and generationally-protected secrets. It's another burden to bear, Elwyn decides: all those "people who have lived before you . . . you can never push past them because they were here before you. They know stuff . . . They know stuff about you that you don't even know. That is their world. . . . You just got here. They were living and breathing and loving and leaving before you were even born."
Allen's touch is winningly light, but where there is hypocrisy, he outs it—in liaisons, in marriages, in the Church of Our Blessed Redeemer Who Walked Upon the Waters, in the used car business, in his characters. There are marvelously funny scenes with Elwyn and Mr. Byrd, his high school principal, first, as the harried principal tries to dissuade Elwyn from playing evangelist on school grounds and, later, when Elwyn returns as a substitute teacher. Compared with the unambitious, disrespectful students Mr. Byrd now has to contend with: "It was sure easier breaking up illegal Bible studies in the cafeteria," he ruefully admits. You can almost hear a chorus of high school principals shout "Amen!" Towards novel's end, Elwyn confesses he has "a difficult time believing in God anymore." And again, "I wasn't an atheist, but heaven just seemed so far away." But his friend Peachie sets him straight about priorities. It isn't piety that matters. It's something else. "Your life, in fact, is shit," Peachie tells him, "but you're still able to love."
It's no small feat to write a South-based, religion-drenched novel that reads fresh, inventive, and true. Preston Allen has done it with Jesus Boy.
**
Kat Meads is the author of many books, including Little Pockets of Alarm, Born Southern and Restless, and when the dust finally settles, forthcoming from Ravenna Press. Learn more at http://www.katmeads.com/
Although the congregation's "faithful" disdain the Holy Rollers as inferior, they welcome "Holy Spirit descending" demonstrations that require church ushers to "rush . . . and drape the velvet shawl over . . . spasming legs, hiding what would otherwise be revealed" in the case of moved-by-the-spirit females. Church pianist/musical whiz Elwyn plays boogie-woogie/gospel as if he had "thirty fingers" and spends his non-church time proselytizing, fasting, and trying to stay "Strong in the Lord."
Trying being the operative word.
Into every enclave of devoutness comes a fleshly disturbance, and that disturbance for Elwyn is Sister Elaine Morrisohn. She's older (by 26 years)—a problem for Elwyn's family but not much of one for Elwyn. ("I saw no imperfections.") She's a sexual dynamo—definitely not a problem for Elwyn. But: she drinks and she smokes (against church doctrine). And: "before she had accepted the Lord, of course," Elaine got her ears pierced. Twice. Wearing jewelry is another church no-no. There are other, larger complications working against the couple. Morrisohn is the widow of Elwyn's patron saint, Brother Buford Morrisohn, the man who bought him a (second-hand) piano and a (second-hand) car. When she was younger, Elaine ran with the wild pack that included Elwyn's father, Roscoe Parker. When she was very young, sexually abused by her father, she gave birth to a son who believes he's her brother.
The woman has history.
Present day, she's clingy.
When Elwyn goes off on scholarship to the University of Florida, bypassing Bible College, she calls him a lot. Drunken, jealous phone calls. Regardless, Elwyn Parker loves Elaine Morrisohn. And keeps loving her through marriage to another woman, the birth of his son, the discovery of a half brother, Elaine's illness and death.
Love has its work cut out for it in Jesus Boy, but in fact love is the true religion preached in its pages. One of the novel's ambitions is to make us love believers, too.
Struggling alongside Elwyn to uphold church-delegated standards of righteousness are his Gran'ma Mamie Cooper, his father Roscoe, and his best friend Peachie. Like the rest of the novel's supporting cast, these three fall short of the holiness bar. It's hard to be church-good. Beyond the demands and dictates of desire, there are these pesky impediments of family deception, outright lies, and generationally-protected secrets. It's another burden to bear, Elwyn decides: all those "people who have lived before you . . . you can never push past them because they were here before you. They know stuff . . . They know stuff about you that you don't even know. That is their world. . . . You just got here. They were living and breathing and loving and leaving before you were even born."
Allen's touch is winningly light, but where there is hypocrisy, he outs it—in liaisons, in marriages, in the Church of Our Blessed Redeemer Who Walked Upon the Waters, in the used car business, in his characters. There are marvelously funny scenes with Elwyn and Mr. Byrd, his high school principal, first, as the harried principal tries to dissuade Elwyn from playing evangelist on school grounds and, later, when Elwyn returns as a substitute teacher. Compared with the unambitious, disrespectful students Mr. Byrd now has to contend with: "It was sure easier breaking up illegal Bible studies in the cafeteria," he ruefully admits. You can almost hear a chorus of high school principals shout "Amen!" Towards novel's end, Elwyn confesses he has "a difficult time believing in God anymore." And again, "I wasn't an atheist, but heaven just seemed so far away." But his friend Peachie sets him straight about priorities. It isn't piety that matters. It's something else. "Your life, in fact, is shit," Peachie tells him, "but you're still able to love."
It's no small feat to write a South-based, religion-drenched novel that reads fresh, inventive, and true. Preston Allen has done it with Jesus Boy.
**
Kat Meads is the author of many books, including Little Pockets of Alarm, Born Southern and Restless, and when the dust finally settles, forthcoming from Ravenna Press. Learn more at http://www.katmeads.com/
Thursday, December 16, 2010
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Book Review: Chicago Center for Literature and Photography
Regular readers know that I believe the key to a successful novel to be the combination of an exciting plot and deep characterization; but if I'm forced to choose only one or the other in any particular book, I think it's clear by now that I generally prefer the former over the latter, in that stories featuring barely-defined characters doing interesting things tend to be inherently more entertaining in my head than ones where interesting people sit around doing nothing. So I'm always excited, then, when I come across the rare character-heavy novel that I end up liking quite a bit; take for example the recently released Jesus Boy by Florida professor Preston L. Allen, author of the previous gambling novel All Or Nothing which also garnered quite a bit of praise, both of which were put out by our pals at Akashic Books, who in the last few years has seemed almost incapable of making a wrong move. I thought today, then, I would take the opportunity to do an actual analytical examination of what makes this such a great character-driven novel when so many others fail so spectacularly at it, as a way of hopefully passing along a few tips to fellow writers out there who are struggling over the same issues; because believe me, Jesus Boy is an almost textbook example of how to put together an intriguing and page-flipping yet plot-light story, and it's no wonder that Akashic signed this despite it having little to do with the subversive culture and hipster characters that define most of the other titles in their catalog.
As you can imagine, step one with books like these is to create a fascinating milieu for your characters to inhabit, which Allen does: he in fact sets this book within the world of radical Protestant churches in rural south Florida with mostly black congregations, the kinds of groups with names like "The Holy Rollers" who consider even Southern Baptists to be timid wannabes, and who create elaborate conservative moral codes for their members which often contradict themselves in their specific rules. And indeed, that's what makes this milieu so fascinating, is that as human beings, the desires of these groups' members often come into direct conflict with the restrictive code of behavior they are trying to maintain; and this is in fact what Allen mostly examines in Jesus Boy, the various ways that the private lives of his expansive cast betray their public lives as the religiously pious, and the ways these schisms affect the long-term lives of these characters over the course of approximately half a century and several generations, from roughly the Jim Crow 1940s to the hiphop 1990s.
Now of course, this particular milieu is also ripe for easy, lazy stereotyping -- after all, it's these organizations that spawn most of our nation's televangelists -- which leads to my second tip concerning such novels, that they require not only fascinating environments but unique and compelling looks at these environments; and this Allen also does, centering the tale around the complex "Jesus Boy" of the book's title, a naturally gifted piano player who was hailed by his church at a young age as a zealous musical warrior for God, and who then struggles for the rest of his life over the balance between his spirituality and his heathen side, complicated even further by his decades-long secret relationship with a MILF-like older church member (during their first tryst, he's 16 and she's 42), as well as his manytimes humorous multicultural adventures at the secular state university he ends up attending. This then leads us to a closer examination of his lover as well, who turns out to have had a very similar experience in her past but that time playing the younger role, which as the novel progresses we learn is tied in complicated ways to the muddled lives of all the other characters, which then drops us down the rabbithole of how crazy and screwed-up all these relationships within the church are, filtered by such factors as pre-civil-rights
segregation, the expectations of "manliness" within African-American society, the disconnect between what we want and what we can have, and of course the all-important public face of respectability that members of the church are expected to wear at all times.
This then nicely leads us to my third tip concerning character-heavy novels, that if you're to attempt a story light on action scenes, it's important to make those scenes count for as much as possible; and it's here that Allen really shines, in that like Michael Chabon, all of his well-placed plot-oriented moments serve as true catalysts for twisting the entire story in a new direction, delivering by the end what's still a deep character study but that is quickly-paced and always inspires you to excitedly wonder what's next, whether that's the occasional fistfight or discovery of infidelity, a flight from the law or the disgrace of a popular preacher. And that of course leads to my fourth tip concerning such books, the one probably best known already, that when you choose to write a story based mostly on character, it helps to give that story a strong sense of personal style as well; and here too Allen is just great, penning the entire manuscript in a way that's both poetic and easy to read, and with a sly humor that complements very well the unhurried Southern story he's telling.
Add all these things up, like I said, and you have that special rare character-oriented novel that reads like an airport thriller, not just lively and entertaining but that gets you thinking about all kinds of subjects for the first time, or at least thinking about them in new ways. As with many recent Akashic books, I suspect that Jesus Boy will be popping up again in one of my best-of lists at the end of the year, and it comes highly recommended today whether or not you're a natural fan of character-heavy stories or fundamentalist Christians.
Out of 10: 9.3
by Jason Pettus
Books and Books
I love the hat, okay?
The Feminist Review
Star-crossed intergenerational love between a Christian matriarch and a young church pianist sounds like an unlikely fictional masterpiece, but in Jesus Boy, Preston L. Allen’s empathic, intricate storytelling skillfully unfolds this improbable tale of religious conviction, sexual desire, and social pressure to conform.
While striving to maintain a virtuous private life—and wholly failing to do so—Elwyn Parker struggles with his public image as a young preacher. At the tender age of sixteen, his childhood crush becomes pregnant by another boy, confusing his chaste heart. At the same time, his aged mentor dies, leaving a grieving widow with whom Elwyn takes up, despite their twenty-two year age difference and to the great surprise of them both. Suddenly, sexual vices overwhelm a story of deeply religious believers, who struggle to make sense of the contradictions between spiritual dogma and physical and emotional desires. Most of the story’s characters live hypocritically at best; yet, their humanity is striking and a clear reminder of what it means to live with wholly unrealistic expectations of oneself and one another.
Between the evangelical language and the geography, the novel had additional resonance for me personally. Set in South Florida towns like Lakeland and Plant City, I could easily imagine not only the Church of Our Blessed Redeemer Who Walked Upon the Waters congregations and their church buildings but also the two-lane highways that connect some of the small cities mentioned. My maternal grandparents, retired ministers, have lived in that area for the last decade and attend two church services every Sunday: one in their trailer park, where grandpa leads the worship service, and one at a Church of God in Lakeland.
The book takes many turns, and sometimes I would be reading for several pages about a newly introduced character before all the pieces fell into place. Allen layers themes of familial obligation and incest with religious judgment and piety, all the while undoing any assumption you might make about essential underlying elements of a functional intimate relationship blossoming in the shadow of slavery and racialized poverty. Feminist in the sense that the author exposes the humanity of each character equally, Jesus Boy will encourage the most progressive thinker to reevaluate their moral judgments about love, parenting, pregnancy, and May-December romances.
Akashic Books consistently publishes quality fiction, and Jesus Boy is just one more must have title in their catalog. If you only read five novels this year, this should be one of them.
By Brittany Shoot
Preston L. Allen
Busy Thinking about the Next Book
Review of Jesus Boy by Geoffrey Philp, Author of Who's Your Daddy and Other Stories
Just when you thought it was safe to go back to church, Preston Allen writes Jesus Boy, a story about a young Christian, Elwyn Parker, who falls in love with an older woman, Elaine Morrisohn, a matriarch in the Church of Our Blessed Redeemer Who Walked Upon the Waters. In many ways this was a difficult book to review, not only because Preston Allen is my friend and colleague at Miami Dade College, but also because of my own history with fundamentalist Christianity and Preston’s ability to depict the tortured consciousness of a teenage true believer at war with his faith and his flesh:
"At sixteen, I met my first great temptation, and I yielded with surprisingly little resistance, I who had proclaimed myself strong in the Lord. There had been, it seems, a chink in my armor, through which Satan had thrust his wicked sword" (34).
And as if dealing with his hyperactive conscience wasn’t enough, Elwyn’s plight is exacerbated by Elaine Morrisohn’s deliberate pursuit of him, even during church services:
"As she sat down with a satisfied smile on her face, she knew she was being naughty. She shouldn’t have shouted like that, but she was trying to send him a message by shouting like she did during orgasm…She just wanted to rip off her clothes and fly to him. He was so tight and so fresh and so full of juice…he was a lean, strong fresh-tasting black boy—he looked good enough to eat" (77).
But Elwyn wants to be saved. Desperately. Yet the God that Elwyn serves is a God of wrath who is eager to punish sinners, especially women who wear pants or jewelry and who listen to “worldly” music. Growing up in this kind of environment Elwyn becomes a holier-than-thou preacher—an attitude that he exhibits long after he has left the fold:
"God’s people have to be apart. They have to be different. Christians these days—I don’t understand them at all. They go to parties, they drink, they have premarital sex, they wear the fashions of the world. Even the music. These days you can’t tell the difference between a church song and hip hop" (361).
What is remarkable about Jesus Boy is Allen’s use of point of view. He writes as an insider, someone who knows the secrets within the black community and reports the intimacies of people who want to live, love, and praise God. And he does this without resorting to stereotypes or clichés. Allen explores the black family and black religion without the filters of white validation, effectively banishing the "double consciousness" theory of W. E. B. Du Bois. The characters in Jesus Boy exist in a milieu in which whites exist peripherally. Jesus Boy asserts without rancor: This is our story.
And this perhaps is one of the major accomplishments of the novel. Allen uncovers the hypocrisies within the black church in the way that James Baldwin’s Go Tell It On The Mountain exposed the vision of its adherents—a world divided not along racial lines, but between the “saved” and the unsaved. And because being “saved” requires denial of the most basic human impulses, the “saved” are always in state of guilt over the state of their soul:
"Demons, I was certain, frolicked in my room after the lights were turned off. At night, I watched stricken with fear, as the headlights of passing automobiles cast animated shadows on the walls of my room. Only God, who I believed loved my singing voice, could protect me from the wickedness lurking in the dark. Thus, I sang all of God’s favorite tunes—hummed when I didn’t know the words—in order to earn his protection" (13).
There is much to admire about Jesus Boy. From the cover designed like an old family Bible to the genealogy list of the begetting that took place in Elwyn’s family, the novel has hints of Faulkner with an oversexed patriarch and a family history of incest, abuse, and illicit romance. Preston Allen has truly written what Dennis Lehane has deemed a “tender masterpiece.”
***
Preston L. Allen, a recipient of a State of Florida Individual Artist Fellowship, is the author of the critically acclaimed novel All or Nothing (Akashic) and the award-winning collection Churchboys and Other Sinners (Carolina Wren Press). His stories have appeared in numerous magazines and journals and have been anthologized in Brown Sugar (Penguin), Miami Noir (Akashic), and Las Vegas Noir (Akashic). He lives in South Florida.
"At sixteen, I met my first great temptation, and I yielded with surprisingly little resistance, I who had proclaimed myself strong in the Lord. There had been, it seems, a chink in my armor, through which Satan had thrust his wicked sword" (34).
And as if dealing with his hyperactive conscience wasn’t enough, Elwyn’s plight is exacerbated by Elaine Morrisohn’s deliberate pursuit of him, even during church services:
"As she sat down with a satisfied smile on her face, she knew she was being naughty. She shouldn’t have shouted like that, but she was trying to send him a message by shouting like she did during orgasm…She just wanted to rip off her clothes and fly to him. He was so tight and so fresh and so full of juice…he was a lean, strong fresh-tasting black boy—he looked good enough to eat" (77).
But Elwyn wants to be saved. Desperately. Yet the God that Elwyn serves is a God of wrath who is eager to punish sinners, especially women who wear pants or jewelry and who listen to “worldly” music. Growing up in this kind of environment Elwyn becomes a holier-than-thou preacher—an attitude that he exhibits long after he has left the fold:
"God’s people have to be apart. They have to be different. Christians these days—I don’t understand them at all. They go to parties, they drink, they have premarital sex, they wear the fashions of the world. Even the music. These days you can’t tell the difference between a church song and hip hop" (361).
What is remarkable about Jesus Boy is Allen’s use of point of view. He writes as an insider, someone who knows the secrets within the black community and reports the intimacies of people who want to live, love, and praise God. And he does this without resorting to stereotypes or clichés. Allen explores the black family and black religion without the filters of white validation, effectively banishing the "double consciousness" theory of W. E. B. Du Bois. The characters in Jesus Boy exist in a milieu in which whites exist peripherally. Jesus Boy asserts without rancor: This is our story.
And this perhaps is one of the major accomplishments of the novel. Allen uncovers the hypocrisies within the black church in the way that James Baldwin’s Go Tell It On The Mountain exposed the vision of its adherents—a world divided not along racial lines, but between the “saved” and the unsaved. And because being “saved” requires denial of the most basic human impulses, the “saved” are always in state of guilt over the state of their soul:
"Demons, I was certain, frolicked in my room after the lights were turned off. At night, I watched stricken with fear, as the headlights of passing automobiles cast animated shadows on the walls of my room. Only God, who I believed loved my singing voice, could protect me from the wickedness lurking in the dark. Thus, I sang all of God’s favorite tunes—hummed when I didn’t know the words—in order to earn his protection" (13).
There is much to admire about Jesus Boy. From the cover designed like an old family Bible to the genealogy list of the begetting that took place in Elwyn’s family, the novel has hints of Faulkner with an oversexed patriarch and a family history of incest, abuse, and illicit romance. Preston Allen has truly written what Dennis Lehane has deemed a “tender masterpiece.”
***
Preston L. Allen, a recipient of a State of Florida Individual Artist Fellowship, is the author of the critically acclaimed novel All or Nothing (Akashic) and the award-winning collection Churchboys and Other Sinners (Carolina Wren Press). His stories have appeared in numerous magazines and journals and have been anthologized in Brown Sugar (Penguin), Miami Noir (Akashic), and Las Vegas Noir (Akashic). He lives in South Florida.
Library Journal
Jesus Boy. Akashic. Apr. 2010.
c.364p. $15.95. (Akashic Books)
--African American teenager Elwyn Parker, who's smart, studious, and gifted at the piano, learns to play for the Church of Our Blessed Redeemer Who Walked Upon the Waters, near Miami, in which he, his family, and all the other folks he knows are passionately involved. Elwyn develops a crush on Peachie, a girl at the church who also plays piano, but he's later strongly attracted to Sister Morrisohn, a fortysomething beauty and grieving widow of a rich lawyer who had been a kind of church patriarch. The two improbably begin a torrid affair, all the while doubting their faith and hiding from the community of righteous gossips led by Elwyn's grandmother. When Elwyn finally decides to marry Sister Morrisohn and seeks the approval of his grandmother, he learns that she had had an affair with his fiancée's deceased husband—only one of many long-hidden extramarital relationships in this tightly knit community. This latest from Allen (Churchboys and Other Sinners) is hilarious, as the characters for the most part dismally fail to adhere to their idealistic religious views whenever they are faced with temptation. Scenes of preaching and singing in church convey the boisterous fervor of African American gospel music and religious practice in a soulful, vibrant style.
VERDICT This is a very enjoyable and well-done novel; highly recommended.—Jim Coan, SUNY Coll. at Oneonta
c.364p. $15.95. (Akashic Books)
--African American teenager Elwyn Parker, who's smart, studious, and gifted at the piano, learns to play for the Church of Our Blessed Redeemer Who Walked Upon the Waters, near Miami, in which he, his family, and all the other folks he knows are passionately involved. Elwyn develops a crush on Peachie, a girl at the church who also plays piano, but he's later strongly attracted to Sister Morrisohn, a fortysomething beauty and grieving widow of a rich lawyer who had been a kind of church patriarch. The two improbably begin a torrid affair, all the while doubting their faith and hiding from the community of righteous gossips led by Elwyn's grandmother. When Elwyn finally decides to marry Sister Morrisohn and seeks the approval of his grandmother, he learns that she had had an affair with his fiancée's deceased husband—only one of many long-hidden extramarital relationships in this tightly knit community. This latest from Allen (Churchboys and Other Sinners) is hilarious, as the characters for the most part dismally fail to adhere to their idealistic religious views whenever they are faced with temptation. Scenes of preaching and singing in church convey the boisterous fervor of African American gospel music and religious practice in a soulful, vibrant style.
VERDICT This is a very enjoyable and well-done novel; highly recommended.—Jim Coan, SUNY Coll. at Oneonta
The Spectator: Review of Jesus Boy
BOOK: ‘Jesus Boy’ by Preston L. Allen
If the church’s name isn’t intense enough, Our Blessed Redeemer Who Walked Upon The Waters has an intense set of rules and lifestyle regulations to match in Preston Allen’s latest novel.
The novel follows one Elwyn Parker, a member of the Our Blessed Redeemer congregation who firmly abides by its teachings: no drinking, no smoking, no coffee, no secular music and no pants for women. But of course the story doesn’t just explicate the strictness of the church; it explores the turmoil running beneath its surface, and the primal urges common to all of its members. These primal urges compel Parker to explore the taboo topics that exist outside of his church’s borders—which means just about everything non-religious that life has to offer.
The book is equal parts an exploration of church-sexy and sex-sexy, and it provides an intriguing, sometimes gripping glance into the psychology of a person wrestling with the nature of religiously-imposed restriction.
If the church’s name isn’t intense enough, Our Blessed Redeemer Who Walked Upon The Waters has an intense set of rules and lifestyle regulations to match in Preston Allen’s latest novel.
The novel follows one Elwyn Parker, a member of the Our Blessed Redeemer congregation who firmly abides by its teachings: no drinking, no smoking, no coffee, no secular music and no pants for women. But of course the story doesn’t just explicate the strictness of the church; it explores the turmoil running beneath its surface, and the primal urges common to all of its members. These primal urges compel Parker to explore the taboo topics that exist outside of his church’s borders—which means just about everything non-religious that life has to offer.
The book is equal parts an exploration of church-sexy and sex-sexy, and it provides an intriguing, sometimes gripping glance into the psychology of a person wrestling with the nature of religiously-imposed restriction.
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