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Patrick Gale's new novel “Take Nothing With You” is a refreshing new take on a coming of age story. At the beginning we first meet the protagonist Eustace in his later years. At this stage of his life he's begun a promising new relationship with Theo, a fairly senior army officer stationed far away, and, though their connection has progressed from a dating app to regular Skype conversations, they've not yet met in person. But Eustace has also been diagnosed with cancer and needs radiation treatment which requires him to remain in temporary solitude within a lead-lined room where he can take nothing with him that isn't disposable. It's the first example of how the title of this novel resonates so strongly throughout a life marked by stages which require abandoning physical things and one form of identity to progress onto another. The bulk of this tale is concerned with Eustace's childhood and adolescence as he discovers a love of music and other boys. The story poignantly demonstrates the courage that is required to declare your true desires and to express your creativity even if it goes against the grain of the majority. It also shows the importance of role models to foster young people’s creativity and to assist in helping them to grow and flourish.

Eustace discovers a love of playing the cello during his childhood and he’s lucky enough to come under the tutelage of a passionate musician named Carla Gold. She serves as an important mentor in training him to develop his natural skill and passion. But financial pressure and discord in his parents’ marriage creates problems for Eustace in realizing his full potential. Although the story is focused on Eustace I appreciate how Gale takes care to sympathetically refer to the struggles of his parents as well. They face their own challenges and must sacrifice things to move forward in their lives or make compromises. Another example of this is the father of Eustace’s friend Vernon who is struck by a paralyzing illness. Here is another example of someone who must cruelly progress in life without things which feel like an essential part of his identity. I also appreciated how Eustace’s relationship with his mother is depicted in such a complex way. Gale writes some startlingly lines to describe the realms of what remains unknown between mother and son: “He had never seen his mother naked and never seen her bank statements.” Considering the dramatic things which occur in their relationship with each other, I imagine rereading this novel will make reading earlier scenes between them feel even more impactful.

 Detail of a painting from 1671 by Abraham van den Tempel

Detail of a painting from 1671 by Abraham van den Tempel

The story also sympathetically shows Eustace’s sexual development and how he gradually comes to terms with his homosexuality. Two male friends of Carla serve as mentors in a very different capacity, not just in how they educate him about gay culture, but from the fact of their existence living openly as a gay couple. Without this kind of example in his life, Eustace would have certainly found it difficult to imagine relationships other than the ones he forms in his early sexual experimentation with boys only interested in homosexual acts as a form of physical gratification or a power game. It’s also interesting to note how in one section Gale gives a survey and critique of gay fiction at this time of the late 20th century. Writing by Thomas Mann, Gore Vidal, EM Forster, James Baldwin, Gordon Merrick and Edmund White were crucial in openly bringing the stories of gay men into novels, but they had their limitations and only represented a narrow scope of experience: “The men in all these seemed to be uniformly handsome, virile, rich and expensively educated but they came to believe in their right to happiness and the stories ended with them neither punished, unhappily married nor dead. The novels had about them a strain of self-mythologizing breathlessness, full of precious feminine references which confused him.” Gale’s writing feels to me like an additional crucial voice in gay fiction for the way he poignantly describes the varied ways gay men can survive amidst oppression without compromising essential parts of their identities – as he did in his moving novel “A Place Called Winter”.

Beyond the detailed and captivating descriptions of Eustace’s growth as a musician and a gay man, this novel is an evocative account of the experiences of childhood and the different methods we use to piece together how the adult world works in our own way. In one section it describes how Eustace tries to visualize the different counties in England based on a map he had in a game when he was younger. It’s these sorts of references which we mentally go back to in order to make sense of the physical and emotional landscape in front of us. I thoroughly enjoyed this touching and captivating novel.

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AuthorEric Karl Anderson
CategoriesPatrick Gale