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IF you’ve been following the buzz on this book, you may wonder how Jodi Picoult and Jennifer Finney Boylan—two very different kinds of authors—decided to team up on a novel. As the story goes, Boylan dreamed that she’d written a book with Picoult, and she tweeted about it. Picoult saw the tweet and said some version of “Why not?” This is an important fact to know when you pick up Mad Honey. There’s a larger reason for the presence and contribution of both authors, and it lies within the story.

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WITH HIS FIRST NOVEL, Homo Novus, Gerard Cabrera has written an emotionally charged and deeply moving story of two men and the paths that brought them together. As the story begins during Holy Week in 1987, readers find a Catholic priest, Father Linus Fitzgerald, in a hospital in Massachusetts. He is very sick and is being looked after by a young seminarian, Orlando Rosario.

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Brief reviews of Novel Approaches to Lesbian History, Pathetic Literature, Less is Lost, and A Minor Chorus.

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The opera The Hours brings to the stage the LGBT love lives (including their failures) of Laura Brown, Kitty, Clarissa and Sally, and Richard and Louis. Indeed it adds one same-sex relationship to the mix. A key incident in both Mrs Dalloway and in the 1990s Clarissa story involves Clarissa buying flowers for the party. In the opera, the florist, Barbara (sung beautifully by Kathleen Kim), has an extended coloratura flirtation with Clarissa as well.

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It was Kenneth Williams, the most prolific of the Carry On ensemble, who appeared in 26 films in total. He was usually given the role of the overwrought, snide intellectual in a position of authority. His presence was unfailingly electrifying, with his clipped, nasal vocal intonations and facial expressions of remarkable elasticity. He could elevate even the most lowbrow of breast-related puns with a subtle glance, a curt turn of the head, or an elaborately scandalized vocal delivery.

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CHICAGO’S WRIGHTWOOD 659, a private institution focused on socially engaged art, mounted a landmark exhibition, The First Homosexuals: Global Depictions of a New Identity, 1869–1930, last fall. A team of international scholars, led by art historian Jonathan D. Katz, assembled a groundbreaking show with over 100 paintings, prints, photographs, and film clips that reveal how, as Katz notes, “while language narrowed into a simplistic binary of homosexual / heterosexual, art gave form to a nuanced range of sexualities and genders that can best be described as queer.”

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My Policeman and Spoiler Alert could not be more dissimilar in tone, but they both portray men in love as dismally doomed from the get-go. Neither challenges the cultural script that male relationships must end disastrously, though My Policeman does offer the two principles some redemption as old men.

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The Magnolia Ballet is an intensely American, intensely human story told with great poetry and compelling imagery. As for the demand of the father to his son, Guest provides his take on whether one must choose between a mythic heritage and acceptance of one’s sexuality and personhood.

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This is primarily a tale of one heterosexual man’s obsessive love and even more obsessive jealousy for a woman he eventually dismisses as his social inferior: “To think that I wasted years of my life, that I wanted to die, that I had my greatest love, for a woman to whom I wasn’t attracted, who wasn’t my type!” (Yes, Proust’s “wit” is often classist.)

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Other Names is about far more than shifting attitudes about homosexuality or a troubled father-son relationship. It’s about what constitutes one’s identity. What does it mean to be Pakistani or British? To be a son? To be a gay man?

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