In Brian D. Kennedy's A Little Bit Country, readers are introduced to Wanda World — a fictional amusement park inspired by the real-life Dolly World. In fact, I picked up this book because of my love of amusement parks and a boyhood dream of working in one. The park, however, ultimately just serves as a backdrop for two young men, Emmett Maguire and Luke Barnes, as they navigate the complexities of identity, love, and ambition.

Emmett Maguire is a Chicago native who dreams of becoming the world's first openly gay country music star. With the help of his Aunt Karen, Emmett lands a summer job in a musical stage show at Wanda World, owned by his idol, the legendary and bigger-than-life Wanda Jean Stubbs. For Emmett, this opportunity is a stepping stone toward his ultimate goal, even though the park sits in a small, rural town that feels worlds away from his urban upbringing.

Luke Barnes, on the other hand, is a local boy grappling with his own set of challenges. Closeted in a very conservative community, Luke longs to escape his family's financial struggles and pursue a career as a chef. His family's history is intertwined with Wanda Jean's, as Luke's grandmother, Verna Rose, was once Wanda Jean's best friend and musical partner until a scandalous love triangle tore them apart. This connection to Wanda Jean is a sensitive subject within Luke's family, casting a shadow over their lives.

When Emmett and Luke's paths cross at Wanda World, there is an undeniable attraction. Their burgeoning relationship, however, is problematic from the first. Emmett is open about his sexuality and adores Wanda Jean's music, while Luke is deeply closeted and resents the music and the icon herself. As they navigate these challenges, they still try to support each other’s dreams — Emmett's musical aspirations and Luke's culinary ambitions.

Their relationship grows more complicated when Emmett discovers Luke's familial connection to Verna Rose and the possibility that Wanda Jean's hits were plagiarized from her work. As Emmett faces the pressures of pursuing a music career, including a disheartening encounter with an indie music agent, he must make tough choices about how he wants the world to see him. This collides directly with Luke's internal struggles and family pressures and culminates in a dramatic confrontation with Wanda Jean that reveals unexpected truths about her relationship with Verna Rose. 

A Little Bit Country is a competently written, mostly engaging story, though the interlocking tensions can feel overwhelming at times. Kennedy weaves a narrative rich in drama and dialogue, though it occasionally veers into soap opera territory with its multitude of subplots. While the story could have benefited from a more streamlined approach —particularly by leaving out some supporting characters and subplots, like Emmett's discovery that Aunt Karen is being cheated on—it still captures the challenges young LGBTQ individuals face.

The novel deserves credit for its realistic portrayal of the struggles young gay men endure, particularly the impact of homophobia. Emmett's refusal to hide his sexuality for the sake of a record deal is a commendable stance that, honestly, may have ended his career before it ever began. His decision to reject the continued use of Verna Rose's songs for personal gain highlights his integrity. In contrast, Luke emerges as a tragic figure. His homespun work ethic and salt-of-the-earth personality clash with his inherent dishonesty toward himself and those around him, and sometimes it’s very hard to like him, even when you feel sympathy for him. 

The plot twist involving Wanda Jean and Verna Rose was both surprising and a little heavy-handed. While I personally didn’t see it coming, it might have been more impactful if the story had fewer dramatic elements competing for attention. Honestly, by the time we resolved this plot point, A Little Bit Country was feeling like an old episode of the Dallas TV show. 

As for the central relationship between Emmett and Luke, it's hard not to question how long it could last. Their connection, rooted primarily in physical attraction, seems mismatched given the vast differences in their backgrounds and personal struggles. Whether their relationship could withstand the test of time remains uncertain.

Overall, A Little Bit Country is a decent read that captures the struggles of youthful ambition and identity amid family and cultural expectations. While it may not stand out as a great LGBTQ YA novel, it offers an honest look into the complexities of young love and self-discovery in a world where dreams and reality often collide.

I read Maurice by E.M. Forster in college. First written in 1913-14 and revised over the following decades, it is the story of two men — Maurice and Clive — who fall in love as students at Cambridge University. It was a brave endeavor, written at a time when gay relationships were essentially illegal in Great Britain. 

Although Forster showed the book to many close friends and colleagues, he never tried to get it published, possibly fearing prosecution. A note found in the manuscript after his death read, “Publishable, but worth it?”

Once Maurice was printed, critics’ major point of contention was its happy ending. It was one thing to write about homosexuality, but quite another to portray gay relationships in a positive light. The trope of the tragically doomed gay man — a depressed, self-loathing, and often suicidal outsider condemned to a miserable existence — was expected of any author who dared to broach the subject. Anything less looked like an endorsement of homosexuality. 

​(I should note that Forster specifically wanted his book to have a happy ending — perhaps to shatter this ugly expectation.)

In the novel, Maurice finds his soulmate in Clive’s groundskeeper, Alec. William di Canzio’s book, Alec, written over 50 years after Maurice was published and almost a century after it was written, focuses on this character almost entirely.

Although Maurice was a fascinating, even uplifting book, I always wondered how an upper-crust investment banker and a lower-class working man could make their relationship work in British society. It always seemed like the two men would have to separate themselves from Great Britain altogether — maybe by emigrating to another country, maybe by hiding away in some vast wilderness. So, as this novel takes us through Alec’s early years, his sexual awakening, his romance with Maurice (as relayed by E.M. Forster), the World War that separates them, and ultimately their reunion, it also shows their intention to do just that. 

Di Canzio, having the benefit of writing in a more enlightened time, doesn’t pull any punches in showing how difficult it would’ve been for men of this era to build lives with each other. World War I notwithstanding, Alec and Maurice have all kinds of existential forces conspiring to keep them apart, and they find few allies along the way. One of the biggest challenges for both is their individual feelings about their own homosexuality. As detailed in Forster’s book, Maurice is highly mindful of his position and his privilege, often going to great lengths to repress or even “cure” his gayness. Alec, by contrast, is more accepting of himself — and much less concerned about others’ opinions. Maybe it’s because Alec has less to lose, or maybe just that he’s more defiant of a social hierarchy that is already cruel and unfair to people like him. Whatever the reason, Alec’s journey to self-acceptance means multiple and early affairs with both men and women, and none of the attempts to scrub away his sexuality we saw in Maurice. 

In the end, Alec leaves the reader exactly where Forster did: with the two men still struggling to find their place in the world, still hoping to find some wilderness where they can hide from the prejudices of others. This may not be the romantic ending some modern readers of LGBTQ fiction will want. Still, considering the era in which the book is set, it’s an honest ending, an important reminder of how things used to be, and a cautionary note about returning to that ugliness. 

RELATED FEATURES: LGBTQ Collection | Pride on the Big Screen 

Will Grayson, Will Grayson is a very good book, very good book.  

Let’s just get that out of the way early so any criticism I present will seem paltry in comparison.  The novel is smartly written and deals sensitively with a topic that’s probably more of an issue with image-conscious teens than adults – having an openly gay best friend.

As the curious title might imply, the story is told by two boys, both named Will Grayson, who live in the Chicago area. The first Will Grayson (let’s call him Will #1) is a likable but timid guy who always tries to do the right thing but can quickly lapse into self-recrimination whenever it brings unwanted attention to himself. His timidity probably isn’t helped by the fact that his best friend is a giant of a young man, ironically called “Tiny,” who’s not only a football star but is unabashedly gay with loud moments of great drama.  Will #1’s relationship with Tiny goes all the way back to elementary school. Even in those early days, Tiny possessed a level of courage and self-confidence that produces from Will #1 envy, admiration and embarrassment.  Will #1’s hypocrisy often makes life with Tiny a challenge.

Will #2 is an inner-city kid who has struggles of his own. He tries to manage both his depression and his homosexuality by keeping himself isolated from most other people. His difficulty with other people has prompted Will #2 to construct an elaborate online relationship with an unseen boy named Isaac. Can you see trouble a-brewing here?  It turns out that “Isaac” is the creation of a female classmate who is angered by Will #2’s disinterest in her and has made it her personal quest to out him. Will #2 discovers the deception when he agrees to finally meet “Isaac” and finds himself standing in the doorway of a porn shop in a seedy Chicago neighborhood. This is where he encounters – purely by chance – the other Will Grayson. Will #2 confides his humiliation to the stranger with the same name who, being an inherently empathetic person, responds kindly.  It is through Will #1 that Will #2 meets Tiny, whose undying sense of romance manages to pull the boy out of his dark funk and experience affection with a real person.

The rest of the novel deals with the intertwined relationships between these characters, set against the backdrop of an autobiographical play Tiny is producing for his high school.  The play contains caricatures of many of his friends, including both Wills, which is both revealing and uncomfortable for all parties.

The novel is refreshing in that it avoids the usual coming-of-age or tortured-soul themes that often mark novels on this topic. Although Tiny’s flamboyant behavior is often a source of embarrassment to his friends, they never persecute him for it. Likewise, when Will #2 begins to come out to others, he finds most of his friends and his mother to be very supportive. This may not be a reality enjoyed by many American gay youth, but it is a happy possibility that may give some hope.  

The book is written in first person with alternating chapters written by the respective Wills. Authors John Green and David Levithan do a good job of giving both boy a separate and distinctive voice, mainly because each wrote a Will independently of the other. If there was one off-putting thing about this technique, it was Will #2’s voice which is written almost entirely in “cyber speak.”  While it is true that a disturbing number of teenagers believe that “what” is spelled without an “h” and that capital letters don’t exist at all, reading ten chapters of this proved irksome.  I kept wanting to send Will #2 to remedial English class.

This being said, the authors were spot-on in their characterizations of modern teens.  Even the cruel deception that Will #2’s classmate perpetrates could be lifted right off the front page of a modern newspaper (...uh, make that the homepage of a news websites.) One thing that did surprise me (I won’t use the word troubled here), was the virtual lack of any relationship between the two Wills. Once they have their chance encounter in the porn shop, and a touching moment of spontaneous bonding on the street, the two characters never see each other again until the last pages of the book. The boys acknowledge the weirdness of having the same name and being drawn through circumstances to a place neither of them would normally go, but then the happenstance seems to be forgotten. I point this out because it seems almost as though the book is miss-titled. By the time the Wills meet, the book is really about Tiny.  

​Still, all things considered, Will Grayson, Will Grayson is a mesmerizing novel that I had a hard time putting down.  It’s worthy of all the kudos its received from other critics and I personally look forward to other titles from these authors.  

I grew up with Superman and Spider-man. They were literally my first great comic book loves.

As a child, I obsessively watched the black-and-white repeats of The Adventures of Superman (1952-1958) starring George Reeves or got up early every Saturday morning to thrill to Super Friends (1973-1985), where the Man of Steel was indisputably the lead character.

Afternoons were Spider-Man time. The 1967 animated series ran in syndication after school — and yes, like so many nerds of my generation, I can still sing the iconic theme song in its entirety. 

But the afternoons also meant I could look forward to Stan Lee's Spider-Man comic strips, which ran daily in the Tucson Citizen newspaper starting in 1977.

In my youth, I don't know if I ever imagined Superman and Spider-Man teaming up. But thanks to Marvel and DC Comics continuing their tradition of superhero cross-overs, we have a new Superman / Spider-Man comic book. Like previous versions, it contains various stories, this time spearheaded by powerhouse creators like Mark Waid, Jorge Jimenez and Jim Lee.

Thanks to decades of variants and multiverses, the book features different team ups — sometimes of Superman and Spider-Man, but also of their friends, family members and tangential characters. My two favorites were titled "Truth, Justice and Great Responsibility" and "Tapping In."

The first features the iconic versions of the main characters going up again Doctor Octopus who's under control of Brainiac. The artwork by Jorge Jimenez is fantastic!

Other stories include:

"The World's Finest" finds Lois Lane and Mary Jane Watson in a friendly and humorous conversation about careers and navigating relationships with super-powered men with secret identities. Plus, they crush hard on Gambit. 

"The Bridge" offers some "dad to dad" bonding as Jonathan Kent and Ben Parker encounter each other during a torrential storm — and prove that their son/nephew aren't the only heroes in their families. 

"Beyond the Cobwebs of Tomorrow" features Superboy and Spider-Man 2099, with Batman. In this story, the superheroes realize that they're on parallel paths as they slip through time to stop the brutal reigns of Dr. Doom and Lex Luthor. 

"Jimmy con Carnage" is an amusing short where Jimmy Olsen leaves Metropolis and goes to work with Peter Parker at the Daily Bugle, where he must endure the ultimate boss-from-hell — J. Jonah Jameson. In is quest to please J. Jonah with photos of Spider-Man ("who's Spider-Man??"), Jimmy mistakes Carnage for the web-slinger. 

"Bias" takes a page from our modern talk news with Lois Lane and J. Jonah Jameson having a fiery debate about media and how it covers the likes of Superman and Spider-Man. And also Wonder Woman, Captain America and the Fantastic Four. 

Continue to watch this website as I will be debuting a curated Spider-Man book list in the near future. You can find my Superman Collection here.

​RELATED FEATURES: When Jason Todd Helped Save Superman | Review: Superman: The Harvest of Youth | It's Jason Todd vs. The Joker in DC's KO Series | ​Batman / Deadpool Crossover is Out | 

Godzilla rampages across the United States in IDW’s "Godzilla vs. America" series, with each comic unleashing chaos on a different city. The latest installment, "Godzilla vs. Portland," released in March 2026, invites readers to experience this unique blend of local culture and monster mayhem. I couldn’t resist picking up a copy when I stumbled upon it during a visit to Portland this past weekend.

One of the standout features of this miniseries is its commitment to authenticity, which engages local writers and artists to capture the essence of each city. "Godzilla vs. Portland" is no exception, and it’s clear that the contributors have a genuine love for the City of Roses. The comic contains four short stories, each offering a different slice of life from Portland, albeit with a giant lizard stomping through town.

The stories within "Godzilla vs. Portland" vary in quality, with two particular tales standing out above the rest.

Dog Day Afternoon by Cat Farris was my favorite. This story captures Portland’s quirky culture by focusing on two locals engrossed in a heated debate over the city’s official hot dog recipe. Amidst debate, they remain blissfully unaware of Godzilla’s destruction all around them. Farris nails the Portland vibe, from therapy llamas to the gag-inducing mention of kale sauerkraut, making it a delightful parody that resonates beyond the monster chaos.

High Score by Caitlin Yarsky, set in 1981, connects Portland’s Polybius urban legend to Godzilla’s arrival. A local news reporter makes a startling discovery — achieving a certain score on the mythical arcade game summons the monster from the Willamette River. It's pure classic monster movie melodrama with a modern day twist. 

While I enjoyed these stories, I wonder if the anthology’s highly local-centric approach might limit its appeal, especially for readers unfamiliar with Portland. Many in-jokes and cultural references may not resonate or could be misunderstood by outsiders. The risk with such a concept is that it can lean too heavily on stereotypes or niche humor, which is primarily appreciated by residents, making it less engaging for a broader audience.

​However, even with these potential hurdles, the anthology remains an entertaining concept. The juxtaposition of a global icon like Godzilla with the idiosyncrasies of various American cities makes for a fun read. 

​RELATED: Black Lagoon Legacy | The Legend of the Dark Pyramid | A Tale of a Desert Phantom | Encino Man and the History of Teenaged Monsters | For the Love of Giant Monsters

Nightwing's decision to patrol the streets rather than the rooftops shows he's committed to seeing the city from the perspective of its inhabitants — literally experiencing it at Ground Zero. As Dick himself reflects, “To understand how my home is changing... I have to see it from the same angles as everyone else who lives here.”

While cruising a newly built superhighway, Nightwing encounters a bedraggled woman wandering in and out of traffic. In true Dick Grayson fashion, he offers her a ride, thinking she might need medical care. (Can you imagine Batman picking up a hitchhiker?) But Nightwing’s act of kindness takes a bizarre turn when the woman pulls a knife on him, claiming to be a witch. Naturally, Nightwing is inclined to think she's having a mental breakdown or is under the influence of something.

The situation escalates when the woman starts bleeding from the eyes. Nightwing is anxious to get her to the hospital, but she insists they stay on the highway to reach "the crossroads." It's all very cryptic and supernatural. Their resulting struggle for control of the car concludes in a massive pileup. The woman vanishes, leaving behind countless casualties, including an injured Nightwing is left to question if she was even real. And if she wasn't, he's directly responsible for the disaster.

I first read Lord of the Flies, by British author William Golding, in the late 1980s and quickly became obsessed. Having just graduated from high school, I knew the joys and ugliness of teenage tribalism well. A film adaptation starring Balthazar Getty was released soon after, and since I managed a video rental store, I watched it and the 1963 version multiple times, increasing my admiration for the book. (FYI, the ‘63 film is far superior if you need to choose one.)

Flies may have been Golding’s debut novel, but its themes were something he understood very well. During World War II, he served in the Royal Navy and took part in the bloody D-Day landings in Normandy. The reality of war deeply influenced his writing, and when he started working on Flies, he, like the rest of humanity, was living under the specter of nuclear annihilation at the dawn of the Cold War. The book’s brilliance lies in distilling these existential threats into a deceptively simple survival story on a South Pacific island.  

The story begins with a wartime evacuation during what we assume is some kind of nuclear exchange. A plane crashes on a deserted island and a group of British preadolescent schoolboys are the only survivors. Ralph, by virtue of age and physicality, becomes the leader. He befriends Piggy and uses his glasses to start a signal fire. Ralph’s leadership seems very wise for his age as he encourages the group to stay positive, gather resources, and maintain the fire for rescue.

However, the boys’ resolve fades as they grow distracted. Fear of a fearsome jungle "beast" takes hold, and a rival boy named Jack gains influence by promising to hunt the monsters down. During one hunt, the signal fire dies out, and a rescue ship passes by without stopping.

The boys’ tribalism worsens when a fighter pilot’s corpse lands by parachute onto the island and is mistaken for the “beast.” Jack creates his own tribe, offers a pig's head to the monster, and comes to represent authoritarianism and primal power, while Ralph symbolizes intellect and empathy. Although Ralph is initially baffled and repulsed by how easily the boys follow Jack’s fear-mongering, even he is not immune to mob rule. But his reluctance and regret for his own violent actions appear weak to Jack's tribe, who, now frenzied, hunt Ralph with tragic consequences. 

RELATED: Dystopian Collection | Young Adult Books | 

Batman & Robin: Year One by Mark Waid, Chris Samnee, and Matheus Lopes is a captivating blend of action, humor, drama, and retro-styled art that pulls you into the tumultuous early days of Batman (Bruce_Wayne) and his newly acquired sidekick, Robin (Richard "Dick" Grayson). This story doesn’t just delve into the crime-fighting escapades you expect from Gotham’s finest; it also offers an honest look at the developing relationship between Bruce and his young ward.

The story kicks off in the aftermath of the tragic murder of Dick Grayson’s parents at Haly's Circus. It’s a heartbreaking start that parallels Bruce’s own history and sets the stage for his dual struggles as Dick’s foster father and crime-fighting partner. Right away, Dick is full of enthusiasm but still raw and impulsive. His first foray alongside Batman is a baptism by fire when Two-Face (Harvey Dent) attempts to blow them up by demolishing an entire building. 

But Two-Face isn’t the only threat to the Dynamic Duo. General Anthony Grimaldi, a new crime boss with murderous ambitions, has just arrived in Gotham. Meanwhile, Laura Lyn, a concerned social worker, questions Bruce’s suitability as a guardian and knows it came about by the billionaire playboy pulling some political strings. Laura is eager to unmask Bruce and place Dick in a more suitable home. This subplot adds a layer of tension as Bruce must convince both the social worker and the boy that he’s a responsible parent — when both of them know exactly what good parenting does (and does not) look like! 

Alfred Pennyworth, Bruce’s loyal butler, emerges as the true parental figure, recognizing that Dick's impulsive behavior as Robin stems from his unresolved grief. Alfred’s wisdom and empathy offer a counterbalance to Bruce’s stern and sometimes bumbling demeanor. It also lays the foundation for Alfred and Dick’s lifelong relationship.

As Bruce and Dick attempt to maintain a semblance of normalcy for Child Protective Services, the city erupts in chaos. Grimaldi employs the shapeshifting villain Clayface to infiltrate and incite war among Gotham’s crime families. Meanwhile, Two-Face has recovered a secret Gotham City Police Department file listing potential identities of Batman, with Bruce Wayne’s name among them. Using this file to ingratiate himself with Grimaldi, he convinces Clayface to betray his employer for an even more sinister reason than a gang war.

Chris Samnee’s artwork is striking, placing him alongside other favorite artists like Bruno Redondo and Juni Ba. His use of hard outlines, heavy pen and brush strokes, and a limited color palette evokes the classic feel of 1930s comics, reminiscent of Chester Gould’s Dick Tracy. This retro aesthetic is mirrored in the characters’ clothing, hairstyles, vehicles, and architecture, grounding the story in an era that feels both nostalgic and timeless.

Batman & Robin: Year One is more than a simple reimagining of a well-known story; it’s a heartfelt exploration of the early days of Batman and Robin’s partnership. The book is funny, clever, and at times, brutally honest. It sheds light on how Bruce Wayne became Dick Grayson’s guardian and how both characters struggled to adapt to their new roles.

​Whether you’re a longtime fan or new to the world of Batman, this graphic novel offers a fresh perspective that is both entertaining and enlightening. 

RELATED FEATURES: Batman Collection | Nightwing Collection | Nightwing, Batman and Adoption Problems | Dick Grayson Takes Up the Cowl

Breaks is a beautifully drawn and written graphic novel series by Emma Vieceli and Malin Ryden. While ostensibly an LGBTQ story about a damaged teen living in the UK who's trying to get by in high school, it's actually much more about bullying — and the regret of bullying. It's a thoughtful and well-executed story with engaging characters and a more mature tone.

I read the first two volumes of the series in 2020 during the height of the pandemic (amazing how much reading I got done that year!) but the books actually date back to 2017. Now they're being reissued with a release date in March — and I'm delighted to learn that there's a Volume 3 which was published in 2024! I'll review that in the near future.

Because I love these books so much, I wanted to give them a special shout out here. Each book is summarized below with ordering links. Enjoy!

​Read my interview with Emma Vieceli here >>

BREAKS, VOLUME 1: Cortland Hunt has made some dangerous mistakes. Now he's waiting quietly for those mistakes to catch up with him. Ian Tanner coasts through life denying the spark of anger beneath his laid back exterior. When school politics and personal lives become a battleground, the pair find that what they share may just be their only safe haven. 
Breaks is the story of two young men discovering who they were, who they are, and who they will become. It's a love story . . . but a bit broken.

BREAKS, VOLUME 2: Ian and Cortland are all too aware that the bubble they've made for themselves can't last. Shifting relationships and tested friendships may be the least of their worries, though, as they learn more about each other and the pasts they'd rather leave behind. Familial legacy, fragile ambition and potentially devastating secrets; their budding relationship is going to need a stronger foundation than secrecy if they want to face what life has in store for them together.

BREAKS, VOLUME 3: School is over, adult life beckons, and new beginnings lie before Ian and Cortland as their relationship deepens. But when Ian's father is released from prison, questions of trust and deceit threaten to tear them apart. The boys will walk a dark path together as the shadows of the past try to claim the present. The answers to all their questions will be revealed in this final volume, and some may prove dangerous beyond their wildest imaginings...

RELATED: Quinton's Curious Mind Book Series | LGBTQ | How Tim Drake Reclaimed the Gay Robin Story | Pride on the Big Screen

HERE BE SPOILERS.
​
If I had to choose two DC characters to battle it out in a no-holds-barred contest, my choices would be Jason Todd / Red Hood versus the psychopath who murdered him — The Joker. Talk about a grudge match! Fortunately, the DC KO series just provided this. 

So what is the DC KO series? Following the events of the "DC All In" saga, Darkseid created a new reality called the "Absolute Universe," and plans to conquer the main DC universe. The only way for the DC heroes to stop him is through gladiatorial "death tournaments" held across a five-level arena. DC Comic fans can participate in an online challenge to predict the winner of each tournament for a chance to win prizes, including being drawn into a future comic.

The Joker officially killed Jason Todd in Batman #428, released in 1988. I won’t rehash the complicated developments that saw Jason rise from the grave and recast himself as Red Hood, but you can read about it in-depth here: Jason Todd's Empty Grave. Suffice to say, that Joker’s actions have haunted Jason ever since. As Jason describes in the opening panels of the comic: 

This comic book was released in late December 2025. See your local comic book store about obtaining a copy. ​

RELATED FEATURES: Red Hood Collection | Jason Todd's Empty Grave | When Jason Todd Helped Save Superman | Batman Collection