“Family Meal” follows a man whose grief turns to self-destruction.
are not mired in clichéd struggles of identity, representation or political victimhood. They are written as neither symbols nor archetypes but as an achingly and beautifully etched ensemble of young Americans learning to navigate a more universal and human struggle: grief. Washington’s is not a grand novel of ideas that declares itself with showy prose or pulsating ambition.
When “Family Meal” opens, Cam has reluctantly returned to his hometown of Houston following the death of his partner, Kai, and the destruction of the life they’d built together in Los Angeles. Hazy memories of an existence defined by love, lovemaking and cooking now haunt Cam, reflected in short, sometimes sentence-length chapters that intersperse the present proceedings.
Washington is equally adept at capturing the moods and sexiness of the city’s threatened queer spaces in writing that moves with a brisk, musical clip. Cam describes the speakers in the bar blasting “a gauzy stream of pop chords, remixed beyond comprehension. Dolly and Jennifer and Whitney. They’re everyone’s cue to pack up for the night.
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