Maupin's "Tales of the City" novels had an undeniable impact on my life. I was a closeted college sophomore when I checked the first three books out of the Springfield, MA library in the Fall of 1990. I had a feeling I was coming late to the "Tales" party at that point but was instantly taken with 28 Barbary lane and its inhabitants. I was so square at 19 that the thought of a pot smoking landlady made me vaguely uncomfortable; I don't miss those days or my old rigid self. At the age of 22, the landmark PBS miniseries had me spending my tax refund check on a ten day vacation to San Francisco so that I could check out the city Maupin immortalized on my own. Any misgivings about a pot smoking landlady were gone.
So now, thirteen years after I read the last book in the series, I was over the moon to see "Michael Tolliver Lives." But after reading two negative critic reviews, I was worried. Could this book measure up to my memories? Yes, and then some. "Michael Tolliver Lives" is different than the previous novels in the "Tales" series; this is one man's, first person narrative, unlike the multi-character structure of the other "Tales" books. But "Michael Tolliver Lives" is as wonderful, moving and beautiful as anything Maupin's ever written (quick plug for "Maybe the Moon.") Here are the characters we know and love. Times have changed, but Mouse and Brian and Anna Madrigal, the pot smoking landlady (and some others, but that'd be ruining the surprise) are here and take no time making us love them again.
As the title implies, this is Michael's (aka Mouse) tale. Mouse is as sharp as ever and his wry observations make you realize how much you've missed him. In this book, we learn more about his family: his mother, his brother, his sister in law, and see Michael come to an even deeper understanding of the role he's played in his family's life, and outside of it. This part of the book was one that stayed with me; some of Michael's thoughts are exactly where I have been at times, and that recognition really got to me. (Another nice moment of identification for me is when Michael cites the scene in "Poltergeist" when JoBeth Williams feels her daughter's soul move through her. I thought I was the only one who appreciates that scene.) The novel also reflects the crazy times we live in, as Maupin has always done from the hedonistic 70s to the Reagan 80s to now. It's nice to know that we're all in this together. It's been indescribably wonderful to catch up with our old friends (I've grown to love the pot smoking landlady immensely and wish I'd "known" her personally) and see how they've been surviving. In these post-9/11 years, we need our friends from Barbary Lane. And here they are.
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