Confessions of a Casanova

Kenry, Chris. "Confessions of a Casanova", Kensington, 2006. OODs Amos Lassen Tony Romero is constantly searching for new OODs (objects of desire) and he usually succeeds. Some may think he is a Casanova while others consider him to be nothing more than a slut. Nevertheless, he has his game down to a science. First he uses the eye game which is nothing more than unabashed and overt flirting and he follows that with the approach---he sits and sketches the OOD and then uses the drawing as a way to start a conversation. Next comes the ruse in which he pretends to leave and thereby have a reason to get a phone number. If Tony thinks the guy is worth his time, he has a set of rules for the first date. He also has a nice set of exit lines. He has developed this system and it works for him. Therefore he and us should not be surprised when an ex-OOD shoots him one evening with all of his exes still around. Can anyone actually like a guy like this? He steals hearts, he is a liar and a cheater, and he is a sex addict. Tony can't seem to help himself even though he realizes that he should really think about settling down. Tony is the child of a mother from Denmark and a Mexican father who left him and his mother long ago. His mother later got married again but to Tony's former lover with whom he still has occasional trysts. Tony has a degree in art but cannot make a living as an artist and he usually paints murals for some eccentric clients. He claims to be trying to change his ways but is having a hard time especially since he has to spend so much time hiding from ex-OODs and looking for new one. Kenry gives us quite a character in Tony and his exes are quite an array of personalities. I could not help but fall in love with Tony even though he represents the guy of guy that I have little patience with. Perhaps I feel this way because he is so flawed. Kenry knows how to give us characters who are corrupt to the core but who possess humanity and therefore interesting. Kenry also writes great dialogue for his intriguing characters and he is a wonderful storyteller.

Sure, some elements of the actual plot structure may remind avid readers of something they read before, but to judge a popular novel on structure alone is to see the trees but not the forest. Kenry's gift is characterization. I call him the "Dickens of Denver." He never fails to come up with addled or corrupt personae who nevertheless have enough humanity to be interesting to readers of all kinds. Very few writers in the so-called gay genre have such universal appeal. A quick review of the story may be found elsewhere in these columns. Instead of reciting the familiar, I call attention for the benefit of a prospective reader to expect fresh dialogue, exciting interaction among the always intriguing characters, authentic background with much factual detail (sometimes a trifle more than needed), zany subplots, and a knack for storytelling that flows easily from page to eye to imagination. Chris Kenry writes more than mere diversions to read on the beach or deck of a cruise ship; he examines classic themes in the manner of Balzac and the great Dickens himself, sometimes sentimental but never maudlin. There is a verisimilitude about his work that transcends occasional stops and starts as his tale unwinds. He is a writer who goes deep into the hidden place where motivation begins and follows it wherever it takes him. At times, the spontaneity of his textual illumination is nothing short of breathtaking. Other writers may be more skilled in delivering bon mots or integrating a variety of main characters into a subtle plot, but for my money I prefer reading Kenry any day.

I was uncertain I'd like this book because I like the unusual, and a story about a "player" gay man didn't sound unique. However, I was surprised. It is a strong story with interesting twists and well-hewn character progession. We see Tony Romero's life, that of a casanova who hunts for an O.O.D. (object of desire), bags him, then tires of him once he's feasted enough. His modus operandi is particularly sharp--using artistic ability, flirting, and a carefully calculated system that lands `em every time. But Tony is changing, slowly. He begins to see what it's doing to other people, his wacky family, and himself. It almost seems like a contrivance that Tony has a Mexican grandmother, Danish mother (who got stranded with her mother-in-law), a black brother, Cleve, and Peter, the "stepfather." Their house is a mixture of languages, changes, and racing dogs (I can't explain it, you'll just have to read about it!) that's both endearing and funny. Each of Tony's ex's are colorful and different and shed light on how Tony operates and the often-messy results. Particularly interesting is Tom, the bike messenger who rides on the edge of his very raw emotions and has clever methods of revenge. Tom's toothbrush trick is just one of the many inventive, funny surprises that fill this book. While there is the plot of who-shot-Tony, I was only mildly worried about that while I immersed myself in Tony's activities and reflections on his past. This novel is at a higher level of writing than most gay novels today; it's even sort of a shame that the publisher promotes it as a gay romance novel. It's much more than that.

I fell in love with that player Tony Romero, too. This book was so good that I bought Chris' previous books "Can't Buy Me Love" and "Uncle Max". I've found that in all three, Chris introduces you to characters with flaws and takes you back to their paths of self-discovery. The stories are always interesting and funny enough to make me chuckle out loud.

Tony Romero admits he is a gay Casanova, notorious for spotting an OOD (Object Of Desire), finding a way to endear himself to him (often by sketching his portrait, then presenting it will compliments), stealing their heart, lying to them while in a relationship, then abruptly moving on to someone else when he tires of them or they find out he has been cheating. He knows it is an addiction of sorts, like online porn or gambling, but doesn't seem to be able to help himself, even though he realizes that at his age (early 30's) it is time to cut the crap and think about settling down. The shallowness of his life becomes even more evident when someone comes up to him and shoots him in the leg and hand, resulting in hospitalization and a long recovery. When the police ask who might have done this, who could hate him enough to shoot him, Tony realizes he can name a long list of ex-boyfriends who have either expressed their hatred toward him before, as well as others who were equally hurt but hadn't openly expressed that hostility ... perhaps until now. We learn the backstory of Tony's life, the child of a Danish mother and a - long gone - Mexican father, who grew up with his mother and senile-bordering-on-lunacy paternal grandmother in a big old house that was falling apart around them. The house was removated by his mother's new husband, who actually was Tony's former lover he met while on vacation in Denmark, and whom he still occasionally gets together with sexually. Not exactly the Cleavers! With a degree in art, but not disciplined enough to actually try to make a living as an artist, the closest Tony gets is the faux paintings and murals he creates for a variety of eccentric rich clients who hire him as a house painter. He also owns a racing greyhound, who seems more disturbed by Tony when they have to move suddenly when the current boyfriend throws them out. Tony is trying to change his ways, which isn't easy when being stalked by ex-lovers who have hopes of reconciliation, being taunted on the air by one ex who created a popular radio show about jilted lovers, and when boredom beckons him to get out the sketch pad and go looking for a new OOD. Excellent character study of a "love 'em and leave 'em" personality, with colorful supporting characters making the journey engaging and entertaining. Especially "must" reading for anyone who has been dumped, and still has unresolved issues about it.