Books
Out author Nicole Dennis-Benn unveils knotty new novel ‘Patsy’
Immigration, mothering and queer identity themes in sophomore tome

Nicole Dennis-Benn
Young African Professionals D.C.
Politics and Prose Union Market
1270 5th St., N.E.
‘Patsy’ book release event
$26.95
politics-prose.com
nicoledennisbenn.com
Author Nicole Dennis-Benn got the kind of media attention and interest with her 2016 novel “Here Comes the Sun,” most first-time authors can only dream of — she won a Lambda Literary Award, was a finalist for several other literary prizes, got reviewed in the New York Times (which named it one of its “notable books of the year”) and other high-profile outlets.
Her sophomore effort “Patsy” was released Tuesday and is already generating buzz with more media love from the Times, Oprah’s magazine, NPR and more. “Patsy” is the story of the title character, an undocumented Jamaican queer immigrant in New York and the daughter she left behind, Tru. Going back and forth between Brooklyn and Jamaica, Dennis-Benn, herself Jamaican and a lesbian, covers her characters’ lives over a decade.
The 37-year-old writer will be at Politics & Prose (Union Market) in Washington on Saturday, June 8 at 6 p.m. Details at politics-prose.com. She spoke to the Blade by phone last week. Her comments have been slightly edited for length.
WASHINGTON BLADE: Your first book got the kind of industry attention most authors only dream of. How did you manage that?
NICOLE DENNIS-BENN: When I started my debut novel, I had no idea all the work that went into getting a book out there to readers. I used to think it just appears on the bookshelf. I wasn’t one of those readers in college and grad school looking at the New York Times or the Washington Post for the next book I wanted to read. So I was really shocked as a first-time writer. My agent, she worked really hard at putting my book in the eyes of publishers and also really doubled down when it came out. She said, “This is a debut novel, we have to have a big splash,” so she and her team worked extra hard and I was really happy that they loved it enough to want to really invest in it. But there’s really a machine behind all that publicity.
BLADE: Did you have to fight to get “Patsy” published or was it much easier after the first book was successful?
DENNIS-BENN: It was easy after that, for sure. I had some anxiety writing as a woman of color and my story is about a Jamaican woman wth a queer identity as well as an immigrant … but it’s a relief to know there’s a place for my books. I can’t say the same for many other writers who are women of color or LGBT writers, but at the same time I’m happy that they’re being published somewhere.
BLADE: How has your publisher Liveright been to work with? Any wrangling over final edit?
DENNIS-BENN: It was a good relationship and that’s definitely something I was relieved about. I didn’t have to fight them on anything. I used patois, a Jamaican dialect, in the dialogue and I was really happy that the editor and also the copy editors were able to work with me on maintaining that. I think it was really a good match.
BLADE: Is there some autobiography woven into the fiction?
DENNIS-BENN: I would say it’s like 80 percent fiction and 20 percent autobiographical. Patsy comes to America and wants more for herself but then realizes there are issues here just like anywhere else. Unlike myself, Patsy is not educated or documented, so she immediately meets that wall, no pun intended. She actually gets trapped and she’s not able to move upward financially. She has no social security at all, so of course, taking Patsy on that journey, took a lot more imagination and also talking to folks, like my father for example, who came here undocumented and has worked his way through the system before marrying an American citizen and getting his papers.
BLADE: What is your working process like? How does one begin to tackle a work of this scope?
DENNIS-BENN: I started really with writing scenes. Patsy’s voice came to me first and I wrote more following that voice. I would think about it on my morning ride to Staten Island where I was teaching at the College of Staten Island and it was like I was somehow dictating in the sense that I was imagining this woman riding the subway and she’s on her early morning trip to her first nanny job and really thinking about who that woman is, why did she come to this country, what did she leave behind. … That’s when I started outlining and this is actually the first novel where somehow everything I wrote was against that outline.
BLADE: How did you know instinctively that was right?
DENNIS-BENN: I didn’t know it was right at all. I slept on it awhile. A lot of it came from being raised as a woman in Jamaica, it’s a society that tells you we ought to all want motherhood, that that’s the ultimate satisfaction. Well, so what about this woman who doesn’t really want that but has no choice? It took a lot of self reflection.
BLADE: How long did it take? I assume you balanced it with your teaching duties?
DENNIS-BENN: Right, exactly. Those rides on the ferry were in 2012 so really like seven years.
BLADE: How long did “Here Comes the Sun” take to write?
DENNIS-BENN: It was faster. I started it in 2010 and got my agent in 2014, so more like four years. It was quicker than “Patsy.”
BLADE: How disciplined did you have to be? Were there days your wife wanted to go to the mall or everybody else was on holiday but you forced yourself to write?
DENNIS-BENN: I did it when the mood struck. I was teaching as an adjunct so it was only like two days a week. So on the other days, I stayed home and worked on my books. My wife would be getting rady for work and she leaves around 9 a.m. so that’s when my writing day started and I’d write til about 4. But I didn’t adhere to that every single day, every week. Sometimes ideas would come or not come. Some days the characters would just not speak, so I’d take a little time to do normal things. I feel like living life a little bit, I absorb a lot. So I take myself to the museum, I meet up with friends and somehow gather a lot of energy by stepping away from the work.
BLADE: How long have you been teaching at Princeton?
DENNIS-BENN: A year. I started fall, 2018.
BLADE: What do you teach?
DENNIS-BENN: Creative writing, fiction.
BLADE: Is Joyce Carol Oates still there?
DENNIS-BENN: YEs, but I’ve not met her. I only teach there one day a week. I want to, but I haven’t had the chance.
BLADE: Are you familiar with her work?
DENNIS-BENN: Oh yes, definitely. There are so many people at Princeton working whose work I admire like Jhumpa Lahiri, she’s also there, Tracy K. Smith and Yiyun Li. I had to work on myself not to be star struck in the department.
BLADE: How many copies did you sell of “Here Comes the Sun”?
DENNIS-BENN: Um, I’m not sure. I know it did well. I’m actually only going by what my publishers have been telling me or my agent.
BLADE: But what’s considered successful for a debut hardcover novel?
DENNIS-BENN: I have no idea.
BLADE: Aren’t you curious?
DENNIS-BENN: I’m curious, yeah, but I don’t know. That’s a good question. I think for me … as a creative person, success is actually touching readers, so when I get a note through social media or somebody tells me they saw themselves on the page, that really is success for me.
BLADE: To what degree does being a lesbian inform your work any more or less, say, than being from Jamaica, being an immigrant or other aspects that inform your work?
DENNIS-BENN: I would say the same. I feel like an outsider in many ways — my sexuality, as a black woman, as a woman, as an immigrant, a working-class Jamaican, I felt like an outsider growing up all those things. But it gives you a vision where you can look down into that world and sketch it. Having been an outsider in Jamaica and America gives me the ability to write from those perspectives.
BLADE: How long have you been in the U.S.?
DENNIS-BENN: Twenty years now, since ’99. I came here for college when I was 17.
BLADE: What was your path to citizenship like?
DENNIS-BENN: My father came here undocumented, he married an American citizen and by doing that, he was able to get his naturalization. Then he was able to file for me and my siblings and we were able to come here on a green card. … I see myself as a lucky one, going to Cornell then on to graduate school. That’s a luxury for many people. Many people like my father came here driving taxis to support themselves and send money back home.
BLADE: Have you encountered any racism or homophobia from publishing industry gatekeepers?
DENNIS-BENN: Again, that’s a question I would need to ask my agent. She was more on the forefront of all of this. If there was, she probably absorbed it and didn’t relate it to me word for word. I had people say, “Oh, we’re unable to represent this book,” but no real solid reason. …. I have sometimes felt like my novels are puzzle pieces that don’t fit but that’s how I learned to embrace them.
BLADE: Was it difficult to find an agent?
DENNIS-BENN: I got a lot of rejection letters in grad school. My first agent was not on board with the dialect and we parted ways. I just knew there was no way I could have to Jamaicans speaking to each other in standard English, it just didn’t sound authentic. I knew if it was published like that, I wouldn’t be happy with the product. So I went back to the drawing board and I was really crushed but I took a year to revise my first book and started sending query letters. Three agents responded and one happened to be my current agent. She said she respected me as a writer and was behind what I was doing in my work. That was a huge relief to hear that.
BLADE: What are your dreams as an author? Do you plan to keep releasing novels?
DENNIS-BENN: Yes, definitely. You can get away with so much more with fiction. I get stressed out fact checking an essay for the New York Times, so I can’t imagine a 300-page memoir. I see myself continuing with fiction.
BLADE: Your piece about pregnancy in the Times was very candid. Were you wary of sharing so many personal details?
DENNIS-BENN: I never had any desire to be pregnant and it was something I always grappled with. Why do I feel this way? It was a similar feeling I had as a teenager coming out as a lesbian. Why do I feel this way? It’s not normal. But it turns out it’s absolutely normal and something a lot of women feel. I thought, “Wow, this is something in society we do not talk about as women.” We don’t have this maternal yearning, we must be bad people. That’s how “Patsy” was born.
BLADE: It seems you’re trying to do more than merely entertain your readers. What are your goals as a novelist?
DENNIS-BENN: I write for myself first. I write the kind of books I want to read. I never saw anybody, except Edwidge Danticat, write about immigrants and that desire to migrate somewhere for financial reasons. I was thinking about Patsy, this voluptuous nanny on the Upper West Side pushing babies around Central Park. Who is she? Mother, immigrant, religious — all those things that even myself as an author, I would have been pre-judging her but when you open a book or dissect Patsy, you see a completely different story. Here’s a woman who if she could afford it, would be at MIT studying programming. These are the things I wanted to put on the page.
Books
New book highlights long history of LGBTQ oppression
‘Queer Enlightenments’ a reminder that inequality is nothing new
‘Queer Enlightenments: A Hidden History of Lovers, Lawbreakers, and Homemakers’
By Anthony Delaney
c.2025, Atlantic Monthly Press
$30/352 pages
It had to start somewhere.
The discrimination, the persecution, the inequality, it had a launching point. Can you put your finger on that date? Was it DADT, the 1950s scare, the Kinsey report? Certainly not Stonewall, or the Marriage Act, so where did it come from? In “Queer Enlightenments: A Hidden History of Lovers, Lawbreakers, and Homemakers” by Anthony Delaney, the story of queer oppression goes back so much farther.

The first recorded instance of the word “homosexual” arrived loudly in the spring of 1868: Hungarian journalist Károly Mária Kerthbeny wrote a letter to German activist Karl Heinrich Ulrichs referring to “same-sex-attracted men” with that new term. Many people believe that this was the “invention” of homosexuality, but Delaney begs to differ.
“Queer histories run much deeper than this…” he says.
Take, for instance, the delightfully named Mrs. Clap, who ran a “House” in London in which men often met other men for “marriage.” On a February night in 1726, Mrs. Clap’s House was raided and 40 men were taken to jail, where they were put in filthy, dank confines until the courts could get to them. One of the men was ultimately hanged for the crime of sodomy. Mrs. Clap was pilloried, and then disappeared from history.
William Pulteney had a duel with John, Lord Hervey, over insults flung at the latter man. The truth: Hervey was, in fact, openly a “sodomite.” He and his companion, Ste Fox had even set up a home together.
Adopting your lover was common in 18th century London, in order to make him a legal heir. In about 1769, rumors spread that the lovely female spy, the Chevalier d’Éon, was actually Charles d’Éon de Beaumont, a man who had been dressing in feminine attire for much longer than his espionage career. Anne Lister’s masculine demeanor often left her an “outcast.” And as George Wilson brought his bride to North American in 1821, he confessed to loving men, thus becoming North America’s first official “female husband.”
Sometimes, history can be quite dry. So can author Anthony Delaney’s wit. Together, though, they work well inside “Queer Enlightenments.”
Undoubtedly, you well know that inequality and persecution aren’t new things – which Delaney underscores here – and queer ancestors faced them head-on, just as people do today. The twist, in this often-chilling narrative, is that punishments levied on 18th- and 19th-century queer folk was harsher and Delaney doesn’t soften those accounts for readers. Read this book, and you’re platform-side at a hanging, in jail with an ally, at a duel with a complicated basis, embedded in a King’s court, and on a ship with a man whose new wife generously ignored his secret. Most of these tales are set in Great Britain and Europe, but North America features some, and Delaney wraps up thing nicely for today’s relevance.
While there’s some amusing side-eyeing in this book, “Queer Enlightenments” is a bit on the heavy side, so give yourself time with it. Pick it up, though, and you’ll love it til the end.
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Books
A history of lesbian workarounds to build family
Fighting for the right to have and raise kids
‘Radical Family: Trailblazing Lesbian Moms Tell Their Stories’
Edited by Margaret Mooney
c.2025, Wisconsin Historical Society Press
$20/150 pages
You don’t have a white picket fence with an adorable gate.
The other parts of the American Dream – the house in the suburbs, a minivan, and a big backyard – may also be beyond your reach. You’ve never wanted the joyous husband-wife union, but the two-point-five kids? Yeah, maybe that’s possible. As in the new book “Radical Family,” edited by Margaret Mooney, it’s surely more so than it was in the past.

Once upon a time, if a lesbian wanted to raise a family, she had two basic options: pregnancy or adoption. That is, says Mooney, if she was willing to buck a hetero-centric society that said the former was “selfish, unnatural and radical” and the latter was often just simply not possible or even legal.
Undaunted, and very much wanting kids, many lesbians ignored the rules. They built “chains” of women who handed off sperm from donor to doctor to potential mother. They demanded that fertility clinics allow single women as customers. They wrote pamphlets and publications aimed to help others become pregnant by themselves or with partners. They carefully sought lesbian-friendly obstetricians and nurses.
Over time, lesbians who wanted kids were “emboldened by the feminist movement and the gay and lesbian rights movement” and did what they had to do, omitted facts when needed, traveled abroad when they could, and found workarounds to build a family.
This book tells nine stories of everyday lesbians who succeeded.
Denise Matyka and Margaret McMurray went to Russia to adopt. Martha Dixon Popp and Alix Olson raised their family, in part and for awhile in conjunction with Popp’s husband. Gail Hirn learned from an agriculture publication how to inseminate herself. MC Reisdorf literally stood on her head to get pregnant. Mooney says that, like most lesbian parents then, she became a mother “without any safety nets…”
Such “struggles likely will feel familiar as you read about [the] desire to become parents…” says Mooney. “In short, these families are ordinary and extraordinary all at once.”
In her introduction, editor Margaret Mooney points out that the stories in this book generally take place in the latter part of the last century, but that their relevance is in the struggles that could happen tomorrow. There’s urgency in those words, absolutely, and they’re tinged with fear, but don’t let them keep you from “Radical Family.”
What you’ll see inside these nine tales is mostly happy, mostly triumphant – and mostly Wisconsin-centric, though the variety in dream-fulfillment is wide enough that the book is appropriate anywhere. The determination leaps out of the pages here, and the storytellers don’t hide their struggles, not with former partners, bureaucracy, or with roadblocks. Reading this book is like attending a conference and hearing attendees tell their tales. Bonus: photos and advice for any lesbian thinking of parenthood, single or partnered.
If you’re in search of positive stories from lesbian mothers and the wall-busting they did, or if you’ve lived the same tales, this slim book is a joy to read. For you, “Radical Family” may open some gates.
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Books
Florida’s war on Black, queer lives hidden no more
New book ‘American Scare’ exposes truth of decades of erasure, attacks
‘American Scare: Florida’s Hidden Cold War on Black and Queer Lives’
By Robert W. Fieseler
“What’s with Florida?,” Bobby Fieseler, disgusted, asked after completing his initial research into the vicious investigation of suspected homosexual teachers by the Florida Legislative Investigation Committee (FLIC) in the 1950s. How did the official animus toward all things queer happen in Florida, Fieseler pitched his publisher. We can be grateful Dutton gave him the green light for “American Scare, Florida’s Hidden Cold War on Black and Queer Lives.”

Fieseler’s book is a masterpiece of archive activism that begins in a rental van escaping Florida with some 20 boxes of historical documents meant to be seen by no one. The cartons contained a secret second copy of materials that had been held back from the jaws of the Florida State Archives in Tallahassee. Soon, more folders would surface with unredacted materials. “There are friends of Dorothy in any system,” he explains his archival detective work with a wink.
What’s with Florida? In the 1950s, it was all about legislators exposing politically helpless homosexuals to justify the committee’s investigations and budgets. The FLIC documents reveal the names of the accused “perverts,” the cops who raided the restrooms, the terrified queer informants and the professional interview techniques that would extract confessions from the victims. On another level, this was about old-school Southern racists determined to stop integration at all costs with intention to weave lies about Communist infiltration of the NAACP. Finally, Fieseler encountered first-hand an official determination to erase and lock-up this history. The statewide obsession with erasing history continues to this day. The Florida Department of Transportation this year painted over the community rainbow crosswalk memorial to the Pulse nightclub massacre victims in Orlando.
“American Scare” is such a fully documented investigation of what unfolded, it will be impossible to paint over the magnitude of this assault. The book bears witness in gory detail to the ruination of private people that exceeds in pure perniciousness the more famous “Lavender Scare.” Although the “Lavender Scare” purged many more individuals, it was about the U.S. Department of State firing public officials slimed as “pinstripe twerps.” The Florida investigations were a statewide purge using a dark politics of exposure of schoolteachers leading private lives. Fieseler quotes Remus Strickland, the head homo-hunter and executive director of the Southern Association of Intelligence Agents formed in response to the Supreme Court’s Brown v. Board of Education desegregation decision (1954), “If the Committee’s first pursuit (race and Communism) was a mandate, its second pursuit (homosexuals) was an opportunity.” Remus (that’s really this Southerner’s name) explained years later without remorse, “We first looked at the University of Florida for Communists….then we came back and did the homosexual purge.” Fieseler’s archival research reveals how far-right politicians and investigators like Strickland characterized Communists, African Americans (through the NAACP) and homosexuals as aligned “treasonously in a subversive societal infestation.”
The whole show was the creation of a wily, populist politician — a Florida “Pork Chopper” — Charley Johns, president of the Florida Senate. “Pork Choppers,” the rural, white Northern Florida wing of the old Democratic Party, controlled the state legislature from the 1930s to the 1960s. They were strongly opposed to integration, Communists, homosexuals, reapportionment and government reform. Johns owned the Charley E. Johns Insurance Agency, which insured state agencies. Fieseler’s history brings these North Florida politicians into grotesque focus. Their “power had lynched history,” he writes about his passion to excavate how they sealed and redacted the records so they would never face responsibility for their actions.
“American Scare” reveals how these Pork Choppers were willing to crush homosexuals as an instrument to maintain power. Their victims were isolated gay and lesbian teachers who could only plead for mercy, vanish or inform on one another. They were entrapped by the system itself. Fieseler tells the story of how Remus Strickland pulled Miss Poston, a physical education teacher out of her classroom surprising her with a tape recorder and a request to give a misdirecting statement about the prevention of child molestation. Suddenly Remus changed the subject: “Miss Poston, in your acts with Miss Bradshaw whom you referred to on this record, would she play the part of the aggressor…..She was known as the butch is that true?….Was there any occasion of any oral copulation?” He closed in for the kill, “Could there have been more than one time”? Miss Poston caved, “Possibly but if so only one more time.” The reel-to-reel tape is turning.
Concert pianist and music teacher William James Neal received the same taped grilling. Remus begins the interview, “You’re an educated Nigra,” confronting Neal with testimony he was a homosexual “nigra.” Years later, Neal remembered, “He told me I would never teach within the continental limits of the United States. He said he had proof I was a homosexual.” An African-American concert pianist, Neal had extensively toured the U.S. playing with major orchestras and hosting his own radio program in Florida. Neal had the self-respect and courage to take his illegal termination to the Florida Supreme Court. In 1962, the court ruled in his favor (Neal v. Bryant) handing Remus Strickland a devastating defeat, writing “The statements accused teachers allegedly made were obviously extracted under a threat of publicity.” Vindicated, William Neal nonetheless left Florida never to return.
There have been resolutions for an acknowledgment and apology. None have advanced through the Republican-controlled legislature occupied with a slew of “Don’t Say Gay” bills. “American Scare’ is larger than a small-bore history of investigations. It is the story of a Great Florida Teacher’s Purge launched to stop integration. Fieseler is done with redactions. He names names. If there is anything redemptive in this Southern hot mess, it is this: Bobby Fieseler, a queer historian, rescued the boxes and delivers readers their contents with history’s gale force.
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