The Catholic Catechism has a provision prohibiting leading off a blog relating to my own book by pitching, well, a different book entirely. But this would not be the first time I run afoul of official teaching, so here goes.
In Sal Sapienza’s 2006 novel, Seventy Times Seven, Vito Fortunato gets lots of guidance from God, but the messages do not come via the burning bush. For Vito, the voice of God is mediated variously by George Michael, Madonna (the one that is “like a virgin,” not actual the Ever Virgin Herself), a queeny flight attendant who loves Saint Augustine’s Confessions, Cat Stevens (a.ka. Yusif Islam), a drunken woman on the subway, Deuteronomy, and Barbara Stanwyck. From these diverse sources, the message is always consistent: Choose Life.
Easy enough for God to say. But Vito isn’t sure how to interpret the phrase. He’s a candidate for brotherhood in a Roman Catholic order known as the Divinity Brothers. He’s teaching religion to a class of thirty hormonally charged adolescents. He’s on the verge of taking his vows and professing himself as a religious brother. Although he’s got sensible reservations about some of the Church’s teaching -- Vito wears his piety lightly and doesn’t sweat the rules on account of his confidence in Christ’s message – he’s convinced he’s found a higher calling.
On the other hand, Vito finds himself torn between the satisfactions of his religious life and the joys of gay life. He’s a handsome and out (but celibate) gay man, with a gaggle of gay best buddies who bring him out to New York’s gay clubs on a regular basis. More than once, he’s come to Sunday Mass reeking of booze imbibed the night before.
“I’m really leading two lives,” he complains to his spiritual advisor. While he knows instinctively that club life, with its random hookups, is not for him (“God’s not at the Roxy,” he says), he nevertheless senses the potential for a richer gay life and he values his friendships with secular gay men dearly. But he also loves teaching, he honors the saints, and he believes in God. Maybe, he worries, “like Augustine, [I’m] placing too much value on my earthly friendships and too little on my relationship with God.”
After a rough school year that brings his dilemma almost to crisis, Vito leaves both his fellow religious and his partyboy gay life behind. He travels 3000 miles to live and work at an AIDS hospice in San Francisco. What follows are some of the most affecting passages in the book, as the very ordinariness of Vito’s caregiving—a comment here, washed dishes there, a timely wise-ass remark, building a garden for the patients to enjoy—is set in deliberate counterpoint to the free-wheeling, death-defying banter of the patients themselves.
But Vito’s choice harder becomes much more difficult when God places a herald angel (named Gabriel, of course!) in Vito’s path. The understated, unconsummated romance between Gabe and Vito personifies Vito’s otherwise vague intuition that a gay life worthy of God’s apparent admonition to “choose life” is possible. Summer’s end brings Vito to a moment of decision, when he has to choose a road less traveled that will make all the difference:
Madonna’s Like a Prayer seemed to fit the moment: “I have no choice/I hear your voice.” But was the “you” calling my name God or Gabe? They both seemed to fit and they both felt like home.
Vito’s ultimate choice is not a huge surprise, but suspense does not seem to be Sapienza’s goal. Instead, the most striking thing about his writing is Sapienza’s obvious affection for the characters he created. Gabriel is awkward as a bag of elbows, unsubtle, blunt, rough around the edges, but imbued with a haunting loneliness and generosity through which it’s easy to believe God might be speaking. As a believer, Vito’s struggle is not between faith and faithlessness, but rather with discerning what faith demands of him; yet he never loses a sense of self-deprecating humor. Indeed, for all the philosophical wrestling in which Vito engages, the book is full of funny moments: for example, when a nun asks Vito whether he’s ever been to “Spiritus” (a Catholic retreat center), Vito mentions a trip to the decidedly less holy pizza parlor/pick-up spot on Provincetown’s main drag that bears the same name.
The title’s reference to the answer Jesus gave when asked how often a man should forgive his brother who wrongs him (70 x 7 times) suggests another question: who merits such forgiveness. One of Vito’s students puts forth a possible answer. The student’s father had long since left the family for another woman, and the student declares he will never forgive his Dad. But after some intervention by Vito, student and father are reunited. To Vito, the father says wistfully, “I think he has forgiven me.” Vito asks wisely, “Have you forgiven yourself?”
I confess, Sapienza’s steady stream of Eighties pop culture allusions left me dizzy—and I grew up in the Eighties! A little less substitution of shorthand music lyrics for actual mental discourse would have made this a better novel. But in the end, the chorus of sympathetic Catholics that make up this book’s cast is both novel and affecting, and Sapienza—himself a former Marist brother—gives us a peek into a world most gay people deliberately (and with some reason) avoid. And he offers a provisional answer to a question near and dear to my heart: How can a gay man possibly remain a Catholic? Forgiveness is a good start.
UnHoly Wine of the Week: It was a remarkably uneventful week in the world of wine. Best of show was Turley Wine Cellar's 2006 Old Vine Zinfandel, a cheaper version of the more refined Turley family of Zins. It was knock-you-off-bar-stool powerful, deeply extracted, rich, but a little one-dimensional with classic Zin jammy flavors that evoked brambles and bee stings and summertime.


