How odd, no style change - or is it? Enid Blyton didn't change either, lol. Lots of writers don't, I guess.
I have this nascent theory that when we write slash, we like to go back to the moment where homosocial shifts to homosexual, to the point where it all begins, because it meets a need somehow - of the endlessly deferred courtship, maybe, or of a repetition of the adolescent phase where we make "decisions" about identity, or perhaps even the moment we develop an ego identity (I'm reading psychoanalysis at the moment, sorry!). For some reason, we really *love* those first times, and we keep writing them/reading them over and over to recreate the excitement and intensity. Before it all goes stale. So I guess O Yardley is just doing that.
Foyle, heh. The Bullshitters was such a wonderful spoof. Since Foyle was so very Martin Shawish, I do have to wonder exactly *what* they were driving at with Bonehead. I heard ages ago that LC was bent but he's married. Confusing. But also hot.
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I have this nascent theory that when we write slash, we like to go back to the moment where homosocial shifts to homosexual, to the point where it all begins, because it meets a need somehow - of the endlessly deferred courtship, maybe, or of a repetition of the adolescent phase where we make "decisions" about identity, or perhaps even the moment we develop an ego identity (I'm reading psychoanalysis at the moment, sorry!). For some reason, we really *love* those first times, and we keep writing them/reading them over and over to recreate the excitement and intensity. Before it all goes stale. So I guess O Yardley is just doing that.
Foyle, heh. The Bullshitters was such a wonderful spoof. Since Foyle was so very Martin Shawish, I do have to wonder exactly *what* they were driving at with Bonehead. I heard ages ago that LC was bent but he's married. Confusing. But also hot.