Trebor Healey

This is not a love story. Nor do I think it was intended to be. It is, first and foremost, about the emotional growth of its narrator, Neill Cullane, a suburban youth confused about his sexuality and his role in his family. Although it might certainly, and rightfully, be viewed by the GLBT community as a "coming out" story, I think it is the latter theme, the exploration of family relationships, that ultimately distinguishes the book and makes it not only moving, but universal. Vince Malone, the charismatic, troubled street hood with whom Neill has his first sexual relationship, serves only as a vehicle through which Neill and the reader come to understand the intimate link between acceptance and love. Just as "Rain Man" is the story of Charlie Babbit, not his emotionally stunted brother Raymond, we know from the book's prophetic opening line that "Through it Came Bright Colors" is not a story of redemption for Vince. As with "Rain Man," the focus is on the character who has the ability to change and grow, Neill, and what his relationship with Vince teaches him about himself.

While Neill is exploring his burgeoning sexuality, his family appears, on the surface, to be coming unravelled. His "golden boy" younger brother Peter is undergoing a series of increasingly more disfiguring cancer surgeries and his parents are having difficulty coping. It is in the juxtaposition of the scenes of Neill's family (in present day and flashback) as they tentatively, awkwardly, knit together, with flashbacks to the nightmarish erosion of Vince's homelife that the book exhibits its major strength. Ultimately, Neill realises that the true pleasure of love is in the giving of it, not the receiving of it. When someone accepts your love, they also accept you. Individual scenes between Neill and each member of his family (including his macho older brother Paul, who, like Vince, pushes him away) tenderly, sometimes painfully, illustrate this.

At times the book has a bit of a cobbled together feel with some clumsy transitions between episodes in the Tenderloin with Vince, scenes of Neill's family life and the numerous flashbacks/reminiscences (with one particularly jarring shift of POV in a fairly short flashback sequence between Vince and a female psychologist that should have been either re-worked or expunged entirely). These things might easily have been remedied with the expansion of some sections (to smooth transitions) or perhaps by using a third person limited (as opposed to first person) narrative, but on the whole the book reads smoothly and coheres quite well. And these shortcomings are far outweighed by the carefully chosen language, rich with metaphor, and the overall emotional impact of story. All in all, I highly recommend this book.… (more)