Hello and welcome to Big Gay Energy.
I'm Caitlin. And I'm Fiora.
Come along with us while we dive into the fun and nuances of
queer media. Representation matters.
And we're here to talk about it. Cheers, queers.
Today on the Big A agenda, we are talking to John Glenn, the
author of the book The Lost Book of Lancelot.
Welcome to the podcast, John. Oh, thank you so much for having
me. I'm a fan.
This is cool. Well, we're so excited to have
you here. It's so mutual because I will
say when we first got like the e-mail about this, this song to
my soul, because retellings are like my favorite genre,
especially when they're queer. So I was like, yes, because
amazing. So with that, as a big fan, I my
first question for you is what drew you to Lancelot as the
subject for a queer retelling? I'm very curious.
Oh, my gosh. Well, well, thank you.
Thank you for reading. And I'm thrilled that that
you're a retelling fan. I was actually, as I was right
in this, I really wanted it to work on like 2 levels.
I've wanted it to work for people who have maybe never read
Arthurian Legend or don't really know anything about the, the
world of King Arthur. But if you are a fan, like if
you're into this stuff, I wanted you to kind of feel the echoes
of the source material and feel like I've, I've sort of honored
that tradition too. So it was sort of those two,
those two types of readers that I had in mind.
But in terms of like, why? Why Lancelot?
So, you know, back in like 2021, I read Madeline Miller's The
Song of Achilles, which I can see your face.
You are a fan. Yeah.
It's like it. It's just like, it is a banner.
Like, it is so awesome. It's a retelling of the Iliad
that centers this gay love story between Achilles and Patrick
Luz. And she's drawing that from, you
know, from the source material. And it was so cool.
Like, it was really kind of like eye opening for me.
And that, like, wow. Like, what other ancient queer
stories have just been, you know, sort of with us all this
time, right? Like that, that have just been
hiding in plain sight, like that maybe just never crossed my own
purview. And so I started doing some
research and I found Lancelot and Gale Hoot.
And you know, I should say first of all, like I did, it's not
like I was like digging into some like archive here.
And like I discover, you know, it was like, here are the gays.
I found them guys that, you know, like there there's been a
whole body of scholarly work written about Lancelot and GAIL
who. And but if you, if you go into,
if you look at sort of later. So if you go back to the 13th
century, I'm, I'm gonna, is it OK if I go into the history a
little? Oh.
Yes. No, please.
Please do. Retelling.
Please do. All right, so if you go back to
like the 13th century, there's this version of Arthurian legend
called the Vulgate Cycle. It's written in Old French.
There's like 1 English translation of it.
I'm staring at it on my desk right now.
It's 10 volumes long. It's like a thousands of pages.
It's really like, it's daunting. But in the Lancelot section,
that's where this queer coded love story between Lancelot and
Gielhood exists. And it's really sort of
remarkable. But then later versions of it,
like by the time you get to like Sir Thomas Mallory, who wrote
the Mort to Arthur, which is like the version that if you
read Arthurian legend in high school, you probably read some
of Mallory. GAIL hoots like barely
mentioned. He's like a footnote, right?
Like people know Galahad, who's Lancelot's son.
He's sort of prominent. But like GAIL hoots like not
really. He's like not one of the major
figures who's like, you know what?
It wouldn't it be cool to kind of bring that love story back to
the center, like resurface it, you know?
So that was kind of where that was why Lancelot that that was
how I got from from point to point.
BI love that more than anything, because I mean it totally makes
because again, in the in the book you do talk about how this
was basically a transition period historically between like
quote the old ways, the new ways, which was like the Romans
taking over and Christianity rising and all that kind of
stuff. So like, you can see in the
story, there's that erasure of queerness and things like that
that are kind of already happening.
So it makes sense that a scholar way later who's deep and
Christianity was like, yeah, about that.
No. So that's really fascinating.
Thank you for that. Yeah, no, it will.
It's interesting too, because you know, if King Arthur
existed, what she probably like, maybe he was, maybe he did, He
would have lived in the five hundreds or six hundreds.
But then a lot of these stories that we that have survived from
the medieval times were written in like the 11/12/13 hundreds.
And they're not looking at Arthur as like a historical
figure, right? Like they're writing him as a
contemporary figure and they're instilling contemporary like 12
Hunt, like 12th, 13th century values on him, which were very
much like, there's like this Christian morality to these
tales. So you kind of have to.
And, and of course, like Lancelot and Gilwood's
relationship, that would have been forbidden in that paradigm.
So it was sort of like you're kind of like writing into the
gaps and trying to like scrape away like what's beneath the
surface. But yeah, it was it was really
fun to to research. That's so fun, I love that.
And. I also love how you're you want
the book to resonate with people who know the legends and also
don't because that's you have like the perfect group of people
here because I know nothing. I love that Fiora knows at least
something about it. She loves all these time types
of legends and mythology and kudos to her because she teaches
me so much. But I know nothing.
So I'm reading this. I'm like, oh this is so cool.
I'm learning everything for the first time.
I'm like. What?
I love that. Good.
That's that's exactly what I was hoping.
You know, I really wanted to make the characters feel first
and foremost like very real and knowable, right?
Because if you can connect with the characters, you'll be able
to step into the the world, right?
Like there is world building, but I didn't want it to to sort
of dominate the the novel. I really wanted it to be rooted
in like in human connection and relationships beyond anything
else. I think you definitely nailed
that to be honest, because yeah, sometimes world building can be
like daunting in the story or overpowering.
And I feel like you were very subtle about it and and did a
good job crafting that. So I would totally agree with
that. Thank you.
Yeah, it's nice to hear. Why did you choose to start the
novel before Lancelot knew he was Lancelot?
So that actually is rooted in the source text.
He yeah, yeah. You know, a lot of this is is
rooted in the source text. So in pretty much every version
of of Lancelot's story, he's raised by this character called
the Lady of the Lake. And he in some versions, his his
parents die and some versions his mother runs off to a nunnery
and the Lady of the Lake swoops him.
But he always has this surrogate mother.
And in the Vulgate cycle, in that old version that I was
really drawing from, he doesn't know.
He doesn't know his name at first.
He doesn't know his lineage. He doesn't know who he is.
And that's sort of something that gets echoed in Arthurian
legend and other stories too. You know, King Arthur, like you
think of like Disney's the sword and the stone, right, like as
the very like the easiest sort of entry point.
Certainly for me, like that was my first encounter with
Arthurian legend was like going to blockbuster and getting, you
know, getting the video. But Arthur, you know, it's not
until he pulls the sword from the stone when everyone's like,
Oh my God, this, this. No, nobody is is king.
You know, he didn't know he had that, that lineage.
And and so Lancelot at first doesn't know that that he that
he has this sort of there's this prophecy about him and that he's
sort of tied to these to to greatness in a way.
So that that actually came from from the the original.
It's such an interesting starting point because there's,
at least historically, there's always that like there's power
and a name kind of thing. So it's very, it is interesting
in our theory and legend and with Lancelot that a lot of
these very prominent influential people in the legend don't know
their name. So it's like they almost come
from a place without power and then grow into the power at
these pivotal moments. So it's it's just interesting in
the context of like the time period.
Isn't it? Yeah, there's something about
like when you're raised outside that power and privilege that
when you step into it, you know, you're going to sort of
inherently just have a different sort of world view, right.
Like, I, I mean, we could kind of see that now in like our, our
current moment. How wouldn't that wouldn't that
sort of benefit all of us? But but yeah.
OK, just pivoting a little bit. So something else I found
really, really interesting also in this novel, and I think maybe
this is from the cycle that you read, but throughout the story
is particularly in the beginning, but throughout, I
think Lancelot has a really interesting relationship with
time where it's not always linear for him, especially when
he's on the Isle of Women. So why did you decide to
incorporate this like atypical relationship with time when it
comes to Lancelot story? Yeah, So that I also sort of
drew a little from the source texts.
You know, there's this sense that Lancelot is sort of he he
sort of matures very quickly and rapidly and kind of a set he
sends into his greatness it at an accelerated pace, let's say.
And so I kind of took that and, and played with it a little and
it does it, it worked both like as sort of an homage to that
piece of the story, but also just as like a narrative device
too. So he is raised on this
mysterious island. It's called the Isle of Women.
And he's the only boy on this on this island.
And the other occupants of the island are it's seven women who
they basically are these descendants of these ancient
priestesses who hold a ton of power basically.
And they know magic and they're they sort of have all of these
traditions and very mystical ways.
And Lancelot is very much an outsider.
He is not Privy to their magic. And they kind of with the
exception of his surrogate mother and maybe one other
character, they kind of keep him at arms arm's length a little.
But because of that, like he grows up like in a very
sheltered way, right? And so time, time is sort of it
is slippery for him. You know, he doesn't the the
Isle of Women is a season like it's a perpetual summer, right?
So they don't even have the seasons to really sort of chart
against like a linear sense of time.
So I kind of played played into that.
But then there comes a moment when Lancelot actually falls in
love for the first time, that suddenly time clicks into place
for him. And then he does start
experiencing it the way others do and which is time as
something that's fleeting, right?
Time that, you know, you wish suddenly you wish you could slow
it down and savor all of this. And, and of course you can't,
right? And so that was sort of how I
how I played with it. Yeah, I really loved that.
And then I started noticing after that point when like yell,
who comes in and like time starts to make like become
linear. It's almost like Lance, like,
goes through these periods of like befores and afters and he
starts noticing that there's like these pivotal transitions
in his life and he's more like aware of it.
So I really love the way you played with that.
It was very fun to watch that evolve.
Thank you. Yeah, it was really, it was fun
to write too. And like it seems as we're
talking about, it almost seems a little confusing describing it,
but it was very kind of like natural, like it very much arose
in the telling. Like it just kind of it kind of
it kind of made made sense. Yeah, I think it definitely
makes sense, especially like to your point when you're like
talking about describing the Isle of Women, like it's a it's
a constant place. So like every day is basically
the same. So yeah, it makes sense that
this warp sense that. That's why I love when he's like
experiencing winter for the first time.
The realism. Yeah.
Like what is all this? Because it's so true.
He's a summer baby, like. I feel that with Winters here.
Yeah, I'm like this again. I forgot how bad it is.
I cannot imagine like not experiencing winter before and
then like just being thrown in there randomly.
That must be so jarring. Right like Oh my God, snow are
like what is this? Oh my God, I love that scene
where Lancelot's trying to describe snow and he's like,
it's like water but it's like weird, must be snow.
It is so real. I love that scene.
Well, Speaking of Lancelot falling in love and time
clicking, how did you choose Lancelot's love interest?
Did you like take creative license at all or did you pull
that from mythology? So that's a, that's a great
question because I feel like that's sort of the backbone of
the whole story, right? Is this this love story between
Lancelot and Gale Hoot? And it's certainly there in the
Vulgate cycle, but like, but I had to write into a lot of gaps,
right. So sort of the biggest license
that I took with their story. We have them training together.
That's how they first meet. And, and GAIL, who comes to the
Isle of women, they make an exception for him.
They allow another, another male to be on the island And, and his
mother comes with him and her name is Pagoda.
And she, she was really fun to write.
First of all, she's, she's a badass.
Like she. So she is mentioned in literally
like 1 version that I know of, like all of these tales.
She's mentioned once in this Italian version called Tavola
Rotonda. And she's, all we really know
about her is that she's beautiful and she's a giantess.
Those are like the only two things.
So in in my rendering, I made her, I made her a knight.
And she's like a badass knight. She's like the best knight.
And she's basically, I mean, like she's pretty much like
almost a one for one of like Brienne of Tarth from Game of
Thrones. Like, yeah, totally right.
Like that's what I was picturing too.
And so, so GAIL who he comes and, and their training together
becomes sort of this, you know, Lancelot, he has grown up with
really no social interaction. So now there's this other
contempt He has a he has a contemporary here.
And he is so desperate for connection and for camaraderie
and for for GAIL who's approval, but he's also so self-conscious
of of projecting that desperation.
He is so afraid that he will come across as desperate.
So he's like, he's just all worked up.
And then Gil, who he see, you see, he seems like he is really
confident. And, you know, he's a Prince.
He lives on this other island in the same archipelago and
seemingly, you know, has a lot of friends and family and
cousins and everything. But he's actually, we find out
like he's kind of intimidated by Lancelot too, because he knows
there's this prophecy about Lancelot that he's going, that
he's destined to be sort of one of the greatest Knights.
And so they're both kind of like dancing around each other and
they're both drawn to each other, but they have all these
walls up that need to slowly crumble for them to to finally
connect. And that's that tension is kind
of what drives the certainly the first third, if not most of the
book. No, I love the, I love the
training scenes. And yeah, Lancelot to me seemed
very, he was very in his head, a lot of that.
Oh yeah. The back and forth of being like
should I, shouldn't I, Should I? What if he?
Like the way he was just he would just interpret things in
such a negative way. Like anytime Gayle who would say
something I was like oh poor baby Lancelot learning how to be
human. I know, I know like after, like
after I finished the last draft of this book, I kind of like I,
I miss, I miss the characters a little, you know, because like
you live with them for so long and like, they're both like
they, they kind of like you carried them them with you, you
know, when, when you spend a lot of time writing them.
So, yeah, no, I'm, I'm glad that glad that you, you like that
part too. I did.
Love that. Switching gears just slightly.
So in the novel, there's more than which something I wasn't
expecting and I'm happy about. So there's multiple queer
characters like running about in this story.
And so given the historical time period of the of the novel, how
did you approach writing queer characters in general and also
their relationships like to their families and things like.
That it's so it was really interesting.
I think like if there's one element that I really sort of
took a lot of liberty with and and made sort of modern, I'm
kind of almost grafting more of a modern sensibility of
queerness onto these characters simply because I I thought it
would be an interesting way in for a modern audience, but also
because these relationships probably couldn't quite exist
otherwise. So what I did some of the
characters in this book? Adhere to the old ways, which is
basically like a Pagan tradition, and within that is
sort of a more inclusive world view of sexuality.
And then some characters adhere to the new ways, which is more
of like Christianity. And we're told that, you know,
Lancelot's warned, like people that practice the new ways
aren't going to be so accepting. So in Camelot, though, you have
sort of this interesting convergence of the old ways, the
new ways. Basically it's all about
acceptance and tolerance and inclusivity.
In this version of Camelot, anything goes.
People in Camelot are sort of enlightened enough to see that
like these two different systems of meaning are kind of getting
at the same thing in different ways.
So Lancelot arrives at at Camelot and he's still sort of,
he has that warning, though, in the back of his mind, right?
Like, and so he's not forthcoming really about this
element of his identity. And, and to be honest, like
it's, it's hard to know how people from that era would have
even really thought like, it's not like they were like, oh, I'm
a gay person, right. Like that there wouldn't
necessarily be that sort of fixed sense of identity, social
identity attached to and sexual identity attached to just those
those attractions basically. So it was kind of, I guess I was
like, kind of like walking, you know, walking a fine line with
trying to make it feel realistic enough to the the era and that
world, but also make it feel sort of very legible to someone
and even like relatable, right. To someone who has anyone who's
ever been in the closet before will sort of relate to that
feeling of like that anxiety, right?
Yes. Will I be accepted?
You know, will, will my, will my family accept me?
You know, will I will, I will my relationships change, you know,
Yeah. Yeah, I think that definitely
translated with Lancelot in a lot of his relationships,
especially with the warning of like, you go to Camelot, things
gonna be different. And he does.
He has a lot of anxiety for Lancelot.
But yeah, no, I agree with that. I thought it was a good because
like, like you said, like we have a modern lens looking at
these things. So it was very the song of
Achilles where it's like they're not going to label themselves
because there was no label. So they're just living their
lives. So I really like how you
portrayed that and I thought it fit to everything you just said.
Thanks. Well, Speaking of anxiety
throughout the. Yeah.
It was actually perfect. Thank you PR.
It's like you knew all questions almost.
Like I know the questions. Yeah, Throughout the novel,
Lancelot battles with mental health challenges.
Why was this important for you to include?
Great question. And so it's interesting cuz
again, like the source texts are so rich here in so many
different versions. Lancelot, he like goes mad,
right? Like he in one, one version he
like jumps out a window like he's, he's sort of like this.
He's he feels things very deeply, but then his emotions
and his sort of repetitive thoughts kind of overtake him.
And the way it's described in the source text is, is is
madness. Basically, he goes mad.
And so I knew that going in that like, all right, here is a
character who is very much at the whim of his emotions, right?
And I wanted those to feel, you know, I wanted to sort of honor
that element of him that he's, you know, he's someone who feels
things deeply. But you know, his madness sort
of we get sort of spurts of it in the beginning.
We get hints that like this is something like if he's not
careful, if he doesn't keep his emotions in check, like he can
really spiral and like totally unravel.
And so that also kind of it became a bit of like like a
tinderbox to for the reader. It was a way to like sort of
subtly suggest that like, hey, like we don't know what's
coming, but we do know that if the pressure keeps mounting on
this character, he might eventually break.
And what will that look like when that happens?
So it was both like there were like a couple levels of it.
The first was this is rooted in the actual material.
Second hit, that sort of impending sense of doom was just
a narrative way of kind of like keeping the reader turning the
pages. What's going to happen to this
person? Is he going to be OK?
That sort of becomes a driving question.
I think of like pretty much any, any book, any successful book,
you know, is this main character who I'm moving through time
with, Are they going to be OK? And then, you know, I also
wanted it to, you know, the reader to be able to step into
his emotional experiences and, and maybe see, you know, maybe
sort of see themselves reflected a little in it too.
You know, like, gosh, I've, I've been there before where, you
know, heartache and grief and all of it just feels so heavy.
And it does feel like sometimes the world is just crashing down
on me and how do you make it through?
And so, yeah, that was sort of those were the various elements
I was thinking about. Yeah.
And that that I think helps especially when doing when
bringing a mythological or mythological is probably a
better word figure to life. Is this humanizing them?
Because in the myth they get dehumanized and was like God
like status at that point. So it did humanized Lancelot a
lot to see him really battle like within himself a lot when
it came to his not just his emotions, but just like dealing
with his experiences again. He was sheltered on an island
for a very long time and then had a lot of jarring experiences
past that. And so it did help at least me
connect with him as a human to human kind of thing.
Great. All right, so speaking with of
human connections, aside from Lancelot's love interests in the
novel, he had a lot of complicated relationships with
most characters like Arthur, Merlin, and Morgan.
So when you were developing the other Arthurian legends in this
story, how did you decide what what to keep from Canon?
I use the term Canon loosely cause a lot of Canon versus like
use your creative license for. It's a really good question.
And so one thing I I did was I only read like I, I cut myself
off at Mallory, you know, like I, which is like from like the
14 or 15 hundreds. So like any sort of like modern
and you know, like anything written beyond that.
I didn't read because I wanted to kind of come at these
characters with kind of a fresh lens and sort of pick through
and create my own interpretation of them.
But at the same time, you know, even if you have sort of just a
passing knowledge of Arthurian legend, you know, Merlin, right,
you know, Kane, Arthur, you know, Guinevere, like maybe you
know, Morgan Lafay. And like I wanted to, you got to
include like these these like icotic figures, right?
Like they're like the marquee, like they're like sort of the
anchors of the story. So like, of course they were
going to be in there and Lancelot's journey.
Absolutely. He's interacting with all of
these characters. But the, I would say, I mean,
Morgan Lafay was, was maybe one of my favorite characters to
write because and, and she's sort of indicative of a lot of
the women in this tradition who it you know, they're either, you
know, they're either like presented as like princesses or
like Queens who are like known only for their, their exquisite
beauty and their poise, but like nothing else, or they are these
outsiders sort of witch archetypes.
And Morgan is interesting because she is this character
who out throughout Arthurian legend who sews, she sews chaos,
but she also she holds a lot of power.
Oh, she holds a lot of sway over all of the nights of Camelot.
And as I kept looking at like a lot of these other women in the,
in the Canon, that was sort of true for all of them, even if
they were written in like kind of A1 dimensional way, there's
still there, there is this element you can kind of trace,
trace out the, the power that they inhabit.
And so I, this book is very much like we are in a matriarchal
society. The men think that they are, are
sort of the, you know, they're going the most of the men, not,
not all. There are women who are also
sort of on this quest for the Holy Grail, but like the men are
going out on these quests, but they're not in control, right?
It's very much the women in this book and especially on the Isle
of women who hold all of the cards, so to speak, like the the
world hangs in the balance because of them, because they're
keeping things together. So I thought that was sort of AI
liked that because it also felt it's sort of true to the
original. Like it wasn't, it wasn't like
it didn't even really feel like that much of A stretch to kind
of write the book that way. It just felt like sort of very
much like this is a read that you can pull out and extract.
Yeah, I definitely that makes total sense in that when you're
the way you're explaining, that does make me think differently
about like Merlin versus Morgan. Cuz like Merlin, you think he's
in control and there's like he's this chaos demon.
Just run it totally around, really just blowing things up.
Yes, exactly. Yeah, Oh my gosh, I just loved
reading this book. It's I couldn't put it down at
times too. Like there was times from like
putting off podcast work and I'm like, I'm just going to lay here
and read some more. Oh, that makes me so happy to
hear. Yeah, like, yeah, I, I the back
hat, the last like maybe quarter of the book in particular is
very, the pacing is very accelerated.
And I can imagine, like I'm anticipating that some people
might not like that. Like some people might, might
think that it feels almost too fast.
But I wanted to, I did that intentionally.
And part of what I did too was in the, in the Vulgate cycle,
there's this technique called interlacing where you hop from 1
scene to the next and you might be with 1 character, then you
move to another character, then you pick up where you left off
with another character. And the easiest structural
comparison is a soap opera, right?
Like this. It's like General Hospital,
literally you're going from 1 scene to the next, but like it's
progressive, but it's, it's fragmented.
And so the the last act I do weave in some other perspectives
to kind of heighten the tension in a very subtle way.
Like it's not I, I didn't want to like, I didn't want to write
the whole book like this. I didn't want it want it to feel
too, too out of left field structurally.
But that is sort of a little ode to that structure in the Vulgate
cycle. So I'm glad that I'm glad that
it, it kept you turning the pages, Caitlin.
That's how it makes me happy. It also helps with I have ADHD
and the chapters are quite short.
Yes, so like. And then it's just easy.
But like this one's just shorter.
It's like I'm just going to keep going.
And then you just. And then late, another hour pass
and you're like, oh wow, OK, I'm still here and.
I want to keep going. I love that.
But anyway, what insight into Lancelot's mythology do you hope
readers will take away from The Lost Book of Lancelot?
Oh man, I mean, honestly, I like my goal with this book was super
simple. Like if you take away something
from if you learn a little bit more about, you know, Lancelot
story in this world, that's great.
But like, I just wanted to entertain at the end of the day.
Like, I feel like it's hard out there, you know, and like, if
this book can be a little escape hatch from reality and like the
just the daily pressures of life, that really was the,
that's the only thing that I would want readers to take away,
you know, just just to be entertained.
I mean, judging by Caitlin's description, I think he nailed
it. Right.
Good. OK.
But good segue. Speaking of entertainment.
So we have the book The Lost Book of Landslide.
If if this ever gets adapted into a movie or ATV series or
something, who would you cast to play Lancelot?
Oh my God, everyone keeps asking me this.
I'm curious. I don't, I don't know.
I so, oh gosh, I, I really haven't have no idea.
I feel like Ryan Gosling is too old now to play Lancelot.
But like CGI? Yeah, I feel like some like a
younger version of Ryan, Ryan Gosling maybe would have the
right look. Like someone with like, we need
someone who's like, blonde with like, tousled hair for GAIL who?
He's a redhead, so maybe he's played by like a Tom Holland or
something. Yeah, yeah, yeah.
Well, who? Who do you, who do you got?
Who do you think is Lancelot? It's hard, right?
Yeah, oh man, I forget his name. Maybe Caitlin can help.
The actor that played in red, white and royal blue who plays
the Prince. Yeah.
Maybe a goodness. I love him.
He's such a good actor. He's great.
I forget his name.
I that's a crime, but I forgot his name.
But I feel like. He would be good.
I think his name is like Nicholas.
Sometimes, yes, Nicholas. Yes, Nicholas.
You're right. His last name begins with AG.
But I think he would be a good, he'd be good, Lance.
He'd be great. Give you all that emoting stuff
too. I think he'd do a good job.
I like Tom Holland for. I think Tom Holland could nail,
especially when they're like, younger and like training.
I think Tom Holland could nail, yeah.
I think so. Now I just want to see it.
I know you're welcome everyone. So if you could write another
query retelling of a mythological or historical
figure, who would it be and why? Oh my.
Gosh, wow. We asked the hard questions
here. Oh my God.
Oh, I really don't know. I have an idea for I have an
idea that is not quite a retelling, but like a
reimagining, A queer reimagining of, of a very popular story that
I'm thinking through right now that I'm not quite right to talk
about. But what other, you know what
would be cool? This is like totally different,
but like, I would kind of love more of like a queer X-Men,
right? Yes, like explicitly queer.
Not just sometimes. Yeah, yeah.
Like there's something like, I don't know, Yeah.
Like Cyclops always seems kind of gay to me.
Oh, for sure. Definitely.
That would be really cool. Maybe I'll go with, let's go
with that. Yeah, there's so much to play
with in just the X-Men universe. They usually go on forever with
those retellings. That's a good franchise that
that would be great. All right, John, well, those are
the end of the questions that we have today.
We just want to again, thank you for writing this novel.
We really, really loved it. For those of you out there
listening to this, please check out the Lost Book of Lancelot.
It is fantastic. If you didn't get that from this
interview, for those out there that want to support you, how
can how's the best way that they can support you and connect with
you? Oh gosh.
Well, yeah, I I would love it if this book sounds intriguing to
you. I'd love it if you would pick it
up. It's available wherever books
are sold. You can request it from your
local library. It's available on audio also or
ebook. You can follow me if you want on
Instagram. Glenner, my last name ER 85 or
John Glenn books on TikTok, though I'm I'm more frequently
on Instagram. Awesome.
So check out John, check out the novel again.
Thank you for taking the time to talk to us.
For everybody out there, until next time, hydrate for lesbian
Jesus. Up all over the place.
Bye. Bye.
And with that, we've been big gay energy.
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