Husband Material: A Sequel Lost in the Shadows of Expectation
WORDS by RUPAl RAO
When I cracked open Husband Material by Alexis Hall, to say that I was excited would be an understatement. As a devoted fan of the prequel Boyfriend Material, I eagerly anticipated getting more of Luc and Oliver, two unforgettable characters whose witty banter and complex relationship had left an indelible mark on my literary heart. Alexis Hall’s reputation for crafting emotionally resonant and humorous LGBTQIA+ romances set my expectations soaring. Yet, as I turned the pages of the sequel, these soaring expectations were soon to be dashed to pieces, leaving behind a profound sense of disappointment.
Misguided Narratives: The Problematic Portrayal of LGBTQIA+ Dynamic
Husband Material is a sequel that falls far short of the lofty expectations set by its predecessor, Boyfriend Material, which explored the relationship between Luc and Oliver. In this novel, the central characters, who once delighted readers with their wit, complexity, and distinct personalities, are mired in an exhausting cycle of bickering and misunderstandings. The humor that endeared them to us seems to have vanished. In addition, the book’s exploration of identity and sexual orientation is disappointingly superficial. There are instances in the narrative that seem borderline homophobic. The novel hints at various ways to be homosexual, but rather than exploring this diversity thoughtfully, it resorts to stereotypes and unhealthy dynamics. It not only falls short of expectations but also raises concerns about the portrayal of LGBTQIA+ characters in contemporary literature. Since this book is BookTok famous, it is consumed by many early teenagers, which becomes a matter of concern.
When popularized on platforms like TikTok and consumed by a younger audience, these books impact the perception and understanding of the LGBTQIA community. Effective representation serves as a vital tool in dispelling stereotypes and fostering understanding. It’s not merely a concept; evidence from a 2015 study indicates that increased exposure to gay characters on television correlates with heightened acceptance of gay equality among heterosexual individuals. Moreover, a 2020 survey conducted by GLAAD and P&G revealed that the portrayal of queer characters contributed to a significant rise, up to 45 percent, in societal acceptance of queer individuals.
The mechanism behind this phenomenon is straightforward: the presence of queer characters in media normalizes the diversity of sexual orientation and gender identity. When these characters are depicted with depth, showcasing relatable struggles and rich inner lives, it helps destigmatize the existence of the queer community. While this isn’t a panacea for all forms of intolerance based on sexuality and gender, it undeniably marks a promising step forward, particularly in resonating with older generations.
Equally crucial is the impact on the queer community itself. Witnessing accurate representation in media validates their lived experiences, affirming their existence by demonstrating that they are not alone in their journeys. Conversely, the absence of such representation often fosters hostile environments, which can be deeply distressing for queer individuals.
It’s important to acknowledge that queer identities have always been part of human history. Their inclusion in fictional works adds authenticity and enhances the richness and depth of storytelling. However, even with representation, there is a critical need to consider diversity and intersectionality within the queer community. Each individual within this spectrum has unique experiences and backgrounds that deserve representation to ensure a more inclusive narrative.
Yet, Husband Material’s exploration of identity, especially as it pertains to different experiences of homosexuality, falls disappointingly short. While it introduces the concept of diverse ways to be homosexual, the narrative only lightly touches on the idea before dismissing the notion with harmful stereotypes and unhelpful dynamics. Luc’s reaction to Oliver’s unique experience of being gay is troubling. It makes Oliver feel as though he is somehow “wrong” for not conforming to the same mold as Luc. This portrayal perpetuates harmful stereotypes and concerning misunderstandings about sexual identity and orientation. Luc firmly believes that Oliver’s aversion to rainbow-themed events stems from internalized homophobia, interpreting it as a lack of appreciation for the queer community.
Despite Oliver’s attempts to clarify that these symbols do not resonate with him, Luc dismisses his perspective. At one juncture, he considers, “It seems like you’re steering our wedding towards a traditional affair devoid of queer symbolism because your discomfort with rainbows reflects your insecurities.” In response, Oliver appears uncertain, conceding, “Perhaps you’re right. I need time to reconsider.” Their disagreements escalate to the extent that upon seeing Luc’s participation in a queer art gallery for his bachelor party, Oliver questions their compatibility, suggesting a potential breakup. They grapple with the idea that their differing preferences might hinder their ability to enjoy similar events, failing to explore the possibility of embracing separate interests within their relationship, a norm for most healthy couples.
The recurrent presentation of this argument suggests that Hall aims to impart some intellectual commentary on the “right” way to navigate being gay. However, Luc’s standpoint lacks substantial support within the text, and its continual reiteration merely highlights its flawed reasoning. The ongoing discussion about rainbows becomes another instance where Luc centers everything around himself. Oliver’s feelings about his identity are consistently interpreted as a direct reflection on Luc rather than being allowed to exist independently.
Throughout much of the book, Oliver’s role appears relegated to providing support whenever Luc requires it. There is little room for Oliver to express his thoughts separate from Luc’s needs at any particular moment. Oliver does not outright reject anything; instead, he expresses feeling left behind. Luc’s response blurs the cause and effect, failing to establish a clear connection between Oliver’s position and Luc’s reactive stance.
While internalized homophobia could contribute to one’s sense of alienation from the queer community, the book neglects to explore other potential reasons for Oliver’s feelings of disconnection from rainbow symbolism. It sidesteps the crucial question of why Oliver feels this way, opting instead for judgmental and negative assumptions about his motivations, expecting readers to accept these assumptions as valid.
The troubling aspect emerges from Luc’s unwavering adherence to his assumptions without questioning them. In contrast, Oliver consistently grapples with self-doubt following Luc’s aggressive arguments. This disparity raises concerns about Hall’s perspective on the subject matter. Does Hall realize the implications of elevating Luc’s forceful arguments while reducing Oliver to self-questioning? Moreover, by concluding the topic with Luc’s insinuation that Oliver is not proud of their relationship due to his disapproval of Luc’s wish to display an MLM flag, the book reinforces harmful stereotypes. Many interpreted this interaction as the author genuinely believing those who don’t resonate with rainbow or sparkly iconography are indulging in homophobia.
Structural Disarray
The narrative structure of Husband Material further compounds the novel’s disappointments. Constant shifts between past and present make it challenging for readers to connect with the characters and the plot. This structural choice inspired by the film, Four Weddings and a Funeral, hampers the reading experience. Readers often find themselves adrift in the narrative, unsure of where they stand within the story’s timeline.
The novel chooses not to delve into the factors that lead to the rift between Luc and Oliver and explore the resolutions of their conflicts. Instead, the narrative veers into unrelated territory, which ultimately detracts from the central conflict. As a result, the reader is left bewildered, wondering what the purpose was for all of the novel’s diversions.
Insensitive Handling and Relationship Deterioration
One of the most disconcerting aspects of Husband Material is its insensitive treatment of serious topics, particularly Oliver’s eating disorder. Luc’s reaction to Oliver’s body image issues is deeply problematic. He fails to understand the gravity of Oliver’s struggles and provides self-centered rationalizations that undermine the seriousness of the issue.
When Luc notices Oliver’s reluctance to remove his clothes, he “rationalizes” it by thinking, “I tried to be sensitive to Oliver’s body image issues, I did. But he looked like him, and I looked like me, and sometimes it was hard to remember that when he was being down on himself, he wasn’t being down on me by association.” This statement showcases a profound lack of empathy and understanding on Luc’s part, leaving Oliver to grapple alone with the enormity of his insecurities.
Even more concerning is Luc’s view that he can accept Oliver’s insecurities because they aren’t about him and because Oliver’s body is, in fact, less appealing now. This perspective is not only inconsiderate but deeply harmful. It trivializes Oliver’s struggles and their emotional toll, reducing them to mere matters of appearance.
Luc’s self-centeredness extends notably to his proposal to Oliver. The proposal is implied to stem from Luc’s insecurities and concerns about their impending move-in together, lacking any substantial forethought or prior discussion about marriage with Oliver. Notably, Oliver’s response to the proposal is not depicted, suggesting its marginal relevance. Later, when Luc realizes the need for a better proposal, he hastily visits a single jewelry store, choosing a ring without considering Oliver’s preferences and expressing minimal effort in conveying his emotions. This lack of consideration starkly contrasts Oliver’s previous efforts to express feelings during discussions about their shared living arrangements.
Furthermore, Oliver's issues—such as his interactions with family and his sorrow over his father's passing—seem to have unintentionally been drawn back to Luc. Luc knows Oliver is upset, but he doesn't provide much emotional support when Oliver has to have a difficult talk with his parents about the wedding arrangements. Oliver undermines Luc's emotional readiness for the scenario by giving in to his demands and making breakfast to encourage him to get out of bed. In addition, Luc finds it difficult to offer Oliver genuine support during his grieving process and exhibits self-centeredness by worrying about how Oliver's loss would affect their friendship.
Luc’s contribution is notably lacking in their shared life, particularly in household chores and cooking, which he conveniently avoids under the guise of incompetence. However, this incompetence seems more deliberate than genuine, choosing intricate recipes at the last minute and making negligible attempts to improve, ultimately shifting the responsibility to Oliver. Such behavior is not endearing but somewhat indicative of self-serving attitudes that can detrimentally affect real-life relationships, illustrating a concerning red flag rather than humorous romantic comedy behavior.
The most glaring issue that plagues Husband Material is the marked decline in character development, particularly with Luc and Oliver.
The humor and charm that endeared Luc and Oliver to us are conspicuously absent. Instead, readers are left with moments of delight quickly overshadowed by the constant friction between the characters. Luc, in particular, emerges as petty, rude, and far from the loveable character we once knew. Meanwhile, Oliver becomes little more than a character striving to keep the peace. They don’t learn, they don’t communicate, and they don’t solve problems.