Risk Bonaventura, a successful but insecure investment banker, moves his family from New York to Madrid to buy his way into bullfighting (a brutal childhood dream meant to edify his ego) only to be struck by conscience mid-fight and left seriously injured by the bull. What follows is a threesome with his professor wife, Lorna, (based in part on Camille Paglia) and Javier Forza, a Spanish matador whom he envies and obsesses over, and a sadistic crime, as well as meditations on beauty and disfigurement, arrogance and humiliation, toxic masculinity and the power of the feminine, the new lords of social media, cancel culture, and political correctness, and various permutations of sexuality. In the background the couple's queer video artist son, Theo, comes of age and engages in surreptitious spite work.
"Brian Alessandro is savagely calm, fiercely erudite, and fully determined to show us everything - everything - he sees." - Kathe Koja, Bram Stoker Award-winning author of Under the Poppy and The Cipher
"Brian Alessandro's Performer Non Grata is a face-meltingly perverse satire-cum-farce, a sort of contemporary love child of Wilde and Burroughs, streaming with blood, splooge, booze, snot, bitcoin, litcoin-and prancing with turgidity. Theater as novel, and vice versa, with no guide for determining the gaslight from the candelabra, the performance from the performance-within-the-performance, colonized from colonizer, faux-minist from feminist, ancient myth from YouTube voyeurism, victim from perp. Who, or what, is there to root for beneath the effluvial wreckage? In a novel whose allegory is the bullfight, I ended up cheering for the bull!" -Diane Seuss, Pulitzer Prize winning author of frank: sonnets
"Hold on tight. Brian Alessandro's Performer Non Grata is a bucking bull ride of a novel. Placing an American family in the milieu of the Spanish toreadors, Alessandro deftly makes a scathing commentary on the most toxic manifestations of traditional masculinity, homophobia, and society's obsession with spectacle. Like Genet's Querelle of Brest, Performer Non Grata takes Oscar Wilde's famous quote, "each man kills the thing he loves," and runs with it, pushing the dynamics of sexual relationships to the very limits of morality. One can place Alessandro's work among the most irreverent satires of Roth, Albee, and White. And even though the trajectory of Alessandro's lovers' entanglements is a proverbial train wreck, Alessandro skillfully and compassionat