Between the ages of twelve and fifteen, Martin Moran had a sexual relationship with an older man, a counselor he'd met at a Catholic boys' camp. Almost thirty years later, at the age of forty-two, he set out to find and face his abuser.
The Tricky Part tells the story of this relationship and its complex effect on the man Moran became. He grew up in an exemplary Irish Catholic family-his great aunt was a cloistered nun; his father, a newspaper reporter. They might have lived in the Denver neighborhood of Virginia Vale, but they belonged to Christ the King, the church and school up the hill. And the lessons Martin absorbed, as a good Catholic boy, were filled with the fraught mysteries of the spirit and the flesh.
Into that world came Bob-a Vietnam vet carving a ranch-camp out of the mountain wilderness, showing the boys under his care how to milk cows, mend barbed wire fence, and raft rivers. He drove a six-wheeled International Harvester truck; he could read the stars like a map. He also noticed a young boy who seemed a little unsure of himself, and he introduced that boy to the secret at the center of bodies.
Told with startling candor and disarming humor, The Tricky Part carries us to the heart of a paradox-that what we think of as damage may be the very thing that gives rise to transformation, even grace.
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Martin Moran makes his living as an actor and writer in New York City. He has appeared in many Broadway and Off-Broadway plays, including Titanic, Cabaret, Bells Are Ringing, and Floyd Collins. He won a 2004 Obie Award for his one-man play, The Tricky Part, which New York Times theater critic Ben Brantley praised for the quiet victory of "rendering chaos with this kind of clarity." Moran continues to perform The Tricky Part all over the country.
To everyone else in the Denver neighborhood where he grew up in the '70s, Moran was a studious Catholic boy. No one knew he carried a secret that would fester for 30 years and lead to extreme anxiety, sexual compulsion and suicide attempts. At age 12 he met Bob, a church camp counselor in his 30s who, for several years, took Moran hiking and camping, and had sex with him. Moran painfully recounts the inner workings of a lonely, insecure adolescent who, out of a desperate need for friendship and acceptance, continued a sexual relationship with a man 20 years his senior. Feeling guilty and shameful regarding the affair and his homosexuality, Moran lived a life in which the erotic and the illicit fused, and compulsive sex became a means of self-punishment. Over the years, Moran, now a writer and actor, managed to glean bits of guidance and self-acceptance from his aunt, a contemplative nun; a New Age music teacher; friends; and eventually, recovery groups and therapy. Moran's Catholic-American gothic differs from other abuse/recovery/coming-out memoirs in that it examines a uniquely gay mind/body split as it subtly reflects on a gay man's spiritual quest for self-determination and love.
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Moran, now 42, gives a compelling account of his seduction, at age 12, by a counselor at his Catholic church camp, and their ensuing three-year relationship. He describes his gradual addiction to the sex itself, with no love attached, which he still sees repeated in his brief liaisons in parks and restrooms, despite 15 years with his partner, Henry. He remembers enjoying the concealment from friends and parents of his involvement with Bob, 20 years his senior. He recounts how he descended from "the top of the Catholic heap" in junior high to thoughts of suicide when he felt that his deeds "stuck to [him] like a bad smell." Moran discovers acting, then joins a men's support group for survivors of sexual abuse, and is amazed at "how much energy it takes in the present to continually dismiss the past." His is a poignant and provocative memoir that delves behind the titillating headlines to reveal what's really at stake when children are sexually abused by authority figures. Deborah Donovan
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