There is something profoundly queer in enjoying science fiction and fantasy. The genre asks us, again and again, to imagine worlds fundamentally different to the one we live in every day. Worlds with equality of the sexes in a workplace, fair and accountable courts, ends to unjust wars – and of course, pointy-eared aliens, impossible spaceships, and lithesome green women.
As queer a dancer as I ever saw outside of the Tenderloin.
For many of us, these science fictional spaces are a refuge, a place that is not only safe for imagining, but safe from discrimination, casual cruelty, and doubt as to our welcome. Fan communities, at their best, can be places where fairness, open mindedness, and creativity reign over entrenched biases, reflexive bigotry, and the dishwater-dull thinking of corporate life.
Last month, I felt myself yearning for Ursula K. Le Guin's shapeshifting wizards, the science fictional poetry of Adrienne Rich, the spinning worlds of Star Trek–the direct result of having watched CBS News's deeply cruel, intellectually lazy, and poorly reported documentary piece "The Homosexuals."
Over the course of an hour, reporter Mike Wallace managed to repeat nearly every stereotype, false scandal, and ignorant opinion of this group from the past decade, along with tossing tinder onto the fire of at least two witch-hunts whose scarring cinders had barely cooled. From San Francisco to Washington DC, with law enforcement layovers in Idaho and Los Angeles, this documentary gave platform and voice to faux expert after faux expert who pathologized, medicalized, and generally generalized about a population they are not from and whose membership they only come into contact with during extreme criminal or psychiatric crises.
Editorial headline "Crush the Monster," referring to homosexuality in Boise, ID. November 3, 1955, Idaho Statesman.
It was a bit like watching a reporter interview a panel of ax murderers about about the lives of modern lumberjacks and taking their words on lumberjacks' needs, lives, and values based on their shared experiences wielding an ax.
Love is generally treated much more gently in science fiction and fantasy. There are any number of cruel, debasing, woman-hating or family-hating or love-hating works of fiction available on the average public library shelf, but it is far easier to find acceptance and warmth and a curiosity about all the ways there are to be alive in our shared universe between the covers of a book than on the nightly news. Perhaps that is because those of us who love science fiction and fantasy are used to being seen as queer by the wider world, we can find it within ourselves to accept queerness in others. Perhaps the experience of imagining different languages and cultures and lifeways makes us more open to allowing others to live as makes them happiest.
I think this shared hobby certainly makes us more comfortable trying on new language for size. For example, in the program mentioned above, Mr. Wallace doggedly uses the word "homosexuals," even while one of the several men he spoke to used the term "gay." Once, Mr. Wallace used the term "bisexual," but swiftly dropped it.
"Some are bisexual: they marry, have children, and keep their homosexual contacts to the side."
Now, there is no word for this community that is not soaked in blood. I have friends who call themselves saphists or faggots or queers or lesbians or fairies or dykes or homophiles or queens or gays or homosexuals, and that is their right; I'll call anyone what they ask to be called. I use "queer" for myself because I had four years of high school Latin and can't really square calling myself "man-sexual" when what I am is a woman who is plumbing agnostic. Bisexual is a fair enough descriptor too and one I sometimes use in the wilds, but there is something juicy in taking back a word so often used in violent insult, so "queer" is what I use.
It is also how I think of my collection of friends here in California, queer as to their sexual orientation or their genders or just their worldview. It is a wide and colorful umbrella we all crouch under, holding each other close out of the storms of social opprobrium like those given a megaphone in this documentary.
It did not have to be like this. Mike Wallace could have spoken to members of the Janus Society or ONE Magazine, rather than merely filming their doors for shock value; he could have followed in the footsteps of his fellows reporters at my own local station, KQED, who produced a much better documentary on this same subject six years ago titled "The Rejected." If he wished to speak to bisexuals, to women or anyone who isn't a man, to people of color, to people outside of the middle class, all he had to do was pick-up a copy of Tangents or The Phoenix or Vanguard Magazine or ring up the editors.
"The Fairytale Ballad of Katy the Queen" from the August 1966 edition of Vanguard Magazine.Cover from the December 1966 edition of Tangents Magazine. Pins include: "Equality for homosexuals," "It's a gay world," and "Be peculiar."
Mr. Wallace could have done what an anonymous congressional aide did nearly 20 years ago in one of the most sympathetic federal reports on queer people; he could have represented our experiences with compassion and care. In 1949, while the United States Congress was debating a change to the U.S. military's approach to discharges, an aide serving the House of Representatives' Committee on Veterans Affairs compiled report entitled: “History of the Phrase 'Discharged Under Conditions Other Than Dishonorable’ and Present Discharge Criteria for Three Services.”
Now, this report title has none of the thrill of Mr. Wallace's headlines from Boise ("Crush the Monster") or the brutal audio he included of a 19-year-old soldier begging police not to tell his mother they'd caught him with another man and near weeping when they taunted him with the threat of telling his commanding officer. But I find the best stories are sometimes tucked away, not behind flashy titles but in tomes deep enough to hide the truth. No one would accuse Professor J.R.R. Tolkien of being flashy, but I find more truth in his writing of the world than many a jazzier author.
Imagine cracking open the Congressional Record of 1949 like we're opening up your well-loved edition of The Lord of the Rings. Find your way to the report, where a staffer explains how extraordinary it is that the committee has received any formal complaints about the blue discharge ticket process – the process by which the U.S. military removed tens of thousands of soldiers, sailors, marines, and airmen from the armed services during World War II. Flip your way past the harsh realities of finding a job with blue ticket discharge and references to reports with names like The Pervert Records (1947), and you will find this impossibly poignant and beautiful paragraph:
“It should be borne in mind that even a moderate amount of complaint in a matter of this sort is significant. For a person to make such a complaint in his own case implies that, he feels, a sense of injustice so great that he is willing to risk publicizing the stigma of having been discharged from the Army under circumstances which savor of disgrace. For each complainant there are many more persons who feel the same sense of injustice but prefer to bury their hurt in as much oblivion as possible.”
Today, most people who I would call queer "bury their hurt in as much oblivion as possible," making the brave few who raise their voices worthy of our shared pride. Most people who I would call queer seek to protect themselves and the ones they love from the stigma and disgrace and frequent injustices that Mr. Wallace's program did nothing to address or to heal. Most of us fantasize about a day when we will be free to be who we are. Of living fully in communities where fairness, open mindedness, and creativity reign.
I think we can get there. I dream about it. I hope you do too.
Science fiction, as a cutting edge genre, often skirts the line of decorum, occasionally earning calls for banning of particularly sensitive works. Thus, it is appropriate that this month, I have three stories from West Germany for you that are connected to the freedom of the arts, enshrined in our constitution, and how it is sometimes challenged.
But first, some political news:
No Experiments
Even for his first re-election campaign as chancellor, Ludwig Ehrhard's face is not on the campaign poster, but that of his predecessor Konrad Adenauer endorsing Ehrhard.
The headline news this month was the West German federal election, the fifth since the founding of Federal Republic of Germany and the first where the candidate of the Christian conservative party CDU/CSU is someone other than Konrad Adenauer, namely his successor as chancellor Ludwig Ehrhard.
But except for the name of the chancellor, very little has changed. The CDU/CSU once again won the majority of the vote and will be able to continue the coalition government with the liberal party FDP. The opposition, the Socialdemocratic party SPD gained some votes, but not enough for SPD chancellor candidate Willy Brandt to replace Ludwig Ehrhard.
I have to admit that I never liked Konrad Adenauer. However, he and Ludwig Ehrhard have done a lot to rebuild West Germany after World War II and turn it into the industrial powerhouse it is today. Nonetheless, I feel that after sixteen years of a CDU/CSU/FDP government, it is time for a change.
Rolling Stones, Riots and Rebellion
The Rolling Stones arrive at Hamburg airport.
At least in the realm of pop music, change is in the air. The West German music charts are still dominated by the so-called Schlager genre of sappy pop songs sang in German. But while Schlager is still king with the over forty demographic, the young are increasingly turning to beat music.
The Rolling Stones recently finished their first tour of West Germany to the delight of their young fans and the disdain of conservative critics, who called the band "cavemen" and their music "primitive and unimaginative".
Young fans cheer on the Rolling Stones in Hamburg
The Rolling Stones concert in Hamburg erupted into violence, when more than two thousand young people, who hadn't been able get tickets for concert, decided to take out their frustrations on streetlamps, benches, planters, cars and election posters outside the concert hall. The police responded in kind and by the end of the day, forty-seven young people had been arrested and thirty-one people injured.
The Hamburg police clashes with rioting Rolling Stones fans.
But that was nothing against what happened the following day in West Berlin, where the Rolling Stones performed at the Waldbühne. Once again, the concert was sold out and once again, young fans who had not been able to get tickets showed up outside the venue. But since the Waldbühne is an open air arena, the youngsters were able to break through the police cordon and get in.
Things were initially quiet, but once the Rolling Stones came on stage, the young fans stormed the stage. The police managed to clear the stage, but once the Stones performed their latest hit "Satisfaction", there was no holding back and the fans stormed the stage once again. The band, fearful for their safety, broke off the concert and that's when the trouble truly started.
The Rolling Stones on stage at the Waldbühne in West Berlin.
The young fans demanded that the Rolling Stones come back and finish the concert. When the band didn't come back, they started demolishing the seats in the arena. The West Berlin police responded with excessive violence (eye witnesses report that the situation only escalated, when police officers started attacking a group of forty to fifty teenaged girls huddling near the stage) and the result was a riot which lasted several hours, caused eighty-seven injuries and left the Waldbühne in ruins. But the riot did not stop there. Because on their way home, many of the young West German fans decided to take out their frustrations on the trains of the S-Bahn light rail network, which is operated by the hated East Berlin transport authority. In the end, seventeen S-Bahn trains had been damaged, four of them so badly that they had to be taken out of commission.
Aftermath of a concert: The venerable thirty-year-old Waldbühne in Berlin is left in ruins.
East and West Berliners never agree on anything, but the newspapers in both parts of the divided city agreed that the Waldbühne riot was a disaster that must never happen again. The West German tabloid Bild compared the Rolling Stones concert cum riot to a witches' sabbath. Meanwhile, Neues Deutschland, the official newspaper of the Socialist Party of East Germany, not only reprinted the Bild article (which is unusual in itself, since Bild is explicitly anti-Communist), but also added some hyperbole of its own, comparing the rioting young fans to the Hitler Youth (even though the Nazis famously hated the very jazz and blues music which inspired the Rolling Stones) and claiming that the true aim of the Rollings Stones' music was to prepare the West German youth for World War III. Why a British beat band would even want to prepare young Germans for war is a question that not even the Neues Deutschland can answer.
Beats in Bremen
But even those West German beat music fans who did not make it to one of the Rolling Stones concerts got a chance to listen to their favourite music. For last Saturday, a brand-new music show named Beat-Club premiered on West German TV. I was watching with particular interest, not just because I like beat music, but also because the show was produced and filmed right here in my hometown Bremen.
Apparently, the idea of a TV show playing solely beat music is so shocking that announcer Wilhelm Wieben, at age thirty himself a member of the younger generation, explicitly apologised to older viewers who might not like beat music. Oddly enough, no TV announcer has ever felt the need to apologise for any other genre of music.
The smirk shows that TV announcer Wilhelm Wieben is very much looking forward to Beat-Club, even as he warns the older generation of viewers about the show.
Compared to the dire warnings that preceded it, the actual program was a lot of fun, but fairly harmless. The format is loosely based on the US show American Bandstand and the British show Ready, Steady, Go! Various bands play live music, while the young studio audience dances. The presenters are Gerd Augustin, discjockey at the Bremen dance hall Twen Club, where he also recruited the live studio audience, and Uschi Nerke, an attractive twenty-one-year-old architecture student with musical ambitions.
Uschi Nerke, 21-year-old architecture student turned TV presenter in Beat-Club
The Rolling Stones may have toured Germany barely a week before the premiere of Beat-Club, but producer Mike Leckebusch wasn't able to afford a band of that calibre yet. And so the opening number was "Halbstark" (a German slang term for young rowdies and rockers) by the Bremen beat band The Yankees, named for the Union Army Civil War era uniforms they wear on stage. Further acts included the British bands John O'Hara and His Playboys and The Liverbirds, an all-girl band from Liverpool who are already well known in North Germany for performing in Hamburg's Star Club, where the Beatles got their start not so long ago.
The girl band The Liverbirds also performed in Beat-Club
The first edition of Beat-Club may have been a little rough, but the program has a lot of potential. Were the apologies and dire warnings justified? In my opinion, no. But judge for yourself, cause thanks to the magic of Telstar I present you The Yankees performing "Halbstark" live at the Beat-Club.
Devil's Advocate
Finally, I want to report about a court case that concluded at the Hamburg district court last month. Why is this case important? Because what was on trial was nothing less than the freedom of the arts that is enshrined in the West German constitution.
Klaus Mann
Let's have some background: In 1936, Klaus Mann, son of Nobel Prize winner Thomas Mann and older brother of occasional science fiction writer Elisabeth Mann Borgese, published a novel called Mephisto – Roman einer Karriere (Mephisto – Novel of a Career), while in exile in Amsterdam, because the Mann family were persecuted by the Nazis. Now the publisher Nymphenburger Verlagsbuchhandlung wanted to republish the novel in West Germany.
The 1936 first edition of "Mephisto – Novel of a Career" by Klaus MannThe 1946 Hungarian edition of Mephisto by Klaus Mann.
None of this would be remotely controversial, if not for the fact that Mephisto is a roman-à-clef about the German cultural and theatre world of the 1920s and 1930s. In particular, the protagonist Hendrik Höfgen is a thinly veiled portrait of actor and theatre director Gustaf Gründgens whose most famous role was Mephisto in Johann Wolfgang von Goethe's Faust. The novel chronicles Höfgen's rise from small time actor to director of the Prussian state theatre and favourite of Hermann Göring himself. Höfgen himself never believes in the Nazi ideology. Instead, he is portrayed as an opportunist who makes his own deal with the devil he is so adept at playing and uses every chance to gain advantages for himself (at one point even seducing Göring's lover and future wife), even as his former friends and colleagues are forced into exile.
Gustaf Gründgens in his most famous role as Mephisto in "Faust" by Johann Wolfgang von Goethe
We do not know how Gustaf Gründgens felt about Mephisto, though we know that he knew the novel, because Klaus Mann made sure that Gründgens was sent a copy. Nor can we ask Gründgens, because he died two years ago of an overdose of sleeping pills. Klaus Mann cannot speak out on the case either, since he committed suicide in 1949.
However, Gründgens' adoptive son and heir (and, it is rumoured, lover) actor Peter Gorski was not at all happy about the plans to republish Mephisto in West Germany. And so he sued the publisher to have the publication stopped, because Mephisto supposedly libels the late Gustaf Gründgens and violates his human dignity.
Gustaf Gründgens and his adoptive son Peter Gorski as Faust and Mephisto in "Faust".
Now Mephisto is undoubtedly a roman-à-clef, even if Klaus Mann himself claimed otherwise in his afterword, and most of the characters are based on real people. However, it is also a fictionalised account and some events don't fit the historical record. The most notable of these is Höfgen's lover Juliette Martens. Because Juliette is a black woman, daughter of a German father and an African mother, this relationship is taboo in Nazi Germany. Juliette is one of the few characters in Mephisto who does not have an equivalent in the real world. Instead, the scandalous relationship between Höfgen and Juliette is a stand-in for the fact that Gustaf Gründgens was homosexual.
Is Mephisto a good novel? Well, I'm probably not the right audience for it, since I have to admit that the only member of the Mann family whose works I ever enjoyed is Elisabeth Mann Borgese. Furthermore, Mephisto requires a rather deeper knowledge of the German theatre and cultural world of the 1920s and 1930s than I have. And the portrayal of Höfgen's black lover Juliette is highly problematic, since Juliette is frequently described as savage and animal-like. It is obvious that Mann introduced Juliette to avoid the homophobic implications of portraying Höfgen as homosexual. But indulging in racism to avoid homophobia doesn't make it any less racist.
Was Mephisto intended as a jibe against Gustaf Gründgens? Certainly, especially since Mann and Gründgens not just knew each other, but were actually family, since Klaus Mann's sister Erika was briefly married to Gründgens in the 1920s. The Mann siblings and Gründgens also performed together in two plays written by Klaus Mann. It is also rumoured that the relationship between Klaus Mann and Gustaf Gründgens was a lot more intimate than just brothers-in-law, since both Gründgens and Klaus Mann were homosexual, whereas Erika Mann is lesbian. So the novel was likely the result of a family quarrel or lovers' spat.
Two couples: Gustaf Gründgens, Erika Mann, Pamela Wedekind and Klaus Mann on stage in the 1920s.
It is understandable that Peter Gorski is trying to protect the legacy of Gustaf Gründgens. However, Gründgens' legacy is not in question. He was able to continue his career unimpeded in postwar West Germany and is considered one of the greatest actors and directors of his generation. Furthermore, Gründgens did collaborate with the Nazi regime, so that part of Mann's novel is absolutely correct. And Mann explicitly did not mention Gründgens' homosexuality in the novel – not that it was a big secret, though homosexual relationships between men are sadly still considered a crime in West Germany.
The fact that the heir of a Nazi collaborator tries to block the publication of a novel by a victim of Nazi persecution should also leave a bad taste in everybody's mouth.
However, the question is not whether the novel defames Gustaf Gründgens, especially since Gründgens is too dead to care anyway. The question is whether the freedom of art, which is enshrined in the West German constitution, weighs higher than the right of a dead theatre director to keep his memory unsullied.
As a writer myself, I come down on the side of art in this case. Not to mention that one precedent could lead to further lawsuits. After all, people often claim to recognise themselves in novels. For example, the British-Hungarian architect Ernö Goldfinger believed that the villain in the eponymous James Bond novel was based on him (not without reason, for Ian Fleming was known to name villains after people he disliked) and also tried to block the publication, whereupon Ian Fleming offered to change the name of the character to Goldprick. As a result, Goldfinger abandoned his lawsuit and the novel was published (and filmed last year) as Goldfinger.
Such a solution is not possible in the Mephisto case, if only because both Mann and Gründgens are dead. But thankfully, the Hamburg district court agrees with me and rejected Peter Gorski's lawsuit. The case is not yet over, for Gorski has announced that he will file an appeal. However, freedom of art won for now and that is a very good thing.
Aerial view of the Hamburg district court, which rejected the lawsuit.
You may think that the Rolling Stones riots, the Beat-Club premiere and the Mephisto have little to do with each other. But they all demonstrate why freedom of the arts is so important. Because in all three cases, we had people complaining about and trying to ban art they don't like. And in all three cases, art won out in the end. It is a hopeful trend that our science fiction writers might do well to note in their predictions of the future.
As I've been looking into news and literature sources away from the beaten path, I've run across several magazines that aren't likely to show up on your local newsrack: They're published by homophile organizations. They face tremendous prejudice and sometimes outright bigotry, despite their focus on nothing more objectionable than human relationships.
The term "homophile" was first proposed by Harry Hay, one of the founders of the Mattachine Society. It is widely used by gay rights groups to indicate that their identity is not centered around sex. However, the terms homophile, homosexual, gay, and lesbian are all used frequently throughout the periodicals.
ONE was created by members of the Mattachine Society and has been published since 1958. The Ladder is from the Daughters of Bilitiis, a lesbian organization; it's been around almost as long. Drum is the newcomer that began only last year, published by the Janus Society; it has a less serious approach, with more light-hearted content. All three have a letters section and book reviews, which I will cover at the end.
ONE: The Homosexual Viewpoint
One Incorporated is "A non-profit corporation formed to publish a magazine dealing primarily with homosexuality from the scientific, historical and critical point of view." A few years ago, it won a landmark lawsuit, establishing it as not obscene material, and therefore legal to send through the mail.
ONE has the highest production values of the three magazines I found. The text is neatly set in two columns for main articles and it has both photographs and line art. It has a mix of content types: interview article, fiction, poetry, news, and essays. It also has book reviews. All of them have news and book review sections, as any misunderstood and often-persecuted group needs both an awareness of how society treats them and an understanding of their own communities.
Interview with Elmer Gage, Mohave Indian
Mr. Gage is known as a homosexual in his local community, and they accept him. His photo, instead of showing him making the beaded belts he sells to tourists, or at home with his grandmother, is a publicity picture of him in his Bird Dancer outfit. He wears it for ceremonial dances and sometimes for lectures at universities, but it's not what he wears at home. (Of course not. Shakespearean actors may be portraying traditional British cultural entertainments, but nobody expects them to wear Renaissance-era garb all the time.) Despite the hardships he faces, he is at peace with himself; he says life is "too short to spend your time being something you don't want to be… I'm true to myself and my own nature."
Uncomfortable Fiction, Poetry
The short story, "Somebody Else All of a Sudden, Somebody New," by K. O. Neal, is short, and not an easy read. It involves Jeffy–probably a teenager–and a man called "Old Rocker," who pays him for sex: usually a silver dollar, but two dollars this time. (There are no prurient details in the story.) I'm left wondering if Old Rocker would seek other partners if doing so didn't risk arrest or even murder.
The poem that follows the story, "Lines for the almost gone," is not any less distressing. It's directed to either someone dying or someone on the edge of suicide. The other poem in this issue, "frankincense: three letters to c" by Abel Jones, reminds me of both e.e. cummings' style, with few capital letters and broken lines arranged carefully on the page, and Ginsberg's "Howl," with a mix of evocative imagery and coarse irreverence.
I'm sure this poem is deeply meaningful to someone, but that someone is not me.
Transvestites: Not the same as gay
The article "Silks and Satins" by Charles Elkins is a plea for understanding. Men who wear traditionally women's clothing are not a unified group, nor are they all either gay or straight. Some would prefer to wear dresses and heels in public and be accepted as women; others only want them for bedroom activities. They are often very lonely, rejected even by other fringe communities, and told by psychiatrists that they should repress their harmless interest in looking and feeling feminine. I say: if someone wants to wear a silk dress and heels in public, let them. As Jefferson said, "it neither picks my pocket nor breaks my leg."
This and That
It also has a "news and views" column, "Tangents," which is a roundup of short synposes: Homosexuals in the media (a British tv show about lesbians on January 7th, Macleans magazine planning an article about them in the future); cops falsely accusing political candidates of homosexuality in California; one of Freud's theories about Leonardo da Vinci's homosexuality has been debunked. (Whether da Vinci was homosexual is unknown, but if so, it wasn't proven by a childhood memory of a vulture.)
Is that Puss in Boots?
The Ladder: A Lesbian Review
The Daughters of Bilitis is "a women's organization for the purpose of promoting the integration of the homosexula into society" by education, participation in research, and promotion of changes to the penal code."
The Ladder's production quality is the lowest of the trio. Most of it is typed, and the text isn't always aligned evenly with the headings. There are no photographs and no line art. Still, it contains solid news articles (impressive, as it does not rely on a clippings service) and thoughtful essays.
Homophile Activists
This issue has several articles about public events. One called "After the Ball…" about the police raid on a New Year's Eve costume ball organized by the Council on Religion and the Homosexual, comprised of members of six homophile organizations. The police harassed attendees and photographed most of the 600 guests, and when they were told they needed a warrant to enter, they arrested the four people trying to stop them.
While the police were attempting to intimidate, they did capture some amazing pictures. Picture from Lewd & Lascivious.
The other activism news was not as well covered in newspapers: Last December in New York, Dr. Paul R. Dince gave a lecture entitled "Homosexuality, A Disesase." Four picketers showed up to protest, handing out free homophile literature and holding signs saying "WE REQUEST 10 MINUTES REBUTTAL TIME." They made their request to the chairman of the forum – and it was granted!
After the lecture, during open questions, one of the picketers was allowed 10 minutes with a microphone. He pointed out that "experts" have contradictory theories about homosexulity. He mentioned they mostly study unhappy individuals, and they start with the assumption that homosexuality is a disease. (It's easy to "prove" something you already believe.) He also noted that most people in the "disease" camp say little against scams that charge ridiculous fees, claiming they will "cure" homosexuality. After the protesters received great applause, Dr. Dince conceded some of their points.
The E.C.H.O. (East Coast Homophile Organizations) report is five pages about the recent conference in Washington, D.C. This issue holds Part Four: "Act or Teach," based on recordings of the event. In this part, Dr. Franklin Kameny pointed out the flaws in approaching the public with information instead of demands for change. He said it is naive to assume information will overcome prejudice, but that when new laws establish civil rights, "public sentiment has then attempted to accommodate itself to the new situation."
Dr. Koneitzko disagreed with him, saying that acceptance from communities and churches is more important than technical legal rights. Kameny does not disagree, but he says that the acceptance will come after the laws change, not before.
Dr. Franklin Kameny, a WWII veteran who was fired from his post-war job in the Army Map Service because of his orientation. Photo circa 1956.
Essays and Poetry
"I Hate Women: A Diatribe by an Unreconstructed Feminist" is a rant about the repulsiveness of meek, timid, compliant femininity. The compelling title is rather tongue-in-cheek: The author, of course, does not hate women, since she is a lesbian. She hates, however, the notion that all women are destined to be servile wives and mothers, and decries that those who want a different path are often sent to a psychiatrist to "Find Out Why she Rejects the Feminine Role."
She goes on to talk about the risks of over-population, and quotes Arthur C. Clarke from the 1958 Harper's Magazine article, "Standing Room Only":
…the time may yet come when homosexuality is practically compulsory, and not merely fashionable. It will indeed be a piquant paradox if— in the long run and taking the survival of humanity as a whole as our criterion— this controversial instinct turns out to have a greater survival value than the urge to reproduce.
The other essay is considerably less angry. "To Tell or Not To Tell," by Vern Niven, is a short article about wrestling with secrecy, about the choice of whether homosexuals should tell their parents about who they love, or could love. The author says most parents can be accepting, but it may take some effort to prepare them for the truth. She encourages readers to be honest with their families. This can bring support and welcome for both themselves and partners, especially important when they consider their relationship a marriage.
The essays, while subjective, are directed to a broad audience. The four short poems seem more targeted in their appeal. Two have strong nature imagery; one is religious; one relates to music. None of them are overtly lesbian: they do not mention gender at all. But they are lyrical and intense, with hints of secrets being shared between the authors and readers.
And you, my subtle friend Come counterpoint, Offer me softly of your melodic Talents.
The tone of The Ladder is down-to-earth and almost wistful; the articles are laced with hope and perseverance. Not all of the homophile magazines are so sober.
Drum: Sex in Perspective
The name is inspired by a quote by Thoreau: "If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music he hears, however measured or far away."
I saved the fun one for last. Drum has more lively content than the others: the longest article is the 12-page "Beginner's Guide to Cruising," which is as much playful as informative. Indeed, its very first news article includes a picture of Tony Sabella kissing Robert Kennedy.
The caption reads: "A group of New York lawyers is studing the possibility of having sodomy charges brought against Senator-elect Robert Kennedy for allegedly committing a public indecent act in the Fulton Fish Market to demonstrate the importance of Penal Law reform."
Is a public kiss between men acceptable as long as neither of them is believed to be gay?
Dating Guide
The feature article, "The Beginner's Guide to Cruising" by George Marshall, bypasses any question of inner speculation or the gay identity within a heterosexual community. It is focused on a single goal: sexual conquest. While the methods described border on predatory, it is clear that the purpose is great fun for both men involved; this is not a primer for seducing people who aren't interested.
It spends some time discussing which men should not be pursued: Those who are "superbly dressed," as they are more interested in themselves than you; those wearing very tight slacks, indicating bitterness and a lack of feeling; those with white shirts and pastel pants, who will take you to court if things go badly; those with political causes, who will involve you in their mania; those who are drunk or drug addicts, who are, at best, walking complications.
It gives several possible approaches to avoid clichés like, "Care for a coffee?" It then goes on to discuss socializing after an introduction at a party, how to convince him you are a clever conversationalist (mostly by agreeing with him), and the importance of setting a future meeting date. While the tips in the article are very much focused on gay men who are seeking other gay men, they are the same methods used by salesmen and politicians: know your target, make yourself interesting, follow through with more contact.
Spy Stories
"I Was a Homosexual for the FBI" (by P. Arody) is a short article crammed full of hilarious stereotypes. It is ostensibly by someone who saved the country from "the deadliest conspiracy ever to rock the United States": To convince straight people that gays are really no different from their neighbors. The author had access to the FBI's extensive resources, including the Homo-o-dors that smell "suspected perverts" and flash a lavender light on detection. His "training" included "how to talk with a lisp" and "how to swish when walking, drink like an alcoholic, and organize orgies." (If the FBI knows how to organize orgies, I demand it release that information to taxpayers!) The result of all that hard work: "we caught every homosexual in the entire country and now all twelve of them were on trial!"
In keeping with this month's unstated "super spy" theme, we have several pages of artwork showing Harry Chess, that man from A.U.N.T.I.E ("Agents' Undercover Network To Investigate Evil) and his team. This is an an obvious play on the new Man from U.N.C.L.E spy-thriller tv show.
Not shown here: his sidekick "Mickey Muscle," their informant Big Bennie, girl bartender, and villain Lewd Leather, the leader of M.U.C.K. (Maniacal Underworld Control Corp).
The puzzle is probably not connected to the spying, since one was included last month, and another will be shared next month. The "cryptogayme" cipher is a nice stretch-your-mind exercise in a magazine mostly devoted to casual enjoyment.
The solution will be in next month's issue.
Pretty as a Picture
Speaking of casual enjoyment… the "Portfolio" covers four pages of the magazine: Full-page photos of young men wearing very little clothing. The portfolio is accompanied by ads from the photographers: $6 sent to an address in Germany will get you 8 black and white photos of two models, or 6 color slides. Alternately, $1 sent to a post office box in Detroit will get you "samples," which presumably will contain information on how to order more.
"More like this" is a recurring theme in all three magazines. Each contains contact information, mentions of homophile organizations (Drum has a full page listing more than 20 of them), and letters from the community.
The letters columns are compelling. Over and over, they say: Thank you. Thank you for helping me understand myself, my community. Thank you for helping me understand the truth about my loved ones. Thank you for showing me we can fight for better acceptance, for the rights our heterosexual neighbors take for granted.
The book reviews, while useful enough on their own, showcase one of the problems all homosexuals face: There is so little representation of them in literature and movies that they must accept any depictions of their existence as other than "evil" or "perverted" as a benefit. Books that draw on stereotypes are approved if they are not too inaccurate. Those that are well-written, in which the only homosexuals are background characters, are still recommended. This is a community eager to see their reality in print, and each of the magazines provides that to its audience.
Not So Different
The real truth shown by these magazines is this: These people are not so different from everyone else. Some gay men, like some straight men, go "cruising" for casual partners. Some gay men, like some straight men, would rather find a single person for a long-term committed relationship. Lesbians, like straight women, chafe under legal and social constraints. Lesbians, like straight women, fall in love and hope their trust will not be betrayed. Homosexuals, like heterosexuals, worry about what their families think of their career choices, their hobbies, and their partners.
With all these revelations of homophile lives and interests, the biggest discovery is that they are just people: some shallow, some passionate, some thoughtful, some clever, some angry, some shy. If they have an agenda, it's to be allowed to live and love in peace, just like their neighbors.
[Come join us at Portal 55, Galactic Journey's real-time lounge! Talk about your favorite SFF, chat with the Traveler and co., relax, sit a spell…]
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