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THE FIRST GLIMPSE I had of Thom Gunn was his picture in a poetry anthology titled The Modern Poets, edited by John Malcolm Brinnin and William Read. It was assigned as a textbook in an English literature class I was taking at Emory University in 1963, with consequences for me that the teacher could not have anticipated. That anthology was the first to include pictures of the poets alongside their selection, a bonus that always makes the reader curious about how the writer’s appearance bears on the work itself.

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The work of Kinsey, Hooker, and others all emboldened a new brand of post-Stonewall gay liberation activists ready to engage in dramatic and confrontational tactics, including disrupting APA meetings and demanding equal time to refute the theories of homosexual pathology.

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The following speech by the late Barbara Gittings first appeared in The G&LR’s July-August 2007 issue. The speech was delivered on October 7, 2006, on the occasion of Gittings’ acceptance of the American Psychiatric Association’s Fryer Award for her contribution to GLBT mental health.

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Editor’s Note: This “Open Letter” started as a lengthy letter to the editor, but it was too long for that format and warranted more prominent placement. The author was so kind as to adapt the letter to this format.

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BERLIN CABARETS between the wars had their fair share of homosexual headliners (“homosexual” being the period term). Wilhelm Bendow, affectionately known as Lieschen, portrayed a scatterbrained, giggling “nance” whose naïve questions and double entendres provoked hilarity. Claire Waldoff, a regular at the lesbian clubs with her henna-dyed Prince Valiant hairdo and husky voice, sang of “Kicking the Men Out of Parliament.” They were both wildly popular with all ranks of society.

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The Institute was Europe’s gathering place for sexual minorities, especially trans people. Some of the first to undergo gender reassignment surgery stayed at the Institute.

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Capote was sui generis, way ahead of his time as far as being openly gay, and the women he called his swans were right out of an Edith Wharton novel.

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I know a good deal more about Stettheimer now thanks to Barbara Bloemink’s new biography of the artist. Bloemink revises the previous profile of Stettheimer as a “cloistered spinster” or an “eccentric maiden aunt.”

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When this writer traveled to Boulder, Portland, Dallas, and St. Louis in the 1970s, gay men in those towns recognized that what I was doing before meeting them was “cruising,” even though few in their space and time knew how to do so.

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