Page 69 - The Life and Times of the Legendary Larry Townsend

Jack Fritscher 53

and Larry was fifteen and I was six. Tom’s compeer, the edgier
artist Rex, born during the war, was, because of his coded fine-art
portfolios of severe Teutonic-American leathermen, denounced as
a “Naziphile” in that ad absurdum essay, “S&M: The Dark Side of
Gay Liberation” in The Village Voice, July 7, 1975. In response in
1976, Drummer published a Rex leatherman stylishly harnessed
on the cover of the “Holiday Issue,” number ten; and then fea-
tured the pointillist artist alongside Robert Mapplethorpe (who
collected Rex’s prints and was influenced by Rex’s leather visions)
in the 1978 special S&M art issue, Son of Drummer.
Many S&M men, especially those born around the midcen-
tury World War, fantasize about fascism in the same way that
Larry, who served as a teenage anti-Nazi plane-spotter at the
Peddie School, romanced fascism by transposing its evil power
plays—in the counterphobic way leather culture digests problem-
atic realities—into the beating sadomasochistic heart of his writ-
ing. Larry was a purposeful reader gleaning world history whose
undercurrents of sex and sadism he adapted into dozens of sexy
historical novels from The Fairy King: The Life of Henri II, King
of France (1970) to his 649-page magnum opus, Czar! A Novel of
Ivan the Terrible (1998). As shown in photos, a shelf in his office
was lined with several best-selling histories of the Third Reich.
When stationed with the U.S. Air Force in Germany, he became
a devotee of Joseph Musil’s bildungsroman Young Törless, a 1906
novel he recommended about S&M brutality in the German mil-
itary just before the rise of the Nazis. Larry, the political activist,
was so aware of the pop-culture confusion of leather and Nazis
that he directly addressed the psycho-erotic nexus with many
references throughout both The Leatherman’s Handbook and its
sequel The Leatherman’s Handbook II (1983) in which he wrote:

I can’t imagine anyone in his right mind seriously want-
ing to revert to this [Nazi] period. As with many other
historical evils, the fantasy will exclude the reality and
the horror. We focus only on the parts we find stimulat-
ing, or titillating. The same barrier of time and/or space
makes it possible to look on other atrocities in a very
different light from the people who had to endure them:

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