Page 254 - Gay San Francisco: Eyewitness Drummer - Vol. 1

234 Jack Fritscher, Ph.D.
Masculinity: The Representation of John Paul Pitoc’s Body in Trick” in
Paragraph , 26:1-2, March/July, 232-245.

II. The essay as published at the Queer Keywords Conference,
“The(e)ories: Advanced Seminars for Queer Research” Series,
University College of Dublin, Ireland, April 2005, which
invited “the coiners of various homo-words to reflect on their
neologisms, their cultural and societal significance, origins,
contexts, political agendas, and so forth.”

Homomasculinity:
Framing Keywords of Queer Popular Culture

Part I. Introduction: The Mise en Scene of Pop Culture
Part II. Apologia Pro Vita Sua (Sort a’)

“Good authors who once knew better words
now only use four-letter words writing prose.”
— Cole Porter, “Anything Goes” (1934)

Part I. Introduction:
The Mise en Scene of Pop Culture, the 1960s, and
Keystones in the Arch of the Stonewall;
A Survey of One Writer’s Linguistic Journey
through the Grotesque Odds of Publishing
up to the Post-Factual Age of Bush

In London, on May 14, 1969, in a very cruisy movie theater in
Piccadilly Circus, I asked a very hot sailor, “Are you ‘top’ or ‘bottom’?”
And he said, “You Americans. You label everything.”

In or around Stonewall, June 28, 1969, gay character changed.

“In or around December 1910,” Virginia Woolf famously wrote in 1924,
“human character changed.” The Bloomsbury Group re-keyed itself. In
1926, Ernest Hemingway’s protagonist Jake Barnes in The Sun Also Rises
virtually pukes in chapter three while Lady Brett Ashley parties with a
festive group of Parisian gay men that Barnes — rendered speechless with
Hemingway’s homophobia — cannot name with a noun but can only refer

©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
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