Gore Vidal, 1925–2012

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You could spend all day picking out choice quotes. So much is still pertinent.

From ‘Women’s Liberation: Feminism and Its Discontents’:

Those who have been treated cruelly will treat others cruelly. This seems to be a fact of our condition. The Patriarchs have every reason to be fearful of woman’s revenge should she achieve equality. He is also faced with the nightmare (for him) of being used as a sexual object or, worse, being ignored (the menacing cloud in the middle distance is presently no larger than a vibrator). He is fighting back on every front.

Take pornography. Though female nudes have been usually acceptable in our Puritan culture, until recently the male nude was unacceptable to the Patriarchs. After all, the male—any male—is a stand-in for God, and God wears a suit at all times, or at least jockey shorts. Now, thanks to randy Lilith, the male can be shown entirely nude but, say the American censors, never with an erection. The holy of holies, the totem of our race, the symbol of the Patriarchs’ victory over the Great Mother, must be respected. Also, as psychologists point out, though women are not as prone to stimulus through looking at pictures as men (is this innate or the result of conditioning?), they are more excited by pictures of the male erect than of the male at ease. And excitement of course is bad for them, gives them ideas, makes them insatiable; even the ancient Greeks, though freer in sexual matters than we, took marriage seriously. As a result, only unmarried girls could watch naked young men play because young girls ought to be able to look over a field which married women had better not know about.

Today we are witnessing the breakup of patterns thousands of years old. The patriarchal response is predictable: if man on top of woman has been the pattern for all our known history, it must be right. This of course was the same argument he made when the institution of slavery was challenged. After all, slavery was quite as old an institution as marriage. With the rejection of the idea of ownership of one person by another at the time of our Civil War, Women’s Lib truly began. If you could not own a black man, you could not own a woman either. So the war began. Needless to say, the forces of reaction are very much in the saddle (in every sense), and women must fight for their equality in a system which wants to keep them in manageable family groups. buying consumer goods. raising future consumers, until the end of time—or the world’s raw resources, which is rather closer at hand.

The New York Review of Books, July 22, 1971

From ‘Pink Triangle and Yellow Star’:

Although our mental therapists and writers for the better journals usually agree that those who prefer same-sex sex are not exactly criminals […] or sinful or, officially, sick in the head, they must be, somehow, evil or inadequate or dangerous. The Roman Empire fell, didn’t it? because of the fags?

Our therapists, journalists, and clergy are seldom very learned. They seem not to realize that most military societies on the rise tend to encourage same-sex activities for reasons that should be obvious to anyone who has not grown up ass-backward, as most Americans have. In the centuries of Rome’s great military and political success, there was no differentiation between same-sexers and other-sexers; there was also a lot of crossing back and forth of the sort that those Americans who do enjoy inhabiting category-gay or category-straight find hard to deal with. Of the first twelve Roman emperors, only one was exclusively heterosexual. Since these twelve men were pretty tough cookies, rigorously trained as warriors, perhaps our sexual categories and stereotypes are—can it really be?—false. It was not until the sixth century of the empire that same-sex sex was proscribed by church and state. By then, of course, the barbarians were within the gates and the glory had fled.

Today, American evangelical Christians are busy trying to impose on the population at large their superstitions about sex and the sexes and the creation of the world. Given enough turbulence in the land, these natural fascists can be counted on to assist some sort of authoritarian—but never, never totalitarian—political movement. Divines from Santa Clara to Falls Church are particularly fearful of what they describe as the gay liberation movement’s attempt to gain “special rights and privileges” when all that same-sexers want is to be included, which they are not by law and custom, within the framework of the Fourteenth Amendment.

The Nation, November 14, 1981

Previously on { feuilleton }
• Gore Vidal on American tolerance

Weekend links 119

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The BFI’s recent DVD release of Peter de Rome’s gay porn films has been mentioned here a couple of times already but I only bought a copy this week. It’s a remarkable release for a number of reasons, not least for showing how much attitudes towards pornography in Britain have changed in recent years. De Rome’s films are explicit enough to ensure that in the 1970s and 1980s anyone caught selling them in the UK might have been imprisoned. That you can now buy them uncut from a high street shop on a disc packaged with the usual care by the British Film Institute means another small part of our iniquitous past has gone for good. Among the extras there’s a documentary with the 88-year-old director discussing his work. This week he talked to BUTT magazine who also have one of his shorter films from the DVD, Hot Pants, on their site.

• “Reading this book, it is hard not to feel that the largest mental health problem – the really crazy thing – is society’s attitude to drugs in general and LSD in particular…” Phil Baker reviews Albion Dreaming: A Popular History of LSD in Britain by Andy Roberts.

• “Loved by aristocrats and immortalized in literature, Denham Fouts remains virtually unknown in his own hometown.” Richard Wall on The World’s Most Expensive Male Prostitute.

The very etiology of rabies is mythic: once the bite heals and the virus has traveled to the brain, “the wound will usually return, as if by magic, with some odd sensation occurring at the site.” Then there’s the fact that no definitive diagnosis can be made without taking a biopsy of the sick animal’s brain, leaving only one gory solution: decapitation.

Rabies is horror’s muse. In almost all iterations of the genre, those we most trust suddenly turn strange: a boyfriend morphs into a wolf at midnight, a fiancé turns out to be harboring a mad first wife in the attic, a friend is bit by a zombie and goes berserk.

Alice Gregory reviews Rabid: A Cultural History of the World’s Most Diabolical Virus by Bill Wasik and Monica Murphy.

• The Horror of Philosophy: Erik Davis talks to Eugene Thacker about Lovecraft, medieval mysticism, and thinking the world-without-us.

• Eagle Scouts Returning Our Badges: A Tumblr for those protesting the current anti-gay stance of the Boy Scouts of America.

• His Father’s Best Translator: Lila Azam Zanganeh on the late Dmitri Nabokov.

• Les Liaisons dangereuses: illustrations by Alastair (Hans Henning Voigt).

• Andrea Scrima looks at Robert Walser’s Der Spaziergang (The Walk).

• 10 Great Places to Meet Lesbians If You Have a Time Machine.

• Jesse Bering in Scientific American asks “Is Your Child Gay?”

• As Above, So Below (1981) by Tom Tom Club | Genius Of Love (1981) by Tom Tom Club | Mea Culpa (1981) by Brian Eno & David Byrne.

Be prepared

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Sodomites (no date) by Robert Sherer.

The Boy Scouts of America yet again proved itself a retrograde organisation by deciding this week after a two-year review to maintain its policy of exclusion for gay scouts and gay scout leaders. The Girl Scouts of America don’t have this kind of policy, nor do UK Scouting organisations. In honour, then, of the Boy Scouts of America’s decision here’s some work by a trio of North American artists all of whom have used scouting iconography for subversive or satirical purposes. Robert Sherer and Jason Driskill are both American while Daryl Vocat is Canadian. Vocat’s portfolio of prints is particularly funny, showing scouts tattooing each other and making bombs; William Burroughs would love it. Poor old Chuck Norris, meanwhile, would no doubt collapse with a fit of the vapours at the sight of Sherer’s scouts holding hands.

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Prints from A Boy’s Will (no date) by Daryl Vocat.

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Judging (2004) by Jason Driskill.

Elsewhere on { feuilleton }
• The gay artists archive

Weekend links 116

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Ankle Deep, a pyrograph by Robert Sherer whose work is showcased at The Advocate.

• “Bertrand Russell wrote in 1932, during another period of economic distress, ‘that immense harm is caused by the belief that work is virtuous, and that what needs to be preached in modern industrial societies is quite different from what always has been preached.’ ” From The Devilishness Of Idleness by Alex Gallo-Brown. Related: Owen Hatherley says “It’s the 21st century – why are we working so much?”

• Restoring James Joyce’s book of the night: Joyce biographer Gordon Bowker reviews the new edition of Finnegans Wake. Over at the NYRB Michael Chabon has a great piece about his own relationship with Joyce’s novel that manages to make some very un-NYRB references to Cthulhu, the Necronomicon and Michael Moorcock’s Elric. Related: Leopold’s Day, a limited edition (and expensive) map of Dublin using typography to depict the people and places of Bloomsday.

Verbally, it feels as though Burroughs, Joyce and Beckett are text messaging haikus back and forth: ‘beautiful/last/random fragments of poetry/finding syllables,/the waters fall/the waves fall/musical./pencil murmuring’.

James Kidd on A Humument by Tom Phillips.

• The Expanding Universe (1980), an album of early computer music by American composer Laurie Spiegel, will be reissued with additional recordings in September.

• A previously unreleased remix by Surgeon of Teenage Lighting by Coil has been made public.

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Small Museum of Nature and Industry (2010) by Susan Collard.

• Queer Kids In America, a photo project by M. Sharkey.

• Walter Benjamin’s Grave: A Profane Illumination.

• The Visual Art and Design of Famous Writers.

• Nylon Sculptures by Rosa Verloop.

• Froschroom (1994) by Mouse on Mars | Bib (1995) by Mouse on Mars | Cache Coeur Naïf (1997) by Mouse on Mars.

Weekend links 113

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Wunderkammer (2011) by Emma Leonard.

As someone who was eight years old at the time of the Apollo moon landing, I remember calculating that I would be thirty-nine in the magic year 2000 and wondering what the world would be like. Did I expect I would be living in such a world of wonders? Of course. Everyone did. Do I feel cheated now? It seemed unlikely that I’d live to see all the things I was reading about in science fiction, but it never occurred to me that I wouldn’t see any of them.

A quote from Of Flying Cars and the Declining Rate of Profit, an essay by David Graeber. Related: Another World: David Graeber interviewed by Michelle Kuo at Artforum.

• Constellation, a series of portraits by Kumi Yamashita: “This body of work consists of three simple materials that, when combined, produce the portraits: a wooden panel painted a solid white, thousands of small galvanized nails, and a single, unbroken, common sewing thread.”

• Nicole Rudick at The Paris Review on the history of psychedelic art. Related: The psychedelic art and design of Keiichi Tanaami. Also Manifesting the Mind: Footprints of the Shaman, a two-hour documentary about psychedelic drugs.

• Already mentioned here, The Lost Tapes, a 3-CD collection of previously unreleased recording by the mighty Can, is out on Monday. There’s a preview of ten of the tracks here.

• “I can’t think of anybody who would have a good word to say for centipedes…” Duncan Fallowell (a Can associate for many years) interviewed William Burroughs in 1982.

• Herb Lubalin: American Graphic Designer and the Herb Lubalin Study Center’s Flickr sets.

• Strange Flowers goes to the movies with everyone’s favourite Bavarian king, Ludwig II.

• The Sphinx’s Riddle: The Art of Leonor Fini at the Weinstein Gallery, San Francisco.

• More Teutonica: A Spacemusic Primer by Dave Maier.

• Van Dyke Parks: return of a musical maverick.

• Forty Posters for Forty Years at Pentagram.

• Donovan’s Colours (1968) by Van Dyke Parks | Sailin’ Shoes (1972) by Van Dyke Parks | Clang Of The Yankee Reaper (1975) by Van Dyke Parks.