THE FIRE IN MOONLIGHT
Stories from the Radical Faeries
Edited by Mark Thompson
White Crane Wisdom Series
9781590213384, 309 Pages, $25.00
Mark Thompson’s latest anthology, The Fire in Moonlight (White Crane), is a collection of first person accounts of the Harry Hay-inspired Radical Faerie movement. Hay, a co-founder of the Mattachine Society, joined forces with Don Kilhefner and Mitch Walker to start the Faerie movement in order to add a spiritual dimension to the (often dry) nuts and bolts world of emerging gay politics.
Inspired in part by the writings of Edward Carpenter and the Calamus poems of Walt Whitman, Hay saw the homosexual as much more than a creature fighting for rights in a hostile society. The homosexual, according to Hay, was a multidimensional being with roots in the mythic, a sort of alien spirit with special healing gifts for the world.
As Stuart Timmons notes in his introductory essay, “The Making of a Tribe,” Hay once told a circle of 200 Faeries: “We Faeries need to stop saying, ‘My consciousness is better than your consciousness.’ That’s heterosexist. No one person, no one group, no one ideology has the answer. You need a spirit.”
Theologians may quibble with that relativist statement, insisting that if one truth is as good as another truth, then there’s no truth anywhere. One thing’s certain, however: You have to have spirit in order to “build.” For Hay, this meant constructing a homosexual spiritual dimension outside the world of conventional religion.
In a 1975 edition of RFD, Hay wrote: “To be a true homosexual, is to be put at odds with home, school and society….We are so other that we have to learn early how to protect our very survival.”
While this perspective may seem dated post-DADT, Hay was nonetheless insistent that a pronounced queerness was buried inside the homosexual’s “stubbornly perverse genes.” Hay’s vision of a monastic-like collective of queer men of all ages coming together in friendship circles for a process of “shedding the ugly green frog skin of hetero-imitation” started with the first Faerie Circle in Colorado in 1979.
Called “A Spiritual Conference for Radical Faeries,” at that Labor Day event hundreds of men (the gatherings would later include women) participated in mud baths and neo-pagan, quasi-Native American rituals like circle hand holding, chanting, and taking turns speaking to the circle while holding a Talking Stick. Many of these ad hoc talks were spiked with references to Aliester Crowley as well as Hay’s own take on what it means to be “queer” and “other.”
In these free-love pre-AIDS gatherings there was ritualized group sex as well as individual couplings. As Timmons observes, “In selecting fairies as a role model for gays, [Hay] combined logic with inspiration to surpass the medieval Mattachines—to a pre-Christian time and beyond human limits.”
With its emphasis on aspects of Native American culture and worship of the earth, the early Faeries attracted gay men who had had enough of the dead end clone life in the urban gay ghetto.
At the second Spiritual Gathering for the Radical Faeries in 1980, in Estes National Forest above Boulder, Colorado, faerie names were adopted and the emphasis on paganism was enhanced. As contributor Carol Kleinmaier notes, besides a denial of spirit-body and male-female duality, Faerie spirituality “was sourced in… the celebration of sacred sexuality, Wicca, paganism and shamanic traditions.”
As one would expect, highly eclectic and a diverse range of spiritual references as well as divergent opinions about the Faerie experience mark these essays.
Allen Page, for instance, writes that during the first gathering he “asked the Goddess (which Goddess he doesn’t say) to show him why he needed to be there.” Meanwhile, “a young man shook a rattle and stands up in a speckled dress.” The philosophy was to embody masculine and feminine energies although one finds in many of these stories a distinct prejudice against patriarchy as well as an emphasis “to take the gifts of the Father back to the Mother.”
Philadelphian Chris Bartlett (The Lady Bartlett) notes:
I like cultures that use rituals to embody choice: the Amish Rumspringa when Amish teens, following a year of exposure to the outside world, choose to join the Amish community (be baptized) or are shunned. Another example is the bar/bat mitzvah when young Jews choose to take on the responsibilities of adulthood. The investiture of a priest in various religions is another moment of powerful choice. When participants in a culture choose to embrace that culture, they become full actors, as opposed to full recipients.
In Faerie circles, identification with the feminine is assumed. It would not be unusual, for instance, for the males in a circle to cry while listening to reports of the rape of a female friend of a member. Since Radical Faeries spanned all age categories, older men were respectfully called elders and were regarded as purveyors of wisdom, even if that “respect” ended at the bedroom door. Wisdom cannot compete with beauty when it comes to a good lay.
Just as in any local city bathhouse, the young are attracted to the young, as the older and less appealing find themselves casting about for a bone or having to spend their nights alone, Trappist monk-style.
Artwit, for instance, writes that at one gathering he got lucky three times so that his “usual depression at being alone while the slender twinks slept in pairs was less severe.” Highly critical of many in the Faerie community, Artwit states that “self righteous beliefs about food seem to be a hallmark of the Faeries. We used to joke in the kitchen about making ‘Cream of Vegan’ soup for our next meal.”
Artwit also writes about the Faerie Drag Wars.
The first two Gatherings had that old rustic-northwest-jeans-and-flannel flavor and here come these queens from California doing wigs and make-up. So a small culture war was started at the Gathering, with the hosts deciding not to send the Call to California next year. “[But] over the years, wigs and makeup won and overtook whatever Heart Circles there were.
For Artwit, the Faeries main problem was making social problems into personal ones.
“I have no desire to be a Faerie Mormon and make breakfast while the pretty ones sleep in and fuck,” he writes.
Editor Mark Thompson is to be commended for not editing out Artwit’s less than flattering reminiscences. The inclusion of such criticism is a tribute to the Faerie generosity of spirit, although there’s enough good stuff in this book to make Harry Hay proud.
As Berbiar (Jerry the Faerie) puts it, “We need queers who have radical askance alternative viewpoints to dominant cultural mores. May the Radical Faerie movement continue to play its role in providing a cauldron of change so needed in this ignorant and repressive world.”
The Smithsonian has a brilliant show titled Hide/Seek exploring sexual difference in modern portraiture. It is a stunning show and the companion book by the same name is worth every penny. The range of artists and the sheer quality of the art on display is a once in a lifetime kind of show and I encourage anyone within visiting distance of our Nation's Capital to pay a visit to the Smithsonian.
Because, of course, this privately funded exhibit is under attack by the radical religious right again, this time in the guise of The Catholic League, the self-appointed Taliban of Catholic faith. And what exactly has them so exercised? A video by gay artist David Wojnarwicz titled A Fire in My Belly, mourning the death of his lover. Apparently there is an image in this video of the crucified Jesus's body, covered with ants. Now…it's not the sado-masochistic image of a man nailed to a wooden cross that upsets Mr. Donahue. It's the ants. His comment is that the Smithsonian wouldn't show Mohammed covered in ants, but Jesus? That's OK.
Really? Is fundamentalist radical Islamism who you really want to get in bed with Bill? … er, I mean associate with?
I digress. Herr Donahue goes on to — predictably I suppose — demand that Congress cease all funding for the Smithsonian because…and you can't make this stuff up…the regular Joe, the blue collar worker doesn't go to museums. I (Donahue) don't. They go to see WWF wrestling matches (really? all of them?) …and we don't ask for tax-support for wrestling.
Where to begin?
To draw a parallel between wrestling…even legitimate wrestling, not even the comic book staged variety…and the Smithsonian is just so..what? Ignorant? Breathtakingly stupid? I'm sorry…it deserves a new word all its own: Goebbelsian (as in Joseph "tell-a-big-enough-lie-and-they'll-believe-you" Goebbels.) Just as a charitable explanation, one (wrestling) is a staged form of entertainment or sport. The other, (The Smithsonian) is an educational institution that preserves the culture and history of these United States. We fund one because it is in the interests of education. We don't fund the other because a) it makes a gazillion dollars on it's own, and b) it's stupid.
Oops. My bias slipped. Oh well. The Smithsonian, by the way, caved. Wojnarwicz's video has been taken down. But Herr Donahue is still demanding that funding for the museum be cut. If I could show it here, I would.
It is always almost chilling when The Roman Catholic Church (and let's not even begin with the pedophile scandal) cries about being "under attack," whines about "discrimination" …while they attack and discriminate and murder at will.
This man William Donahue should not be taken seriously. And yet "fair and balanced" has him on every news broadcast, making a publicity stink in the interests of his bigotry.
It's hard not to consider "second amendment remedies", ya know?
Hide/Seek is one of the most important, most ground-breaking gay-and-Lesbian-friendly exhibits to appear in any museum anywhere in a long long time. That it is in The Smithsonian…our nation's own museum…is all the more important. If you can possibly make the journey to visit and support this exhibit (which, I repeat, is privately funded...no tax-payer money is even connected other than the fact that it is in a government-funded building.) This is a visual history of LGBT people in the most lyrical form. Our ancestors. Our history. Our sacred texts and prophets (I'm looking at you Walt!) The most valuable thing that can be stolen from a people is their history. That's what Herr Donahue is trying to do. Rewrite history. Erase us.
He is, fortunately, a dying breed of homophobic, sex-phobic, good-ol' boy bigot. He will fail. But not if we don't fight back. Go to this show. Buy the book. Know …AND RESPECT…your history.
A 304-page catalog titled Hide/Seek Difference and Desire in American Portraiture has been authored by the exhibition co-curators, David C. Ward, National Portrait Gallery historian, and Jonathan Katz, director of the doctoral program in visual studies, State University of New York at Buffalo. The catalog will be published by Smithsonian Books and distributed by Random House; it will be on sale for $45. It is the perfect holiday gift for any gay person in your life. Maybe even you.
Stephen Wayne Foster is almost a Native Floridian. Though born in Virginia in 1943, he moved with his family to Miami a year later and grew up in Miami Shores. Foster studied at Miami-Dade College and the University of Miami, where he received a Bachelor of Arts in English with a minor in History. Now retired, Foster lives in an apartment in Coral Gables that he first occupied in 1975, having lived through almost a century of South Florida gay history and culture.
When Foster was 17-years old and in high school, he discovered gay history. "I came across Sir Richard Francis Burton's [in picture, left] translation of the Arabian Nights from 1880 which included a very long article about the history of homosexuality. But for many years I didn't know where else to look for it [gay history]. In 1969 I went to Washington, D.C. I went to a newsstand and bought a copy of GAY, the Jack Nichols publication. I took the issue home with me and read an article by Dick Leitsch of New York Mattachine about gay history in which he said that nobody was writing about gay history and that there was a need for this. So I felt that if anybody was going to do it I should do it."
"At that time I was still a student at the University of Miami. So I took a notebook and a pen and I went into the student library and saw thousands of books before me and I didn't even know where to begin. But on the very first day I came across a book written a century ago called The History and Development of the Moral Ideas by Edward Westermarck. And this contained a long essay about gay history and anthropology and it formed the structure for all of my research after that."
"My mother died in 1970 and I moved away from home. And my father died in 1973. At some point I developed a habit of going down every Saturday to the University of Miami and spending the whole day at the Library doing research. I also went to the public libraries, to the medical library, the law library, every important library in Dade County and collected a vast amount of information. Eventually I gathered notes from at least 5,000 books."
Though Foster realized that he was gay when he was 13, he did not come out til 1969 when he first met other gay people and discovered Miami's "gay beach" on 21st Street and Collins Avenue. That was a time when the Miami Beach police ("real bastards" in Foster's opinion) used the laws as excuses to raid gay bars and make gay folks' lives miserable in so many ways. For this and other reasons, it took time for Miami gays to get organized. When activist Frank Arango came down from New York in 1972, Foster remembers, he Awas dismayed to find that there was no political base so he had to create one. Word got out and we met at the house of Barry Spawn," another local activist. Out of this meeting was born the Gay Activists Alliance of Miami (GAA-Miami).
According to Foster, GAA-Miami met at Spawn's home for a while before moving to the Center for Dialog, an activist group connected with Miami's St. John Lutheran Church that Foster dubbed "the center for all radical activity in Miami." (Miami's MCC also met at that Church.) Its founders, all white men (except Arango), formed the Executive Committee: "The president of the group was Bob Barry. The Vice President was Barry Spawn, I was the Treasurer and Bob Basker [best remembered for his later work with the Dade County Coalition for Human Rights] was Secretary. Frank Arango helped us out but I don't think he had a position. And the reason that they gave me the position of Treasurer is because I had to take the money of the organization and put it in my own private banking account under my own name since I was the only person they trusted with the money," he says.
library. Foster approached the Rev. Don Olson, pastor of St. John's Lutheran Church, and "asked him if I could use the room on the second floor. Olson gave me the go-ahead. He put some shelving into a small room on the second floor of the Center for Dialog and I took my private collection of books and publications and put them there. But three weeks later he came to me and said that he was embarrassed if straight people might walk past the open door of the library and see that it contained gay material so he wanted me to keep the door shut. I felt very insulted by that and I took all the material and took it home. So the gay library was the first one that we had but it only lasted maybe three weeks." This was a year before Mark Silber founded the Stonewall Library.
In 1972 GAA-Miami filed a class action suit against Miami Beach that led to the overturn of that city's law against cross dressing. Foster contributed to this victory by providing GAA-Miami with incriminating information about the Miami Beach Police Department that he had collected. Later that year Foster and other GAA-Miami members joined other activists to protest both the Democratic and Republican conventions that were being held on Miami Beach. To accommodate all the protesters, the City of Miami Beach opened Flamingo Park and let the protesters camp there. "There was a special area off to one side in the Park that became the 'gay area,'" Foster adds, one that attracted its share of queer notables.
One of those notables who visited Flamingo Park was Dr. Frank Kameny, whom Foster had met previously through their mutual friend Bob Basker. Dr. Kameny came to Miami for the conventions and Foster joined
him on a tour of the Park. One of the colorful creatures Kameny encountered in the gay section was "a somewhat overweight gay teenage boy known as Corky. He was in the gay area of Flamingo Park and he was persuaded to put on some sort of outrageous costume, complete with feathers. And he paraded up and down and some tourists stopped by to take pictures of him. And all of a sudden Kameny showed up and said, 'Corky! What are you doing? You are giving homosexuality a bad name! Take off those feathers!' I thought that was priceless," he laughs.
Unfortunately, GAA-Miami did not long survive the 1972 conventions. As Foster recalls, "the thing that killed it was simply that people were showing up during the conventions and then when the conventions went away and the antiwar demonstrators went away and the whole thing died down and returned to normal then the people lost interest." Foster himself lost interest when he "got into an argument with a member of the Executive Committee and resigned. And I sent them their money that was in my account. And they took the money and sent out an emergency letter to all 250 people who were on their mailing list, asking them to show up for an emergency meeting so they can get the organization going again. And they [the EC] showed up at the meeting place and waited two hours and nobody showed up. Nobody!" By the end of 1973, GAA-Miami was history.
After Foster left GAA-Miami, he "was involved in the creation of a gay student group at the University of Miami," which was also short-lived. Unfortunately, in 1974 Foster developed a severe case of agoraphobia, which discouraged his participation in Miami's growing LGBT movement though of course he kept up with new developments. (Foster has since recovered from his agoraphobia.)
Foster's withdrawal from the political arena allowed him to return to his first love, gay history. By the late seventies, Foster had become a major contributor to the growing field of gay studies. Foster's "introduction as a gay historian" was an essay on Sir Richard Francis Burton. ["The Annotated Burton"] that appeared in the anthology The Gay Academic, edited by Louie Crew [ETC, 1978]. "At the same time I was helping Jonathan Ned Katz write his book Gay American History [Crowell, 1976]. I gave him very significant help." In his groundbreaking book, Katz gave credit to "Foster's inspired research assistance [which] led to the discovery of numbers of important documents." Through the years, Foster "helped many other gay scholars write their books. And my name is mentioned in at least thirty books, usually in the form of footnotes saying 'I wish to thank Stephen Foster for his help.' " Foster also contributed original essays and translations to the pioneer gay journal "Gay Sunshine."
Though Foster was never a member of the Gay Academic Union, he contributed to the GAU's periodical "The Cabirion," aka "Gay Books Bulletin" [1979-85]. Through the efforts of "Cabirion" editor Wayne Dynes, Foster contributed an article on gay communities for The Encyclopedia of Southern Culture [Edited by Charles Reagan Wilson and William Ferris, UNC, 1990]. Foster followed that achievement by writing, for the Dynes-edited Encyclopedia of Homosexuality [Garland, 1990], articles on such diverse topics as Adelswärd Fersen, Afghanistan, Sir Richard Burton, Ralph Chubb, Charles Fourier, Henry B. Fuller, Robert de Montesquieu, Pirates, Poetry, Travel and Exploration, Edward Perry Warren and Oscar Wilde. Though some of the other contributors to the Encyclopedia of Homosexuality used pseudonyms (which caused a bit of a controversy at that time), Foster is quick to assert that in this case, as "in all of my writing, I used my real name." All in all, Stephen Wayne Foster should be credited for some of the most notable contributions to our culture.
This is the second of a series of articles about the history of South Florida’s LGBT community. The first one was a personal account of the Miami bar scene in 1974. I invite other veterans of South Florida's LGBT community in the 1970s and 1980s to share their experiences with us. You may reach me at firstname.lastname@example.org.
White Crane friend, advisor—and
all round mensch—Malcolm Boyd, will give a concert reading of his prayer-poems
accompanied by a jazz trio at the 2010 Sausalito
International Film Festival on August
14. Musicians appearing with Boyd are guitarist Johnnie Valentino, composer
Scott Page-Payter on keyboards and percussionist
jazz musician Vince
Guaraldi. "The Anatomy of Vince Guaraldi," a new film in
which Boyd appears, will be screened at the festival. Over four weeks in 1966 a
remarkable series of performances at the hungry i
nightclub in San Francisco's North Beach captured the imagination of hip
audiences and resonated around the world. Dick Gregory gave the stage to
Guaraldi and Episcopal priest-author Boyd. Prayers, Beat poetry and jazz
fused. Though covered by global media the performances were never
recorded. Very few had an opportunity to experience this happening. Until
now. The prayer-poems are from Boyd's bestselling classic "Are You
Running with Me, Jesus?"
White Crane Books offers two other titles by Boyd Take Off The Masks, his classic spiritual biography and coming out story and A Prophet in His
Own Land: The Malcolm Boyd Reader, collected writings
from five decades.
So it is with no small amount of pride and joy we report that with the attention and loving care of his family, especially his
sister, Gay, and friends like as Mark Thompson – he's really made a remarkable
recovery! So much so that it looks like he's going to help with the
celebration of what would have been Harry Hay's 100th birthday. Nice to get
some good news!
Thompson, a member of the White Crane Advisory Board, and former editor at The
Advocate, sent this wonderful news about historian Stuart Timmons:
friends of author and community activist Stuart Timmons gathered last week
to celebrate his remarkable recovery from a major stroke two-and-a-half
years ago. Timmons, 53, is still wheelchair bound, but is now fully
mentally alert and with the ability to speak and move about with assistance.
He is expecting a return to his research and writing about GLBT
history and is especially delighted with the invitation
to participate in Centennial celebrations honoring the life and
work of gay movement founder Harry Hay.
two-day conference at City University New York and a major exhibition at the
San Francisco Public Library are in the planning stages, with other
cities soon to be included. Stuart wrote the award-winning biography on the
legendary gay rights leader, The
Trouble With Harry Hay, in 1990. Harry Hay was born on Easter
Sunday, April 7, 1912, in Worthing, England, although he lived many decades
of his life in Los Angeles.
Lee Mentley added:
is doing amazing well…, had a great lunch at “The Coffee Table” and he was
alert with full memory correcting us on our history and although speaking
slowly was participating in the conversation. Well on his way to full
recovery! He spoke with Joey Cain on the phone and will be on the planning
committee for the 100 Year Celebration for Harry Hay in San Francisco and
New York City. It was a joy to be with him!
of you gave support for Stuart's recovery, so we wanted to let you know
that it was money well spent. Stuart Timmons is a walking library of
GLBT history and of Harry Hay and John Burnside in particular. We need
him and we need his genius.
in the photo are: (left to right) Mark Thompson, Stuart Timmons, Robert
Croonquist and HRH Lee Mentley.
Brose is an experimental film artist and has created over thirty films since
1983. His films have been shown at international film festivals, museums, art
galleries, and cinematheques in the United States, Europe, Asia, Australia and
South America. Brose’s most recent film, De Profundis has been greeted with
critical acclaim and has been screened at more than eighty venues and festivals
worldwide since its release. De Profundis is a 65-minute experimental film
based on Oscar Wilde’s prison letter with an original score for the film by the
American composer Frederic Rzewski. In 1989 he began a series of film
collaborations with contemporary composers to explore the relationship between
the moving image and music.
The issues here are fundamental: freedom of speech, freedom of
expression, and artistic freedom. The case is precedent-setting, and
will help determine whether anyone exercising their right to free speech
can be criminalized merely for their ideas—a fundamental violation of
the United States Constitution.
The case of Lawrence Brose is a prime example of the contemporary
abuse of power by Homeland Security and the Justice Department. The
charges brought against Brose essentially make engaging a difficult
issue a criminal offense and recall the government’s tactics during the
McCarthy trials of the 1950s. Like that infamous challenge to
Democracy, this case questions how far the government can reach,
unopposed, into artists’ studios, galleries, museums, and even our homes
to silence free speech, thought, and inquiry.
Case For Support
Lawrence Brose is not a criminal, he is an artist, doing what artists
do best: asking difficult questions about our life and times in order
to illuminate a new perspective as we struggle to move forward as a
culture. His experimental cinema has a distinguished track record of
engaging issues that affect the gay community, such as AIDS and
hostility from certain segments of the public. Facing problematical
subjects is precisely the job that people like Brose carry out in our
society – they explore unexamined dilemmas and present them for our
contemplation. It is truly tragic to see him attacked with the blunt,
and misguided legalistic weapon of pornography prosecution.
Lawrence Brose is working in a well-established tradition of image
appropriation, drawing specifically on images of masculinity in home
movies, old films, Gay erotica and documentaries. Brose collects found
still images, which he then processes and re-processes to find more
depth in the picture, producing complex layers of imagery that are
highly conceptual and offer a poignant commentary on normative
conventions of gender and sexuality. The final product is as abstract as
the paintings of Willem de Kooning, and a seizure of source material
entirely misrepresents the final outcome.
As experimental filmmakers Kenneth Anger and Andy Warhol before him,
Brose’s work pushes the envelope to create space for new expression.
For our society to remain open and vibrant, the answer is not to
criminalize that space for investigation, but rather to welcome it into
the marketplace of free ideas for examination.
The case against Lawrence Brose demonstrates an inappropriate
application of laws intended to protect children, and in the process
victimizes an experimental artist seeking to comment on societal woes.
The fact that he is under indictment for using images made by others to
examine the taboos that the laws are meant to prevent–is as
overreaching as it is troubling. It is so far from the intent of the
law, that it serves only to create a climate of fear. The result is
censorship and a chilling effect on the free expression of all artists
and all people. Censorship of this nature, and in all of its many forms,
occupies a realm of self-righteous presumption that abjures complexity
and results only in contradiction. It is very important that as
individuals living in a democratic society, we contribute to and speak
out openly in Brose’s defense, in essence defending our own lives and
our fundamental rights to think, work, and create freely.
This is the first time a case of this nature will be taken to trial.
It is important to note that Brose was not searching for the alleged
images nor is he accused of producing, distributing, buying or selling
pornography. This suit will be a protracted and expensive ordeal; one
that will have a profound impact on all artists. Your support is
greatly needed and much appreciated.
This website has been published by friends, colleagues and supporters
of Lawrence Brose, an artist and arts curator who has recently been
alleged to possess purportedly illicit digital images. One hundred of
the listed images are film frames from his highly acclaimed film De
Profundis, based on Oscar Wilde's prison writing. The purpose of the
website is to attest to Lawrence’s innocence, to provide a forum for
testimony on his behalf, and, importantly, to collect funds needed for
his legal defense.
We are in the process of collecting testimony from individuals, many
of whom are artists, academics and curators significant to the fields of
art and culture.
The Lawrence Brose Legal Defense Fund is a Class A Non-Profit
Corporation registered with the State of New York. Donations are not
tax deductible. To donate please send a check payable to "Lawrence Brose
Legal Defense Fund" and mail your check to PO BOX 501, Callicoon, NY
12723. Please see the Donate Now page for additional information. Or make a donation using Paypal.
machismo, meat-eaters – Argentines are the world's biggest carnivores,
70 kilos (154 lbs.) of beef per person – and military coups. According
“Completely Queer: The Gay and Lesbian Encyclopedia” (1998),
endured some of the most brutal campaigns of official and unofficial
of lesbians and gay men anywhere in the 20th century.” After the
coup of March 24, 1976, “some 400 gay men were ‘disappeared’ – kidnapped,
barbarically tortured, and executed . . . Encouraged by Roman Catholic
leaders, the dictatorship raided and closed gay bars, arresting as many
men in a particularly brutal 1978 campaign that took place on the eve of
World Cup soccer tournament in Buenos Aires. In 1982 and 1983, the last
two years of the dictatorship, paramilitary groups assassinated a number
men working in the arts. . . .” But with the re-establishment of
democracy in the 1990s, “Buenos Aires emerged . . . as the gay capital
America, with vocal rights organizations and a lively gay and lesbian
they play as well as they did today. That was a pleasing result and
was a job well done. I still prefer women. I am dating Veronica, who is
and 31 years old." Though Maradona never misses an opportunity to
us he’s a jerk, his eyebrow-raising reaction to a reporter’s innocent
indicates that not everything is peachy-keen down Argentine way.
political parties, as it is with the Republican Party in the U.S. Here
have a long way to go before we catch up to the “carnivores” of the
animals regularly have partners of both sexes, and some even live in
groups where sexual activity is common among all members, male and
female. Many creatures are ‘transgendered,’ crossing or combining
both males and females in their appearance or behavior.”
different kinds of animals worldwide, and is found in every major
region and every major animal group.” But we don’t need Bagemihl for
anecdotal evidence. Hardly a week goes by that we don’t hear stories
same-sex oriented otters or rabbits. You don’t have to go to the Zurich
Zoo to learn about “the indiscriminate and almost insatiable sexuality
apes” or “how gay male dolphins use their lovers’ blowholes for sexual
gratification.” Just last year a review paper by Nathan Bailey and
Zuk of the Department of Biology at the University of California in
concluded that “same-sex behavior is a nearly universal phenomenon in
kingdom, common across species, from worms to frogs to birds.”
greylag geese and turkeys.” According to the authors of Out in All
Directions: The Almanac of Gay and Lesbian America, same-sex behavior
documented in all kinds of animal species, including antelope, bugs,
butterflies, cats, cattle, cockroaches, crickets, dogs, donkeys,
elephants, flies, geckos, guinea pigs, hamsters, horses, hyenas, lions,
mice, moths, octopuses, orcas, porcupines, raccoons, rats and wasps. “In
1994,” according to the Almanac, “two male flamingos in the Rotterdam
Zoo in the
Netherlands got the nesting urge and set up a same-sex co-habitation. After the two repeatedly sought to steal eggs from female flamingos to
them as their own, the zookeepers decided to provide them with a
egg. he proud parents successfully hatched their own little chick, and
remained faithfully by the side of the baby flamingo for a while.” The
whole world knows about Roy and Silo, two male chinstrap penguins at the
Park Zoo in New York who lovingly hatched and raised an adopted chick,
Tango. (The story of Tango and her two daddies appears in 2005's
often-censored children’s book, And Tango Makes Three, by Justin