A.E. HOUSMAN English scholar/poet, born, (d: 1936); Alfred Edward Housman was a classical scholar and poet of note. He was once viewed as a "great grey presence," divorced from the flesh and married to the mind. Young men read A Shropshire Lad and wondered. Was he or wasn’t he? There was no way to find out.

Later, he was painted as a sad recluse, sighing quiet sighs over a straight friend, Moses Jackson, and jerking off the Muse in unrequited love. In this view, Houseman was “in the grip of the ‘cursed trouble’ that soured the wells of his life, produced his poetry, and urged him to the topmost heights of scholarly renown.

Now we learn that the scholarly Cambridge don, far from being “cursed” used to make merry with a string of Venetian gondoliers supplied by his friend Horatio Brown, and was as well a regular patron of the male brothels in Paris. Can it be that the myth of the scholar virgin is just that, a myth?

TENNESSEE WILLIAMS, American dramatist was born (d. 1983); born Thomas Lanier Williams III, Tennessee Williams, was a major American playwright of the 20^th century who received many of the top theatrical awards for his work. He moved to New Orleans in 1939 and changed his name to "Tennessee," the state of his father's birth because he thought “Thomas Lanier Williams” sounded “like it might belong to the sort of writer who turns out sonnet sequences to Spring,” Tennessee won the Pulitzer Prize for Drama forA Streetcar Named Desire in 1948 and for Cat On A Hot Tin Roof in 1955. In addition, The Glass Menagerie (1945) and The Night of the Iguana (1961) received New York Drama Critics' Circle Awards. His 1952 play The Rose Tattoo (dedicated to his lover, Frank Merlo), received the Tony Award for Best Play.

Williams is nothing less than the stuff of theater history, on and off the stage. If at times Williams appeared to be his own worst enemy, he long lived with the pressure of having been the first publicly-known gay celebrity in America. It cannot have been much fun to watch his great Blanche DuBois undressed in quest for her penis by homophobic critics obsessed with proving that gay men know nothing about straight love. His other heroines have been similarly violated. If all writers pay a price for fame, Williams, being open and out as a gay man, paid more than his fair share.

Williams's relationship with Frank Merlo, a second generation Sicilian American who had served in the U.S. Navy in World War II, lasted from 1947 until Merlo's death from cancer in 1963. With that stability, Williams created his most enduring works. Merlo provided balance to many of Williams' frequent bouts with depression and the fear that, like his sister Rose, he would go insane.

T.R. KNIGHT, American actor, born; An Emmy Award-nominated and Screen Actors Guild Award-winning American actor Knight's most high-profile role to date is his current role as "Dr. George O’Malley" on ABC's top-rated, hit medical soap opera Grey’s Anatomy. Rumors over Knight's sexuality gained momentum when news reports surfaced in October 2006 that Grey's Anatomy co-stars Patrick Dempsey and Isaiah Washington were involved in an argument during which, Knight and others allege, Washington used an anti-Gay slur directed at an unnamed co-star. Washington later apologized, stating "I sincerely regret my actions and the unfortunate use of words during the recent incident on-set".

Knight, who is Gay, did not disclose his sexuality to the public until October 2006 — after the kerfuffle — when he released a statement through People magazine stating, in part, “I guess there have been a few questions about my sexuality, and I'd like to quiet any unnecessary rumors that may be out there. While I prefer to keep my personal life private, I hope the fact that I'm Gay isn't the most interesting part of me.” Knight was in People’s Top 50 Sexiest Man Alive of 2007.

In February, 2008 Knight and his then boyfriend, Mark Cornelson, attended the 2008 Elton John AIDS Foundation Oscar Party held at the Pacific Design Center in West Hollywood. Knight starred as Leo Frank in a production of the musical Parade, which opened October 2009, at the Mark Taper Forum in Los Angeles. He returned to Broadway in David Mamet's A Life in the Theatre in 2010, where he played the role of John, opposite Patrick Stewart. In 2019, he voiced Sir Cedric, the gay protagonist in the animated series The Bravest Knight.

In October 2013, Knight married Patrick B. Leahy, a ballet dancer and writer, in Hudson, New York. They had been living together for six years.

WALT WHITMAN, American poet died (b. 1819); Whitman is among the most, if not actually the most influential poets in the American canon, often called the "father of free verse" and as close to a Gay  saint as we might ever hope to see. His work is and has always been controversial, particularly his poetry collection Leaves of Grass, which has been described as obscene for its overt homoerotic sexuality.

Walt Whitman has been claimed as the "poet of democracy", a title meant to reflect his ability to write in a singularly American character. A British friend of Walt Whitman, Mary Smith Whitall Costelloe, wrote: "You cannot really understand America without Walt Whitman, without Leaves of Grass... He has expressed that civilization, 'up to date,' as he would say, and no student of the philosophy of history can do without him."

Modernist poet Ezra Pound called Whitman "America's poet... He is America." Andrew Carnegie called him "the great poet of America so far". Whitman's vagabond lifestyle was adopted by the Beat movement and its leaders such as Allen Ginsberg and Jack Kerouac in the 1950s and 1960s as well as anti-war poets like Adrienne Rich and Gary Snyder. 

Whitman also influenced Bram Stoker, author of Dracula, and was the model for the character of Dracula! Stoker said in his notes that Dracula represented the quintessential male which, to Stoker, was Whitman, with whom he corresponded until Whitman's death.

BEAUFORD DELANEY, who died on this date (b: 1901) was an American modernist painter. He is remembered for his work with the Harlem Renaissance in the 1930s and 1940s, as well as his later works in abstract expressionism following his move to Paris in the 1950s. Beauford's younger brother, Joseph, was also a noted painter.

His arrival in New York City at the time of the Harlem Renaissance was exciting. Harlem was then the center of black cultural life in the United States. But it was also the time of the Great Depression, and it was this that Beauford was confronted with on his arrival. "Went to New York in 1929 from Boston all alone with very little money…this was the depression, and I soon discovered that most of these people were people out of work and just doing what I was doing – sitting and figuring out what to do for food and a place to sleep."

Delaney felt an immediate affinity with this "multitude of people of all races – spending every night of their lives in parks and cafes" surviving on next to nothing. Their courage and shared camaraderie inspired him to feel that "somehow, someway there was something I could manage if only with some stronger force of will I could find the courage to surmount the terror and fear of this immense city and accept everything insofar as possible with some calm and determination".

Members of this disenfranchised community became the subjects of many of Delaney's greatest New York period paintings. In New York "he painted colourful, engaging canvasses that captured scenes of the urban landscape…his works from that period express, in an American Modernist vein, not only the character of the city, but also his personal vision of equality, love, and respect among all people". 

One of Delaney's works from this period, Can Fire in the Park (oil on canvas, 1946), where a group of men huddle together for warmth and companionship around an open fire, is described by the Smithsonian American Art Museum as a "disturbingly contemporary vignette [which] conveys a legacy of deprivation linked not only to the Depression years after 1929 but also to the longstanding disenfranchisement of black Americans, portrayed here as social outcasts… Despite its sober subject, the scene crackles with energy, the culmination of Delaney's sharp pure colors, thickly applied paints, and taut, schematic patterning. Abandoning the precise realism of his early academic training, Delaney developed a lyrically expressive style that drew upon his love of musical rhythms and his improvisational use of color." Works such as Can Fire in the Park "hover between representation and abstraction as that style evolved during the 1940s."

Delaney found "little corners in the world of the Great Depression that would or could be receptive to his work." He earned a studio space and place to live through his work at the Whitney as a guard, telephone operator and gallery attendant.

Commendably, Delaney established himself as a well known part of the bohemianism of the art scene of the period. His friends included the "poet laureate" of the period, Countee Cullen, artist Georgia O'Keeffe, and writer Henry Miller, among many others. He became the "spiritual father" of the young writer James Baldwin.

Despite the friendships and successes of this period, he remained a rather isolated individual. David Leeming, in his 1998 biography Amazing Grace: a life of Beauford Delaney, presents Delaney as having led a very "compartmentalized" life in New York.

In Greenwich Village, where his studio was, Delaney became part of a gay bohemian circle of mainly white friends; but he was furtive and rarely comfortable with his sexuality.

When he traveled to Harlem to visit his African-American friends and colleagues, Delaney made efforts to ensure that they knew little of his other social life in Greenwich Village. He feared that many of his Harlem friends would be uncomfortable or repelled by his homosexuality.

He had "a third life" centered on questions concerning the aesthetics and development of modernism in Europe and the United States; primarily influenced by the ideas of his friends, photographer Alfred Stieglitz and the cubist artist Stuart Davis (painter), and the paintings of the European modernists and their predecessors like Cézanne, Matisse, Picasso, and Van Gogh.

In 1953, just as the center of the art world was shifting to New York, Delaney left New York for Paris. Europe had already attracted many other African-American artists and writers who had found a greater sense of freedom there.

Europe became Delaney's home for the remainder of his life. About his new life and possibilities, Beauford entreated himself to "Keep the faith and trust in so far as possible. Love humility and don’t mind the insinuations that cause sorrow…and loneliness and limitations. We learn self-reliance and to hear the voice of God, too…and how to…not break but bend gently. Learning to love is learning to suffer deeply and with quietness."

His years in Paris led to a dramatic stylistic shift from the "figurative compositions of New York life to abstract expressionist studies of color and light." 

By 1961, heavy drinking had begun to impair Delaney's often fragile mental and physical health. Periods of lucidity were interrupted by days and sometimes weeks of madness. This pattern continued for the remainder of his life.

Shortly after his return to Paris in January 1970, Beauford began to display early symptoms of Alzheimer's disease. By the early 1970s, Beauford's sickness coupled with his financial instability made clear that he could no longer cope with daily life. In the autumn of 1973 his friend, Charles Gordon Boggs, wrote to James Baldwin, "Our blessed Beauford is rapidly losing mental control." His friends tried to care for him but, in 1975, he was hospitalized and then committed to St Anne's Hospital for the Insane. Beauford Delaney died in Paris while at St Anne's in March 1979. Charles Boggs handled Delaney's will, written on a scrap of paper, in which Delaney had requested that he be buried in Potter's Field.

In 1985 James Baldwin described the impact of Delaney on his life, saying he was "the first living proof, for me, that a black man could be an artist. In a warmer time, a less blasphemous place, he would have been recognized as my Master and I as his Pupil. He became, for me, an example of courage and integrity, humility and passion. An absolute integrity: I saw him shaken many times and I lived to see him broken but I never saw him bow." Baldwin marveled over Delaney's ability to emulate such light in his work despite the darkness he was surrounded by for the majority of his life. It is this insight of Delaney’s past, Baldwin believes, that serves as evidence for the true victory Delaney secured. Baldwin admired his keen ability to “lead the inner and the outer eye, directly and inexorably, to a new confrontation with reality." He further wrote, "Perhaps I should not say, flatly, what I believe – that he is a great painter – among the very greatest; but I do know that great art can only be created out of love, and that no greater lover has ever held a brush.