Francisco Aragón: “Asleep You Become a Continent”

Photographers Unknown, Asleep You Become a Continent

asleep you become a continent—
undiscovered, mysterious, long,
your legs mountain ranges
encircling valleys, ravines

night slips past your eyelids,
your breath the swaying of the sea,
sprawled across the bed like
a dolphin washed ashore, your mouth

is the mouth of a sated volcano,
O fragrant timber, how do you burn?
you are so near, and yet so far

as you doze like a lily at my side,
I undo myself and invoke the moon—
I’m a dog watching over your sleep

Francisco Aragón, Asleep You Become a Continent (Francisco X. Alarcón), Glow of Our Sweat, 2010

Born in San Francisco in 1968, Francisco Aragón is an American poet, essayist, translator and editor. The son of Nicaraguan immigrants who settled in the United States in the 1950s, he earned his Bachelor of Arts at the University of California, Berkeley, and a Master of Arts in Spanish at New York University. Upon his return to the United States.in 1998 after a decade in Spain, Aragón completed his graduate degrees in Creative Writing from the University of California at Davis and the University of Notre Dame.

At the University of Notre Dame in 2003, Aragón became the director of Letras Latinas, the literary program of the Institute of Latino Studies and a founding member of the Poetry Coalition. A winner of an Academy of American Poets Prize, he served on the board of directors of the Association of Writers and Writing Programs from 2008 to 2012. Aragón is the founding editor and director for the Momotombo Press, established in 2004. Named after the volcano in Nicaragua, the press publishes and promotes new works in Latino literature in the chapbook format. 

Francisco Aragón’s poetry places his personal experiences within the wider historical and cultural conventions of society. His writing process is often stimulated by sensory experiences that bring forth memories long forgotten. Aragón’s poetry has appeared in over twenty anthologies and a range of literary journals. In 2010 he was awarded with an Outstanding Latino Cultural Arts and Publication Award by the American Association for Hispanics in Higher Education.

Aragón is the author of three books of poetry, the most recent being the 2020  “After Rubén”, which explores Latinx and queer identity through homage to the great Nicaraguan poet Rubén Dario. Throughout the text, Aragón intersperses English language translations with riffs from Dario’s poetry. His previous collections include his 2005 debut volume, “Puerta del Sol”, and “The Glow of Our Sweat”, published in 2010. 

Francisco Aragón is the author of three previous chapbooks of poetry: “Tertulia”, “In Praise of Cities”, and “Light Yogurt, Strawberry Milk”. His most recent chapbook is the 2019 “His Tongue a Swath of Sky”, printed in an edition of only two-hundred copies. In this work, Aragón amends the historical record by turning figures of modernista pastoral into an idealization of queer desire. All proceeds from the sale of this book were donated to Letras Latinas. 

Aragón is the editor of the award-winning 2007 anthology “The Wind Shifts: New Latino Poetry”.  His work as a translator includes four books by Francisco X. Alarcón, as well as work by Spanish poets Federico García Lorca and Gerardo Diego. More recently, Aragón has been rendering versions of the Nicaraguan poet, Rubén Darío. 

Note: Several interviews with Francisco Aragón on his translation work, and  the current state of Latino poetry, as well as readings from “Puerta del Sol” can be found at: http://www.franciscoaragon.net/interviews.html

David Lebe

The Photography of David Lebe

Born in Manhattan, New York in 1948, David Lebe is an American photographer whose work includes both figurative and still life images. His initial education began at the progressive, elementary-level City & Country School in Manhattan’s Greenwich Village and later at Harlem’s High School of Music and Art. During these years, Lebe frequently visited New York City’s many art museums, particularly drawn to the Museum of Modern Art’s photographic exhibitions. His exposure to the photographs of Walker Evans, Dorothea Lange and Robert Frank, among others, generated a life-long passion for street photography.

David Lebe is best known for his experimental images. Among the techniques used are pinhole cameras, photograms made by placing objects directly on photographic paper and then exposing it to light, hand-painted photographs, and light drawings, an old technique which entails using a moving light source during a long-exposure photograph. In his photography, Lebe explores the issues of gay identity, homoeroticism, and living with AIDS. 

From 1966 to 1970, David Lebe attended the Philadelphia College of Art where he studied photography under Ray K. Metzker, known for his bold experimental, black and white cityscapes; Tom Porett, who pioneered work in the extended photograph, multi-media and digital photographic processes: and Barbara Blondeau, best known for her strip-print images created through different winding speeds, and various lighting and masking techniques. 

During  his studies with Barbara Blondeau in 1969 and 1970, Lebe began to experiment with pinhole cameras and built his own devices with multiple apertures which enabled him to record panoramic views from different angles. For his senior thesis, he created “Form Without Substance”, a series of high-contrast images with strong black shadows which were taken in Philadelphia and his childhood area of Manhattan.Two years after graduation, Lebe accepted a teaching position at the Philadelphia College of Art, where he taught photography until 1990. During his tenure, he exhibited his photography in private galleries and museums. 

A dissatisfaction with the results of color film printing led David Lebe to begin hand-coloring his gelatin silver prints, photograms and pinhole images, and traditional photographs. His first collection of these works was the 1974-75 “Unphotographs”, a series of meticulously hand-painted portraits and self-portraits. After the purchase of a townhouse and studio space in Philadelphia, Lebe began to create several series of photograms using plant material collected from his gardens and country excursions. His “Specimens” series featured plants, bones and other material combined into hybrid forms; the “Garden Series” contained images of plant material dissected and reassembled; “Landscapes” placed the hybrid forms in hand-painted settings.

In early 1976 still living in a cramped apartment in Philadelphia, Lebe created his first black and white light drawing . Standing before a 35mm camera on a tripod, he made a long exposure using a flashlight to draw an outline of his naked body and embellished it with points and lines of light throughout the room. This technique, originally used by photographers Étienne-Jules Marey and Georges Demeny in the 1800s, developed over time to include other people, objects and their surroundings. The long exposure time allowed Lebe to enter these images with his subjects and create events rather than moments of time. 

In 1987, following the death of a friend from AIDS and just before his own HIV diagnosis, David Lebe produced “Scribbles”, abstract images drawn freehand with a flashlight and which often featured light emerging from a glass vase. In 1989, David Lebe began a series of four shoots depicting adult film star and author Scott O’Hara. These sessions contained both nude and erotic images which, while documenting the effects of AIDS on O’Hara’s body, also presented his determination to embrace his personal sexual pleasure.

In 1989, Lebe met the ceramic artist and horticulturist Jack Potter. The two began a relationship that has continued to endure for over thirty years. Both men were HIV-positive when they met. They altered their lifestyle, their eating habits, and moved to the rural Columbia County of New York in 1993. The transition from city to country life inspired Lebe to create the still-life series “Food for Thought”, arrangements of various vegetables and foods shot against black background, sometimes with spirals of light around them. 

Despite their efforts at a healthy diet and lifestyle, both David Lebe and Jack Potter began to decline in their health in the mid-1990s. In 1994, Lebe documented his lover Jack’s daily self-care regimen with a series of small, intimate black and white portraits. In his 1996-97 “Jack’s Garden”, he made detailed studies of the gardens Potter had cultivated on the property. In 1996, Lebe and Potter began the newly designed combination-drug therapy that was showing success in extending the lives of HIV-positive patients. 

By 2004, David Lebe fully embraced digital photography and continued to photograph the environment around his and Jack’s home. He also began making new color prints of older work, including his early pinhole prints. In 2013, he started his ongoing series “ShadowLife”, images of shadows and reflections illuminated by early morning light streaming through the house’s windows, thus continuing his earlier studies of shadows. In May of 2019, Lebe had his first solo museum exhibition, “Long Light”, at the Philadelphia Museum of Art, which featured one hundred-forty five images spanning five decades. The exhibition represented both a historic achievement for an artist with AIDS and an important resistance to the dangerous tendency to historicize the disease.

David Lebe’s photography can be found in many private and public collections, which include, among others, the J. Paul Getty Museum in Malibu, California; the Leslie Lohman Museum of Gay and Lesbian Art in New York City; Houston’s Museum of Fine Art, Santa Fe’s New Mexico History Museum, the Albin O. Kuhn Library and Gallery at the University of Maryland, Baltimore County; Kansas City’s Nelson-Atkins Museum of Art; and a major collection of his work at the Philadelphia Museum of Art.

Images of David Lebe’s work, prints for sale, and quotes from Lebe can be found at the artist’s site located at: https://davidlebe.com

Top Insert Image: David Lebe, “Unzippered, Paul, Philadelphis”, 1981, Light Drawomg Series, Silver Gelatin Print

Second Insert Image: David Lebe, “Self Portrait, Philadelphia”, 1981, Hand-Colored Light Drawing, Silver Gelatin Print

Third Insert Image: David Lebe, “Socks, (Renato, Philadelphia)”, 1983, Hand-Colored Light Drawing, Silver Gelatin Print

Fourth Insert Image: David Lebe, “Underpants, 1981, Light Drawomg Series, Silver Gelatin Print

Fifth Insert Image: David Lebe, “Paul After, 1981, Light Drawomg Series, Silver Gelatin Print

Bottom Insert Image: David Lebe, “Avalon (Barry Kohn, Boardwalk, Avalon, New Jersey)”, 1980,  Light Drawing Series, Silver Gelatin Print

Danez Smith: “This Need to Be Needed, To Belong”

Photographers Unknown, This Need to Be Needed, To Belong

this gin-heavy heaven, blessed ground to think gay & mean me.
bless the fake id & the bouncer who knew
this need to be needed, to belong, to know how
a man taste full on vodka & free of sin. i know not which god to pray to.
i look to christ, i look to every mouth on the dance floor, i order
a whiskey coke, name it the blood of my new savior. he is just.
he begs me to dance, to marvel men with the
                                                                                                dash
of hips i brought, he deems my mouth in some stranger’s mouth necessary.
bless that man’s mouth, the song we sway sloppy to, the beat, the bridge, the length
of his hand on my thigh & back & i know not which country i am of.
i want to live on his tongue, build a home of gospel & gayety
i want to raise a city behind his teeth for all boys of choirs & closets to refuge in.
i wnat my new god to look at the mecca i built him & call it dam good
or maybe i’m just tipsy & free for the first time, willing to worship anything i can tase.

Danez Smith, The 17-Year-Old & the Gay Bar, Poetry, February 2017

Born in St. Paul, Minnesota, Danez Smith is an American poet and author who was a First Wave Urban Arts Scholar at the University of Wisconsin-Madison, earning a Bachelor of Arts in 2012. They are genderqueer, non-binary and HIV positive. Their first collection of poetry was the 2013 chapbook “hands on your knees” published by Penmanship Books. Their chapbook “black movie”, published in 2015, won that year’s Button Poetry Prize.

Among other works, Smith is the author of three collections of poetry which received critical acclaim: the 2014 “(insert) Boy” which won the 2014 Lambda Literary Award for Gay Poetry and was selected as a Boston Globe Best Poetry Book in the same year; the 2017 “Don’t Call Us Dead: poems” which was a finalist for the 2017 National Book Award for Poetry; and the 2020 “Homie” which was a finalist for the 2020 National Book Critics Circle Award for Poetry, the 2021 NAACP Image Award for Poetry, and the 2021 Minnesota Book Award for Poetry.

In 2018, Danez Smith received the inaugural Four Quartets Prize from the Poetry Society of America for his sonnet sequence entitled “summer, somewhere”. Smith also became, at age twenty-nine, the youngest recipient of the Forward Prize for Best Poetry Collection; their collection of poems “Don’t Call Us Dead” won over works by former Forward winner Vahni Capildeo and U.S. Poet Laureate Tracy K. Smith.

In addition to other awards for their collections, Danez Smith was the recipient of a 2014 Ruth Lilly Poetry Fellowship, the 2016 Kate Tufts Discovery Award, and a 2017 NEA Fellowship for Creative Writing. They currently serve on the board of directors for the Washington DC-based poetry non-profit Split This Rock.

Smith and poet and playwright Franny Choi are both co-hosts of the poetry podcast “VS” from the Poetry Foundation. Smith is also a founding member of Wikipedia’s Dark Noise Collective; other founders include Franny Choi, poet and screenwriter Fatimah Asghar, poet and singer/songwriter Jamila Woods, and poets Nate Marshall and Aaron Samuels.

Note ; Poetry Foundation’s VS podcast can be found at: https://www.poetryfoundation.org/podcasts/category/142241

Mark Doty: ‘What Do We Want In Any Body But the World?”

Photographers Unknown, What Do We Want In Any Body But the World?

When the beautiful young man drowned—
accidentally, swimming at dawn
in a current too swift for him,
or obedient to some cult
of total immersion that promised
the bather would come up divine,

mortality rinsed from him—
Hadrian placed his image everywhere,
a marble Antinoüs staring across
the public squares where a few dogs
always scuffled, planted
in every squalid little crossroads

at the furthest corners of the Empire.
What do we want in any body
but the world? And if the lover’s
inimitable form was nowhere,
then he would find it everywhere,
though the boy became simply more dead

as the sculptors embodied him.
Wherever Hadrian might travel,
the beloved figure would be there
first: the turn of his shoulders,
the exact marble nipples,
the drowned face not really lost

to the Nile—which has no appetite,
merely takes in anything
without judgment or expectation—
but lost into its own multiplication,
an artifice rubbed with oils and acid
so that the skin might shine.

Which of these did I love?
Here is his hair, here his hair
again. Here the chiseled liquid waist
I hold because I cannot hold it.
If only one of you
, he might have said
to any of the thousand marble boys anywhere,

would speak. Or the statues might have been enough,
the drowned boy blurred as much by memory
as by water, molded toward an essential,
remote ideal. Longing, of course,
become its own object, the way
that desire can make anything into a god.

Mark Doty, The Death of Antinoüs, Bethlehem in Broad Daylight, 1990

Born in August of 1953 in Maryville, Tennessee, Mark Doty is an American poet and memoirist who is best known for his 1993 volume “My Alexandria”, which won the T.S. Eliot Prize, Britain’s most prestigious award for a collection of poetry. Born into an army family, he spent his early life in various sun-belt cities in the western and southern sections of the United States. Unsure of his sexual identity, Doty married at age eighteen and divorced after completion of his undergraduate studies at Iowa’s Drake University. 

Doty earned his Master’s Degree in creative writing from Goddard College in Vermont. While at college, he met Wally Roberts who would become his first great love and lifetime partner. They lived together in Manhattan and Provincetown for twelve years. Roberts tested positive for HIV in 1989; his illness and death in 1994 became a pivotal event in Doty’s development as a person and a poet.

Known for his intelligent and elegant verse, Mark Doty composes well-formed and aesthetic free verse poems, honest and direct elegies to Roberts and others lost, and lyrical poems that examine urban gay life. Doty’s work is molded from his individual character and from the specific experiences he has uniquely endured. 

Mark Doty’s first collection of poems, entitled “Turtle, Swan”, was published in 1987. Written from a gay perspective, the volume explored themes of childhood memories and nostalgia, the fragility of life, fate, hope and survival. Doty published his second collection of poems “Bethlehem in Broad Daylight” in 1991. His poem from that collection “Tiara”, which critiqued society’s perception and treatment of homosexual AIDS sufferers, was printed earlier in the anthology “Poets for Life: Seventy-Six Poets Respond to AIDS”.

Doty’s third book of poetry “My Alexandria”, published in 1993,  was written before Wally Roberts developed symptoms of the HIV virus. In contrast to poems of remembered youth in his earlier works, these poems contemplate an adult view of the prospect of mortality and the desperate attempts to try to make impending loss even momentarily bearable. This third collection was chosen for the National Poetry Series and won the National Book Critics Circle Award. Doty’s winning of the T.S. Eliot Prize for this work made him the first American poet to win Britain’s annual award.

Among Mark Doty’s many poetry collections are the 1995 “Atlantis”, a  mixture of his own memories and letters from friends written in response to the tragedy of Wally Roberts’s illness and death; the 2001 “Source”, a collection of lyrical works on the paradox of self-perception; and the 2008 “Fire to Fire: New and Selected Poems”, a collection written over twenty years on our mortal situation, the transforming power of desire, and the ability of art to shape human lives. “Fire to Fire” received the National Book Award for Poetry in 2008. All three collections received the Lambda Literary Award for Gay Men’s Poetry in their published year. 

Doty’s memoirs include the 1996 “Heaven’s Coast”, a deeply-felt, painful account of his thoughts after learning Roberts’s AIDS diagnosis; the 1999 “Firebird: A Memoir” an autobiography of his childhood from age six to sixteen in Arizona and the American South; the 2007 “Dog Years” an poignant account of his adoption of the dog Beau as a companion for Roberts during his darkest days; and the 2020 “What is the Grass: Walt Whitman in My Life”, an exploration of Whitman’s life and poetry and the effect Whitman’s work had on Doty’s own work and experiences. “Dog Years” was a New York Times Bestseller and won both the Lambda Literary Award for Gay Memoir/Biography and the Stonewall Book Award. 

Mark Doty has taught at Princeton University, Sarah Lawrence College, the University of Iowa, Columbia University, Cornell, and the New York University. He is currently Distinguished Professor and Writer in Residence in the English Department of Rutgers University. Doty lives with his husband Alexander Hadel in New York City and in the hamlet of The Springs in East Hampton, New York. The couple married in October of 2015 in Muir Woods National Monument.

Notes:
An extensive 1998 interview with Mark Doty by Dale Boyer for the Association of Writers and Writing Programs on Doty’s life and craft can be found at: https://www.awpwriter.org/magazine_media/writers_chronicle_view/1689/an_interview_with_mark_doty

A collection of fifteen poems and two prose pieces by Mark Doty can be found at the Poetry Foundation, a resource for new and contemporary poets. His biography and poems can be found at: https://www.poetryfoundation.org/poets/mark-doty

Jeffery Beam: “Life Stings the Pale Horses of My Desire”

Photographers Unknown, Life Stings the Pale Horses of My Desire

I try to find the words to describe the body of your plea-
sure. A cool lnaguage of tundra or a language incandescent
as water, as the ocean. All words are rooted, forests and fields
overgrown with violets and acids, with physical properties of
an object seeded in lead or oxygen. Let the forest grow wings
and the incandescent populate the night sky! The web net
fabric of your pleasure is purple pink magenta. Your veins
spill over with blood and the blood is lava, rumbling into my
valley. When I enter the mangle of our sexes, the deepthroat-
ed hummingbird flies.

When I see you, there are visions before me that sunflowers
cannot expel, of dark roses of blood and terror pricking me
with thorns. When I see you, my life is invalid with gauze, a
screen of soft thickness, a desiring and bereavement found
and lost. To touch, have, share you. . .this is flow, or a dark
corrosion of the senses, like rust building a rainbow of stone.
What we give hatches the egg of an apocryphal bloom. Every
moment your breathe, life stings the pale horses of my desire.
Each moment the invisible arms of my love stretch across
mountains. The wild hawk delivers its claw into your chest.

Jeffery Beam, When I See You, Poems from the Golden Legend (1981), The New Beautiful Tendons, 2012

Born in the textile-town of Kannapolis, North Carolina in April of 1953, Jeffery Beam is an American poet, essayist, and musical collaborator. In his lyrical work, known for its simplicity and physicality, he creates conversations between the body and the natural and spiritual worlds. Until his retirement in November of 2011, Beam was a botanical librarian for thirty-five years at the University of North Carolina at Chapel Hill. Since 1984, he has lived with his husband, Stanley Finch, at their residence ‘Golgonooza at Frog Level’ in Hillsborough, North Carolina.

In his early life,  Jeffery Beam realized the connection between his spiritual understandings, his queer identity and his existence as a Poet. In the 1970s, he delved into Zen Buddhism, the Way of the Tao, and the teachings of the Vedanta. From the literary works of such writers as Walt Whitman, Jean Genet, Kabir Das, Frederico Garcia Lorca, and Rainer Maria Rilke, Beam gained a new perception of the nature of desire in the material world. His understanding and acceptance of his true nature as a spiritual, queer poet is carried throughout all of his many works.

In 1979 with the arrival of a postcard from nationally published poet Jonathan Williams, Beam began a long association with Williams and his life-long partner poet Tom Meyer, as well as other members of The Jargon Society and the Black Mountain College community of artists. Williams, through his encouragement and frequent correspondence, would become one of the most important influences in the development of Beam’s poetic work.

Jeffery Beam has been a judge in the Poetry Division of the Lambda Book Awards for ten years. He also judged the annual poetry contest of Durham, North Carolina’s “The Independent Weekly” in 2014. Beam began teaching workshops in the spring of 1996; among these were “The Dog of Art in the Garden of Toads”, and “Fossil Poetry: Seeing the Word, Hearing the World”, which was sponsored by the North Carolina Writers Network. 

Beam’s “An Elizabethan Bestiary: Retold” was published in January of 1999 by Horse & Buggy Press in an edition of one thousand copies. Illustrations by Ippy Patterson accompanied Beam’s poetry which reworked the bestiaries found in Pliny’s ancient Roman and Edward Topsell’s 15th century works as published in English translation in Muriel St. Clare Byrne’s 1926 “The Elizabethan Zoo”. The collection was awarded an IPPY Award in 2000 as one of the Ten Best Books of the Year and received one of the 50 Books 2000 Awards from the American Institute for the Graphic Arts. With grants and support from such organizations as the Duke Museum of Art and the North Carolina Zoological Park, as well as private contributions, the publication of the collection was complemented by exhibitions, readings and interactive presentations across North Carolina.

Jeffery Beam’s “Spectral Pegasus: Dark Moments” was a result of a six-month collaboration with the Welsh painter Clive Hicks-Jenkins. The 2019 collection, based loosely on an ancient Welsh folk tradition and the death of Hicks-Jenkins’s father, joined the two men’s understandings of myth and dream into a singular poignant but joyful design. “Spectral Pegasus” details a hero’s journey through death and resurrection, psychological and spiritual trials, and ultimately towards a revelatory, redemptive vision. Following its publication, Beam held a poetry reading and discussion of this work at the Museum Arts Center of the Black Mountain College in August of the same year. This poetry/art collection includes an audio CD and downloadable MP3 files. 

Beam’s “The New Beautiful Tendons”, a collection of queer poems from 1969 to 2012, contains previously published works, selections from his CD collection “What We Have Lost: New and Selected Poems 1977-2001”, and several unpublished poems that expressed his queer identity. The poems in this collection are written in spare and direct language that delights in the body’s beauty and show the connection between a naturalized gay man and a spiritualized nature.

In addition to his poetic chapbooks and collections, Jeffery Beam’s literary works include: his co-editorship of “Jonathan Williams: The Lord of Orchards”, a biography and a homage to the renowned poet; the 2008 “On Hounded Ground”, an autobiographical essay with poems; and the 1998 “Light and Shadow”, a monograph on the photographic work of Claire Yaffa known for her documentary work on homelessness and child abuse. Beam has also worked with mezzo-soprano Shauna Holiman, cellists Barbara Stein Mallow and Wendy Law, and pianist Brent McMunn on “Life of the Bee”, a work written by Lee Holby based on a cycle of poems by Beam characterizing the residents and activities of a beehive.

“Poetry, music and dance all started in the cave and were meant to pull down that Divine, mysterious energy in the universe that no one could quite figure out and felt that they needed to access. In this way music and dance and poetry are almost inseparable.  That’s why when I am on stage you see me sort of dancing as well as singing and reciting the poems.  I don’t think you can or should separate them. What I do is attempt to access the Divinity that permeates this world, that’s my role as a poet— it’s not the mainstream now but it’s an ancient mode of poetry— which is vatic, and for me also rooted in Vedic mysticism — the one-in-all, the Atman.”

—Jeffery Beam, “Nantahala Interview” with poetry editor Mark A Roberts, North Carolina Literary Festival, Chapel Hill, April 2002

Note: Jeffery Beam’s website includes interviews with the poet, poetry readings and songs composed on his work, recent publications, contact information and works about poet Jonathan Williams. The site is located at: https://jefferybeam.com

Jeffrey Beam’s papers, which among other items include correspondence, poetry notebooks and recordings, are housed in the Wilson Special Collections Library at the University of North Carolina

Top Insert Image: Bernard Thomas, “Jeffery in the Woods”, 2000, Durham Herald

Third Insert Image: Stanley Finch, “Jeffery Beam at William Blake’s Grave, London”, 2017

Fifth Insert Image: Kyle Hodges, “Jeffery Beam at Golgonooza”, 2015, The Daily Tar Heel

Tim Dlugos: “You Draw Your Own Breath, Then I Draw Mine”

Photographers Unknown, You Draw Your Own Breath, Then I Draw Mine

Underneath your skin, your heart
moves. Your chest
rises at its touch. A small bump
appears, every
second. We watch for what appears
to be hours.

Our hands log the time: the soft
light, darkness
underneath your eyes. Our bodies
intersect like highways
with limitless access and perfect spans
of attention.

We pay for this later. I pay
for breakfast. We
can’t stay long. We take off
to the museum
and watch the individual colors
as they surface

in the late works of Matisse.
They move the way
your heart moves, the way we breathe.
You draw your own
breath, then I draw mine. This is
truly great art.

Tim Dlugos, Great Art (For Donald Grace), A Fast Life: The Collected Poems of Tim Dlugos, 2011

Born in Springfield, Massachusetts in August of 1950, Tim Dlugos was an American poet know for his openly gay work infused with pop-culture references. Raised by adopted parents in Massachusetts and Virginia, he joined the Christian Brothers, a Catholic religious order, in 1968. The next year, Dlugos entered the order’s La Salle College in Philadelphia where he started writing poetry and became active in the anti-Vietnam War movement. In 1971, he made the decision to leave the Christian Brothers and embrace an openly gay and politically active lifestyle. With his interest in academic life lessened, Dlugos left La Salle College in his senior year and relocated to Washington DC.

Dlugos became active in the city’s Mass Transit poetry scene and regularly attended poetry readings at Dupont Circle’s Community Book Shop. Among his associates were Irish-American poet and author Terence Winch, Language poet Tina Darragh, writer and historian Mícheál Lally, and Bernard Welt, an author and professor of cultural dream studies. While in Washington DC, Dlugos worked on Ralph Nader’s newspaper “Public Citizen”, a position that led to a successful future career with liberal and charitable organizations.

In 1976, Tim Dlugos moved to New York City where he settled in Manhattan and became a prominent poet in the downtown literary scene, particularly the Poetry Project of the East Village’s St. Mark’s Church. His poetry, with its openly gay topics and allusions to popular culture, was well received. In 1977, Dlugos began a correspondence and friendship with author and artist Dennis Cooper, the founder of the punk “Little Caesar Magazine” and the author of the semi-autobiographical series “The George Miles Cycle”. Dlugos published two books through Cooper’s Little Caesar Press: the 1979 poetry chapbook “Je Suis Ein Americano” and the 1982 “Entre Nous”

During his New York years, Tim Dlugos became friends with artist and writer Joe Brainard, who experimented with the use of comics as a poetic medium; biographer and novelist Brad Gooch; poet Eileen Myles who served as artistic director of St. Mark’s Poetry Project; poet Donald Britton, a member of the New York gay avant-garde poets who is best known for his 1981 “Italy”; and author, journalist and librettist Jane DeLynn whose 2002 “Leash” is considered the definitive portrait of lesbian life in the late twentieth-century.

In New York, Dlugos edited and contributed to such journals as Christopher Street, New York Native, and The Poetry Project Newsletter. After his HIV positive diagnosis in 1987, he decided to return to train for the Episcopalian priesthood. Dlugos relocated in 1988 to New Haven, Connecticut, where he enrolled at the Yale School of Divinity. However, he was unable to complete his degree. Tim Dlugos died of complications due to AIDS on December 3rd of 1990 at the age of forty.

Tim Dlugos published five books of poems in his lifetime; three books of his work have been published posthumously. He is widely known for the poems he wrote while hospitalized at Manhattan’s Roosevelt Hospital. Published in The Paris Review a few months before his death, Dlugos’s poem “G-9”, entitled after the hospital’s AIDS ward, celebrated life while accepting impending death. His close friend David Trinidad edited the posthumous “A Fast Life: The Collected Poems of Tim Dlugos”, which won the 2011 Lambda Literary Award.

Note: In addition to his poetry, Tim Dlugos kept a diary, from June 3rd to November 23rd in 1976, of his daily life as a gay man in New York City. It was published posthumously in 2021 by Sibling Rivalry Press. The following is an excerpt:

“Yesterday sunned on roof in a.m., read Diane di Prima’s Memoirs of a Beatnik in about 2 hours, then walked to Pier 51, where people sunbathe nude (among other things). Caught the eye of someone tall with reddish hair & freckles [this makes me think of Frank again], and we sat in a window on the second floor watching the cruise ships go by (incl. The Statendam, bearing Rob to Bermuda) for hours. Then came back here (my apt.), had coffee & went to bed—clean salt-water taste of his body. We had dinner together at a great looking restaurant w/ OK food called Chelsea Place, just up Eighth Avenue—ducks swim in their garden, “real ducks!” as every group of diners passing our table near the garden entrance exclaimed.”

Aaron Shurin: “Under the Night Stillness Inclined My Morning Beach”

Photographers Unknown, Under the Night Stillness Inclined My Morning Beach

I heard my name, the day rose and disappear over the beach. the day on each breath tasted my food, that night roll slowly cover in the cool, his face around my breast. the day inhaling grow pale and disappear, water on his way, up the shores hissing. under the night stillness inclined my morning beach, undressing the friend of my liquid, my most same. at evening while whispering from the bed by me, his way was accomplished. his full perfect arm a health of ripe waters. the day received moon laughing, love lay me that night.

Aaron Shurin, Excerpt from City of Men, A’s Dream, 1989

A room of thought is wedged between the androgyny of hair and new leaves gasping for light. Membrane of membrane, skin of my crown. I thought a forest bound by kinship towers — elusive in the blue glow inside the gray cloudbank — indigo friction — a hurricane cult — where his eyes boring over my shoulders fall like hot breath, gravity failing. He is whirling like a haystack, engineered in twilight, his syllables aquatic, lullaby stutter. Scale of my scale, raveling hive. A skate-boarder rocks the concrete, cutting the muscle of silence. You, too, seeping memories, as we spin in place. An epiphyte: a love nest. Inextricable, shadow for shadow, rhyme for rhyme..

Aaron Shurin, Steeped, Citizen, 2012

Born in Manhattan, New York in 1947, Aaron Shurin is an American essayist, poet and educator. After spending his teenage years in Los Angeles and eastern Texas, he attended the University of California at Berkeley in 1963 during a period of political protest and cultural upheaval. In the late 1960’s, Shurin met and studied under poet Denise Levertov, an advocate of political and social consciousness who fostered Shurin’s interest in poetry. It was during this period that he became attracted to the principles of Projective Verse, a poetic form which re-imagines a poem’s verse lines and line breaks to convey its nuances of breath and motion to the reader through typographical means.

In 1980, Shurin entered the New College of California, an experimental college centered around the Socratic Seminars, where he studied under poet Robert Duncan, a prominent gay poet and member of the Black Mountain school. At New College, Shurin was inspired by the long lines of Walt Whitman’s prose poetry and began to develop his own poetic form, prose poetry which combined the prose form of the Language poets with the life-story format of the New Narrative writers. Bonding with the enthusiastic atmosphere of San Francisco’s counter-culture and its active gay scene, Shurin integrated his gay identity into his poetic process. He graduated from New College with a Master of Arts in Poetics with a thesis entitled “Out of Me: Whitman and the Projective”. 

Aaron Shurin is the author of numerous volumes of poetry, among which are the 1976 “The Night Sun” published by Gay Sunshine Press; “A’s Dream” published in 1989; the 1993 “Into Distances”; “The Paradise of Forms: Selected Poems” published in 1999; the 2005 “Involuntary Lyrics”; and the 2012 “Citizen”. His published essay collections include “The Skin of Meaning: Collected Literary Essays and Talks” published in 2016; the 2008 “King of Shadows”; and “Unbound: A Book of AIDS” published in 1997.  Shurin’s most recent work is “The Blue Absolute”, a collection of lyrical prose poems of love and loss, sex and death in our daily lives.

Shurin has won fellowships from the National Endowment for the Arts, the Gerbode Foundation, the San Francisco Arts Commission, and the California Arts Council. A pioneer in both LGBTQ studies and innovative verse, he cofounded the Boston-based writing collective Good Gay Poets. Shurin has written numerous critical essays about poetic theory and compositional practice, as well as personal narratives on sexual identity, gender fluidity, and the AIDS epidemic. He is Professor Emeritus at the University of San Francisco for its MFA Writing Program.

“We know that verses live in the white space of the page in a dance with erasure and silence; prose poems fill in the space and flirt shamelessly with story. To my joy they can hold a lot of words, a lot of shades, and the tensions of their dual inheritance are generative: wild horses pulling in opposite directions that somehow get bridled and yoked to form a new beast.” – Aaron Shurin, “Always Presently There: Aaron Shurin in Conversation with Micah Ballard”, April 2020

Notes: For those interested, an in-depth conversation between poet and publisher Micah Ballard and Aaron Shurin on the development of Shurin’s poetic form was held in April of 2020, just after the publication of Shurin’s work “The Blue Absolute”. This conversation, entitled “Always Presently There”, can be found at the interdisciplinary publishing platform “Open Space” located at: https://openspace.sfmoma.org/2020/04/always-presently-there-aaron-shurin-in-conversation-with-micah-ballard/

A essay by Chales Olson’s poetic theory, “Projective Verse”, can be found at the Poetry Foundation located at: https://www.poetryfoundation.org/articles/69406/projective-verse

Yevgeny Kharitonov: “All the Vibrations from the Best Moments of Your Life”

Photographers Unknown, All the Vibrations from the Best Moments of Your Life

I know what happens at the moment of death. Suddenly, after all your illnesses, you feel so improbably, so impossibly much better, that it is more than a man can take. All the vibrations from the best moments of your life, from all your impossible youth, come together in one mind-blowing instant, like the moment of your first love, like the hope of new love, like just before your first trip to Moscow, like all sorts of moments in your life; and it all comes together in a single minute, and it is more than you can bear, and your heart bursts, and you die. And everyone whom you loved and everyone who loved you, they all think of you at that moment, wherever they maybe on earth, or under the earth.

Yevgeny Kharitonov, Under House Arrest, 1997

Born in Novosibirsk in June of 1941, Yevgeny Kharitonov was a Russian poet, writer, playwright and theatrical director. In his literature, he was a chronicler of the LBGTQ culture of the Soviet period in the 1970s. Kharitonov described in his work the feelings that people of non-traditional orientation experienced, a subject that the government saw as taboo. 

Kharitonov graduated from the acting department of Moscow’s Gerasimov Institute of Cinematography (VGIK). After a brief acting career, he earned his graduate degree in filmmaking with the presentation of his thesis on the art of pantomime in the education of an actor. After graduation, Kharitonov wrote and directed the play “The Enchanted Island”, which was performed at Moscow’s Mimics and Gesture Theater with roles performed by deaf-mute actors. 

Yevgeny Kharitonov led the pantomime studio of the Moskovorechye Workers’ Club, a recreation center in Moscow, and did choreography for the rock band “Last Chance”. He also worked at the department of psychology at Moscow State University where he studied the problem of speech defects. In addition to his study and literary work, Kharitonov staged a production of the classical opera “Faust” for the Moscow Conservatory. 

Appearing at the crossroads of several movements in twentieth-century Russian prose, Kharitonov emphasized in his work an aloofness between the author and the literary subject, a characteristic which would appear in the later works by Russian writers Victor Erofeyev, founder of the literary magazine Metropol, and Vladimir Sorokin, author and recipient of the Russian Booker Prize. Kharitonov shared with writers Pavel Ukitin, Marcel Proust and James Joyce an indirect and cryptic approach to the placement of emotion in the descriptions of events. Acquainted with typography, he was well aware of the expressive properties of the typewritten text format and typed all his manuscripts himself. 

Because of the frankness with which he dealt with the theme of homosexuality in his work, Yevgeny Kharitonov had difficulty in getting his work published. The few works that were published in his lifetime were translations of German poetry, those works circulated in dissident Eastern Bloc periodicals such as the Mitin Journal, and a simple monologue entitled “Oven”. In the early 1980s, Kharitonov made an attempt to have his work printed in the “Catalog”, an American publication of unpublished Russian writers; this however  failed due to interference by the KGB.

Kharitonov is today recognized as a founder of modern Russian gay literature; his work can not be separated from his sexuality and the legal and cultural prohibition he worked under. Kharitonov was doubly vulnerable to state repression being both an underground writer and a gay man. In 1979, he was questioned by the KGB as a suspect in the death of his lover. As knowledge of his work spread through the general public, surveillance and harassment by the authorities became increasingly a part of daily life. 

On June 29th of 1981, Yevgeny Kharitonov, who had just finished his manuscript “Under House Arrest”, walked to meet his friend, the poet Tatian Scherbina, to show her his new work. He died on Pushkin Street in Moscow of a heart attack at the age of forty years old; his body is buried in his homeland of Novosibirsk. Following Kharitonov’s  death, his apartment was sealed by the KGB. His friends broke in the apartment to salvage and preserve his writings, however, most of Kharitonov’s written work was later recovered by the KGB during raids on their apartments.

After Russia’s period of perstroika, Kharitonov’s works began to get published in Russia. His play “Tink”, based on an interpretation of Odoevsky’s fairy tale “Town in a Snuffbox”, was published in the late 1980s and later performed in 1989. His “Under House Arrest”, a collection of autobiographical fictions which chronicled the difficult life of a homosexual in the Kafkaesque atmosphere of the Soviet Union, was published in January of 1997.

Note: An interesting article to read is Alex Karsavin and Mara Iskander’s 2017 “Language Under House Arrest”, which discusses queer Russian poets and the adaption of queer literature to the Russian political situation. The article can be found at the literary blog “The New Inquiry” website located at: https://thenewinquiry.com/language-under-house-arrest/

Hervé Lassïnce

The Photography of Hervé Lassïnce

Hervé Lassïnce is a French theatrical actor, screen writer, and self-taught photographer who grew up in Créteil, a culturally diverse suburb of Paris. Before he pursued his passion for photography, he had begun a career as a theatrical actor, a talent which he still continues. Lassïnce has performed with actors Jérôme Deschamps and Macha Makeîff and, in 2016, appeared in a Jean-Michel Ribes play at Paris’s Théâtre du Rond-Point.

Lassïnce began his career in photography with images of those closest to him, his family, friends and lovers. The strong emotional connection he had with these subjects, displayed in his initial work, is still evident in his most recent photographs. Generally, Lassïnce prefers to photograph subjects he knows as the sense of familiarity is stronger; however, he often photographs people he meets who catch his attention. As he considers his photography a story of friendship, Lassïnce still makes an effort to know his subject better before attempting the composition of the shoot.

Hervé Lassïnce photographs natural landscapes, an example of which is his large format photograph of water rushing over the cliffs of Niagara Falls. For many of his photographs, however, natural scenes serve as settings for his nude male subjects. In these shoots, Lassïnce presents natural and joyful images that show men as ordinary people comfortable in their skin. There exists in most of his nude compositions an unexpected, often curious, element that catches the eye and draws the viewer’s interest, such as tinted lighting, vased flowers, lit cell phones, or a cat sitting quietly nearby. 

Lassïnce first began showing his work through Facebook and Instagram. After seeing images of his work printed on fine art paper, he began to exhibit in galleries and sell editions to collectors. In 2015, Lassïnce’s first photography collection was published by Florian Gaité, entitled “Mes Fréres (My Friends)”. At this time, he also expanded his work as a freelance photographer by shooting personality portraits and illustrating articles for magazines. 

Among the influences on his work, Hervé Lassïnce has listed the work of American photographer Nam Goldin who became known for her exploration of the lives and intimacies within the LGBT subcultures. He was also influenced by the compositions and homo-eroticism in works by such painters as José de Ribera, Caravaggio, and Théodore Géricault, one of the pioneers of France’s Romantic movement.

Lassïnce’s photography has been the subject of several exhibitions including those at Paris’s Galerie P38 and Galerie Agathe Gaillard; the November 2020 exhibition at Villa Noailles in Hyères, France; the International Festival of Fashion and Photography in Los Angeles; the Offarch Gallery in Milan; the Philharmonie de Paris; and the 2021 “Gallery of Instant Love” exhibition at the Design Museum of London. 

Hervé Lassïnce’s website, which includes contact information and purchasable prints, can be found at https://h-photography.format.com

Winthrop Smith: “The Coldness of the Floor. . .”

Photographers Unknown, The Coldness of the Floor

The coldness of the floor
In the boys’ lav., the cold-
Ness of the boys themselves
Stripping off their gym shorts

And t shirts: the wetness
Of the spot which showed on
The shorts of each boy who
Climbed alone on ropes, the

Wetness of sweat which
Soaked the boys who wrestled
In the matroom, glistened
On the bodies of the

Boys who stood for weighing-
In with jockey shorts or
Nude: the odor of the
Floor in the boy’s lav., the

Odor of the boys them-
Selves from the soap they passed
Among themselves in the
Showers, the odor of

The soap they passed among
Themselves when older, stop-
Ping from their showers, dress-
Ing for their classes in

Laundered cotton shirts and
Boxer shorts: the coldness
Of rain soaked running trails
In Late October, the

Cold, red hands of the run-
Ners after practice: the
Wetness of their hairy
Bodies drying off near

Steamfilled showers, the wet-
Ness of the gym itself
With aingle shower’s drip
Dripping late at night: the

Motion of the young men
Washing, young men dressing,
Young men acting out their
Conflicts and frustrations. . .

Winthrop Smith, Excerpt from Retrospective at 33, The Weigh-In: Collected Poems,1996

Raised in Rye, New York, Winthrop Smith is a gay minimalist poet whose work explores the the undercurrent of gay experience in America. Having lived in New York City from 1987 to 2003, his early poetry covers a period of gay life before the gentrification of the city. In his work, Smith captures the gay male experience of pre-DisneyTimes Square, the St. Mark bathhouses, the city’s docks and cruising areas, and the scene on the West Village’s Christopher Street known for being the “Main Street” of gay New York.

Winthrop Smith’s first collection of poems, “Ghetto: From the First Five: Sixty-Four Poems”, was published in January of 1990. His second collection was the 1996 “The Weigh-In: Collected Poems”. Influenced by contemporary minimalist music and the work of modernist poet Gertrude Stein whose writing style broke the conventions of the linear narrative, Winthrop Smith formats his poetry into short pictorial lines each of which contain a complete mental image or thought. These narrative lines are stacked, sometimes  ending in split hyphenated words,  to form sentences that often trail into the following stanza. 

Smith’s third collection, the 2006 “Skin Check: New York Poems”, is a minimalist book-length poem of encounters experienced during a walk taken by Smith, his partner, and their two dogs from their Chelsea apartment to the West Village and back. His next collection was”Wrestling Starting Position” which was published in December of 2016. It is an autobiographical book-length poem which spans from his childhood in Rye, New York, to the second decade of the new century. The poem, told through the basic positions of wrestling, expounds on the issues of the artwork of Patrick Angus, the 1960s and city life at that time, the death of peers, personal ads, and capital punishment, among other topics. 

Winthrop Smith’s latest work is the 2021 “Take Down Portraits: Drawings and Portraits by Larry Stanton”, which include poems by Smith that envision conversations and scenes that may have taken place in Larry Stanton’s studio during his lifetime. Although he never actually met Stanton, Smith was inspired by his artwork, having had dozens of Stanton’s works in his care. The poems, duets in essence, are composed in fragmented phrasing with small details to evoke the emotion of the conversations. 

Smith was infected with the HIV virus during his first sexual experience at a Times Square bathhouse in 1984. After moving to New York City in 1987, he worked as a home attendant for the first program which was dedicated to terminal AIDS patients. Since then, Smith worked on the National AIDS hotline and was on the board for the People with Aids Coalition.

Winthrop Smith is a trustee and a program manager of the EGR Writers House in Augusta, Maine, which subsidizes housing for writers. He currently resides and writes in Wappingers Falls, New York. Smith is the author of four blog sites which can be found through: https://www.blogger.com/profile/11816360238911707217

James Broughton: ‘Luncheon Had Made Us Hungry”

Photographers Unknown, Luncheon Had Made Us Hungry

Luncheon had made us hungry
for one another
After the curry and fried bananas
we added our own heat to
the hot afternoon
simmering in sweat and coconut oil
as our two humidities rose
high   higher                     Bang!
outside the window        Bang!Bang!
and the houseboy’s laughing shout

He had been tossing firecrackers
at the roof
to dislodge itinerant pigeons
But at his feet had fallen
a passing oriole
shocked into gape      beak ajar

Hurrying from the bedroom
half-saronged
we saw him kneel to the yellow bird
fondle      cajole      kiss it      offer it
back to the day
Still it sat rigid in his hand

Chuckling then      you said
Is this a golden trophy of
our shooting match?
At which the oriole blinked
stretched and puffed
spurted into the air
vanished beyond the pawpaw tree

James Broughton, Afternoons in Ceylon I, Word of Mouth: An Anthology of Gay American Poetry, 2000

Born to affluent parents in Modesto, California in November of 1913, James Broughton was a poet and filmmaker. He was a member of the San Francisco Renaissance movement, a 1950s collective of American avant-garde poets which included such poets as Kenneth Rexroth, Madeline Gleason, Robert Duncan and Jack Spicer, among others. Known best for his cinematography, Broughton made poetic experimental films, both in color and black and white, throughout his career.

After the death of his father in the deadly 1918 influenza epidemic, James Broughton spent his early years in San Francisco. He started his formal education at a military school; however, at the age of sixteen after having an affair with a classmate, he was expelled. Broughton pursued a career in writing at Stanford University until 1935, at which time he relocated to New York City and became a theater critic. Through his written work, Broughton met artist Sidney Peterson, who would later establish San Francisco Art Institute’s Workshop 20, the first college program to teach filmmaking as art.

After he moved back to San Francisco, Broughton wrote and produced the play “Summer Fury”, for which the Stanford Dramatists’ Alliance gave him the 1945 Alden Award for Original Screenplay. In 1946, a collaboration between Broughton and Sidney Peterson produced the 16mm film “The Potted Palm”, a depiction of Freudian desires that combined the erotic with the decaying. Broughton later credited his working with Peterson on this film as the influence that led him to experimental filmmaking.

James Broughton’s early 16mm short films, which ran from nine to thirty-eight minutes, covered a wide range of genres, including personal journals, comedy, music, theater, and queer stories. Broughton’s first solo film was the 1948 avant-garde classic “Mother’s Day” which dealt with human pain and lack of emotion. He followed this film’s success with five more films between 1950 and 1953, among which was the 1953 “The Pleasure Garden”, a collaboration with partner Kermit Sheets. Made in England, the film was successful only in Europe where it received several awards including one at the Cannes Film Festival presented byJean Cocteau.

In 1953, Broughton stopped his filmmaking to concentrate more fully on his writing which, through his career, totaled more than twenty published works. His poetry collection “True & False Unicorn”, poems of Broughton’s complex search for his true self, was published in 1955 and later choreographed on stage by Jergen Verbruggen. Broughton’s autobiographical prose poem collection “The Androgyne Journal”. published in 1977, was a strongly personal book about breaking creative boundaries.

James Broughton published two retrospective collections of his poetry: “A Long Undressing: Collected Poems 1949-1969”, published in 1971 by Jargon Society Press, and “Packing Up for Paradise: Selected Poems 1946-1996” published in November of 1997 by Black Sparrow Press. In 1993, Broughton published his memoir, an autobiography entitled “Coming Unbuttoned”, which documented his eighty-year artistic journey in life through the famous and infamous circles of 1930s New York to the avant-garde culture of San Francisco in the 1960s and 70s.

Starting in the late 1960s, James Broughton returned to filmmaking and produced both short and full length films. His first film was the 1968 “The Bed”, which won prizes at many film festivals. Containing a highly energetic musical score by Warner Jepson, it featured ground-breaking full-frontal, yet innocent, nudity of male and female figures gathered around the same bed. Broughton’s later poetic films include such works as the 1972 “Dreamwood”, a story of one man’s journey to a mysterious island: “The Water Circle”, a 1975 poetic homage to sage Lao-tsu on the world’s bodies of water; the 1979 “Hermes Bird”, a celebration of the transformative power of the phallus; and the 1988 “Scattered Remains”, one of six films created with his partner Joel Singer, in which Broughton acts out his verses in unlikely situations.

Broughton’s honors include a Fellowship from the John Simon Guggenheim Memorial Foundation and an American Film Institute Award for Independent Film and Video Artists. He was an early poet member of the Radical Faeries, a counterculture movement that redefined queer consciousness through secular spirituality, and a member of The Sisters of Perpetual Indulgence, a protest and street performance group that used drag and religious imagery to call attention to sexual intolerance. Broughton also taught at both San Francisco State University and San Francisco’s Art Institute.

James Broughton had relationships with both men and women. He lived briefly with film critic Pauline Kael, with whom he had a daughter in 1948. At the age of forty-nine, Broughton married Suzanne Hart, with whom he had two children. In 1973, he met Joel Singer, a twenty-five year old student at one of his San Fransisco Art Institute classes, and began both a strong personal relationship and a lengthy film collaboration. In 1989, Broughton and Singer moved to Port Townsend, Washington, where they lived until Broughton’s death, at the age of eighty-five, in May of 1999.

“The quietest poetry can be an explosion of joy. True delicacy is not a fragile thing. The most delicate and yielding of our necessities, water, can be the most powerful destroyer, swallowing everything.

True delicacy is indestructible. Take Shelley, Dickinson, Firbank, Basho. I like things which appear fragile but are tough inside. In the long run the deadly can outmaneuver the brute, the bird is more resourceful than the rhino.” – James Broughton

Note: A remembrance on the life of James Broughton by Martin Goodman as well as an except from Goodman’s interview with Broughton can be found at: http://www.archipelago.org/vol4-1/broughton.htm

Top Insert Image: Photographer Unknown, “james Broughton and Joel Singer”, Photo Shoot from “Devotions”, 1983, Gelatin Silver Print

Third Insert Image: Imogen Cunningham, “The Poet and His Alter Ego (James Broughton)”, 1962, Gelatin Silver Print, New Orleans Museum of Art

Bottom Insert Image: Photographer Unknown, “james Broughton and Joel Singer in “Devotions”, 1983, Gelatin Silver Print

Christopher Soto: “Last Time I Saw Myself Die..”

Photographers Unknown, Last Time I Saw Myself Die

Last time I saw myself die is when police killed Jessie Hernandez

                                      A 17 year old brown queer // who was sleeping in their car

Yesterday I saw myself die again // Fifty times I died in Orlando // &

                        I remember reading // Dr. José Esteban Muñoz before he passed

I was studying at NYU // where he was teaching // where he wrote shit

                        That made me feel like a queer brown survival was possible // But he didn’t

Survive & now // on the dancefloor // in the restroom // on the news // in my chest

                        There are another fifty bodies that look like mine // & are

Dead // & I’ve been marching for Black Lives & talking about police brutality

                        Against Native communities too // for years now // but this morning

I feel it // I really feel it again // How can we imagine ourselves // We being black native

                        Today // Brown people // How can we imagine ourselves

When All the Dead Boys Look Like Us? // Once I asked my nephew where he wanted

                        To go to College // What career he would like // as if

The whole world was his for the choosing // Once he answered me without fearing

                        Tombstones or cages or the hands from a father // The hands of my lover

Yesterday praised my whole body // Made angels from my lips // Ave Maria

                        Full of Grace // He propped me up like the roof of a cathedral // in NYC

Before we opened the news & read // & read about people who think two brown queers

                        Can’t build cathedrals // only cemeteries // & each time we kiss

A funeral plot opens // In the bedroom I accept his kiss // & I lose my reflection

                        I’m tired of writing this poem // but I want to say one last word about

Yesterday // my father called // I heard him cry for only the second time in my life

                        He sounded like he loved me // it’s something I’m rarely able to hear

& I hope // if anything // his sound is what my body remembers first.;

Christopher Soto, All the Dead Boys Look Like Me, Bullets into Bells: Poets and Citizens Respond to Gun Violence, 2017

Born in 1991 to El Salvadoran parents who immigrated to the United States, Christopher Soto is a poet and prison abolitionist who spent the formative years of life in Los Angeles. Soto studied at New York University as a Goldwater Hospital Writing Fellow and, in 2015, earned a Master of Fine Arts in Poetry .Soto has worked with the Lambda Literary Foundation since 2014 as editor of the online literary journal “Nepantia”.

Christopher Soto’s first chapbook collection of poems was the 2012 “How to Eat Glass”. Soto’s second collection, the chapbook “Sad Girl Poems” was published in January of 2016. This collection of narrative poems dealt with the social issues affecting young queer people of color, among which are homelessness, gender identity, abuse in the family, and death of a lover. In 2016, Soto co-founded, along with Macelo Castillo and Javier Zamora, the Undocupoets Campaign which successfully removed the citizenship requirement from first-book competitions, thus allowing undocumented poets and writers to participate. For this, the organization and Soto received the Barnes & Noble Writer for Writers Award.

After receiving an invitation from The Center for Justice at New York’s Columbia University, Soto taught a community-based writing workshop in 2017 at the university as part of the June Jordan Teaching Corp, named in honor of the queer black poet and essayist. In 2018, Soto edited and published through Nightboat Books the anthology “Nepantia: An Anthology Dedicated to Queer Poets of Color”. This publication was the first major literary anthology of queer poets of color in the United States.

Relocating back to Los Angeles in 2019, Christopher Soto began working with the University of California’s Ethnic Studies Research Center. Soto became a member of the Boardof Directors for Lambda Literary and joined the CantoMundo Fellowship which supports Latino poets and poetry. Working alongside Javier Zamora, Jan Henry Gray and Anni Liu, Soto co-organized the “Writers for Migrant Justice” campaign, a national movement in over forty cities to raise the necessary funds to aid migrant families in detention.

As a lecturer in 2020 with the University of California’s Honors College, Soto began teaching inter disciplinary creative writing courses, such as “Poetry and Protest Movements”. Awarded in 2021 a National Endowment for the Arts Fellowship in Poetry, Soto became a visiting Assistant Professor of Creative Writing at Los Angeles’s Occidental College, where he still teaches.

In May of 2022, Copper Canyon Press will be releasing Soto’s new collection of poetry, “Diaries of a Terrorist”. This collection of political surrealist poems, which discusses the issues of power and police violence, is expressed through alternating humor, deep vulnerability, and frank queer punk bawdiness.

Christopher Soto’s poetry, reviews, interviews and articles can be found in many literary publications, including Poetry magazine, Tin House, American Poetry Review, the Los Angeles Review of Books, and the Guardian, among others. Soto’s workis available in many translations including Japanese, Spanish, Portuguese and Thai.

Dennis Cooper: “Their Jeans Sparkled, Cut Off Way Above the Knee”

Photographers Unknown, Their Jeans Sparkled

Their jeans sparkled, cut off
way above the knee, and my
friends and I would watch them
from my porch, books of poems
lost in our laps, eyes wide as
tropical fish behind our glasses.

Their football flashed from hand
to hand, tennis shoes gripped
the asphalt, sweat’s spotlight on
their strong backs. We would
dream of hugging them, and crouch
later in weird rooms, and come.

Once their ball fell our way
so two of them came over, hands
on their hips, asking us to
throw it to them, which Arthur did,
badly, and they chased it back.
One turned to yell, “Thanks”

and we dreamed of his long
teeth in our necks. We
wanted them to wander over,
place deep wet underarms to
our lips, and then their white
asses, then those loud mouths.

One day one guy was very tired,
didn’t move fast enough,
so a car hit him and he sprawled
fifty feet away, sexy, but he was
dead, blood like lipstick, then
those great boys stood together

on the sidewalk and we joined them,
mixing in like one big friendship
to the cops, who asked if we were,
and those boys were too sad to counter.
We’d known his name, Tim, and how
he’d turned to thank us nicely

but now he was under a sheet
anonymous as God, the big boys crying,
spitting words, and we stunned
like intellectuals get, our high
voices soft as the tinkling of a
chandelier on a ceiling too high to see.

Dennis Cooper, “After School, Street Football, Eighth Grade”, The World is Us: Lesbian and Gay Poetry of the Next Wave, 2000

Born in Pasadena, California in January of 1953, Dennis Cooper is a novelist, poet, critic and short story writer. He is best known for his autobiographical novels that feature intense analyses of human obsessions and relationships. 

The son of conservative parents, Dennis Cooper was educated at Pasadena City College and Pitzer College, a private liberal arts college in Claremont, California. He was influenced in his early years by French novelists and directors such as Jean Cocteau, Marguerite Duras and Alain Robbe-Grillet. An astute student, Cooper began writing surreal stories at the age of twelve. He was already focused toward a career in writing at the age of fifteen having written stories  in the styles of Arthur Rimbaud and the Marquis de Sade. 

Cooper was attracted to the Punk culture in his teenage years. In 1976 at the age of twenty-four, he founded the punk “Little Caesar Magazine”, which ran for four years and featured contributions from Debbie Harry, Andy Warhol, and artist / AIDs activist David Wojnarowicz. In 1978, Cooper founded the Little Caesar Press which published works by such artists as poet Amy Gerstler and critic and poet Peter Schjeldahl. Through his publishing company, he published his first book of poetry “Idols” in 1979. Two years later Cooper published his “Tenderness of the Wolves”, a collection of short stories and poetry which was nominated for the Los Angeles Times Book Prize. 

After working for four years as the Director of Programming at the Beyond Baroque Literary Arts Center, Dennis Cooper moved to New York City in 1983. He soon published his first novella, “Safe” and began a series of five books, the “George Miles Cycle”, a collection of work he aspired to write at the age of fifteen. After relocating to Amsterdam with his boyfriend, Cooper in 1985 published “Closer”, the first volume of the “Cycle” series. This book later won the first Ferro-Grumley Award for Gay Literature. During this period, Cooper also contributed articles for magazines such as The Advocate, Art in America, and Artforum. 

Returning to America in 1987, Cooper published his 1991 novel “Frisk”. He also worked on several art projects including collagist and sculptor Richard Hawkins’s 1988 “Against Nature: A Group Show of Work by Homosexual Men” held at the Los Angeles Contemporary Exhibition space. From 1990 to 2005, Cooper lived in Los Angeles collaborating with other artists including painter Lari Pittman, composer John Zorn, and sculptor Jason Meadows. He also founded the ‘Little House on the Bowery’ imprint, which issued works of new creative writers through the publishing company Akashic Books. 

In 1996, Dennis Cooper published s retrospective of his work from 1969 to 1993 entitled “The Dream Police”. This collection includes the best poems from his last five books, both darkly erotic early works and the more refined post-punk works of the later years. In 2000, Cooper published “Period”, the last volume in his “George Miles Cycle”. This series of work, an examination of Cooper’s fascination with sex and violence as well as his love affair with friend George Miles, has been translated into eighteen foreign languages and has been the subject of academic studies. The cycle, in addition to the five volumes, includes two essay collections by Cooper devoted to the cycle: the 2004 “Enter at Your Own Risk” and the 2008 “Writing at the Edge”.

In 2005, Cooper relocated to Paris where he currently resides. He has collaborated with composers Peter Rehberg and Stephen O’Malley, as well as theater director Gisèle Bienne, on several works for the theater including the 2005 “Un Belle Enfant Blonde” and a stage adaption of his 2003 novella “Jerk”. Cooper has since published several novels, short fiction works, and collections of poetry, including the 2004 “Thee Tight Lung Split Roar Hums”, the 2008 limited edition “The Weaklings”, and the 2013 “The Weaklings (XL)”. 

Notes: In the middle of 2016, Cooper engaged in a two-month confrontation with Google after it deleted his blog for “unspecified violations of their terms of use policy”. This blog contained ten years of writing plus a novel in progress. After mass media attention on Google’s actions and long negotiations through attorneys, Google returned his data. 

Harold Norse: “The Sea Broke Wild Beneath the Cliff”

Photographers Unknown, The Sea Broke Wild Beneath the Cliff

we sailed into the harbor
all the church bells rang
the main street on the crescent shore
hung iridescent silks from windows
stucco house-fronts gleamed
rose, pistachio, peach
and a procession sang
behind a surpliced priest
carrying a burnished Christ
when I set foot on shore
a youth emerged from the crowd
barefoot and olive-skinned
and we climbed up rocky slopes
till dusk fell and close to the moon
at the mouth of a cave we made love
as the sea broke wild beneath the cliff

Harold Norse, Island of Giglio, In the Hub of the Fiery Force: Collected Poems of Harold Norse (1934-2003)

Born in New York City in July of 1916, Harold Norse, born Harold Rosen, was an American poet and writer who broke new ground beginning in the 1950s by his exploration of gay identity and sexuality through plain language and direct imagery. 

The only son of an unmarried Lithuanian Jewish immigrant, Harold Norse earned his Bachelor of Arts degree in English Literature in 1938 from Brooklyn College where he edited its literary magazine and began writing poetry. While at the college, Norse entered into a relationship with fellow student Chester Kallman, who became a poet and opera librettist. He and Kallman became part of poet W. H. Auden’s inner circle of acquaintances after Auden and Christopher Isherwood relocated to New York City in 1939. Chester Kallman later became Auden’s companion until Auden’s death.

By the early 1940s as a member of Auden’s circle, Norse cultivated a number of relationships, both professional and personal. He met Allen Ginsberg on a Manhattan subway and became friends with James Baldwin after meeting him in Greenwich Village. Norse spent a summer with Tennessee Williams while the playwright finished his “The Glass Menagerie”, and in 1950 became friends with Welsh poet Dylan Thomas. After earning his Master’s Degree in English Literature at New York University in 1951, Norse met modernist poet William Carlos William who encouraged him to embrace a more direct, conversational language in his poetry. 

After accepting Williams’s mentorship, Harold Norse found a common cause with the Beat Generation poets in their rejection of academic poetry and traditional metric formats. as well as, his peripheral status in society as a gay man. Norse began publishing his work in The Paris Review, The Saturday Review, and Poetry Magazine. In 1953, he published his first collection of poem, “The Undersea Mountain”. Frustrated with New York’s poetry scene, Norse began a fifteen year period of travel in Europe and North Africa. While in Italy, he translated the sonnets of Giuseppe Gioachino Belli from the Romanesco, the dialect of Rome, with the assistance of street hustlers.

Between 1960 and 1963, Norse lived in Paris , along with William Burroughs, Alan Ginsberg and Gregory Corso, at the hotel known as “The Bear” in the city’s Latin Quarter. He briefly collaborated with painter and performance artist Brion Gysin on Gysin’s cut-up Dada work. After traveling to Greece where he met songwriter and author Leonard Cohen, Norse went to North Africa where he became friends with stage actor Paul Bowles. He returned to the United States and settled in the Mission District of San Francisco in 1972, which became his home for the rest of his life.There he became friends with writer Charles Bukowski and met Arnold Schwarzenegger, at that time a beginning bodybuilder.

It was in San Francisco that Harold Norse’s literary career became very productive. In 1974, Lawrence Ferlinghetti’s publishing house, City Lights, released Norse’s “Hotel Nirvana” Selected Poems 1953-1973” to critical acclaim. With the publication of “Carnivorous Saint: Gay Poems 1941-1975″, he was considered one of America’s leading gay poets. Norse followed these successes with two more collections: “The Love Poems 1940-1985” and his final volume, “In the Hub of the Fiery Force: Collected Poems 1934-2003”. In 1989, his autobiography, “Memoirs of a Bastard Angel: A Fifty Year Literary and Erotic Odyssey”, was published. 

Norse was an outsider of society, Jewish, homosexual and illegitimate, who produced new and technically accomplished work from the fringes of the literary scene in the United States. With the gay liberation movement gathering momentum, his poetry was given a new sense of direction and meaning. Norse wrote new poems about the idea of masculinity, such as his “I Am Not a Man”, and works about unrequited gay love and loneliness. In his latter years, his work reflected on what it meant to be an aged gay man in San Francisco. 

Toward the end of his life, Harold Norse was surrounded by a group of friends who looked after him. He still read his poetry at the age of ninety-one to enthralled audiences. Both a two-time National Endowment of the Arts grant recipient and a National Poetry Association Award winner, Harold Norse died on the 8th of June in 2009. 

Note: For those interested, I highly recommend a visit to the Harold Norse Centennial website. Dedicated to preserving the work and legacy of Norse, it was established by his close.  decades-long friend Todd Swindell. The site contains interviews, readings of Norse’s work, book reviews, videos, photographs, and other articles. The site is located at: https://haroldnorse.com

 

Edward Carpenter: “Clouds and Daemonic Thunder Through the Blue Vault”

Photographers Unknown, Clouds and Daemonic Thunder Through the Blue Vault

O APRIL, month of Nymphs and Fauns and Cupids,
Month of the Sungod’s kisses, Earth’s sweet passion,
Of fanciful winds and showers;
Apollo, glorious over hill and dale
Ethereally striding; grasses springing
Rapt to his feet, buds bursting, flowers out-breathing
Their liberated hearts in love to him.

(The little black-cap garrulous on the willow
Perching so prim, the crested chaffinch warbling,
And primrose and celandine, anemone and daisy,
Starring the tender herb which lambs already nibble.)

Month of all-gathering warmth,
Of breathless moments, hotter and hotter growing-
Smiles turned to fire, kisses to fierce earnest-
Of sultry swoons, pauses, and strange suspense
(Clouds and daemonic thunder through the blue vault
threateningly rolling):
Then the delirious up-break- the great fountains of the
deep, in Sex,
Loosened to pouring failing rushing waters;
Shafts of wild light; and Sky and Earth in one another’s
arms
Melted, and all of Heaven spent in streams of love
Towards the Loved one.

George Carpenter, April, Towards Democracy, 1911

Born in August of 1844 in Hove, a seaside city located next to Brighton, Edward Carpenter was an English poet, utopian socialist, philosopher, and an early activist for both prison reform and gay rights. Among his most notable philosophical publications was his 1889 “Civilization: Its Cause and Cure” which contained Carpenter’s famous essays on civilization and his theory that it is a disease of mankind that must be cured. Papers included in this collection discuss the rampant ill-health suffered by society as well as criticisms of modern science to support this theory. 

One of four siblings, Edward Carpenter was educated at nearby Brighton College where his father served as governor. A late starter academically in life, he was still able to secure a position at Trinity Hall, Cambridge. While at Cambridge, Carpenter was influenced by the teachings of Christian Socialist theologian Frederick Denison Maurice, who had recently founded London’s Working Men’s College. He also began to explore his sexual identity; the most notable example of which was his close relationship with fellow student Edward Anthony Beck, who eventually ended the relationship.

In 1868, Carpenter graduated from Trinity College as tenth Wrangler, having earned first-class honors in mathematics. After graduation, he remained in Cambridge and was ordained, by convention and not conviction, as a curate of the Church of England where he served at St. Edward’s parish under F. D. Maurice. In 1871, at the age of twenty-seven, Carpenter was invited, but declined, to become a tutor to Prince George Frederick, later King George V, and his brother Prince Albert Victor, the Duke of Clarence. This position was accepted by his lifelong friend from college, John Neale Dalton, whom Carpenter continued to visit during Dalton’s fourteen-year tutelage to the princes.

Discouraged with his life in the church and university and weary of the hypocrisy of Victorian society, Edward Carpenter immersed himself in reading, particularly finding solace in the works of Walt Whitman whom he would later meet in 1877. He was released from his duties in the Anglican ministry and left the church in 1874. Moving to Leeds, Carpenter became a lecturer with the University Extension Movement, formed to provide education to deprived communities. His lectures on astronomy and ancient Greek culture and music were, however, not attended by the working classes but by mostly middle-class people who expressed no real interest in the subjects. 

Disillusioned, Carpenter moved to Sheffield, a crucial center of England’s Industrial Revolution, where he came in contact with its manual workers and, inspired, began to write poetry. During this time in Sheffield, Carpenter became increasingly radical and joined the Social Democratic Federation, Britain’s first organized socialist political party. Upon his father’s death in 1882, Carpenter inherited a substantial sum of money, in excess of six-hundred thousand pounds in today’s currency. This inheritance allowed him to cease lecturing and start a simpler life on a farm managed by Albert Ferneyhough and his family. 

Edward Carpenter and Albert Ferneyhough eventually became lovers and moved in 1883, with Albert’s family, to Millthorpe in Derbyshire. In Millthorpe, Carpenter built a large house with outbuildings constructed of local stone with slate roofs; a small business was started with marketable garden produce and handmade leather sandals. As a member of the Social Democratic Federation, Carpenter worked on a number of projects to improve the living conditions of industrial workers. He left the SDF in 1884 and, along with textile designer and author William Morris, joined the Socialist League. 

In 1883, Carpenter published the first part of “Towards Democracy”, a long poem expressing his idea of spiritual democracy and a freer, more just society. This tome, heavily influenced by Walt Whitman’s poetry and passages from the Bhagavad Gita, was later expanded several times with the complete edition published in 1905. In 1887, Carpenter published his “England’s Ideal”, a collection of essays which included his “Simplification of Life”. From 1888 to 1889, he lived with Cecil Reddle, an educational reformer whom he helped found the Abbotsholme School, a progressive alternative to public education.

Drawn increasingly to Hindu philosophy, Edward Carpenter traveled to India and Ceylon where he developed the conviction that socialism would bring about a revolution in both economic conditions and human consciousness. His account of the journey was published as the 1892 “From Adam’s Peak to Elephanta: Sketches in Ceylon and India”. On his return to England in 1891, Carpenter met George Merrill, a Sheffield working-class man twenty-two years his junior. After the Ferneyhough family left Millthorpe in 1893, Merrill became his partner, cohabiting from 1898, and remained with Carpenter for the rest of their lives. 

 Carpenter and Merrill had many friends among activists and artists, including Henry Stephens Salt, founder of the Humanitarian League; author Aldous Huxley; essayist and sexologist Havelock Ellis; actor and producer Ben Iden Payne; Labor activists Bruce and Katharine Glasier; and feminist writer Olive Shreiner. One of his closest friends was the writer E. M. Forester, who often visited the couple at Millthorpe. Carpenter and Merrill’s relationship would inspire Forester during a 1913 visit to write his gay-themed novel “Maurice”. 

In 1902, Edward Carpenter published his anthology of prose and verse “Ioläus: An Anthology of Friendship” and, in 1915, published “The Healing of Nations and the Hidden Sources of Their Strife”, a tome against class-monopoly and social inequality. His 1921 book, “Pagan and Christian Creeds” espoused the story of Christ as mythology. In 1922 after the death of Carpenter’s former lover George Hukin, Carpenter and Merrill relocated to Guildford in Surrey. On Carpenter’s eightieth birthday, he was presented with an album, signed by every member of the Labor Party Government, in recognition of his support for the working classes. 

In January of 1928, George Merrill, who had grown dependent on alcohol since moving to Surrey, died suddenly. Carpenter was devastated and sold their house and lodged for a short time with his care giver Ted Inigran. They took a small bungalow in Surrey where, in May of 1928, Carpenter had a stroke. He lived for another thirteen months and died on the 28th of June in 1929, at the age of eighty-four. He was interred in the same grave as Merrill at the Mount Cemetery in Guildford, England.

Note: A collection of Edward Carpenter’s works and papers are housed at the Harry Ransom Center of the University of Texas at Austin. This collection includes letters and the hand-written manuscripts of “Toward Industrial Freedom” and “The Trojan War & Constantinople”, among other items.

A transcript of a discussion, given by poet Allen Ginsberg, on Edward Carpenter’s 1888 “The Secret of Time and Satan” can be found at The Allen Ginsberg Project website. An audio of that discussion is also provided. The discussion is located at: https://allenginsberg.org/2014/03/expansive-poetics-42-edward-carpenter-4/

Top Insert Image: Fred Holland Day, “Edward Carpenter”, 1900, Black and White Photogravure, 9.9 x 7.3 cm, National Portrait Gallery, London

Second Insert Image: Photographer Unknown, “Edward Carpenter and George Merrill”

Third Insert Image: Photographer Unknown, “George Edward Hukin, Edward Carpenter and George Merrill”, Date Unknown, Photogravure

Fourth Insert Image: Henry A Bishop, “Edward Carpenter”, 1907, Oil on Canvas, 47.3 x 43.8 cm, National Portrait Gallery, London

Bottom Insert Image: Alvin Langdon Coburn, “Edward Carpenter”, November 28 1905, Photogravure, 20.8 x 15.7 cm, National Portrait Gallery, London

William Haines: Film History Series

Photographers Unknown, Twelve Men During the Day

Born in Staunton, Virginia in January of 1900, Charles William Haines was an American actor and interior designer. He was the third child of seven siblings, two of which died in infancy, born to George Adam Haines, a cigar maker, and Laura Virginia (Matthews) Haines. He became fascinated at an early age with motion pictures and stage performances. 

At the age of fourteen, William Haines ran away from home accompanied by an unidentified young man. They both gained employment at the DuPont factory in Hopewell, Virginia, where they earned fifty dollars a week producing nitrocellulose which in its finished form is used for photography. Tracked by the police, Haines made an arrangement with his parents where he could remain in Hopewell and, with his earnings, send support to his family. The two boys remained in Hopewell until the 1915 fire which destroyed most of the city. 

Haines relocated to New York City until 1917, when a family crisis caused him to move to his family’s new home in Richmond, Virginia, to lend financial and emotional support. With the family’s recovery in 1919, Haines returned to New York City and settled in the growing gay community of Greenwich Village. He worked at various odd jobs and eventually gained employment as a model. Haines entered the Goldwyn Pictures’s contest, “New Faces of 1922”, and was discovered by Bijou Fernandez, a silent film actress and theatrical agent. Signed to a forty dollar per week contract with Goldwyn Pictures, he traveled to Hollywood in March of 1922 along with fellow contestant Eleanor Boardman.

William Haines initially played uncredited roles; his first significant casting was a high-profile role in director King Vidor’s 1923 silent drama “Three Wise Fools”, for which he received positive notices in reviews. This was followed in the same year by another significant role in Fox Studios’s silent western “The Desert Outlaw”. In 1924, MGM lent Haines to Columbia Pictures for a five-picture deal. The first of these films, the 1924 crime film “The Midnight Express” received excellent reviews. 

Haines had his first major personal success with the starring role in MGM’s 1926 silent drama “Brown of Harvard”. The character he played, a young arrogant man later humbled, was a role he would repeat for the next several years. On a publicity trip to New York City in 1926, Haines met James Shields. He convinced Shields to move to Los Angeles and promised to secure him work as an extra in films. Haines and Shields began living together and saw themselves as a committed couple. Although many actors in the film industry knew of their commitment, Haines never publicly affirmed his sexuality and there was no mention of their relationship in the press.

William Haines next appeared in two successful films, the 1925 comedy-drama “Little Annie Rooney”, co-starring with Mary Pickford, and the 1926 comedy “Show People”, co-starring with Marion Davies. He was one of the top five box-office stars from 1928 to 1932. With the advent of sound in film, Haines was able, with elocution lessons, to make the transition and maintain his star status. His first starring role in a full-sound film was the 1929 romance  “Navy Blues” for MGM; this was followed by the 1930 western parody “Way Out West”. At this point in his career, Haines was listed as the top box-office attraction in the country. 

Haines’s films began to drop at the box-office by the late 1930s. MGM canceled his contract in 1931 and, later, brought him back to the studio as a featured player with a reduced salary. Haines next starred in the film, “Just a Gigolo”; but that production failed to turn his slipping ratings. The MGM Studio finally terminated Haines’s contract with the studio in early 1933. 

The termination of Haines was the result of multiple factors.  With the depression, studios were very concerned about their films’ profit margins; Haines was aging and had not successfully completed his transition from his early “Brown of Harvard” persona; and Haines, despite not affirming his sexuality publicly, did not agree to a studio-supported lavender marriage as other gay actors had done. The impending Hays Production Code and the decreasing profits from Haines’s films put pressure on the studio and made it difficult for MGM to continue placing him in starring roles.

William Haines’s final two films were produced in 1934 by Mascot Pictures, a studio known for producing serials and B-movies. The first was the romantic comedy “Young and Beautiful”, which starred Haines opposite actress Judith Allen, and the second was a war-romance film “The Marines Are Coming”, in which Haines played opposite Conrad Nagel and Esther Ralston. Although Haines still received offers from minor studios, he made the decision to retire from acting and commit himself to his and Shield’s interior design business. Over his acting career, Haines had appeared appeared in fifty-four films, the majority of which were in starring roles.

In 1930, William Haines and James Shield had begun a successful dual career as interior designers and antique dealers. Hand-painted wallpaper, ottoman tables, and low to the ground sitting rooms became signature pieces of their work. Their antiques and artwork were loaned for film stage sets, including Haines’s personal paintings for Tara’s interior walls in “Gone With the Wind”. Among their clients were friends such as Gloria Swanson, George Cukor, Carole Lombard, and Joan Crawford.  In 1937, Haines was hired to decorate the estate of studio executive Jack L. Warner.  In the late 1930s through an introduction made by Joan Crawford, Haines and Shield decorated Villa Valentino, a secluded estate owned by Tom Lyle Williams, the founder of Maybelline Cosmetics, and his life-long partner Emery Shaver.

Haines and Shield settled in the Hollywood community of Brentwood and, except for a brief period of Haines’s service during World War II, they remained together and ran their prosperous business. By the time of their retirement in the early 1970s, their clients included socialite and philanthropist Betsy Bloomingdale and Governor Ronald Reagan and Nancy Reagan. Haines was also hired to redecorate London’s Winfield House, the official United States embassy residence, by the U.S. Ambassador Walter Annenberg.

William Haines and James Shield remained together in a relationship for forty-seven years. They enjoyed a high position in Hollywood for decades, supported by many loyal friends. On December 26th of 1973, William Haines died, at the age of seventy-three, from lung cancer in Santa Monica, California. Shortly afterward on March 6th of 1974, James Shield, who was suffering from Alzheimer’s disease, dressed in Haines’s pajamas, wrote a note about his loneliness, and took an overdose of sleeping pills. They are interred side by side in Santa Monica’s Woodlawn Memorial Cemetery. For his contribution to the motion-picture industry, William Haines has a star on the Hollywood Walk of Fame located at number 7012.

Third Insert Image: Photographer Unknown, Louis B Mayer, William Haines, Marion Davis, and James Shields at the Premiere of “A Tailor Made Man”, March 1931

Thanh Vuong

The Photography of Thanh Vuong

Based in Melbourne, Thanh Vuong is a Vietnamese-Australian photographer who specializes in photographing the male body in natural landscapes with natural light. Born in Saigon, Vietnam, he emigrated at a very young age with his family to Australia. In 2017, Vuong earned his Bachelor of Arts in Photography from Melbourne’s Photography Studies College where he studied under the tutelage of photographers Daniel Boetker-Smith, the director of the Asia-Pacific Photobook Archive, and Hoda Afshar, an Iranian photographer known for her black and white documentary work.

Vuong’s projects explore the themes of gender politics and the representation of queer identities, masculinity and the male form. Among the photographers he considers major influences on his work are such artists as German photographer Wilhelm von Gloeden, known for his pastoral nude studies accomplished with photographic filters of Sicilian boys; photojournalist William Eugene Smith, an important figure in the development of editorial photo essays; portraitist George Platt Lynes, best known for his Hollywood portraits and male nudes; and George Dureau, whose career was most  notable for his charcoal sketches and black and white photographs of vulnerable and marginalized individuals.

In 2017, Thanh Vuong shot his series “In My Garden, the Trees Are Changing”, which centered on theme of male beauty and desire. The images presented an imaginary utopia of lush gardens and ethereal light in which gay men are free from prejudice, judgement and injustice. This series was awarded the Leica and Ilford Excellence in Photomedia Award at Melbourne’s 2017 Summer Salon held at the Centre for Contemporary Photography. It also won multiple awards in the same year at both state and national level from the Australian Institute of Professional Photography. The success of Vuong’s series led to another solo exhibition at the end of 2021 held at the Paddington Reservoir Gardens in Paddington, Australia.

Vuong’s 2017 series “(Not) Blue” was shortlisted for the Australian Photographer of the Year held by Capture Magazine. Vuong was a finalist in the British Journal of Photography’s first OpenWalls competition held in Arles, France, in 2019. His photo “A River That Flows From Eden”, depicting a nude couple lying at water’s edge, placed third in the 2021 Monovisions Photography Awards.

Thanh Vuong is currently represented by Boys!Boys!Boys, an initiative of the Little Black Gallery in London. Images of his work can be seen at the Boys!Boys!Boys site located at: https://boysboysboys.org/search?q=vuong

“I see photography as an extension and expression of my sexual identity and a way to start an honest and open conversation. As I developed my technique, the way I approach the body in my work has also evolved. Now it is no longer just an autonomous specimen understood as an exhibition of manhood, but a means through which I can delicately express some of the problems that affect the current queer community.” – Thanh Vuong, Interview with Gustavo Forcada, Editor of the online magazine Belfusto, March 2021

Saeed Jones: “Their Footprints Burn Holes in the Sand”

Photographers Unknown, Their Footprints Burn Holes in the Sand

Boys begin to gather around the man like seagulls.
He ignores them entirely, but they follow him
from one end of the beach to the other.
Their footprints burn holes in the sand.
It’s quite a sight, a strange parade:
a man with a pair of wings strapped to his arms
followed by a flock of rowdy boys.
Some squawk and flap their bony limbs.
Others try to leap now and then, stumbling
as the sand tugs at their feet. One boy pretends to fly
in a circle around the man, cawing in his face.

We don’t know his name or why he walks
along our beach, talking to the wind.
To say nothing of those wings. A woman yells
to her son, Ask him if he’ll make me a pair.
Maybe I’ll finally leave your father.
He answers our cackles with a sudden stop,
turns, and runs toward the water.
The children jump into the waves after him.
Over the sound of their thrashes and giggles,
we hear a boy say, We don’t want wings.
We want to be fish now.

Saeed Jones, “Daedalus, After Icarus”, Prelude to Bruise, 2014

Saeed Jones, an American poet and author, was born in November of 1985 in Memphis, Tennessee, and raised in a suburb of northern Texas. He studied at Western Kentucky University where he won national speech and debate competitions. After receiving his Bachelor of Arts, Jones earned his Master of Fine Arts in Creative Writing from Rutgers University in Newark. He currently lives and works on his writing in Columbus, Ohio. 

Saeed Jones’s poetry examines the issues of race, power, desire and grief; he incorporates both mythology and the iconography of black culture into his poems and prose. In his work, Jones also discusses the process of personal journey and transformation, which includes those events in life where the issues of sex, race and power collide. 

Jones’s first published work, “Prelude to Bruise”, was a large collection of melodic poems with words in counterpoint. The core theme present throughout the collection is of a queer Afro-American child who navigates through family, gender and desire in the South. The work was named a finalist for the 2014 National Book Critics Circle Award for Poetry, the 2014 Lambda Literary Award for Gay Poetry, and the 2015 Thom Gunn Award for Gay Poetry. It won the 2015 Stonewall Book Award and PEN/ Joyce Osterwell Award for Poetry. 

Saeed Jones’s second work, a memoir entitled “How We Fight for Our Lives”, follows his life as a young, gay, black man living in Lewisville, Texas in the 1990s as he seeks a place for himself within family and country, and within his desires, hopes and fears. The memoir highlights his awareness of the discrimination, homophobia and racism he endured, as well as the struggles he faced to define his own identity. “How We Fight for Our Lives” won the 2019 Kirkus Prize for Non-Fiction, the 2020 Lambda Literary Award for Memoir/Biography, the 2020 Stonewall Book Award-Israel Fishman Non-Fiction Award, and the Randy Shilts Award for Gay Nonfiction presented by Publishing Triangle. 

Saeed Jones previously worked as the LGBTQ editor and Culture editor for BuzzFeed, an internet company focused on all segments of digital media. He has received a Pushcart Prize and fellowships from Cave Canem and Queer Art Mentorship. 

Notes: Saeed Jones’s next poetry collection, entitled “Alive at the End of the World”, will be released in September of 2022. Though his poems, Jones confronts the everyday perils of white supremacy and identifies even routine moments that open channels of hurt. Using first-person narration, he seeks to understand his own feelings through the lives and experiences of such cultural icons as Aretha Franklin, Little Richard, and Diahann Carroll. Pre-order is available through Coffee House Press located at: https://coffeehousepress.org/products/alive-at-the-end-of-the-world/

Mikhail Kuzmin: “Night Was Done. We Rose and After. . .”

Photographers Unknown, Night Was Done

Умывались, одевались,
После ночи целовались,
После ночи, полной ласк.
На сервизе лиловатом,
Будто с гостем, будто с братом,
Пили чай, не снявши маск.

Наши маски улыбались,
Наши взоры не встречались,
И уста наши немы.
Пели «Фауста», играли,
Будто ночи мы не знали,
Те, ночные, те — не мы.

Night was done. We rose and after
Washing, dressing, — kissed with laughter, —
After all the sweet night knows.
Lilac breakfast cups were clinking
While we sat like brothers drinking
Tea, — and kept our dominoes.

And our dominoes smiled greeting,
And our eyes avoided meeting
With our dumb lips’ secrecy.
“Faust” we sang, we played, denying
Night’s strange memories, strangely dying,
As though night’s twain were not we.

Mikhail Kuzmin, Night was Done. We Rose and After…, 1906

Translated by Babette Deutsch and Avrahm Yarm