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86                                      Jack Fritscher, Ph.D.
               A documentary such as this is good history when the origami of
            memory unfolds to ever-more specific perspectives wherein the events of
            a timeline are supported by human feeling backed with cold evidence.
               Former  Drummer editor, Joseph Bean, wrote to me on July 15, 2002:

                   I think that if your introductory histories in  Eyewitness
               Drummer are huge compared to the articles they attach to, that’s
               great. It is the nature of history to be huge by comparison to the
               once simple event described. Think of the massive volume of his-
               torical reflection, analysis, etc. written about any given moment
               or action in the human past. Moments have consequence. Those
               moments in Drummer and in the Leather Community are of
               great consequence. It makes complete sense that it takes far more
               words to describe a river decades later than it took to stand in
               the flow at the time, and say it’s just this cold and only as deep
               as this.

            MEMORY: NOT ALL ALONE IN THE MOONLIGHT

            In a pentimento, made literary by Lillian Hellman with whom Drummer
            and I share June 20 as a midsummer’s eve birthday, a painter at his canvas
            scrapes his way through layers of color and line and texture to reveal hid-
            den pictures underneath which may or may not be a better truth.
               Nearly everything alleged in this pentimento of Drummer, in fact, in
            this whole series of books, is based on my archived documents, nearly a
            thousand hours of my taped interviews of others, and my personal jour-
            nals, photography, videography, and Super-8 films as eyewitness of late
            twentieth-century life as we lived it.
               My friend Samuel Steward, a model record-keeper, was a great help to
            Dr. Alfred Kinsey researching the history of sexuality. Steward gave Kin-
            sey grist for the Kinsey Institute studies: his high-school sex stories, 1950s
            sex photos and 1960s Polaroids, records of all his tricks, erotic journals
            of tattooing, artwork, and his two early closeted books, the short-fiction
            collection Pan and the Firebird and the novel Angels on the Bough. Sam
            wrote in Chapters from an Autobiography, page 98:
               Later . . . at their request, I sent the Institute all of the Phil Andros
               novels I had produced, together with a bibliography locating the
               hundred and fifty stories I had written for European and other
               magazines, and all the ephemera and reproduced artwork I had
               done. [Italics added]



          ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
               HOW TO LEGALLY QUOTE FROM THIS BOOK
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