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232                                     Jack Fritscher, Ph.D.
            In 2005, because I was an historically documented coiner of “homo-
            words,” I was invited to present this necessarily autobiographical paper
            on  language,  identity,  and  homosexuality  in  the  series  “The(e)ories:
            Advanced Seminars for Queer Research.”
               The “Queer Keywords” event was convened and directed by Michael
            O’Rourke and Noreen Giffney, Women’s Studies, School of Social Jus-
            tice, University College Dublin, Ireland, April 14-16, 2006.
               Michael O’Rourke and Noreen Giffney are also Research Affiliates
            in the Centre for the Interdisciplinary Study of Sexuality and Gender in
            Europe at the University of Exeter, UK.
               In concept and content, this “Homomasculinity” essay specifically
            answered  the international invitation which Giffney and O’Rourke made
            to activist . . .

                . . . coiners of various homo-words to reflect anecdotally on how
               and why they created their neologisms, their cultural and soci-
               etal significance, origin, contexts, and agendas vis a vis the
               impulse to conceptualize, name, and label — particularly in the
               mass media of gay popular culture . . . with the idea of publishing
               a “Homoglossary” . . .

               My essay on the linguistic ecology of Drummer posited that in order
            to write about the newly uncloseted homosexuality of the 1970s — the
            first decade after Stonewall, our suddenly liberated culture required a
            new vocabulary for authors reporting on the love that theretofore dare not
            speak. Breaking the silence of the closet, I coined the word homomasculin-
            ity in 1977 when I was editor in chief virilizing Drummer magazine in San
            Francisco and needed words to conceptualize the new way we were in our
            self-fashioning identities.
               We were suddenly in our own new La Dolce Vita.
               Necessity was the mother of invention.
               In the way that Fellini created the new words paparazzo and paparazzi
            for his Roman film, I had to create new and useful words for San Fran-
            cisco Drummer.

               In this homo-word essay of transparent history, and in my germinal
            book, Gay San Francisco: Eyewitness Drummer, I am a protagonist as well
            as a priestling-scholar playing the part of Eusebius hot-linking the “canon
            tales” of Drummer and sorting, preserving, and quoting the leather his-
            tory of Drummer that might otherwise have been lost.

          ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
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