Page 262 - Gay San Francisco_Eyewitness Drummer
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242                                     Jack Fritscher, Ph.D.
            by coming into being identify the previously unspeakable unspoken. My
            liberationist idea of Drummer was to use words to seduce readers into dar-
            ing to realize that, by the very trans-magical act of jerking off to the erotic
            contents of Drummer, they became informed and empowered to dare exit
            their masturbatory solitude and seek interaction with real live men. The
            greatest act of magic is the power of words to make a reader think, grin,
            imagine, and cum.
               Gay literature is a body-driven genre in which keywords are invented
            in one palm-driving hand while the other hand types.
               Ambidextrous verbal ability at keywording and “hiding in plain
            sight” is required especially when censorship causes eros to be coded as
            art and culture: for instance, gay physique magazines of the 1930s-1960s
            commonly justified their nude photos by declaring they were” intended
            only for artists who cannot afford live models.” This agreed-upon lie
            about “artiness”  has twisted the style of gay photography off its true north
            ever since; in the same way, this agreed-upon lie has affected the spelling
            of erotic keywords words to hide them in plain sight: fug and come instead
            of fuck and cum.
               Living under the jail threat of Paragraph 175 in Germany, the proto-
            masculinist Adolf Brand edited his magazine, Der Eigene, whose keyword
            title he spun out of philosopher Max Stirner who had redefined eigene to
            mean “ownership of oneself.” Lifestylist Brand, differing from gay-gene
            pioneer Magnus Hirschfeld, was championing the Greek virtue of ideal
            manhood for all males, and he would have understood the “Kinsey Six”
            scale. His Der Eigene, minus its militancy, was in many ways a direct
            ancestor of Drummer — with the important difference that Drummer’s
            homomasculinity offered a democratic and Whitman-like identity to
            gay men, and was not at all like Brand’s Nietzsche-like class structure
            of homosexuals dominating one another, and straight men, on the basis
            of perceived virility. Because Der Eigene was keyed on “the self” and on
            “man-to-man relations” in the manner of Sparta, Der Eigene (1896-1933)
            was hoist on its own petard and was destroyed by group-thinking Nazis
            insistent on procreation. Even the masculine homosexual Nazis thought
            the romantic Brand, who stood up against Nazi excesses such as book
            burning, went way too far claiming his Wandervogel masculine gay males
            were a Spartan ideal superior even to straight males and to effeminate gay
            males. Brand, who was an almost-Fascist life form preceding the inevi-
            table evolution of equitable homomasculinity, retreated and married a
            woman and both were killed in an Allied bombing raid on the Tiergarten
            in  Berlin in 1945. As a forebear of non-Fascist homomasculinity, he was
            one of those perhaps necessary genetic mutations who was a victim of
            his terrible, terrible times when the past was a foreign country where

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