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246                                     Jack Fritscher, Ph.D.
            Proulx in her 1997 New Yorker short story, “Brokeback Mountain,” and
            turned to box-office gold in the 2005 film, Brokeback Mountain, scripted
            by Diana Ossana and Larry McMurtry.)
               As gonzo eyewitness in sex and art, particularly with my lover, Rob-
            ert Mapplethorpe, all I knew was that our gay history would have no
            more memory than the remembrance we give it. Opposite the maxim that
            “Christ is the Word made flesh,” my sex credo is: “Flesh becomes words.”
            Robert Frost in his poem about building a stone wall says that we learn
            from our hands to our heads. The conundrum is that homosexuality is a
            hologram. You see it, but when you reach out to touch it, your physical
            hand closes empty around what you think is tangibly there. That very
            disconnect between head and hand invites coinage not only in pop culture
            but in men’s studies which ought to approach males and masculinities
            parallel to feminist approaches to women, female identity, and feminini-
               Over forty-five years, from Stonewall to the fin de siecle, at the ends
            of my fingers, experimental words appeared early on in the starting-gate
            books What They Did to the Kid (1965), Love and Death in Tennessee
            Williams (1967), the aforementioned I Am Curious (Leather) (1968), and
            Popular Witchcraft: Straight from the Witch’s Mouth (1972). Some words
            were one-off poetic spontaneities: e.g., cumshine. Others were carefully
            crafted for repeated use: homomasculinity. Perhaps some future student
            of gay literature or queer theory (or whatever gay studies are called next
            generation) can sort through my kama sutra short stories and novels and
            biographies and academic essays to separate words that are merely stylisti-
            cally buoyant from words that actually designed a concept and moved the
            gay conversation forward to a perspective helpful to rethinking the past.
               By 1977 in Drummer and in the 1970-1982 journal drafts of Some
            Dance to Remember (memoir-novel completed 1984), the necessity of
            naming concepts entailed my coining the following:

               •   homomasculinity, homomasculine, homomuscular, as well as
                   the reciprocal homofemininity, heteromasculinity, as well as
               •   slam-dunk spinoffs such as  heterophobia  (this unspoken
                   virus infecting gay newspapers and blogs is never men-
                   tioned at self-defined “inclusive” queer conferences, is
                   rarely admitted or studied, and deserves its own conference
                   or issue in some academic journal);
               •   perversatility (a positive quality; from perverse + versatility);

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