First Time I Met Frank O'Hara: Reading Gay American Writers [Hardcover]

But will "gay sensibility" last? Behind it, lay a larger "gay culture," but Whitaker claims that this culture no longer exists or is even needed, because Gay Liberation has mainstreamed GLB folk out of overt oppression. [I would qualify this: probably so in the fast-track urban venues, but what about "the old lady in Dubuque," or "some gay kid in Nebraska," let alone Third World Wide?...] And so, will this "gay sensibility" in writing also fade, alas? But wait; Whitaker usefully shows that on the other hand, (1) this specific fresh critical ironic/deep stance is also a part of generally-good creative imaginative artistry as such at all times. (No matter whether its makers are so-gay, or arrow-str8, or in bi-tween, let alone "profoundly Other.") Which is good; art is complex. Also he notes that (2) even if oppression segues into Liberation Now and in the future, well heck, gays will still be a minority within a majority, which will retain the sense of complexity, of diversity indeed. [I would add that (3) male-male rapport will still also always be subtly different from male-female (yes also female-male) rapport, in bio-psycho-social terms.] So "gay culture" is always around in art, and always will be in society. Whew, a relief for some of us who like-fern bars and soufflés? No, complexity...

Less unique but valuable is the book noting again the idea that earlier gay writers had to encode, be dualistic and dissimulating and duplicitous to get their message across under the radar of prohibitions. And that gay readers drew great sustenance from this covert communication in an earlier wasteland. These are useful perspectives to recall, for gay history, and also for all diversity-minority-multicultural concerns as well.

True, Whitaker may do some special pleading as to the importance of this or that minor writer or work. A singsong jingle is perhaps not great art. But a little kind stroking for minority validification is okay; we don't need Only One Canon anyhow.

I found another way to enjoy the book, as not just a journal of this young writer's responses, but a diary of his own identity or persona. An admitted ex-hustler now apparently into writing and literary study, and just past the age of thirty, Whitaker comes across (in my biased insight or insightful bias anyhow) as one on the move, on a journey thus. Encountering the big themes of life which he sees in his dozen authors. (Even though still trudging less than halfway on the long road toward true interpersonal intimacy, mature attachment-a fact which to his credit he discloses.) So hail to this writer 30 years my own junior, on "our" open road, amid leaves of grass. Read this book to converse covertly, not only with writers of the past but also another reader in the present...

What's nice about Whitaker's writing, though, is that it is disciplined and thoughtful. He allows us glimpses of himself (it is safe to assume that part of his disdain for Gore Vidal, the man, derives from Whitaker's own experiences as a prostitute serving aloof, self-important clients as described in his memoir ASSUMING THE POSITION). But this authorial intrusiveness is occassional, is refreshingly honest and forthright, and never veers into self-indulgence.

While I might quibble with some of his assessments (Is Andrew Holleran's DANCER FROM THE DANCE really the generational equivalent of Fitzgerald's THE GREAT GATSBY?), quibbling is half the fun of reading literary criticism. I share his high regard for O'Hara, was glad to learn a little about Gertrude Stein as a writer (most critics usually write about her as a mentor to other writers), and am intrigued enough by his discussions of Glenway Wescott, Bowles, David Wojnarowicz, and Henri Cole to seek out copies of their works.

No explanation is given of the captionless photographs by Iannis Delatolas that illustrate this volume. In some cases their subject is obvious (one is of Frank O'Hara's grave, others are of living writers, such as John Ashberry), in other cases their subjects evoke the characters and settings these gay authors wrote about. Whatever their purpose, they're a nice addition.

Whitaker has produced another interesting book on gay culture and lifestlye. I look forward to seeing what he'll do next.