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Gay New York gender, urban culture, and the…
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Gay New York gender, urban culture, and the makings of the gay male world,… (1994)

by George Chauncey

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I'm glad I read Gay New York just after reading Odd Girls and Twilight Lovers: the differences between the two queer social histories was edifying. Where Odd Girls attempts to create a narrative structure, in which queer culture progressed in a straight line, Gay New York looks at the first third of the 20th century thematically rather than chronologically. While this certainly makes it a much more difficult, dense read, it has the wonderful effect of showing the many simultaneous gay experiences of New Yorkers from different racial and economic backgrounds. In the end, Chauncey has described a vibrant polyphonic culture, and done it great justice. ( )
  circumspice | Mar 18, 2013 |
I was intrigued by this essay since recently some of my preconceptions are starting to fall down and I wanted a book that helped me to rebuild my basis. If I think to a hypothetic “modern” past (more or less pre II World War) I had the idea the gay culture was more or less “underground”, or better, completely hidden. My idea was that, if you were gay (and yes, I know at the time the word gay had a different meaning, but bear with me), you were also probably fated to be unhappily married, or completely alone; some exception were allowed to the very wealthy men that sheltered themselves in some isolated paradise, far from the society eyes and judgement. Then I started to read about John Gray (March 2, 1866 – June 14, 1934), the man who apparently inspired Oscar Wilde’s Dorian Gray, and who, more or less, lived happily together with his lover Marc-André Raffalovich (September 11, 1864 – February 14, 1934): when John Gray, a catholic priest, went to Edinburgh Marc-André Raffalovich settled nearby; he then helped finance St Peter's Church in Morningside where Gray would serve as priest for the rest of his life. And is it a coincidence that John died barely 4 months after Marc-André?

Or about Edward Carpenter (August 29, 1844 – June 28, 1929), the man who most used the term “intermediate sex”, referring to those men who were not exactly men, not exactly women, men who were attracted by other men, but usually stronger and masculine men. Edward Carpenter was a strong advocate of sexual freedom, living in a gay community near Sheffield, and had a profound influence on both D. H. Lawrence and E. M. Forster, so much that they said Forster took inspiration from Carpenter for Maurice and D.H. Lawrence for Lady Chatterley’s Lover: Edward Carpenter had a long-lasting relationship with George Merrill (1866–1928), a working class man also from Sheffield. Again, when Merrill suddenly died in January 1928, Carpenter was devastated and 13 months after, he himself died, on Friday 28 June 1929.

And what about F.O. Matthiessen (February 19, 1902 - April 1, 1950), the noted Harward literary historian and critic, who wrote to his lover, the painter Russell Cheney (1881–1945), “we are complex – both of us – in that we are neither wholly man, woman, or child”. In another letter he noted, “just as there are energetic active women and sensitive delicate men, so also there are… men, like us, who appear to be masculine but have a female sex element”. Both Yale graduate and members of the Skull & Bones, Matthiessen was 20 years younger than Cheney, but they died at only 5 years of distance.

And then there is the story of Glenway Wescott (April 11, 1901 - February 22, 1987) and his lover Monroe Wheeler (February 13, 1899 - August 14, 1988); despite apparently having an open relationship, and an on-off ménages a trois with fashion photographer and male nude artist George Platt Lynes (April 15, 1907 – December 6, 1955), they lived together until old age, hosting one of the most important intellectual saloon in their Greenwich Village apartment. Again, when Wescott dies in 1987, Monroe followed soon after 1 year and half later (on a sad note, it seems that to Monroe Wheeler was prohibited to live in the country house he had always shared with Glenway; truth be told, the house was not of Glenway, but of his brother who had married a wealthy heiress who apparently maintained for all her life both her husband than Glenway and Monroe).

But other than tidbits about these men, you will read also about the Harlem’s drag balls with the quintessentia of Harlem Renaissance poets like Langston Hughes and Richard Bruce Nugent, but also with, among the attendants, Broadway gay celebrities like Beatrice Lillie, Clifton Webb, Jay Brennan and Tallulah Bankhead (it’s a coincidence that most of these names are almost forgotten? I loved black and white movies by Clifton Webb, but those other names were completely new to me). It was the chance for me to google about Beatrice Lillie and Tallulah Bankhead, and rediscover these fascinating women.

On a closing note, even if today there seems to be more “freedom”, popular culture still likes to erase the memory, like in the case of Charles Henri Ford (February 10, 1913 - September 27, 2002) whose lover Indra Tamang is still today identified as “the butler”; upon her death, Charles Henri Ford’s sister, actress Ruth Ford (July 7, 1911 - August 12, 2009), according to the newspapers left 2 multimillionaire apartments in New York City plus an art collection (n.d.r. Charles Henri Ford was the partner of painter Pavel Tchelitchew, until his death in 1957) to her “butler”… who is no one else than Indra Tamang that already in the ’70 and ’80 was well known as to be Charles Henri Ford devoted partner. It’s so hard to imagine that she was not leaving an unthinkable generous legacy to a simple partner, but was probably honouring the memory of her late brother?

Gay New York is maybe a little more academic than my review is letting you believe, and that is a worth for the essay I suppose. But to me, romantic reader, it allowed to have a more solid basis to read about the above men and women, and their sometime hidden lives. It’s a pity they are hidden, since apparently, these men and women were not afraid, at their time, to openly live their love.

http://www.amazon.com/dp/0465026214/?tag=elimyrevandra-20
1 vote elisa.rolle | Aug 16, 2011 |
Reviewed here.
  scott.neigh | Mar 26, 2011 |
I was completely unaware of this world before this book. I wish Chauncey had come out with a sequel of sorts, but apparently he didn't. ( )
  lateinnings | May 21, 2010 |
This is an excellent, readable social history that looks at gay culture in the early 19th century. I found it fascinating, and highly recommend it to anyone interested in either gay culture or social history. ( )
  xicanti | Oct 20, 2006 |
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Full title (1994): Gay New York : gender, urban culture, and the makings of the gay male world, 1890-1940.
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Amazon.com Product Description (ISBN 0465026214, Paperback)

Gay New York brilliantly shatters the myth that before the 1960s gay life existed only in the closet, where gay men were isolated, invisible, and self-hating. Based on years of research and access to a rich trove of diaries, legal records, and other unpublished documents, this book is a fascinating portrait of a gay world that is not supposed to have existed.

(retrieved from Amazon Mon, 30 Sep 2013 13:23:09 -0400)

(see all 2 descriptions)

This groundbreaking work shatters the myth that before the 1960s gay life existed only in the closet where gay men were isolated, invisible, and self-hating. Based on years of research and access to a rich trove of public and private documents, this is a look at a gay world that was not supposed to have existed. Focusing on New York City, the gay capital of the nation for nearly a century, Chauncey recreates the saloons, speakeasies, and cafeterias where gay men gathered, the intimate parties and immense drag balls where they celebrated, and the highly visible residential enclaves they built in Greenwich Village, Harlem, and Times Square. He offers new perspectives on the gay rights revolution of our time by showing that the oppression the gay and lesbian movement attacked in the 1960s was not an unchanging phenomenon--it had intensified in the 1920s and 1930s as a direct response to the visibility of the gay world in those years.--From publisher description.… (more)

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