THE HOMOSEXUAL IN AMERICA

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On Broadway, it would be difficult to find a production without homosexuals playing important parts, either onstage or off. And in Hollywood, says Broadway Producer David Merrick, "you have to scrape them off the ceiling." The notion that the arts are dominated by a kind of homosexual mafia—or "Homintern," as it has been called—is sometimes exaggerated, particularly by spiteful failures looking for scapegoats. But in the theater, dance and music world, deviates are so widespread that they sometimes seem to be running a kind of closed shop. Art Critic Harold Rosenberg reports a "banding together of homosexual painters and their nonpainting auxiliaries."

There is no denying the considerable talent of a great many homosexuals, and ideally, talent alone is what should count. But the great artists so often cited as evidence of the homosexual's creativity—the Leonardos and Michelangelos —are probably the exceptions of genius. For the most part, thinks Los Angeles Psychiatrist Edward Stainbrook, homosexuals are failed artists, and their special creative gift a myth. No less an authority than Somerset Maugham felt that the homosexual, "however subtly he sees life, cannot see it whole," and lacks "the deep seriousness over certain things that normal men take seriously ... He has small power of invention, but a wonderful gift for delightful embroidery. He has vitality, brilliance, but seldom strength."

Homosexual ethics and esthetics are staging a vengeful, derisive counterattack on what deviates call the "straight" world. This is evident in "pop," which insists on reducing art to the trivial, and in the "camp" movement, which pretends that the ugly and banal are fun. It is evident among writers, who used to disguise homosexual stories in heterosexual dress but now delight in explicit descriptions of male intercourse and orgiastic nightmares. It is evident in the theater, with many a play dedicated to the degradation of women and the derision of normal sex. The most sophisticated theatrical joke is now built around a homosexual situation; shock comes not from sex but from perversion. Attacks on women or society in general are neither new in U.S. writing nor necessarily homosexual, but they do offer a special opportunity for a consciously or unconsciously homosexual outlook. They represent a kind of inverted romance, since homosexual situations as such can never be made romantic for normal audiences.

The Gay Subculture