Gay dialog

[Dialog, Volume 3, Number 4, May 1979]

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Dallas Gay

A Gay Pride Dialogue

We’re John Kotula and Anthony DiPietro. A mutual comrade put us together. We’re both writers who celebrate Movement. For several weeks we have been in dialogue by text, email, mobile, and once over coffee.

Anthony has a new book of poetry, kiss & release, which looks at relationships and sex, drawing on his gay self and experience.

Two years ago, John presented an art exhibition that included an illustrated chapbook called Coming Out. John’s project was inspired after the November 2022 massacre in Colorado that targeted queer people. John is a male who has been romantically in adore with men and had sex with men, although he has been in a monogamous marriage to a lady for the past 30 years. While his circle of friends and family knew this about him, John consciously undertook a more public act of “coming out” through acts of creation: artwork and writing.

Our mutual friend mind, correctly, that I might be interested in writing about DiPietro’s book. Hell, I just desire to write about that title! Picture a trout on a hook dangling from a line over a brook. The fisherman has him where he wants him, but the intent is to free him from the hoo

CONVERSATIONS WITH TERRENCE McNALLY
Edited by Raymond-Jean Frontain
Univ. Urge of Mississippi
208 pages, $25.

DURING HIS LIFETIME, Terrence McNally saw seventeen of his plays and musicals premiere on Broadway, and along the way he developed a tenacity and maintained a relevance that has eluded most American playwrights in their later years. Conversations with Terrence McNally, edited by Raymond-Jean Frontain, helps toilluminate a writer whose work has not always shown up on the literary radar of critics and tastemakers.

While the most famous same-sex attracted playwrights of the 1960s—Tennessee Williams, William Inge, and Edward Albee—remained professionally in the closet, McNally never hid his homosexuality. In McNally’s first Broadway act , And Things that Proceed Bump in the Night (1965), one of the main characters, Sigfrid, is a gay man whose sexuality is not a driving factor in the story, but who does go home with a man he meets in a park. Such normalizing of a queer personality was radical for a commercial Broadway production at that time. One outraged critic wrote: “It would have been better if Terrence McNally’s parents had smothered him in his cradle.” Sigfrid was but the first

Jakub’s story

“Most of the staff at the restaurant were amazing to work with, but there was this one guy who was cute awful. Me existence gay has never really bothered anyone else, but this guy had a real problem with it. He made a point of using ‘gay’ and ‘homo’ as an insult when I was around and couldn’t help making snide remarks about gay people and putting on a fake lisp. Sometimes he’d ask me intrusive questions about my social being or who I was dating; other times he’d bail me up and talk about his own sex experience in way too much detail. It made me so uncomfortable, and I’m sure he knew that.

Eventually I’d had enough of it and I made a formal complaint to my manager. I was lovely disappointed with how my manager reacted – it felt like she wanted to sweep it under the carpet. She dismissed it as a ‘difference of opinion’, a ‘conflict between two co-workers’. This was so upsetting – what that guy said to me was completely unacceptable, especially in a workplace. To construct it worse, everyone found out about my complaint and then they started to freeze me out – people that used to be quite warm stopped talking to me. It felt like I wasn’ gay dialog

[Dialog, Volume 4, Number 11, December 1980]

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