In
the summer of 2005, I was contacted by the Tom of
Finland Foundation about the possibility of my writing
a brief Foreword for a collection of the gay artist
Tom of Finland's drawings, an expensive, large-format
book to be published this year by a prestigious German
publisher, Taschen. I was baffled as to why I would
be solicited since I have never publicly expressed
admiration for, or even an opinion about, Finland's
work, and I have written about the need to explore--not
judge--certain gay charades of violence celebrated
in his drawings. My "outlaw" status, I was
told, would complement the book. I suspected, too,
that it was felt that I might add a certain "literary
respectability" and seriousness to the book,
perhaps allowing the collection to be viewed as a
chic, if exotic, coffee-table book rather than one
relegated to a specialized group of core admirers.
I met with the editor, a charming woman. It was agreed
that I would write the Foreword on one condition:
that I would be free to express my views. Agreed.
When I went through copies of the drawings that were
provided and that would be included in the collection,
I became uneasy very soon. When I came upon one where
a swastika predominated in the context of gay subjugation,
I felt I could not write the kind of introduction
that I assumed they expected. I did not want to contribute
a Foreword that would harm their endeavor. Both the
editor of the collection and the head of the Foundation
were informed of my intent to withdraw. I was encouraged
to proceed with the Foreword, even if controversial,
and I did with the clear understanding that they might
choose not to publish it. The editor admired the resultant
essay and wanted to use it. The head of the foundation,
a long time devotee of Finland, did not, nor did board
members. The main focus of disagreement was my discussion
of Nazi influences, some explicit, others suggested,
in some drawings. The head of the foundation wrote
me an instructive, courteous--and moving--defense
of the views of his once mentor. My attitude remained
unchanged. I had felt my Foreword would add interest,
perhaps arouse discussion that would benefit it. Without
bad feelings toward the people who had treated me
respectfully, I withdrew the Foreword from consideration,
and I am on good terms with those involved in the
venture.
I continue to believe that my Foreword addresses matters
not generally explored, and, for that reason, is worthy
of being read. That Foreword appears here as written.
Following it, is a current postscript expanding my
views.
Foreword to Tom of Finland Collection
June 15, 2005.
In view
of current attitudes engendered by advances in gay
liberation, how do Tom of Finland's wondrously popular
figures emerge? In some areas, way ahead of their
time.
There is a laudable sexual democracy established within
these drawings. A man "tops" in one and
"bottoms" in another, mirror images, no
prejudicial demarcation. Not here the reactionary
growing fascination in gay circles with "straight
men." Finland's men are all unquestionably gay,
not here any "I'm-straight-dude" posturing,
no "gay-for-pay" nonsense implied, no fake
attraction to women, who are very few in this population.
All
the men involved are masculine, and commitedly gay,
and they kiss hotly--and those are among Mr. Finland's
best figures, the ones that suggest romance, the possibility
that after the tumbles of rough sex, the men may pair
off and share an exhausted sleep, holding each other.
Gay sex is celebrated, proudly performed, never hidden
in these drawings; these are all proud outlaws. A
street, even a grocery store, becomes the site of
an orgy as energetic as one occurring in a bar or
in an enclosed forest. There is never a trace of shame
in their activities in the protagonists of Finland's
drawings.
In their perfect handsome features, the faces of the
men suggest a sensitivity beyond the exaggerated masculinity
and the occasional sneers that at times seem about
to turn into smiles--and, yes, these men do smile,
staring longingly at each other. Not here, the distorted
faces of too-often-pursued "rough trade."
The
cumulative effect of these drawings is of rampant
fantasy, of gay theater, performance. The assertive
uniforms are so powerful, so revered among Finland's
legion of fans and leatherman, that they are capable
of transforming--magically--even the most ordinary
gay men into their fantasy image, the perfect heroes
of Finland's drawings. They are thus empowered in
their gay identity.
What then so disturbs about these drawings? Bluntly
put, it is the prevalence of Nazi imagery. At times
it is overt, at times, and, most often, strongly implicit.
The men depicted are all Aryan, quintessential "supermen,"
even those in roles of slaves. African-Americans are
depicted in the latter years, but they are really
darkened Aryans.
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