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Excerpt from Hermione: And Her Little Group of Serious Thinkers Drinks Song from out 3 Crystal Bowl. A Drinks Love and Song my Golden Soul! I let him live. There were no bricks. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Gertrude Stein (1874–1946) and Truman Capote (1924–1984) should not have been famous. They made their names between the Oscar Wilde trial and Stonewall, when homosexuality meant criminality and perversion. And yet both Stein and Capote, openly and exclusively gay, built their outsize reputations on works that directly featured homosexuality and a queer aesthetic. How did these writers become mass-market celebrities while other gay public figures were closeted or censored? And what did their fame mean for queer writers and readers, and for the culture in general? Jeff Solomon explores these questions in So Famous and So Gay. Celebrating lesbian partnership, The Autobiography of Alice B. Toklas was published in 1933 and rocketed Stein, the Jewish lesbian intellectual avant-garde American expatriate, to international stardom and a mass-market readership. Fifteen years later, when Capote published Other Voices, Other Rooms, a novel of explicit homosexual sex and love, his fame itself became famous. Through original archival research, Solomon traces the construction and impact of the writers’ public personae from a gay-affirmative perspective. He historically situates author photos, celebrity gossip, and other ephemera to explain how Stein and Capote expressed homosexuality and negotiated homophobia through the fleeting depiction of what could not be directly written—maneuvers that other gay writers such as Gore Vidal, Tennessee Williams, and James Baldwin could not manage at the time. Finally So Famous and So Gay reveals what Capote’s and Stein’s debuts, Other Voices, Other Rooms and Three Lives, held for queer readers in terms of gay identity and psychology—and for gay authors who wrote in their wake.
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