FEATURES

HIGH GEAR/MAY 1977

RECHY'S SEXUAL OUTLAW: CRUISING AS POLITICAL ACTION

By Mitchell Menigu

(John Rechy. The Sexual Outlaw: A Documentary. Grove Press, 1977. $8.95.)

John Rechy can write. There is no mistaking that. He can create a world in words so that the reader experiences it almost at first hand.

John Rechy is only intermittently effective as a polemicist, however. In The Sexual Outlaw, making use of his talents as a writer of fiction, he argues several points concerning behavior by and toward "the sexual underground."

The most compelling parts of the book are those that detail almost every moment in a weekend, from late Friday morning to early Monday morning, spent by a "youngman," apparently in his thirties, as he engages compulsively in the ongoing "sexhunt" in the parks, streets and gay bars of L.A. In one of the interview sections placed between parts, of the narrative, Rechy admits to the autobiographical element in his fiction; and in this documentary narrative he identifies the protagonist as "Jim-he calls himself that sometimes, sometimes Jerry, sometimes John." Readers of Rechy's earlier work, the novel Numbers, will recognize him as at least a brother to Johnny Rio, the novel's protagonist. Although it is much like Numbers, Jim's story is filled with different incidents. It succeeds in engaging the reader's attention and feelings. Without being boring, it conveys the boredom of much of the time during fifteen-hour days spent in pursuit of sexual activity. One or two of the sexual encounters and all of the flashbacks to almost ideal sex acts are successfully erotic, arousing the reader's positive sexual feel-

ings. It is the purpose to which Rechy directs this effective narrative that I quarrel with.

The narrative is the foundation for the arguments Rechy presents in the book primarily through sections which interrupt Jim's story. These are variously labeled "Voice Over," "Montage," or "Mixed Media." The idea that he advances most tellingly points out and documents the mindlessness of oppressors of gays. Rechy focuses on L.A., but his point is probably equally valid in many other cities. He cites figures for the costs of operating special police sections directed toward curbing the open expression of their feelings by gays. Even more convincing is his presentation of criminal acts committed while considerable numbers of police were focusing their attention on gays. He calls attention to the inconsistency of outrage directed toward gay activity among consenting adults and simultaneous complacency about alleged sexual misconduct by police officers with minors.

The connection between Jim's story and these passionately reasoned ideas seems to me to weaken the case finally. I second Rechy's concern with the oppression of gays who are merely looking for willing partners, but I am not convinced that he recognizes the difference between liberty and license. Rechy contends that Jim's behavior is more than a search for sexual gratification. "The promiscuous homosexual," he says, "is a sexual revolutionary. Each moment of his outlaw existence he confronts repressive laws, repressive 'morality:"" Rechy makes similar statements throughout the book that are intended to create a hero out of Jim.

Jim simply fails as an heroic figure. He acts not out of political conviction, although sometimes with great anger toward his oppressors, but from a need to satisfy his ego. Paradoxically, Rechy seems fully aware of the narcissistic basis for the behavior he tries to idealize. An epigraph from Melville's Moby Dick comments on the deeper meaning of the story of Narcissus. In an interview he gave to a radical gay newspaper, he reports having said, "I think narcissism can be very healthy" and arguing that he spends as much time in perfecting his body as he does in writing and polishing his prose so that he expects his body to be admired as fully as the other, more generally accepted form of "art."

Another paradox is that Rechy also seems aware of the reality that mocks his glorification of narcissistic behavior. Jim is aware that he is no longer a youth and proud that he is still desired, but there seems to be no recognition that some of his physical attractiveness is certain to fall victim to time. Rechy fails to recognize finally the distinction between life and art, that the body is in time and subject to its ravages while his creative output is beyong time. The events of Jim's weekend sexhunt cause questions to rise concerning how "healthy" narcissism really is. Jim feels himself always in competition with the other "youngmen" he meets, fearing that given a choice between him and another, someone seeking a

com-

his pursuers. The pulsiveness of his search for this gratification of his ego also leads to questioning how "healthy" the narcissistic behavior is.

Rechy dismisses both the "rear guard" and the gay lib establishment in promoting his own attitude. He would urge all gays into the streets. At the end of the book, he envisions the end of sexual repression celebrated by noontime mass orgies "on Hollywood Boulvevard, Times Square, in the French Quarter, San Jacinto Plaza, Newberry Square, Market Street, throughout the country, throughout the world." "Televise it all," he urges, "the kissing, the fucking, masturbating, sucking, rubbing, rimming, touching, licking, loving." He denies that is is another apocalyptic vision like that in The Day of the Locust.Hehasn't convinced me. I speak with the authority of onw who has engaged in the sexhunt in some of the locales Rechy has described in his novels. I can't

believe that I was acting to promote any political interest, even my own slef-interest.

Rechy uses a point similar to the one I just made in his comments on S & M. As one who has had some involvement in the

S & M scene, he feels qualified to attack it. He views it as one gay using another in the same påttern of oppressor-victim that constitutes the basic repressive behavior of the police to gays in L.A.

I admire much that is in The Sexual sex partner will Outlaw. Rechy's choose the other. He withdraws, documented attack on the frustrated, rather than face the misuse of police power and possibility of being rejected. For taxpayers' money in repressing Jim sexual gratification is gays is presented convincingly primarily gaining confirmation of with effective rhetorical his being sexually desirable; urgency. His comments on S & once he knows that he is wanM seem well reasoned if not ted, he usually loses interest in completely authoritative. The narrative sections have the vividness of the writing that first gained attention for Rechyu; they are a justification for the book.

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Page 8

TRIUMPHS

By Anthony Scafaro

Cleveland Ballet concluded a

triumphant premier season with its sparkling April program, ranging from classic ballet to avant garde dance.

Of the four works performed, the two modern pieces were by far the most interesting. "Three Virgins and a Devil" was a playful sketch in which a homely but ingeneous troll attempts to seduce three young women into surrendering their virginity.. What saved the work from being merely a sexist cliche' was the delightful performance of Cleveland Ballet's associate director, Dennis Nahat. He proved that he is a genius of nuance and movement. Every gesture conveyed feeling that added depth to Nahat's characterization.

The highlight of the evening turned out to be the very modern and controversial "Ontogeny." It was a dance of intricate interaction with obvious sexual overtones. Bodies were turned into conveyor belts, catapults, Nevertheless, the book does and frantic organisms. On a very not work as a unified concept. It basic level, it was about the has much valuable material and complex relationships involved will hold the reader's attention with the process of living. After and make him more aware of his much furious action, the final own feelings. For all its flaws, it is a book I found hard to set aside once began reading it.

scene was that of the person alone, in a spiritual ascension toward the sky. The audience response was enthusiastic.

The two other works performed were in the style of traditional ballet, the last being a classic grand pas de dix choreographed by Dennis Nahat. These rounded out a well-balanced program.

It has been a pleasure to watch the growth of Cleveland Ballet's troupe of dedicated and talented performers. Careful planning and knowledgeable artistic direction has insured that this institution will be around for many years.