Answer. That is a very poetic novel with not a neurotic or vicious scene or person in it. But it is really negative, being of a young girl's rejection in love.

There is nowhere in the collection a hint that there might be such a thing as a homosexual marriage or a "happy ending" homosexual story.

We of the homophile world are not Pollyanna-ish. ONE has often published stories with sad or tragic endings. When such a collection as this is all in one direction, the complaint is legitimate. Mr. Cory, for instance, also included in his collection the antihomophile Paul's Mistress.

There is a complete void of humor, unless one wishes to count the unintentional humor of the oldest piece from Mademoiselle de Maupin. It dates from 1835, and its silly stylized posturings, impossibilities, and tittering stage whispers to the reader make it a chuckly camp.

Regarding Bliss, homophile editors have disagreed on whether it is even glancingly variant, but certainly it is not a story revolving around "lesbian love" and has no place in such a collection. It is, however, along with the Dostoevsky, the most perfect writing as art in the collection.

It is interesting to note that no piece is from the last ten years. The youngest is the Mallet from 1952. That was when ONE incorporated and when the homophile movement in general commenced. The first issues of ONE, with its regular publication of fiction, came in 1953. Thus, a ready outlet for pro-homophile fiction is an innovation. But some fine pro-homophile lesbian fiction has managed to get published for many years.

What would be your ideal "pro-homophile" lesbian anthology? Choices would vary and be subjective, of Alison Hunter.

course.

Solution to

August CAMPOGRAM

Miss S. of San Francisco writes "The September CAMPOGRAM translated should read":

"In New Orleans in the winter of '39 there were three male hustlers usually to be found hanging out on a certain corner of Canal Street and one of those streets that dive narrowly into the ancient part of the city. Two of them were just kids of about seventeen and worth only passing attention, but the oldest of the three was an unforgettable youth." Opening of Tennessee Williams' One Arm.

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