Showing 31 - 40 of 197 results for gay
Summary:The narrator, William, is the younger brother of Clive, an enigmatic high school "hippie" who also is a mathematical genius. Most of the story deals with their relationship within a peace activist family living in an affluent Cleveland suburb in the early 1970’s. Two of Clive’s friends, Sandra (presumably his lover) and Elliot, figure prominently in the story. In fact, it is from a secret language which Clive and Elliot share that the title is derived. They also share a sexual relationship and are "discovered" by Clive’s father. This event sends this affable story into a hyperspeed tragic ending, placing William fifteen years later at the bedside of his brother who is dying from complications of AIDS.
Summary:The nurse reflects on the men in the room with "B" for "blood hazard" on their door. They are too weak to make love, but they still take care of one another: "as they press cool cloths to foreheads, / pass tissues for sticky green phlegm." Being only human, when she enters their room and they cough, she confesses that "something inside me stiffens." Yet she sees them as "half a butterfly on gray cement . . . . " She cares and she wants them to know that she cares, these men who "are migrating back to the cocoon, / the place where brown masks / protect the unbeautiful.
This poem takes the form of a guided imagery, one woman talking to another about sexual love between two women. She urges the listener Barbara to picture this, nuzzle, touch, or imagine that, selecting sights and scents found in the natural world to guide this sensory projection from the known to the unknown (lilacs wet with rain, ocean foam, the feel of poppies, the smell of wild mint). The entire guided imagery is achieved without explicit sexual imagery, yet the poem is deeply sensual.
Summary:A one-person performance of thirteen characters during a single night on a hospice unit. Portrayed are patients, family members and professional caregivers. With minimal lighting and few props the actor/writer, who has been a hospice volunteer for many years, is able to capture in words and action the poignancy and humor of caring for the dying.
The male speaker describes being brought by a woman friend to a lesbian bar, on a mission "to educate me on the issue / of my own unnecessariness" where he feels quite out of place and uncomfortable. He is startled because he thinks he sees his mother there, "happy to be alive again / after her long marriage / to other people's needs . . . . " The lesbian who looks like his mother knows what she wants, and doesn't hesitate to take it.
Summary:The subtitle of this collection is "A Voyage to the New World." In the first section, Campo begins his voyage to a new world of self-understanding by experimenting with the language of family, intimacy, healing, and magic. In "I Don’t Know What I Can’t Say, or, Genet on Keats," the poet writes: "There are two sides to life. The side where life / Remains unconsummated, reticent" and the other, which is "the act itself laid bare--a hand / Inside the lion’s mouth . . . . " Campo chooses the latter.In the next section, his voyage takes him through several connected series of 16-line sonnets; each of these series plumbs the depths of a different intimate relationship: Song for My Grandfather, for My Father, for My Lover, and for Our Son. Some of Campo’s finest poems are in this section, including (just a handful from the many) "Grandfather’s Will," "Anatomy Lesson," "Planning a Family," "My Father’s View of Poetry," "Translation," and "Political Poem."In the final section, Campo brings the insight of a seasoned voyager to his day-to-day life experience as a gay Latino physician: "To teach me my own life, to share my grief." ("Planning a Family," p. 49)
Writer Paul Monette's first-person account of living through his lover Roger's last nineteen months with AIDS, from diagnosis to death (1986), told in language that is poetic and highly articulate. The couple faces not only progressive physical degeneration (Monette calls time with AIDS a "minefield") but also the agonizing issues of truthtelling with their families, friends gay and straight, and the world, in "the double closet of the war."
Fact-finding is a constant obsession in this story, not only about who is positive and who knows, but also in the rapidly-changing medical arena, where through Monette's extraordinary efforts Roger becomes the first person west of the Mississippi to be put on the drug, AZT. Monette is so devoted a caregiver that he often loses himself--a problem he solves in part by turning to the subject of AIDS as a writer.
Summary:West coast dancer John Henry made his life the subject of his final performance. Choreographer Bromberg and film maker Rosenberg collaborate with Henry in the creation of a work for the theatre based on his desire to leave an autobiographic legacy. Filmed during the last few years of Henry's life with HIV/AIDS, the documentary examines the image of self as one individual prepares to separate from body and personhood, and continues after his death.
Summary:Premiering on November 11, 1985, An Early Frost was the first television film to deal with the subject of AIDS. It tells the story of Michael Pierson (Aidan Quinn), a young and successful Chicago attorney who is gay and who is stricken with AIDS. After being hospitalized, Michael goes home to break the news of both his devastating illness and his sexual orientation to his parents (Gena Rowlands and Ben Gazzara). They must not only come to terms with their son's impending death but also with their own prejudices concerning homosexuality and their own ignorance concerning this disease.
In this memoir, subtitled "One Woman's Search for the Perfect Sperm Donor," lesbian author and academic Harlyn Aizley confronts her approaching fortieth birthday by deciding to have a child. She and her partner, Faith, begin the process of choosing its biological father. The first major decision: a known or unknown sperm donor? Eventually they choose an unknown one, from a sperm bank with an identity-release program that will allow their child the option of meeting her biological father after she turns eighteen.
Aizley narrates, in absorbing and often very funny detail, the eight months it takes her to conceive, and then the nine months of pregnancy culminating in the birth of a daughter. Sad but telling counterpoints to this narrative are the terrorist attacks in September 2001, which occur during Aizley's pregnancy, and the experience of her mother, who dies three months after the baby's birth, of ovarian cancer.