Adult Novels of Men in the Womanless World - Gay Pulp Fiction of the 1950's and 1960's

by David Seubert

(Note: click on titles in red for a scan of the book's cover.)

Gay fiction never existed as a distinct genre until the 1970s, and any study of pre 70s gay culture through literature usually looks at the same handful of mainstream novels with gay themes that had been published. Unfortunately, an entire body of literature, that of gay pulps, has been ignored. Gay pulps offer a fascinating glimpse into gay culture of the 1950s and 1960s, and although they might be viewed as stereotypical and negative, they are probably the largest body of overtly gay writings of the time and cannot be ignored. Gay exploitation titles first started appearing in the 1950s, taking advantage of growing postwar gay visibility. The number of pulps, including gay friendly titles, exploded in the 1960s for a variety of reasons. Besides the increasing visibility, the courts also played a major role in changing the style of pulps being written. While not the only case, Grove Press had been defending William S. Burrough's novel Naked Lunch against charges of obscenity since the early 60s, and when the Massachusetts Supreme Court declared it not obscene in 1966, a virtual deluge of pulps followed. How directly these two events are related could be debated, but this victory certainly was a signal that the times were more liberal and that writing that would have previously been considered obscene would not be considered such by the courts.

1969's Stonewall riots in New York City marked another milestone in gay culture that impacted gay pulps. These few years between Attorney General vs. A Book Named "Naked Lunch" and Stonewall were the watershed years in many respects. The doors had been opened, but every literary formula had not yet been exhausted. Stonewall began the process of removing many societal barriers for gays, but also ended up removing much of the character from 60s pulps. The taboo, shame and fear surrounding homosexuality created these pulps, as repression breeds rebelliousness. The strange titles that flourished in the 60s disappeared as gay fiction became mainstream and gay positive. With a few exceptions before this change like The Grove Press and publisher Greenberg, pulps were often the only mass market medium for any gay fiction. Because of the perceived negative images, stereotypes and changing attitudes towards sex (and of course mainstream gay publishing) the pulps were swept under the rug after Stonewall and became just another aspect of the sex industry.

The literature on gay pulps is scant, but several good books point in the right direction. Unlike straight and lesbian pulps, both of which appealed and still appeal to heterosexual readers and collectors, gay pulps were more limited in their appeal and are unexplored. Barbara Grier's The Lesbian in Literature (Naiad, 1981), is justly famous for being an early chronicle of lesbian novels, including hundreds of lesbian pulps. Gay pulps have had no chronicler, but coming closest is Ian Young's The Male Homosexual in Literature (Scarecrow, 1982). While it claims to omit pulps, many are actually included, including real names of authors when known. Unfortunately, its bibliographic format requires the user to know what they are looking for, as the pulps are not identified as such. The Secret Record, (William Morrow, 1976 reprinted by Masquerade 1992) a classic study of erotic writing by Michael Perkins, has an excellent, though cursory chapter on gay porn. Culture Clash (South End Press, 1984), Michael Bronski's book on "the gay sensibility" also includes a chapter on pornography, including pulps.

Gay pulps fall into three broad categories: exploitation novels, "sociological studies" and pornography, both hard- and soft-core. These divisions are arbitrary and indistinct, but for the sake of organization they will each be discussed separately. While the emphasis here is on the later works, a few words should be said about pre-1960s exploitation novels and other gay pulps, as they set the stage for the literal deluge of gay pulp fiction from 1966-69. Secondly, some 60s pulps were really no different from 50s exploitation novels in tone; they just had more sex.

While this is only a brief overview, it should point in some useful directions to the various publishers, genres, authors, and titles that make up the world of gay pulp fiction. Unfortunately, this is not definitive or complete--the information available is just too scant--but it is a representative sampling based on what I have seen, what seems to have been widely circulated and what can still be found in the dark corners of bookstores. Undoubtedly some publishers will be left out, but consider this study a work in progress.

Exploitation Pulps - Pyramid Books

Pyramid Books in New York published many gay-themed novels in the late fifties and early sixties, although many are difficult to find today. Andre Tellier's Twilight Men (1957, original 1948) and Lonnie Coleman's Sam (1959) are good examples of the type: homosexuals as an unhappy, brooding lot, destined for suicide or worse. Eric Jourdan's Two, originally titled Les Mauves Anges (Bad Angels) (ND) is another twisted story of two cousins/lovers. They are happily in love until the tale turns sours when one cousin beats the other to death. Though extreme, it follows the central tenet of the exploitation novel: homosexuality results in the characters' death. These types of novels reflected the tone of nearly all gay literature at the time. With the exception of Richard Meeker [Forman Brown]'s Better Angel, (1933) gay fiction had universally unhappy endings until the 1960s.

Pyramid Books are true exploitation pulps, "stories of the third sex" that can be enjoyed for the camp value they have today. But they are also important in describing the milieu of gay culture and gay relationships in the 50s. The major distortions in the books are in the descriptive language used and in the emphasis on the characters' neuroses.. They were virtually the only mass market gay fiction around and are essential to understanding the stereotypes and perceptions of gay men in the 50s, and provide a good reference with which to compare later pulps.

Paperback Library

The Paperback Library was a New York publisher that reprinted many gay-themed novels (both gay positive and negative) as exploitation pulps. Some, like James Barr's Quatrefoil (1965, originally 1950), were highly acclaimed works and is even back in print today. The common theme is gay men coming to terms with their sexuality (which was the theme of nearly all gay fiction until AIDS) in the "shadowy alleys of cities," and they are often gritty and dark, as if Dashiell Hammet was ghostwriting gay ficiton. Many postwar books focused on WWII veterans who had discovered their sexuality during the war, and their subsequent introduction to gay life in the cities upon discharge from the armed forces. The erotic content is minimal and their emotional turmoil becomes the selling point. Some were sympathetic portrayals and are actually good novels, but they were all marketed to emphasize the sordid lives of the characters, regardless of actual content. They have black covers with lurid yellow type and usually have a grainy black and white photo on the cover. The titles were often sensationalized, like Lou Rand [Lou Rand Hogan]'s Gay Detective (1961), which became Rough Trade in the Paperback Library edition. Several notable titles include K. B. Raul's Naked to the Night (1964) and Jay Little [Clarence Lewis Miller]'s Maybe - Tomorrow (1965, orig 1952), the latter tagged as "America's Secret Best Seller." The Paperback Library could seemingly take anything and turn it into an exploitation novel, but almost all Paperback Library are actually worth reading. Despite their motivations, they performed a service by taking good books originally from smaller publishers and reprinting them for a mass audience.

60s Porn - Greenleaf

In the post Naked Lunch world, Greenleaf Classics in San Diego published dozens of titles in the mid to late sixties, mostly gay positive and many of high quality. Most publishers churned out hundreds of different titles to satisfy every taste and fantasy, and they understandably often got a bit formulaic. Greenleaf manages to avoid most of the traps by using fewer authors each with a more distinctive style. Like most gay publishing houses they published under a variety of imprints including the Ember Library, Late Hour Library, Nightstand Books, Adult Books, Companion Books and Pleasure Readers and different publishers are often listed on the copyright page. All Greenleaf books are identifiable by the satyr next to the price on the cover and on the spine. They are surprisingly easy to find, usually have great cover illustrations, and are often better reading than many other pulps of the time. Greenleaf novels tend to be set in a "homotopia," where everything is imbued with sexual content, no one is straight and characters stumble into one sexual encounter after another without danger, fear, or for that matter, without even really trying.

Notably, Greenleaf published an edition of Jean Genet's novels and many novels by prolific author and B movie director Ed Wood including Orgy of the Dead, but their most famous gay titles are perhaps Richard Amory [Richard Love]'s Loon Songs trilogy. Song of the Loon (1966), Song of Aaron (1967), and Listen, the Loon Sings... (1968) were widely read gay soft-core. They were even so popular that Fruit of the Loon (1968), a fourth title by "Ricardo Armory" that parodied the series capitalized on the success of the previous three. Described by Angelo D'Arcangelo as a gay Last of the Mohicans, the series is a harmonious fantasy of love between the Native Americans and the white men, and has more literary merit than the average pulp. The big furry mountain men in these books would now be called "bears," in the gay community and the Loon Trilogy may have had a lot to do with popularizing the "bear lifestyle." Again, all the characters seem to be gay, and everyone is identifiable by their membership in the supposed Native American organization, the Loon Society. Gentleness, compassion, and harmony are central to these books, flying in the face of the two stereotypes common in other books either the "bitchy queen" or the suicidal neurotic. They are surprisingly gentle books, and though they can get a bit syrupy at times, they show little of the terror and self-hatred of the exploitation books from ten years earlier.

Another early Greenleaf title is The Why Not (1966) by Victor J. Banis. Revolving around the regulars of a Los Angeles gay bar called Why Not, it exhibits most of the qualities common in books from ten years earlier; gay men are either cast as butches or queens, characters blackmail each other and nobody is able to maintain a relationship. This book is a bit of an anomaly for Greenleaf as they quickly moved into mass producing fiction similar to the Loon books with more gay positive themes.

Starting in about 1968, Greenleaf dramatically increased the number of books published. In the next several years, most Greenleaf titles would be written by a handful of authors and followed a similar formula. One, prolific Greenleaf author is Chris Davidson, author of Queen of Egypt (1969), a rewrite of history loosely based on the life of the Egyptian Pharaoh Akhnaton who is recast as gay in the book. The historical justification of homosexuality is a common theme of many Greenleaf books and thusly served a political as well as erotic end. Davidson also authored A Different Drum (1967), about budding gay love between a Northerner and a Southerner (double taboo!) during the Civil War, The Gay Gods (1968), about bisexuality in Polynesia and Go Down, Aaron (1967), the requisite account of a Jewish sex slave in Nazi Germany.

Other authors writing frequently for Greenleaf were Aaron Thomas, author of The Greek Affair and Fruit Punch and Dick Dale (king of the surf guitar?), author of The Cruising Class and the classic The Price of Pansies, the story of a swinging hippie.

A later and quite fascinating series was the Greenleaf "GL" series of 1969 and 1970. Numerous titles were published, several by previously published Greenleaf authors. The books are trade paperback size with funky orange upside-down covers. They are also printed on high-quality paper removing them from the pulp category in the most literal sense. Though in content they lean in the direction of the hard-core that proliferated in the 1970s (Blue Boy, Adam's Gay Readers etc.), the high-quality printing signaled the emergence of gay porn from the realm of disposable pulp. The most fascinating is Jeff Lawton's Truck Stop (1969), a radical book by any standard. The graphic design is daring: type is skewed, rotated and spaced like Fluxus movement art or a book of poems by Kenneth Patchen (see example). Truck Stop leaves pulp fiction far behind in its manipulation of text, its design and content, and further shows that Greenleaf was one of the more innovative publishing houses.

Brandon House

Brandon House in North Hollywood is justly famous for their reprints and straight erotica, but they also published many gay pulps, which are often easier to find than the straight ones. They are pocket book sized and although they were published under other imprints such as Barcaly House, the design is consistent and they are identifiable by a boxed letter "p" on the spine. They are very sensationalized, and the eroticism is emphasized, unlike Pyramid or Paperback Library books. Brandon House published a catalog at the end of nearly all of their books, which makes documentation considerably easier. They published somewhere around 35 gay male books, both fiction and "nonfiction." They are not as consistent in quality, but Brandon House mastered the sensational two-sentence marketing slogan. The lead-in for Jack Michael's Homo in the Guest House (ND) was "Never let a man live in your guest house--especially if he's your husband's former lover," while James Colton [Joseph Hansen]'s Known Homosexual (1968) was blurbed as "Steve was a prime suspect for a murder rap - a Negro and a known homosexual." Combined with the trashy covers Brandon House books qualify as classic pulps.

However, some do follow through with good writing as well. Kym Allyson's Daisies in A Chain (1969) is a well-rounded portrait of gay life in small-town New Hampshire, complete with everybody from the bitchy drag queen, the closeted Protestant minister to an acid-crazed hippy. While it may not be James Baldwin, the writing is several notches above par. Another is Phil Michaels' The Naive Homosexual (1969), a typical, though well written story of a young gay man's escape to "The Big City." Not only does he quickly loose his naivete, but unlike novels of ten years before, our naive homosexual finds true love as well. Most Brandon books are set in the present and are contemporary in their attitudes and settings. Except for the usually misleading cover blurbs these don't read like the books for 1950s style closet cases.

Publisher's Export Co.

The large Publisher's Export Co. (PEC) of San Diego published the French Line series of gay and lesbian pulps in the late sixties and on into the seventies, of which there are over a hundred titles. The early ones are pocket-sized and have excellent watercolor covers of swishy men in stereotyped poses. The writing isn't nearly as good as the best of Brandon House or Greenleaf, but their other merits help to compensate, particularly the punning titles like Bert Shrader's Fee Males (1968) or Queer Guise (1967) by Mark Dunn. Ed Wood penned Young, Black and Gay (1968), for PEC, while other titles include Gay Whore (1967) written by the obviously pseudonymous Jack Love, and Win Haven's Male Model. French Line books managed to couple the sensational and the erotic quite successfully, but by 1970 French Line books began to appear much more formulaic.

Carl Driver's Gay Cruise (ND) exemplifies the French Line series. It looks exactly like one would imagine a pulp to look, has no pretensions to literature, but is not an incompetent piece of hack writing. The central character, Mark, an experienced and highly paid Hollywood hustler, uses his savings to buy a cruise ship renamed the Svengali, which he turns into a floating bordello anchored in international waters off the Riviera. He staffs his ship with "guests" for hire (after he tries them out), which obviously leaves plenty of room for ample sex scenes. While it is largely a vehicle for sex, Gay Cruise is an entertaining story in its own right, and the cold, hardened hustler eventually breaks the first rule of business and falls in love with one of his guests.

PEC also published the series 101 Boys, pamphlet sized "stroke" books set in various homotopias that are almost nonstop sex, though there is at least a cursory storyline. Most common are boarding school stories, summer camp expeditions, sailors on leave, college roommates and other cliche gay seduction stories. They generally feature slim-waisted young men discovering their sexuality, and are more of a holdover from 50s style gay porn like the magazine Physique Pictorial or "hellenic appreciation" magazines. Dormitory Mates (1968) by Pudgey Roberts is typical for both the well paced sex scenes, generally competent writing and at least minimal attention to plot. Nonstop sex is probably the most important ingredient in good stroke books and these were doubtlessly popular at the time and far more up front about their intended purpose than most of the books above which veiled their erotic intent. Most depict sex between same aged youths, though occasionally adults enter in. Since the hard-core sex writing of the 1970s was yet to come, the sex is always metaphorical, referring to a character's "growing passion" rather than "throbbing cocks."

Others

There are many other imprints, probably too numerous to name. Many presses put out an occasional title amongst their general straight fare including Midwood, Viceroy, Private Edition, Triumph, Echelon, Nite Time Books, Pendulum, Regency, Dominion and others. Many books by these publisher I not seen enough of to come to any conclusions about the style of books that a particular publisher was typically publishing. Nor is it apparent from looking at one or two books if there are similar connections between some of these publishers like there are between the various imprints of Greenleaf.

"Classic Homosexual Novels"

Another genre at least worth mentioning are the pamphlet sized books billed as "Classics of the Homosexual Underground" or "Classic Homosexual Novels" published by several different publishers. Though it is not entirely clear from the books themselves, the Guild Press in Washington DC apparently published both the Black Knight and Beaumont Classics and possibly other series as well. Centaur is the other major publisher, though its titles mostly duplicate the Black Knight series. Many have no cover art, most are anonymous and they are extremely varied in quality and style. Whether they were actually "classics" distributed from person to person in underground networks in earlier years I am unsure, but the style, in particular the metaphorical descriptions to sex, seems to indicate that they were not written in the sixties. Some are purely erotic in content, much like the fiction published in today's gay porn magazines, while other stories are not very erotic at all.

Among the best of the latter is Stud (ND), by Phil Andros [Samuel Steward], a three-volume set about the life of hustler Phil Andros. It's an excellent story and while it is not surprising that it got published as a pamphlet (with nude photos interspersed every few pages in one edition) it's a shame that this probably prevented the acclaim it deserves. The sex is not explicit, the writing is very good and the story is like a more upbeat version of John Rechy's City of Night. Andros is witty and observant, and gives a tour of America through the eyes of a hustler. There are 18 chapters, each describing one of Andros' tricks: the type of man that hired him and his game, the city and its character, and an assessment of gay culture in the city, at least from the hustler's perspective. In Volume Two he makes one of his typical observations, this time about American hypocrisy: "Milwaukee's citizens lived by the typical American pattern--pass a lot of laws against what everyone does anyway; then raise your eyes piously upwards and pretend you were just passing through on your way back to heaven." While Andros is a hustler, he admits he is gay and gives out a lot of sex for free, and the majority of each section describes and analyzes the seduction, whether for free or for pay. The sex itself is rarely described in any detail if at all, and his perceptions on the art and the act of seduction and the different types of men that hire him are what make these books so fascinating.

Others, like Train Station Sex (ND) one of the many anonymous titles, are not as daring. Great title notwithstanding, the ho-hum plot doesn't really cut it. Uniquely gay in their outlook, their appeal was surely limited to gay men, and they were probably authored exclusively by gay men. Though somewhat regressive for their time, they are affirmations of mens' sexuality and descriptions of mens' unfulfilled erotic fantasies.

"Sociological" Studies

It was common practice for publishers to legitimize their erotic or exploitation titles by tacking an MD or PhD after the author's name. These books tended to be published by Imperial, Lancer, Viceroy and Brandon House, presses that were not exclusively geared to a gay audience. There are numerable other publishers, and it seems that nobody in the 60s passed up the chance to make a buck off of gay visibility and the surrounding paranoia that visibility was bringing to. The cover blurb of Anthony James' America's Homosexual Underground (1965), is typical in describing "[t]he octopus of male homosexuality [that] spread from the Atlantic to the Pacific." In chapters such as "Jerry--The Young Sodomist," Carlson Wade describes different aspects of homosexuality in his outrageous book Queer Path (1967). This one is really quite a read--nobody but Ed Wood comes close to the outrageousness that Wade dishes out. Adam and Adam by R. C. Carruthers, PhD (1967) according to the cover is a "[d]aring and authentic look-see into the inverted world of all-male paradise. Documented with graphic case histories." It is filled with ridiculous sociology that quickly heads into the "case histories" and leaves behind the sociology, but doubtless these attitudes were shared by many, including gay men themselves. And for those men who for whatever personal reasons could not bring themselves to buy gay affirming erotica like the Loon trilogy, the case histories of these sociological studies may have been an acceptable erotic outlet. These can be some of the most entertaining novels to read today, and also some of the worst, depending on whether the author was camping up his paranoid rant or was a true homophobe.

Classic Publications

Classic Publications published a series of "fact" books in the late sixties, most with photo covers and some that were "male illustrated" with photo sections. Classic Publications apparently made it their business to churn these out, and the resultant quality is spotty. Homosexual Train (1968) by Lee Hunt and Faggots Galore by Jon Fondle (1968) are representative of the style. They are not at all gay positive though some are amusing today. They are not as funny as some of the really outrageous sociology like Queer Path, and they get tiring pretty fast. Since they had nude photo sections, it is surprising that a gay audience put up with the the homophobic rant, but I guess nobody bothered to read the text.

We obviously can't trust pulps to tell the whole truth about 50s and 60s gay culture, but we also can't trust the "truth" of historians who seem to have forgotten their existence. Gay men have always sought not only sex, but also representations of themselves, needs that were both conveniently filled by pulps and pornography. They have always played a major role in gay culture, and to neglect them is to ignore an aspect of gay culture that was and is pervasive. Many could be considered negative portrayals and many were probably psychologically damaging and bad for the public image of homosexuality, but certainly no less damaging than invisibility. These perceptions are important, and in many ways are as important as the culture itself, though I am uncomfortable with the concept of a monolithic gay culture as Michael Bronski would see it. These books illustrate that "gay cultures" is a more apt concept.

While most would hope that bad writing be forgotten, when it is the only writing, it can't be and forms part of our collective memory. Gay fiction before Stonewall can't be defined by a couple of Gore Vidal, James Baldwin and Christopher Isherwood novels alone, so we must at least reexamine pulp fiction. Although mediocre examples of the genre abound, novels like Quatrefoil or Stud make an examination of pulp novels worthwhile.

Bibliography

Secondary Sources

Bronski, Miacheal. Culture Clash. Boston: South End Press, 1984.

Grier, Barbara. The Lesbian in Literature. Naiad, 1981.

Perkins, Michael. The Secret Record. William Morrow, 1976; New York: Masquerade 1992.

Young, Ian. The Male Homosexual in Literature. Metuchen, NJ: Scarecrow, 1982.

Primary Sources

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Allyson, Kym. Daisies In A Chain. Brandon House (916082), 1969.

Amory, Richard [Richard Love]. Listen, the Loon Sings.... Greenleaf (GC284), 1968.

Amory, Richard [Richard Love]. Song of Aaron. Greenleaf (GC222), 1967.

Amory, Richard [Richard Love]. Song of the Loon. Greenleaf (GC507), 1966.

Andros, Phil [Samuel Steward]. San Francisco Hustler. Le Salon (GPP106), 1970.

Andros, Phil [Samuel Steward]. Stud (vol 1). Guild Press, 1970?.

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Angelo. Centaur Publications, 1970.

Anonymous [Jean Cocteau]. A White Paper. Olympia Press (51), 1957.

Armory, Ricardo. Fruit of the Loon. Greenleaf (GC307), 1968.

Bail Out!. Guild Press, 1969.

Banis, Victor J. The Why Not. Greenleaf (GC209), 1966.

Barr, James. The Occasional Man. Paperback Library (54-918), 1966.

Barr, James. Quatrefoil. Paperback Library (54-871), 1965.

Benson, R.O.D. What Every Homosexual Knows. Ace (88055), 1965.

Boxing Camp. Guild Press, 1969.

A Boy's First Experiences. Centaur Publications, 1970.

The Boys of Muscle Beach. Guild Press, 1969.

Burgess, Preston. Confessions of a Married Man. Lancer Books (75-032), 1968.

Carruthers, Ph.D., R.C. Adam and Adam. Echelon Book Publishers (IL-228), 1967.

Carter, Floyd. Big Joe. Publisher Export Co (21), 1968.

Choisy, Maryse. A Month Among the Men. Pyramid Books (R-686), 1962.

Coleman, Lonnie. Sam. Pyramid Books (G479), 1960.

Colton, James. Strange Marriage. Paperback Library (54-371), 1966.

Coolen, Carl. Route 69. Publisher Export Co, 1968.

Corley, Carl. Gay Trilogy. Publisher's Export Co. (503), 1967.

Corley, Carl. Satin Chaps. Publishers Export Co (31), 1968.

A Crack in the Wall. Guild Press, 1969.

Crowell, Anthony. The Anal Erotics. Triumph News Co (TNC 136), 1968.

Dale, Dick. Callboy. Greenleaf (AB447), 1968.

Dale, Dick. The Cruising Class. Greenleaf (NB1860), 1967.

Dale, Dick. The Price of Pansies. Greenleaf (LL768), 1968.

Dalton, Rick. No Middle Way. Corsair Publications (211), 1968.

Davidson, Chris. A Different Drum. Greenleaf (EL381), 1967.

Davidson, Chris. The Gay Gods. Greenleaf (LL772), 1968.

Davidson, Chris. Go Down, Aaron. Greenleaf (EL376), 1967.

Davidson, Chris. Queen of Egypt. Greenleaf (PR221), 1969.

Deutsch, Deborah. The Flaming Heart. Paperback Library (54-906), 1966.

Driver, Carl. Gay Cruise. Publishers Export Co (23), 1967?.

Erikson, Tor. The Half World of the American Homosexual. Brandon House (1035), 1966.

Fox, Alan. Fickle and Gay. Publishers Export Co (52), 1968.

Gang Bang. Guild Press, 1969.

Gerassi, John. The Boys of Boise. Collier (07669), 1968.

Goodman, Alexander. A Summer on Fire Island. Guild Press, 1966.

Greene, Jay. Bitter Wine. Midwood (35-192), 1969.

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Harrington, Len. Jock and Rock. Publishers Export Co (34), 1968.

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Hercules and the Centaur. Centaur Publications, 1970.

Holliday, Don. Home of the Gay. Greenleaf (AB429), 1968.

Hughes, Peter Tuesday. The Other Party. Greenleaf (GC352), 1968.

Hunt, Lee. Homosexual Train. Griffin Enterprises (CP202), 1968.

James, Antony. America's Homosexual Underground. LS Publications (714), 1965.

James, Adrian. I, Homosexual. Pendulum (088), 1968.

Kent, Nial. The Divided Path. Pyramid Books (x -452), 1951.

Kovar, Dallas. One to Share. Greenleaf (GC296), 1968.

Lawton, Jeff. Truck Stop. Greenleaf (141), 1969.

Leclerc, Lawrence. The Male Maulers. Publishers Export Co (98), 1971.

Levenson, Lew. Butterfly Man. Universal Publishing & Dist. (A241S), 1967.

Love, Jack. Gay Whore. Publishers Export Co (19), 1967.

Maggie, John. The Honey Horn. Brandon House (7054), 1969.

Mark, Julian. Little Boy Lavender. Greenleaf (LL734), 1967.

Marlowe, Kenneth. Mr. Madam. Paperback Library, [19??].

Masters, R.E.L. The Homosexual Revolution. Belmont (95-102), 1964.

Maybury, Dan O. The Secret Perverts. Griffin Enterprises (CP504), 1968.

Mayzk, R. G. Queens Town Court. Publishers Export Co (27), 1967?.

Michaels, Phil. The Naive Homosexual. Brandon House (3065), 1969.

Miller, Marcus. Captive in Lavender. Greenleaf (AB448), 1968.

Miller, Marcus. Fruit Punch. Greenleaf (AB455), 1968.

Miller, Marcus. Gay Stud. Greanleaf (LL736), 1967.

Milton, Jack. Queens of the Road. Brandon House (926096), 1970.

Mitchell, Carl. Walk the Gay Night. Triumph (TNC 312), 1967.

Moody, Alexander. The Gay World. Lancer Books (75-046), 1968.

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Off Duty Studs. Guild Press, 1969.

Peters, Fritz. Finistere. Signet, 1952.

Porthole Buddies. Guild Press, 1969.

Raul, K. B. A Hidden Hunger. Paperback Library (55-724), 1968.

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Redman, Rod. Gay Semester. Private Editions Books (500), 1969.

Rich, Gary. Sailor's & Their Boys. Publisher Export Co (3), 1967.

Robbins, Burch. The Fourth Sex. Viceroy (VP-233), 1967.

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Rub the Man Down. Centaur Publications, 1970.

San Diego Sailor. Centaur Publications, 1970.

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Spatari, William Charles. The Magnificent Maricon. Brandon House (3052), 1969.

Stearns, Jess. The Sixth Man. McFadden Publications (60-106), 1962.

Steiner, Lucius B. Sex Behavior of the Homosexual. Genell? (VP114), 1964.

Talsman, William. The Gaudy Image. Olympia Press (302), 1958.

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Thomas, Aaron. The Beefcake Boys. Greenleaf (NB1858), 1967.

Thomas, Aaron. Charlie, Darling. Greenleaf (AB440), 1968.

Thomas, Aaron. The Greek Affair. Greenleaf (CB551), 1968.

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Train Station Sex. Centaur Publications, 1970.

Viereck, George Sylvester. Men into Beasts. Fawcett Publications (552), 1952.

Wade, Carlson. Queer Path. LS Publications (808), 1967.

Wilde, Oscar. Teleny. Brandon House (2016), 1967.

Wilson, Paul. Secrets of Homosexual Love. Brandon House (7070), 1969.

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Young, Seth. A Choice of Passions. Paperback Library (54-647), 1968.

Acknowledgements

Thanks to Dave for buying me that copy of the Price of Pansies (which is what got this all started), Eliot for the editing and Tim for the scanner. All mistakes are my own, and the author would like to know of any corrections and would enjoy hearing from others who may know more about this than me.



David Seubert david@properlysorted.com
Last Revised: 2/1/1999