Books by Jack Fritscher

DUNGEON MASTER, February 1987
San Francisco CA, United States
By Victor Terry

HEADLINE: Corporal in Charge of Taking Care of Captain O’Malley

There is one Old Reliable audio tape that is fully scripted and rehearsed and acted out. It is the best OR tape I’ve heard and one of the best audio cassette tapes I’ve heard from any source. It is “Corporal in Charge” and is Jack Fritscher’s script “Corporal in Charge of Taking Care of Captain O’Malley” which appeared in Drummer #s 22 and 23 and in 1984 in Fritscher’s book with the same title. The audio actors make some changes in Fritscher’s script with minor omissions and additions, and for some reason the climax of the final episode at the end of part one on side one is cut off and omitted. There are a few minutes of blank tape at the beginnings and ends of each side, so there certainly was room on the tape for the omitted part one climactic climax. That omission is probably just an editing error; I can’t imagine the actors just stopped in the middle of the fucking climax and went out for a beer. Old Reliable should re-edit this tape to include the fucking climax to make this superior tape even better. (Editor’s Note: To solve this dilemma.)

Fritscher’s script is written in two parts with a three-month hiatus between the two parts’ between the parts is where the cassette is flipped to play the second side.

The actors in “Corporal” are very good, especially the corporal who rings more changes on “Yes, Sir” than I expected. The sound effects are good. And there is a plot which is organized to rise from one climax to a higher one to yet a higher one and so on. For those who don’t know the story: in brief: a marine corporal has been reported sucking cock in the latrine; in the corporal’s barracks room, Captain O’Malley blackmails Corporal Powell into being his personal fuckhole for his “donkey dick,” a role the corporal is reluctant to assume (“Oh, Sir, please don’t, please don’t fuck me, please don’t, Sir,”) but rank has its privileges and the corporal wants to stay in the honor guard and in the marine corps (“I love the Marine Corps, Sir”), and so…Recommended tape, especially for those into marines, submission, obedience to a uniform. A superior tape.

©Victor Terry

THE ADVOCATE, May 14, 1985
Los Angeles CA, United States
By Geoff Mains

These are wonderful books, full of careful writing and a fine sense of words. Full of compassion and humor. And full of hot, horny fantasies that make good one-handed reading. But these are also works that surge into lyricism and insight.

In these two simultaneously published books Jack Fritscher celebrates that mythos of male-bonding which is so central to our society but which drives so many men ape-shit. In these stories, however, men who are mostly, but not always, gay bond with a frankness that refreshes.

Corporal in Charge brings together works from Fritscher’s generous pen over the past 10 or so years. The tales fall mainly into two groups.

In the first, Fritscher delivers adolescent throbbings–those desires so intense they almost surprise. “The summer between junior high and senior high, Engine remembered, he had beat off 358 times for an average of nearly four loads a day.” How small details preoccupied us then, and still do, becoming part of our ongoing sexuality. Fritscher creates his texts from those morsels that so transfixed: images, memories and fantasies; shed pubic hair collecting in urinals; abandoned and redolent jockstraps. His writing becomes a frieze, a fine caring, lovingly crafted.

Fritscher’s largest category of tales embraces that joy shared between men in living their sexuality. Here are many facets of leather sex. Here is a man as brother and daddy (“And deep down you’re glad…you can…let him feel some comfort and fun…that Daddies need Daddies too”). Here is man as tester and prover. Here is man as erotic dreamer, as self-lover and shaman, as animal (the brilliant ironic nuances of “Young Deputy: K-9 Dog Dik”). Here are men who cross old barriers and old prejudices (“Hustler Bars”). Here is mansex as ritual and initiation (“Captain O’Malley” and “USMC Slapcaptain”). Here are watersports, titsports, dominance, submission and fisting.

In the midst of this strongly erotic writing are some quite different tales with unexpected twists. “Caro Ricardo” is a tender, surreal story of a desperate search for personal meaning, of being together and alone in the frenetic glitz of New York obsessions. “Silver Screen Castro Blues” traces these same universal themes in a different but no less ironic way. And in “Earthorse: Harvest” Fritscher work these same themes into a bleak future that reaches back to threaten up today.

The fable Leather Blues, though not even a hundred pages long, packs a world of insight into its metaphors: growing up in America; the crazy, even cruel contradictions of straight sexual expectation; the myths of proving oneself. Denny Sargent sets out to take on the world with his cock but ends up learning some very different things. That a man can indeed be top and bottom, that a good top does a scene not for his own ego but for his love of the bottom’s trips and needs. And he learns that there can indeed be sharing and respect between men who have sustained this rite of passage in giving themselves.

The themes of Leather Blues elaborate on those in Corporal in Charge. Fritscher talks of a world in which men can care and share. And of men who are not trying to flaunt a supposed superiority. These are men who know the joy of being themselves. Because once a man has embraced and accepted the reality of himself and the complex range of instincts and emotions that must be lived with, the deceits of ego-inflation become superfluous. Ending one of the hottest stories I his collection, Fritscher writes: “San Francisco, in my book, is the place where, when you go there, you get to be your true self. The Slot…is the place most likely to see or help a dedicated self-sucker doing himself, because he knows in such a special City that nobody does it like he does it when he does it to himself.” Amen.

Editor’s Note: This issue of The Advocate, May 14, 1985, reviewed Quentin Crisps Manners From Heaven alongside Jack Fritscher’s two works of Fiction. The photograph of Quentin Crisp was by New Orleans photographer, George Dureau, who was interviewed in Jack Fritscher’s Mapplethorpe: Assault with a Deadly Camera and was the subject of a Palm Drive Video documentary Dureau Verite show at the Maison Europeenne de La Photographie Ville de Paris. Also included were Joseph Hansen’s Brandstetter and Others: Five Fictions and Samuel R. Delany’s Stars in My Pockets like Grains of Sand.

©Geoff Mains

IN TOUCH FOR MEN #100 Anniversary Issue, February 1985
United States
By Richard Labonté

HEADLINE:
Corporal in Charge of Taking Care of Captain O’Malley and Other Stories

“Rough-and-Tumble orgies of the mind”
“stark, subtle, smooth and suggestive, richly erotic”

A superior erotic offering is Corporal in Charge of Taking Care of Captain O’Malley (Gay Sunshine Press, $10 paper) a collection of twenty-one assertively sexual and imaginatively arousing pieces. Not stories, though some are rough-and tumble orgies of the mind, the title tale is actually a twenty-page torrent of S&M wordplay. Author Jack Fritscher’s prose is everything John Coriolan’s is not: stark, subtle, smooth and suggestive, richly erotic because it leads the way into a fantasy world rather than presenting one that the writer works too hard at making super-real. Best of the good bunch: ruminations on hustler bars, and “Earthorse: Harvest,” a stunning political sex fable about an S&M future.

©Richard Labonté

DRUMMER #81, February 1985
By Aaron Travis
Editor’s Note: Writing in apprenticeship to John Embry

HEADLINE: Corporal in Charge of Taking Care of Captain O’Malley
and Other Stories plus Leather Blues

Jack Fritscher and his high-brow, gutter-level runimations on “pex” and sex, slapcaptains and selfsuckers, have finally arrived between the covers of a book. No longer need readers thumb through dog-eared back issues of Skin or Drummer (of which Fritscher was once editor) or the short-lived MAN2MAN (which Fritscher created after his Drummer stint) to catch privileged glimpses of that unique cock-stiffening domain of which Fritscher is sole demiurge. It’s all there–or most of it, anyway–in a long overdue anthology called Corporal in Charge of Taking Care of Captain O’Malley (Gay Sunshine Press, $10).

As a writer, Fritscher is hard to categorize. His subject is sex (or mansex, as he’d put it); his speciality is good ol’ boy raunch, Man Stuff. He’s a jittery stylist with a kinetic verbal sense, heavy into subjectivity. Wary of other people’s cliches, he mints his own. I call them Fritscherisms — hybrid words, funky misspellings, tough/tacky alliterations and offbeat rhythms. In Fritscher’s world, titclamps “chow down” into nipples, and “titsports are a hot man’s offramp to Alpha Centauri.” Hot numbers speak from the crotch (“I figured a big, booming, deep-sex voice would spout basso out of his nuts”) and, in a sadly dated ode to “homosensuality,” we’re told that “a kiss down the throat can be quite continental, but rimming is a guy’s best trend.”

Most of the pieces in Corporal are essays, not fiction–diatribes and incantations to the erotic power of nipples, cops, spit, military men, blue collar sweat, tattoos, straight men, jocks, and “pex.” Here the Fritscherisms run wild–oddly potent the first time around, beginning to cloy on a second reading.

But when Fritscher’s odd-ball writing works, it works spectacularly. The title story of this anthology, which first appeared in Drummer, is classic j/o material, a two-man dialogue that captures in stiffening detail the consequences of being caught open-mouthed in the company latrine by a Captain who likes to slap and knows how to plough. It puts every ersatz “hot talk” tape on the market to shame. A sequel, “USMC Slapcaptain,” is almost a match, and a portrait of “Officer Mike: San Francisco’s Finest” does a public and private image turn-around on your standard brutal cop fantasy. “Men found it easy to honor Mike in straight bars and to worship him in private bedrooms. He was a naturally strong center, careful never to diminish any man. He put no man down. He made no man feel small. He was no need to make a man bottom out in order to get down to the uplift worship of the Great God Cock.”

You could say that Fritscher is a hardhat-chaser–“Real Men” are his game (or as Fritscher says, the kind of men who say “Yo”). He celebrates unself-conscious working class men–or at least hay fantasies of working class men. Then, out of the blue, he’ll show another color. In a story called “Silver Screen Castro Blues,” these’s enough ghettoized angst to keep the Manhattan gay literati wired for months, peppered with dialogue like this: “Every faggot wants to be Judy-Judy-Judy. Uppers in the morning. Downers at night. And fucked senseless by rough trade till dawn.”

There’s a dichotomy here that runs through a lot of gay erotica; the worship of Regular Guys–trade, jocks, construction workers, military men–as some sort of redeeming fountainhead, versus an image of openly gay life as bleak, frustrated, too sophisticated for its own good. Regular Guys are somehow more “authentic” for being status quo and unaware of the ironies of sex. Sex with them is the Real Thing.

Fritscher says: “None of this means that Genuine Straight is any better than Genuine Homosexual, just that to gay men used to gay men’s sex styles, Straight Daddies are refreshingly different…. When you fuck with him, you put your arms around the firm, hard bulk of all that was ever Daddygood and Daddyhot in the Basic American Dream.” Is this just a phase that we’re going through?

Along with Corporal, Gay Sunshine has also published Leather Blues (92 pp., $5.95), a short novelette about a young leatherman’s rites of passage–so short, and ultimately insubstantial, that it might have been better if Gay Sunshine had included it in the Corporal anthology instead of making it stand on its own. The first third of Leather Blues appeared several years ago as “The Adventures of Denny Sargent” in a Son of Drummer special; what follows and completes this novelette is a falling-off, a disjointed patchwork that really doesn’t deliver a finished product. Here the Fritscherisms and the inane good ol’ boy dialogue win out, and what might have been a major work of leather fiction turns out to be pedestrian streetwear, purchased off the rack.

EDITOR’S NOTE: Aaron Travis, working as writer-for-hire to Publisher John Embry for whom Fritscher created the San Francisco DRUMMER that has long been DRUMMER‘s “Gold Standard,” mis-speaks here in a seeming act of ventriloquism characteristic of Embry employees. The first chapter of LEATHER BLUES (i.e. 8 pages out of 103 pages) appeared in SON OF DRUMMER a special magazine edited by Jack Fritscher, and mostly written by him. At the time, John Embry promised to publish LEATHER BLUES in its entirety as a book through Alternate Publishing. When Fritscher left DRUMMER, because of pay Embry owed him, he took his leather novel with him, thus leaving Embry to turn to the novelization of MR. BENSON which Fritscher had edited for serial publication in DRUMMER. LEATHER BLUES immediately appeared in 1980 as a serial-novel in MAN2MAN Magazine. Aaron Travis, after his stint under Embry, went on to write his entertaining B-movie gladiator stories that mix the novel QUO VADIS with Steve Reeves’ HERCULES.

©Aaron Travis

Acknowledgements and History

The author expresses acknowledgment and gratitude to the many magazine publishers and editors who have framed these stories into print over the years, and to the art directors and artists who illustrated the stories. Their roles in periodical publishing are often overlooked, underestimat­ed, or lost to history. Appreciation is also owed to the hundreds of magazine readers who have encouraged versions of these stories with letters, requests, suggestions, and edits coming from their personal desire.

“That Boy That Summer” appeared as “Anticipation: That Long Hot Summer” in Skin, Volume 2, #3, May-June 1981: Editor, Bob Johnson, Los Angeles , illustrated with a full-page color photograph by John Cox, Jr. The same issue contained Jack Fritscher’s interview with filmmaker, J. Brian, who handled a stable of hustlers who serviced clientele such as Rock Hudson: “Boys for Hire.” Also appeared in Man2Man Quarterly #7, Spring/March 1981: Publisher, Mark Hemry; Editor, Jack Fritscher, San Francisco; also appeared in The Califor­nia Action Guide, Volume 1, #1, July 1982: Publisher, Michael Redman; Editor, Jack Fritscher; Art Director, Mark Hemry. Action Guide photo­graphs by David Hurles’ Old Reliable Studio, Los Angeles, and David Sparrow/Jack Fritscher, San Francisco.

“I’m a Sucker for Uncut Meat” appeared in Skin, Volume 2 #4, July-August 1981: Editor, Bob Johnson, Los Angeles. Also appeared in Man2Man Quarterly #2, Winter/December 1980: Publisher, Mark Hemry; Editor, Jack Fritscher, San Francisco. Appeared as well in The Califor­nia Action Guide, Volume 1, #1, July 1982: Publisher, Michael Redman; Editor, Jack Fritscher; Art Director, Mark Hemry, San Francisco. The story provided the concept for the video, Tom’s Gloryhole: Foreskin Obsession, Palm Drive Video. Straight businessman Michael Redman was the successful San Francisco publisher of the straight tabloid, California Pleasure Guide, sold in adult stores and vending machines on the streets of San Francisco. He advertised in the Sunday Chronicle for an experienced editor to conceptualize and start-up a companion adult tabloid, the gay California Action Guide. Redman and Fritscher interviewed at the Noe Valley coffee-shop and deli, the Meat Market, on 24th Street a few doors west of Castro, May 14, 1982.

“Big Beefy College Jocks” appeared in Man2Man Quarterly #2, Winter/December 1980: Publish­er, Mark Hemry; Editor, Jack Fritscher, San Francisco.

“The Princeton Rub”appeared in Skin, Volume 2, #1, January-Febru­ary 1980: Editor, Bob Johnson, Los Angeles; and as “Speedos, Jockstraps, and the Princeton Rub” in Man2Man Quarter­ly #4, Summer/June 1981: Publisher, Mark Hemry; Editor, Jack Fritscher, San Francisco.

“Corporal in Charge of Taking Care of Captain O’Malley” appeared serialized in two installments. The first act, published in Drummer #22, May 1978, was illustrated with a Bob Mizer photograph from Athletic Model Guild and a drawing created by Al Shapiro, the artist A. Jay, who was also art direc­tor; the second act appeared in Drummer #23, July 1978, with an opening illustration by Al Shapiro/A. Jay: Publisher, John Embry; Editor, Jack Fritscher, San Francisco. Inspiring director David Hurles, Old Reliable studios, created an audiotape of an early version of this written piece in its first performance-art origination in Los Angeles in 1977. The art of A. Jay/Al Shapiro appears in this volume at the suggestion of “the Widow Shapiro,” Dick Kriegmont. A unique collection of A. Jay’s art is the subject of The A. Jay Video Gallery: Spit, 60 minutes, Palm Drive Video.

“USMC Slap Captain” is both a pioneer story and a famously reprinted story of iconic, archetypal gay myth. It was the first story in the gay press introducing slapping as a fetish, and initially appeared as “USMC Slapcaptain: How The Corporal Came to Be in Charge of Taking Care of Captain O’Malley” in Man2Man Quarterly #7, Spring/March 1982: Publisher, Mark Hemry; Editor, Jack Fritscher, San Francisco. “Slap Captain” also appeared in Dungeonmaster #47, January 1994: Publisher, Martyn Bakker; Ed­itor, Anthony F. DeBlase; illustrated with two photo­graphs by Jack Fritscher: one of actor Ter­ry Kel­ly from the Palm Drive Video, Hot Lunch (Dungeonmaster, page 24), and a second from the Palm Drive Video, Gut Punch­ers, starring Dan Dufort, 2nd-Place Winner of Physique Contest, Gay Games II, San Francisco, August 15, 1986. Mark Hemry and Jack Fritscher, as Palm Drive Video, shot the only video of the physique contest at the Castro Theater for Gay Games I (at that time called “The Gay Olympics”). The same gut-puncher photograph, requested specifically by Brian Pronger, was also featured (unindexed) in Brian Pronger’s Gay Sports: The Arena of Mascu­lin­ity (St Martin’s Press, 1990).“Slap Captain” also appeared in Powerplay #10, May 1996, Brush Creek Media, San Francisco, with illustra­tion drawn by DadeUrsus, with color cover shot by Jack Fritscher from the cover of the photogra­phy book, Jack Fritscher’s American Men (GMP, London, 1995), including two pages of five photo­graphs by Jack Fritscher titled “Slap Shots.” Publisher, Bear-Dog Hoffman; Editor, Alec Wagner. Confer also the Palm Drive Video, Slap Happy. “USMC Slapcaptain” also was featured in Best Gay Literary Erotica 1998, Edited by Richard LaBonté, Selected and Introduced by Christopher Bram, Cleis Press. Editor LaBonté combined “USMC Slapcaptain” with Jack Fritscher’s “Cigar Sarge” under the Fritscher title, “Sexual Harassment in the Military: 2 Performance Pieces for 4 Actors in 3 Lovely Costumes.” Christopher Bram is the author of the novel, Father of Frankenstein, upon which was based the Academy-Award winning movie, Gods and Monsters, starring Ian McKellen, Lynn Redgrave, and Brendan Fraser.

“Officer Mike: San Francisco’s Finest” appeared in Just Men, Volume 1 #4, May-June 1984: Editor, Bob Johnson. Illustrated with a Rapidograph drawing by Rex. Fritscher and Rex collaborated in a Tenderloin coffee shop in San Francisco to discuss the concept, as an experiment for the gay press, so that words and illustration would match organically, rather than the usual paste-up of slapping almost any illustration to almost any text. A very early “leather” draft appeared as “Mike: Solo” in Skin, Volume 2 #2, November 1980: Editor, Bob Johnson, Los Angeles. Illustrated with a color photograph from Western Man Studio, San Francisco. The same issue featured Jack Fritscher’s long poem, “In Praise of Fuckabilly Butt,” illustrated with a charcoal drawing by the artist Kit whose narrative cartoon strip, “The Adventures of Billy Joe”–a leathery Huckleberry Finn, appeared episodically in Skin (Eg.: Skin, Volume 2 #1, 1980).

“Black-and-White-and-Brown Doublefuck” appeared in Just Men, Volume 1 #1, June 1982: Founding Editor, Bob Johnson, Los Angeles.

“Hustler Bars” appeared in Skin, Volume 2 #5, September-October 1981: Editor, Bob Johnson, Los Angeles; appeared also as “Paying For Sex” in The California Action Guide, Volume 1 #6, December 1982, San Francisco, with four photographs by David Hurles’ Old Reliable Studio, Los Angeles; and as the (by-lined on-cover) cover feature, “Hustler Bars: Show Me the Money!” in Interna­tion­al Drum­mer #204, June 1997, San Francisco, which continued to list Jack Fritscher on the masthead as a continuously “Contributing Writer,” twenty years after he first edited Drummer. This issue also featured four color pages (22-25) of photo­graphs reproduced electroni­cal­ly from Jack Fritscher’s Palm Drive Video feature, Dave Gold’s Gym Work­out. The issue of Skin, Volume 2 #5, was written by Jack Fritscher whose two other gay-history articles in this issue were “AMG’s Duos: Bob Mizer’s Physique Pictorial Studio” with 15 AMG photo­graphs in color and black and white, and “Old Reliable: The Company That Dirty Talk Built,” illustrated with a drawing by Rex and with 23 David Hurles’ Old Reliable Studio photographs in color and black-and-white. Also appeared as “Patron of the Arts” in the anthology Bar Stories, edited by Scott Brassart, Alyson Publications, 2000, Los Angeles/New York.

“Young Deputy K-9 Cop” first appeared as “Dog Master” in the premiere issue of Man2Man Quarterly #1, October 1980, “The Documentary Journal of Homomasculine Gay Popular Culture”: Publisher, Mark Hemry; Editor, Jack Fritscher; Cover model, Jim Enger. Also appeared as “Dog Dik” in The California Action Guide, Volume 1 #3, September 1982: Publisher, Michael Redman; Editor, Jack Fritscher; Art Director, Mark Hemry.

“Fisting the Selfsucker” first appeared in the premiere issue of Skin, Volume 1 #3, May-June 1980: Editor, Bob Johnson, Los Angeles; illustrated with a full-page color photograph of autofellatio by Richard Lyle. This story was pre-amble to a larger feature article written by Jack Fritscher titled “Solo Sex” that appeared as the cover feature in Drummer #123, November 1988.

“Caro Ricardo” appeared, as gift to Robert Mapplethorpe, in the first edition of Corporal in Charge. Transposed to a nonfiction memoir–a feature-article obituary, “Caro Ricardo” appeared as “Pentimento for Robert Mapplethorpe” in Drummer #133, August 1989. Publisher, Anthony DeBlase, in May 1989, two months after Robert’s death in March 1989, welcomed the feature two months before the Mapplethorpe censorship controversy broke out, July 1989. The piece appeared as “Chapter Two: Pentimento for Robert Mapplethorpe” in the hard-cover nonfiction memoir, Mapplethorpe: Assault with a Deadly Camera, Hastings House, 1994. A similar feature- article obituary of the artist A. Jay appeared in Drummer #107, October 1987: Publisher, Anthony DeBlase; Editor, JimEd Thompson. A. Jay was the artist who created the original artwork for the first magazine publication of “Corporal in Charge.” Robert Mapplethorpe’s first cover was cast, designed, and commissioned by Jack Fritscher for the cover of Drummer #24, October 1978. The intended Mapplethorpe-Fritscher book was to be titled, Rimshots: Inside the Fetish Factor.

“B-Movie on Castro Street” appeared in In Touch # 57, July 1981: Editor-in-Chief, John Calendo, Los Angeles. The story is a 1981 draft of a scene for, but not used in, the 1990 novel, Some Dance to Remember, which was fully complete as a book manuscript in February, 1984, and first published as a whole by Tim Barrus and Elizabeth Gershman, Knights Press, Stamford, Connecticut.

“The Best Dirty-Blond Carpenter in Texas” appeared in Man2Man Quarterly #8, Sum­mer/June 1981: Publisher, Mark Hemry; Editor, Jack Fritscher, San Francisco; also appeared as the cover feature, “Fiction by Fritscher,” in The Target Album # 3, Winter 1982: Publish­er, Lou Thomas, Target Studios, New York, with drawing created specifically for this story by Dom Orejudos aka “Etienne/Stephan,” Chicago. A second drawing was created by the New York artist, Domino, posing Jack Fritscher’s bodybuilder-lover, Jim Enger, as the model for the fictional story. The drawing appears also in The Domino Video Gallery: New York Natives, 2000, Palm Drive Video, Jack Fritscher, director; Mark Hemry, producer.

“Earthorse, written in 1973, first appeared in Man2Man Quarterly #3, Spring/March 1981: Publish­er, Mark Hemry; Editor, Jack Fritscher, San Francisco. “Earthorse” was written the week the UPI reported one of the world’s first successful human-transplant stories about a woman suing to take a body-part for herself from her institutionalized, insane brother.

“Titsports: Our Pecs Belong to the Sundance, Kid” appeared as “Tit Torture Blues” in Drummer #30, June 1979: Publisher, John Embry; Editor, Jack Fritscher, San Francisco. Photo­graphic illustrations by Richard Moore, Philip Beard, Mikal Bales’ Zeus Studios, and Joe Tiffenbach; line drawing illustration of “Pecs O’Toole” created for the article by Al Shapiro, the art­ist A. Jay, who was the art director; Al Shapiro introduced his “Pecs O’Toole” comic strip when he was art director for Queen’s Quarterly, New York. Also appeared in Man2Man Quarter­ly #5, Fall/Septem­ber 1981: Publisher, Mark Hemry; Editor, Jack Fritscher, San Francisco; also appeared in The Califor­nia Action Guide, Volume 1 #5, November 1982: Publisher, Michael Redman; Editor, Jack Fritscher, San Francisco. Illustrated with a drawing titled “Nipples with Boot” (dated 4-28-81) created for this piece by Rex, New York. Continuing the nipple theme, Fritscher wrote, “Tits: Radical Nipples,” for Drummer #143, October 1990, illustrations by Zeus Studio. The original story also served as the treatment for the video feature, Tit Torture Blues, 1988, Palm Drive Video, San Francisco.

“Wet Dreams and Golden Showers” appeared as the cover feature, “Pissing in the Wind,” in Drummer #20, December 1977: Publisher, John Embry; Editor, Jack Fritscher, San Francis­co. Photo­graphic illustra­tions by the Gage Brothers from their feature film, El Paso Wrecking Compa­ny.

“Fetish Noir” was written as the introductory editorial for the premiere issue of Fetish Noir magazine (Volume 1 #1, February 1998) at the request of the editing art director, Armando Aguilar, Royce Publications Distributing, Los Angeles. “Fetish Noir: Pansexual Pleasures for the Perverse.” Also included was a review by Jack Fritscher of Japanese straight erotic-bondage video; the review was titled, “Asian Market Crisis Ties Madame Butterfly in Knots.” “The List” first appeared in a 1979 brochure announcing the premiere issue of Man2Man Quarterly, and then in the California Action Guide, Volume 1 #2, August 1982, as well as in the first edition of Corporal in Charge with the introductory lead line incorrectly laid out at Gay Sunshine Press. The author did not submit “The List” for the Prowler Press edition in the U.K. “The List” in this edition restores the first edition.

“Nooner Sex,” “By Blonds Obsessed,” and “Cruising the Merchant Marines” are original to the first edition of Corporal in Charge. “Nooner Sex” was written as a companion piece to Jack Fritscher’s cover-feature, “The Daddy Mystique,” In Touch #56, June 1981: Editor, John Calendo. “By Blonds Obsessed” was written in October 1981 at David Hurles’ Old Reliable apartment, Hollywood. “Cruising the Merchant Marines” was written in San Francisco, January 1983.

All these stories, scripts, and articles were first printed in book form in the sold-out best-seller (10,000 copies), Corporal in Charge of Taking Care of Captain O’Malley and Other Stories, produced by publisher Winston Leyland, Gay Sunshine Press, San Francisco, 1984. In England, in 1998, Corporal in Charge, with some stories transposed, was published in a paperback edition by Prowler Press, London.