Fritscher shoots hot men! Bears! Bodybuilders! Cowboys! Truckers! Young cops! Nudity, of course! YES! 4-Star reviews. Introduction by the prestigious British critic who brought you, from BRUSH CREEK MEDIA, the best-selling THE BEAR CULT photo book: Edward Lucie-Smith, the author of more than 30 books of art criticism, including: SEXUALITY IN WESTERN ART (1972 & 1971), ART TODAY (1996), and ARS EROTICA (1997). Includes naked full-page photographs of the real Mr America Chris Duffy/Sunset Bull, The Blake Twins, My Nephew/My Lover, Redneck Cowboy, Cowboy Bunkhouse Cigar, plus some artful bondage as well as smiling real men. NOTE: THIS IS A COMPLETELY DIFFERENT KIND OF MALE ART COFFEE-TABLE PHOTOGRAPHY BOOK, BECAUSE THERE ARE NO PICTURES OF MOUSSE-AND-CLONE GIRLYMAN MODELS LEANING IN SHADOWS HOLDING HULA-HOOPS. Each photograph is titled and thus contains its own kind of short-story. The photos actually relate to Fritscher's many published books of fiction! So wonderfully hot, it had to be published in London.
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Book Description
JACK FRITSCHER'S AMERICAN MEN (55 PHOTOGRAPHS OF MASCULINE MEN FOR LADIES AND GENTLEMEN WHO PREFER MEN MASCULINE). The ultimate, beautiful, masculine-identified coffee-table photo book you'll want to keep under your bed. This is respectable art that has been known to provoke orgasm! 59 black-and-white photographs shot by Jack Fritscher.
Editorial Reviews
From the Author
PHOTOGRAPHER'S FOREWORD
WATER FROM THE MOON (Ancient Japanese Saying Defining Something One Can Never Have)
On the title page of his dog-eared BILLY BUDD, Ryan wrote, in the most legible scribble of all his random notes, what must have come to him, suddenly, as a simple, illuminating, uninterrupted, crystal-line vision of sexual elegance.
That first night when I first saw Kick, I recognized one of life's long shots at the Perfect Affirmation.
He was a man.
He had a man's strength and fragility, a man's grace and intensity, a man's joy, and a man's passion. He seemed my last chance to celebrate the changes i me as growth. He was so fully a man, he was an Angel of Light.
To him I could say nothing by YES.
One thing, you see, I know for sure: Nature very rarely puts it all together: looks, bearing, voice, appeal, smile, intelligence, artfulness, accomplishment, strength, kindness. That's what I looked for all my life: the chance to say YES to a man like that.
I look in men for nothing more than that affirmative something that grabs you and won't let you look away. Maintaining my full self, to have some plenty to offer back in balance, I've looked for some man who fills in the appropriate existential blanks, for some man to be the way a man is supposed to be, for some man to keep on keeping on with, in all the evolving variations of friendship and fraternity, beyond the first night's encounter.
I've looked for that to happen: to be ale to say YES inside myself when a good, clean glow of absolute trust settles over the world.
Honest manliness is never half-revealed. When it's there, it's all right there in front of you. The hardest thing to be in the world today is a man.
Jack Fritscher Introduction to his photo book from his novel SOME DANCE TO REMEMBER
About the Author
JACK FRITSCHER'S 400 published short stories and feature articles have appeared in more than 25 magazines and in several anthologies of "Best-of-the-Year" stories. Of his 5 books of fiction, his best-selling novel, SOME DANCE TO REMEMBER, has been named a classic comparable to novels by Gore Vidal and James Baldwin, and yet is popular enough that multiple critics have called it "the gay GONE WITH THE WIND." His newest collection of fiction is RAINBOW COUNTY AND OTHER STORIES; his new novel for 1998 is the romantic comedy THE GEOGRAPHY OF WOMEN. February 1998: A new collection of his previously published short stories entitled "CORPORAL IN CHARGE OF TAKING CARE OF CAPTAIN O'MALLEY AND OTHER STORIES." He is also the author of 4 nonfiction books, including the brilliantly scandalous MAPPLETHORPE: ASSAULT WITH A DEADLY CAMERA; LOVE AND DEATH IN TENNESSEE WILLIAMS, his doctoral dissertation; the Anton LaVey centered POPULAR WITCHCRAFT; and the media-savvy TELEVISION TODAY. He is a founding member of the American Popular Culture Association, and has taught creative writing and film for more than fifteen years at university. He is the recipient of both a Michigan Grant to the Arts and a grant from the National Endowment for the Humanities. His coffee-table photography book, published in England and titled JACK FRITSCHER'S AMERICAN MEN, is a completely progressive kind of photo art, because his pictures (each one a titled short story) are of actual American males with none of the usual coffee-table pics of mousse-and-clone models leaning in shadows holding hula-hoops. He is deeply established artist who is writer, photographer, and video director whose refreshingly eccentric work reflects sexuality, intellect, and real life lived in American popular culture.
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More About the Author
Jack Fritscher emerging from the gay past exists, both now and in the future, as a pioneer participant in gay culture and as a critic chronicling analytical witness to that history. He is the double-jointed author of literary fiction as well as of erotic fiction, including 4 novels, 5 fiction anthologies, 3 nonfiction books, and 2 produced plays. He is also the director and videographer of 170 feature videos. A Gemini, born June 20, 1939, he has balanced twin careers in literature and erotica--often recombinantly.
MID-CENTURY GAY WRITERS
A gay pioneer from the 1960s, he wrote the 1968 novel, "I Am Curious (Leather)," began before Stonewall his research on "Popular Witchcraft," befriended the legendary and elderly gay author Sam Steward (Phil Andros) in 1969, and became the founding San Francisco editor shaping the legendary "Drummer" magazine (1975) which published his features, fiction, and photographs for 25 years in more than 62 issues. Those writings and photographs, annotated with historical commentary by the author, are available free online at this site.
In 1953 at age 14, he came out into the closeted gay world by writing a "gladiator novel" while attending the Vatican's ultra-exclusive Catholic seminary, the Pontifical College Josephinum, where the bullies were not the jocks but the opera-and-liturgy queens. His short fiction was first published in 1958 in the Catholic press.
Also adolescents at this time, his American gay peers were John Rechy; William Carney; Rita Mae Brown; and Dorothy Allison; as well as Andrew Holleran, Felice Picano, and Edmund White who founded their Violet Quill in late 1980.
These mid-century careers made possible the next generation: the fin de siecle writers who appeared after HIV in 1982. They rose during the late-80s invention of history's first viable small lesbigay book publishers whose anthologies took the place of the once-flourishing gay magazines which by the millennium had collapsed because of internet competition.
DIVERSITY, PERVERSITY. THEOLOGY, PHILOSOPHY
As a diverse wild card among his 20th-century contemporaries, Fritscher is the only Catholic writer, and the only actual holder of an earned PhD in literature. In addition, he is the only writer who also composes and creates as a photographer and videographer. In 1966, he wrote the world's first PhD dissertation on Tennessee Williams titled "Love and Death in Tennessee Williams: His Philosophy and Theology." Themes and rituals of Catholicism thread through his fiction and nonfiction from the incarnational "Some Dance to Remember" to the passion and death of "Mapplethorpe: Assault with a Deadly Camera." His formal training in philosophy, theology, literature, and criticism is the architecture of his sweeping historical work on witchcraft, the drama of Tennessee Williams, the photography of Robert Mapplethorpe, and the popular culture of homosexuality. His photography is a succession of heroic and suffering images from the "Roman Martyrology of the Saints."
MID-CENTURY GAY WRITERS
A gay pioneer from the 1960s, he wrote the 1968 novel, "I Am Curious (Leather)," began before Stonewall his research on "Popular Witchcraft," befriended the legendary and elderly gay author Sam Steward (Phil Andros) in 1969, and became the founding San Francisco editor shaping the legendary "Drummer" magazine (1975) which published his features, fiction, and photographs for 25 years in more than 62 issues. Those writings and photographs, annotated with historical commentary by the author, are available free online at this site.
In 1953 at age 14, he came out into the closeted gay world by writing a "gladiator novel" while attending the Vatican's ultra-exclusive Catholic seminary, the Pontifical College Josephinum, where the bullies were not the jocks but the opera-and-liturgy queens. His short fiction was first published in 1958 in the Catholic press.
Also adolescents at this time, his American gay peers were John Rechy; William Carney; Rita Mae Brown; and Dorothy Allison; as well as Andrew Holleran, Felice Picano, and Edmund White who founded their Violet Quill in late 1980.
These mid-century careers made possible the next generation: the fin de siecle writers who appeared after HIV in 1982. They rose during the late-80s invention of history's first viable small lesbigay book publishers whose anthologies took the place of the once-flourishing gay magazines which by the millennium had collapsed because of internet competition.
DIVERSITY, PERVERSITY. THEOLOGY, PHILOSOPHY
As a diverse wild card among his 20th-century contemporaries, Fritscher is the only Catholic writer, and the only actual holder of an earned PhD in literature. In addition, he is the only writer who also composes and creates as a photographer and videographer. In 1966, he wrote the world's first PhD dissertation on Tennessee Williams titled "Love and Death in Tennessee Williams: His Philosophy and Theology." Themes and rituals of Catholicism thread through his fiction and nonfiction from the incarnational "Some Dance to Remember" to the passion and death of "Mapplethorpe: Assault with a Deadly Camera." His formal training in philosophy, theology, literature, and criticism is the architecture of his sweeping historical work on witchcraft, the drama of Tennessee Williams, the photography of Robert Mapplethorpe, and the popular culture of homosexuality. His photography is a succession of heroic and suffering images from the "Roman Martyrology of the Saints."
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Most Helpful Customer Reviews
4 of 4 people found the following review helpful:
5.0 out of 5 stars
A radical view of male beauty with no surrender to P.C.,
By A Customer
This review is from: Jack Fritscher's American Men: More Photos from the Bear Cult (Paperback)
Edward Lucie-Smith's intro is a lucid explanation of the frank way Fritscher photographs the masculine animus. He is Jungian and not P.C., so in his work testosterone is as honorable as estrogen in the human world he shoots. The men in these photos exude natural humanity which Fritscher dramatizes as a photographer and characterizes as a writer who is a photographer naming his frames as if they are illustrations of short stories in magazines. I've seen his work on the covers of many magazines and centerfolds in color, so this black-and-white volume collects his work but without the fey artiness of most "gay" photography where svelte models lean into shadows holding hula hoops. These pictures are actually meditations on the state of being male as one century dissolved into the next. Interestingly, his photographs continue in his books of fiction and in a book of fiction called "Tales from the Bear Cult" which circles around to one of the first books of bear photos called "The Bear Cult" also introduced by British art critic Edward Lucie-Smith. Fritscher was the sometime lover of Mapplethorpe and he is as personal as Mapplethorpe was formal, and both are worth staring at.
3 of 3 people found the following review helpful:
5.0 out of 5 stars
Bear Papa recommends these photos of very rugged bears,
By A Customer
This review is from: Jack Fritscher's American Men: More Photos from the Bear Cult (Paperback)
Comparing photo books is like comparing apples and oranges. I quite like Jack Fritscher's American Men as much as I like Chris Nelson's Bear Cult. Both are excellent photographers with two different points of views regarding bears. Nelson is formal. Fritscher is informal. Formal is good on Tuesday night for J/O. Informal is good for Wed night for J/O. Nelson shot Fritscher for his book, but Fritscher has no shot of Nelson in his. Maybe Nelso is more shy or maybe he's not a bear. Both books are also equalized by having introductions written by the same art critic, and by the fact that the same publisher published them both. Smart move, because Nelson and Fritscher give diversity to bears that could be triangulated nicely by the same art critic and publisher putting out a book of photographs by Lynn Ludwig who also shoots a lot of bears. Bears are rich photo territory. Nelson is great. Fritscher is great. Both photographers deserve to be side by side on my book shelf.
3 of 3 people found the following review helpful:
3.0 out of 5 stars
Fritscher shares his obsessions with willing onlookers.,
By A Customer
This review is from: Jack Fritscher's American Men: More Photos from the Bear Cult (Paperback)
This British-issued title, available in a fairly pricey export edition, is primarily a compilation of nicely printed photos from Jack Fritscher's portfolio, in part the result of his video sessions with partner Mark Hemry (Palm Drive Video). Fritscher is a bodybuilding fan from way back, and knew a lot of real professionals in the 70s BB subculture. Some of the photos are simply renderings of men in contests or constest poses. However, the majority of the photos are explicitly sexual and fetishistic. Most are posed in ways that Fritscher directed, framed and then captured on film. One photo, "Slap Contest" (1995), depicts two men just after one (wearing a Gold's gym shirt) has slapped the water out of another man's mouth. It's extremely hot, even though there's no nudity per se. Fritscher was the first champion of "homomasculinity," named the phenomenon in fact, and these photos will show you why. They have more to show us about masculinity in a postmodern age than any number of explode-on-cue Hollywood adventure films. The book is worth having if your tastes run along these lines
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