Mae West is reputed to have said, “Keep a diary and one day it will keep you.” While Leo Lerman never published his journals and diaries in his lifetime, it has enough naughty gossip, hidden history and sheer human insight to find itself on the bestseller list for a while.
Mae West herself doesn’t show up in the book, though several drag versions of both Mae and Marlene Dietrich to name a few do turn up in passages about gay speakeasies in the 1930s. And of course, the real Marlene Dietrich is everywhere in The Grand Surprise, along with Maria Callas, Truman Capote, Cary Grant, Philip Johnson, Greta Garbo, Josephine Baker, Henry Kissinger, Jackie Onassis…
well just about every major figure in art, music, film, theater, fashion, politics and literature in the 20th Century.
The press has already started to feed on the revelations about the bisexual affairs of Steve McQueen and Yul Brynner. And while the book is chock full of the guilty pleasure of this kind of gossip, the book is a revelation deeper and more moving for those who are willing to read it from start to finish instead of browsing the index for celebrity names.
Stephen Pascal, who worked for Lerman for 12 years as his assistant, has edited the 50 years worth of journals into a coherent story. And he knows that many people will be tempted to simply browse, or compulsively browse. Over dinner and a bottle of fine Bordeaux last week we talked about Leo’s story, and the story of his editing the journals.
AQJB: I have to admit, I haven’t been able to avoid browsing the index looking for names. There are just so many, and so many juicy tidbits. And it’s a long book, over 600 pages. What will people miss if they just browse for these stories?
SP: They’ll miss some of the most important stories as they develop over time — starting with the Leo’s life story, and the story of his 47-year relationship with his lover Gray Foy. As well as his relationships with those “sacred monsters” Dietrich, Callas, Capote and others he knew intimately from the start of their careers all the way to the end.
His journals tell their stories with the immediacy of one who was there, the insight of someone who could see what was really happening, with all the bitchiness and compassion of a true friend. So you feel all their, and Leo’s, full humanity.
And Leo’s story itself is a particularly American story — the child of immigrants who worked hard, he moved to the very center of American society, and helped shape taste and culture for four decades.
AQJB: Let’s talk for a bit about his relationship with Gray Foy. This is a journal that tells the story of a loving relationship between two men that lasted almost 50 years. That lasted through major changes in the lives of gay men in America. First, how have people, readers and reviewers, responded to this story? Have you noticed a difference in the way the gay press or gay readers have responded from the mainstream media?
SP: Well, one thing gay men have been responding to has been the depiction of this relationship. — Gay readers have told me how moved they are to see such an intimate relationship develop over time. There
are so few examples of this in fiction or in other journals. One reviewer in the mainstream media (whose gender preference I certainly don’t know) referred to the writing about this relationship as the “mushy" and uninteresting parts, but for gay men, who rarely have their relationships reflected back this way, well, it stirs up a lot of emotions.
The mainstream reviewers, so far, remember the book has been out about a week, but for the most part they’ve not really made a big deal about the gay relationships It’s just been acknowledged without smirks or insinuations.
But let’s face it, the mainstream reviewers, given a choice between writing about Marlene Dietrich’s affairs, or Maria Callas — or writing about Leo’s relationship with his lover, they’re going to focus on the gossip because it’s what interests people and what will get the reviews read. Really, Leo’s relationship with Gray was like any conventional marriage, except for the gender of the parties involved.
AQJB: Early in the book, Leo tells of his coming out experiences, going to speakeasies, back rooms and drag bars. I was stunned to read of a back room bar on West 72nd Street in the early 1930’s — and then of course I remembered the old chestnut that every generation believes it invented sex, and I guess I’m just as guilty of that as anyone. But I have to say that Leo didn’t seem to suffer the oppression that we associate with being gay, or for that matter, Jewish, in the early 20th Century. How did he manage to succeed and rise to the rarefied circles he did?
SP: As someone who must have been excluded from many places for being gay or Jewish, he very rarely writes about it. Really the circles he chose to move in, publishing, theater, art, were some of the more open places to be. And while his background made him an outsider, he lived his life pretending to be the consummate insider that in fact he became.
AQJB: Wasn’t there an incident in the 40's at the writer’s colony at Yaddo where he came up against homophobia?
SP: Well, he was certainly hurt an anti-gay comment made by the director of Yaddo, Elizabeth Ames, and
it shook him up. Despite his membership in this elite young artistic circle (Carson McCullers, Truman Capote, and Marguerite Young were also there at the time), it reminded him of his precarious position in society and made him so uncomfortable he considered leaving early.
AQJB So everyone knew he was gay, he was out, whatever that means for the time.
SP: Well he chose not to hide, even though it wasn’t something he talked about unless you were a close friend. I mean, he was such a dandy that if someone thought him gay it would hardly have been a leap. And he lived openly with his lover, inviting everyone to their home. Yet few spoke with him about his relationship; it was a simple fact that was unmentioned.
AQJB: Sort of the way some reviewers in the mainstream media have dealt with it.
SP: Except for the fact that some gossip columnists have been running with some of the information about “stars.” That’s what sells papers you know.
AQJB: I loved that Yul Brynner had an affair with Hurd Hatfield and Marlene Dietrich. I guess that when she sang “See what the boys in the back room will have, and tell them I’m having the same,” she was not unaware of the double meaning we’ve always laughed about...(continued)