CARSON McCULLERS

THE BITCH GODDESS

It takes one—
To know one, honey

Being a Bitch Goddess, that is—
Just ask Plath or Bette Davis

“What a dump!” Bette sneers—
“Fasten your seatbelts, dears”

But McCullers does it better—
With that Southern Gothic twist

"Reflections in a Golden Eye"—
Truly a Southern Gothic Horror

THE GOLDEN EYE

Carson McCullers—
Would go back to Georgia

To refresh herself—
With Southern Gothic Horror

Reflections in a Golden Eye—
Naked boy riding a horse

The young soldier voyeur—
Ogling Brando’s slutty wife

Brando ogling the Stud—
Liz sleeping there in bed

Ending up dead because—
Brando wanted him instead

The Filipino fag—
Painting the Golden Eye

IN COLD BLOOD

Speaking of Bitch Goddesses—
I simply can’t understand

Why in the world didn't—
Miss Capote choose Carson?

Carson McCullers to go—
With him back to Kansas?

To write In Cold Blood—
In that dumpy Gothic hole?

A fag hag, my dears—
To keep him company

Most probably though—
Because Carson McCullers 

Such a cynical Southern—
Gothic Bitch Queen like him

Helping to grease the path—
For his bitchy Nonfiction Novel

ANACLETO

Zorro David the sensitive—
Filipino fag Anacleto

Perhaps the real Caliban—
Or was she Ariel, my dears?

A fag in the flick—
Only made Things worse

Besides adultery, bestiality—
Now a nelly queen gone amok

The Catholic Legion of Decency—
Gets their Special Premier

They simply aren’t ready—
It’s worse than “Baby Doll”!!!

JOHN HUSTON

John Huston later wrote—
He liked McCullers’ novel

The way she wrote—
Such calm cool detachment

Her Understanding of the—
Various Novella’s characters 

Recording them with dignity—
Rather than just Str8t Reportage

No moral indignation—
No bourgeois condensation

Perhaps McCullers invented—
Truman Capote’s style first?

The Nonfiction Novel—
Actually Gay Reportage, my dears!

THE FEY ARIEL

The Fag in the movie—
Actually he’s Ariel

Through his Eyes—
Nature becomes Voyeurisme

The gay Filipino paints—
He has the Golden Eye

He’s the fey Ariel—
Ahead of his time

Robert Forster as Caliban—
Riding the horse nude

Equus can be so very exciting—
Don’t you think my dears?

QUEER CINEMA

Later the New Yorker—
Praised Huston’s techniques

Precursor to Queer Cinema—
His “radically unrealistic” style

Outrageous scenes piled—
One on top of the other

Laughing at the antics—
Of McCullers’ hoary characters

Liz Taylor the Slut—
Pretentious junior harridan

Compared with Miss Brando—
The gay murderous mad Majorette

NOUVEAU SOUTHERN GOTHIC

Miss Shakespeare, my dear—
Updating antebellum Southern Goth?

Miss Huston as Prospero—
In a modern day Tempest flick?

Disaffected Magician Diva—
Carson McCullers as fey Ariel

Marlon Brando as moody Caliban—
Jilted as well as cuckolded 

Taylor as pampered Miranda—
No wonder the Critics were shocked!

Huston making fun of their—
Repressed, quaint, naïve Sexuality

THE TEMPEST

Such a cinematic Tempest—
Seemingly So stupid now, my dears

Bare-backed and bare-assed—
How the Public Eye ogled so

Huston using his Golden Eye—
Making all the critics hostage Voyeurs

Both Huston and McCullers—
Their Sardonic ghastly humor

Here Cease more questions—
Thou art inclined to Sleep

Give up the old Way—
See now through the Bolder Eye

We’re ready now, my dears—
Approach, my Ariel, come…
    
    —the Tempest, Act I, II