Three Gays of the Condo | Simpsons Wiki | Fandom

homer gay

24 Dec 2024

“Oh my God! Oh my God! Oh my God! Oh my God! I danced wh a gay! Marge, Lisa, promise me you won't tell anyone. Promise me!” ―Homer, after disverg John's sexual orientatn "Homer's Phobia" is the fifteenth episo of Season 8. Homer mak iends wh John, a kschy antiqu store aler...

THREE GAYS OF THE CONDO

“You guys don't have a gay time mache, do you?” ―Homer Simpson "Three Gays of the Condo" is the seventeenth episo of Season 14. Homer and Marge have a fight when Homer realiz Marge only married him bee she was pregnant wh Bart. Homer choos to leave the hoe and stggl to fd... * homer gay *

Homer then fets while havg Margaras wh the "Velvet Mafia" and asks Grady and Jul if they own a gay time mache (Grady's shoe closet) and tell Homer no but he is missg his date wh Marge. The character Grady is voiced by the openly gay edian/actor Stt Thompson, most famo for beg a member of the Canadian sketch edy troupe The Kids In The Hall. The SimpsonsCast & crewUser reviewsTriviaEpiso aired Feb 16, 1997TV-1423mAfter Marge beiends John, a gay store owner, Homer worri that his prence will have a negative effect on Bart's Marge beiends John, a gay store owner, Homer worri that his prence will have a negative effect on Bart's Marge beiends John, a gay store owner, Homer worri that his prence will have a negative effect on Bart's productn, box office & pany PhotosReview Homer's PhobiaThis is probably one of the bt episos the Simpsons have produced.

HOMER THE GAY

Homer's Phobia: Directed by Mike B. Anrson. Wh Dan Castellaa, Julie Kavner, Nancy Cartwright, Yeardley Smh. After Marge beiends John, a gay store owner, Homer worri that his prence will have a negative effect on Bart's sexualy." data-id="ma * homer gay *

Homer the Gay Homer bankpts the fay once aga buy buyg a bra damaged horse stead of groceri and go on a rampage at a horse race g $100, 000 worth of damage and several aths. When the stunts are asked why they believe or spect that Homer is gay, they variably ce the followg le: "Homer himself had remarked-he liked men, and was known that he drank wh the younger men the Elks' Club-that he was not a marryg man"(126) For the sake of argument, and out of ference to the ncln of many of our stunts, if not to the current trends lerary theory, let suppose that Homer Barron is, or might be, homosexual-that he really lik men. Given the narrative amework of the story, we n only image-we are not privy to-the lonels and longg that Ey mt have felt to have killed a man and slept bi his yg rpse; yet we mt unrtake perhaps an equivalent imagative flight to prehend the nfn and tratn endured by Homer Barron, a gay man an age when homosexualy was virtually tantamount to necrophilia.

As Flkner no doubt knew, yellow was associated the 1890s-approximately the perd which the supposed urtship tak place-wh the Yellow Book, atheticism, and, directly, homosexualy. Ultimately, however, those who sist upon matag that Homer Barron is gay mt hang virtually their entire se upon the narrator's claim that Homer "lik men"and that he is not "a marryg man.

If our nventn-bound narrator spected that Homer were gay, he would certaly have had more to say about the matter-his attentn would have shifted om Ey to Homer. If the classroom rembl a mocracy, at least when to exegetil matters, then the other si-those who do not accept as plsible the proposn that Homer Barron is gay-serv equal time. Lastly, I will attempt to duce what our stunts' reads to assume that Homer is gay n tell about their acculturatn and their habs as rears, matters difficult to separate.

20 GAY GREEK GODS

Homer the Gay Homer bankpts the fay once aga buy buyg a bra damaged horse stead of groceri and go on a rampage at a horse race g $100,000 worth of damage and several aths. Although the horse has died and Homer throws Jurkle’s Dad’s pharmacy. They are still... * homer gay *

"Jt as our stunts know that the e of the word "nigger" is not only a dig but actnable-and even those rare stanc where society perms s e, mt be set off wh quotatn marks-so they also know, whether they like or not, that stutns of power, pecially the media and ame, are now dog everythg their power to -stigmatize and normalize homosexualy. In this era of "g out"and "gay pri, " is no wonr that our stunts, particularly given their leralist approach to readg lerature, nclu on very snty evince that a sendary character a story by Flkner is or might be homosexual.

HOMER GAY FOUND 28 PEOPLE ILLOIS, TEXAS AND 18 OTHER STAT

* homer gay *

In the popular culture nsumed by our stunts- movi, televisn shows, and bt-sellg novels-homosexualy is portrayed as prevalent and random; one of the lsons, addn to the tth that gays are as fully human as anybody else, seems to be that all kds of people whom you would least spect, bee they fy simplistic stereotyp, are fact homosexuals.

SIMPSONS GAY CHARACTERS: WHO IS LGBT THE SIMPSONS?

A number of people have been intified as (or implied to be) lbian, gay, bisexual or transgenr (monly abbreviated LGBT). * homer gay *

To nclu that Homer Barron is gay, or even to trouble ourselv wh his sexualy, amounts to renstutg "A Rose for Ey"acrdg to late-twentieth century iology, a procs which may some measure be unavoidable. 3) In his Degeneratn, Culture and the Novel (Cambridge: Cambridge UP, 1994), William Greensla refers to the "ercive " which homosexualy was scribed the texts of that era: "From the neti, homosexualy travelled through disurse a ercive .

BEAR-MAGAZINE.COM HOMER GAY

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cDNVlV"><div data-ttid="ContentHearTleBlockWrapper" class="ContentHearTleBlockWrapper-cjmSKp jbzVNV"><div data-ttid="ContentHearRubric" class="ContentHearRubricBlock-LmpbT kkDiIx"><div data-ttid="ContentHearRubricDateBlock" class="ContentHearRubricDateBlock-kAQcZP fTFWxD"><div class="RubricWrapper-dKmCNX dZhWBL bric ContentHearRubricContaer-eTudtt iRsSlw"><a class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/magaze/a-cric-at-large"><span class="RubricName-fVtemz cLxcNi">A Cric at Large</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd NbxED hpJvIc">Race, War, and Wslow Homer</h1></div><div class="ContentHearAccredatn-lfctVB etVsnJ ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearDek-bIqFFZ Mtme">The artist’s experienc the Civil War and after helped him transcend stereotyp portrayg Black experience.</div><div class="ContentHearByle-kmPyCa gvUmxJ"><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bHLeKI"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/cldia-roth-pierpont">Cldia Roth Pierpont</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2022-04-11T06:00:00-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA iINaCX">April 11, 2022</time></div></div></div></div><div class="ContentHearLeadAsset-hGbumP fEknXh lead-asset ContentHearLeadAssetWrapper-hfXHEc Grck lead-asset--width-fullbleed" data-ttid="ContentHearLeadAsset"><figure class="ContentHearLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHearLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__ntent__photo"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearRponsiveAsset-bREgIb hONbnm"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz bilTMf"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa ContentHearRponsiveAsset-bREgIb hONbnm rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Drsg for the Carnival by Wslow Homer." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span></div></figure></div><div class="ContentHearLeadContentFullWidth-cvJzX hHaBOT"><figure class="ContentHearLeadContentCaptnCred-hSIIqJ kQVfzg"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn ContentHearLeadAssetCaptn-hPWmSN kuCzGS"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“Drsg for the Carnival” (1877). Its brightly lored, sgg bety is such that tragedy tak hold only on examatn.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Art work urty the Metropolan Mm of Art</span></div></figure></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN iEWtkN article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ArticlePageIssueDate-gHarAr iUEiRd iklptv cESBWk">From the issue of April 18, 2022 </span><div class="body__ner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">A soldier blue ss high on the branch of a pe tree. The barrel of his rifle, juttg hard across the nopy of green, is mounted wh a lens that he holds close to his eye as he tak aim. We n’t see his face. Neher n the man he is about to kill, down below, hundreds of yards away, whether the midst of battle or furtively leavg mp to fill nteens—many soldiers got shot this way—or simply liftg his head above fortifitns to take a breath. The telpic rifle, wily troduced this untry durg the Civil War, allowed for attack wh unprecented stealth, a technologil leap ak our time to the ary drone. In the sprg of 1862, Wslow Homer observed the sharpshootg soldiers traed to e the weapons while enmped wh the Unn Army at the Virgia ont. Homer, at twenty-six, was a profsnal artist-reporter, his drawgs often reproduced the illtrated prs. He aspired, however, to be a pater. “Sharpshooter,” by reliable acunt his first oil patg, pleted 1863, was preced the public eye by his engravg of the same hawkeyed soldier <em>Harper’s Weekly</em>, part of the excement over the éle new un’s efficy and skill. It would be easy to assume that he shared the excement—his soldier has a mmerizg energy and foc—were not for a randomly survivg letter he wrote s later, rellg that the e of the rifl had stck him “as beg as near murr as anythg I ever uld thk of nnectn wh the army.” He add a quick drawg of an unspectg victim amed a rifle’s crosshairs.</p><p class="paywall">“Sharpshooter” was pated back the safety of Homer’s stud, New York Cy. He’d moved om his native Boston 1859, g the job at <em>Harper’s</em> as secury while enrollg life-drawg class (one didn’t draw naked bodi art class Boston) and takg a few lsons patg technique om a transplanted Frenchman. Mostly, though, his ia of patg grew out of his magaze illtratns, and while some of this work was brashly polil— 1860, he picted Frerick Douglass, mid-oratn, beg expelled om a stage by anti-abolnists—the majory were cheery anecdot of ntemporary life. The first work he exhibed, also 1860, was a waterlor tled “Skatg Central Park,” which suggts the lightly amiable directn he was takg before the war gave him a subject and a purpose.</p><p class="paywall">He vised the soldiers’ mps around Washgton the fall of 1861 but was not overly affected. He would have travelled to Europe after that, to learn more about patg, if he’d had the money. The transformatn me wh his Virgia trip the followg year. For two or more months he was “whout food 3 days at a time & all mp eher died or were rried away wh typhoid fever,” his mother wrote to his younger brother. “He me home so changed that his bt iends did not know him.” The paper trail for Homer’s trips to the ont ends here. A new bgraphy, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Wslow Homer: Amerin Passage</a>,” by William R. Cross (Farrar, Strs & Giroux), nfintly adds to the general disagreement about where and when (or even whether) he went back. The chaotic Battle of the Wilrns? The vastatn at Spotsylvania Court Hoe? The long and tastrophic—for both sis—siege of Petersburg? His prence at the historic killg fields has been duced primarily om the patgs and drawgs he now began to turn out wh quiet tensy, creatg our richt artistic rerd of the Civil War.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Director speakg to an actor fightg giant bug while a third man stands blankly ont of mera." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“We’ll take out Greg post.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Ellis Rosen</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" 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8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc iOlxjf alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Cocidg wh the bgraphy, the <a href=">Metropolan Mm</a>’s grand yet thematilly tent new Homer show, tled “Wslow Homer: Crosscurrents,” begs wh a group of the patgs, and ’s stirrg to see the young, relatively unschooled artist rise to eloquence service of his broken untry. The -curator Sylvia Yount, settg out the show’s potedly ntemporary theme, wr, “A persistent fascatn wh stggle permeat Homer’s art, revealg lifelong ncerns wh race and the environment.” Homer n support the not so new claims easily, although the work is never rhetoril or preachy. A viewer g to the exhibn om other Amerin classics of the era the Met’s galleri, like the famo mounta scen by Bierstadt or Church, may ially feel puzzled by the emotnal rerve, the unrstatement, even the smaller sle of the works. As a war pater, Homer was unfortable wh battle scen—he pated only one, a willfully untelligible mayhem of men and tre—and at odds wh the heroic posg of a European past. Several of his patgs simply give weary, homick men mp, the mud and the weather, endurg.</p><p class="paywall">He even seemed to shy away om patg rps, although their rary his work may have been partly strategic. Alexanr Gardner’s photographs of fields strewn wh the ad of Antietam, which drew huge crowds when exhibed New York, 1862, offered the lson that the new art form, s ld realy, uld shock as patgs never uld. Death, for Homer, is a sgle former Unn soldier standg wh his back to , swgg a scythe agast a field of wheat as tall and endls as the troops that fell at Antietam and the other battlefields. He executed the scene, tled “The Veteran a New Field,” like a plaspoken realist—the high sunlight, the veteran’s mpled shirt, the shadowed stalks of wheat—who uldn’t hi, try as he might, the dark and troubled heart of a poet. At some pot, he changed his md about what he wanted to portray. Patg out parts of a cradle scythe, the stment ed to harvt wheat at the time, he left his veteran wieldg the anachronistilly stark curve of a scythe that evoked imag of the Grim Reaper. <em>All flh is grass.</em> Yet Homer was never sual about his tl, and the veteran is also plantg the earth anew. <em>And they shall beat their swords to plowshar.</em> Neher the pater nor we need choose a sgle meang.</p><p class="paywall">[<em>Support The New Yorker’s award-wng journalism. <a href=">Subscribe today »</a></em>]</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Two patgs are set where Homer uld never have gone, behd enemy l. (The imagative prerogativ of patg over photography are also many.) “Defiance: Invg a Shot Before Petersburg,” of 1864, shows a Conferate soldier who n endure no longer. Leapg wildly atop fortifitns meant as shelter, he stands exposed agast the open sky, shoutg tntgly the directn of massed Yankee forc. A uple of distant puffs of gun smoke suggt the endg to this act of suicidal sany—or sane bravery, perhaps, for there is somethg heroic this awful figure, so very different om the sharpshooter, whose unremtg eye was reported to drive troops to nervo llapse.</p><p class="paywall">The problematic figure here is not the quixotic Rebel, though, toward whom Homer extends a straed passn, but a Black banjo player huddled behd the fortifitns, stmmg away, his face a mstrel riture of big pk lips and rollg ey. (Gwendolyn DuBois Shaw, the show’s <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">talogue</a>, not that Homer would likely have ed the same burnt rk and lampblack that mstrel players ed to blacken their fac.) This figure prs the qutn: How far did Homer’s passn extend the years?</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Woman speaks to doctor while man ss on examatn table." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“He took a walk to clear his head and now there’s nothg there.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Bce Eric Kaplan</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to 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6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc iOlxjf alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">In the spontaneo act of drawg, his eye was perfectly hont, sketchg Black men the Unn Army—a mule-team driver, men ridg a baggage tra—wh dividualy and digny. Even the more public sphere of magaze illtratn, Black men—om Douglass to a figure seated on what looks to be a powr keg, illtratg “Dixie”—are few but untouched by mstrelsy. Qutns have been raised about a lhograph lled “Our Jolly Cook”: Is the antilly dancg Black man performg for his own racially clichéd pleasure or to meet the mands of an dience of grim-faced whe soldiers? Homer brought Black soldiers to the fore two substantive patgs, “The Bright Si” and “Army Boots,” which, while they don’t tra physil stereotyp, show the men at rt, all but one lyg down—or, as Shaw and others see , purveyg “trop of Black dolence.” It seems fair to say that the pater who would end up “breakg artistic stereotyp about the Negro,” the words of Ala Locke, a lear of the Harlem Renaissance and a scholar of Ain Amerin art, was still fdg his way. His early pictns of Black men were variable. Whether owg to some personal acquatance, however, or to the absence of fear, or to simple empathy, he never wavered the digny he acrd Black women.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">It is doubtful whether Homer was ever near the Conferate prison known as Anrsonville, southwtern Geia. But, wh months of the war’s end, the artist, like everyone the North who uld read a newspaper, knew about the btal ndns that ultimately rulted the ath there of thirteen thoand ptured Unn soldiers. The mp’s manr was put on very public trial, and was hanged. Homer ma no attempt to show the prison self. Yet his rponse was as large tellectual spe and feelg as is visually rtraed and direct. “Near Anrsonville,” pleted 1866, shows a young Black woman, mostly but neatly drsed and wearg a whe apron, standg the doorway of a rough-hewn dwellg, lookg to the si, ep thought. Only at the edge of the patg do we see the soldiers she has seen already, ptive Yanke beg led off by Rebel forc, the triumphant Conferate flag flyg overhead.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">Whout bloodshed, or btaly, Homer nveys the stak of Unn loss—the stak of the war— the face of one enslaved woman. She is picted wh neher the pifulns nor the tillatg nudy that ma the female slave an attractive subject to many artists. (And to dienc. Hiram Powers’s“The Greek Slave,” a prettily chaed whe marble nu, was one of the most popular works of the neteenth century. Even Jean-Baptiste Carpex’s sympathetic bt of a Black woman, tled “Why Born Enslaved!,” pleted 1873 and the centerpiece of another current Met show, is bound wh rop that ame one bared breast.) This woman is all nscns. We are drawn by the workgs of her md, her difficult but masked emotns—she uldn’t risk lettg any reactn show—as, the Mona Lisa of the Civil War, she weighs her future and the future of her untry.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">“I thk that would probably kill me to have such a thg appear,” Homer wrote to an quirg bgrapher, 1908, two years before he died, at the age of seventy-four. “And as the most tertg part of my life is of no ncern to the public I mt cle to give you any particulars regard to .” Bgraphers are a fairly undisurageable group, and the first bgraphy of the artist was duly published 1911. There was not a lot to work wh, asi om the work self. Homer’s two brothers volunteered some stori, but there was, otherwise, snt personal material. He was closely attached to his parents and to his olr brother. He never married and had no known romantic relatnships; the rerd offers ltle even about close iendships. There are no diari, and hardly any letters of substance. (Homer’s moral nmnatn of telpic rifl is one of the few exampl we have of ser thought put to words.) No protégés, no public life. Clement Greenberg, dismissg a later Homer bgraphy, 1944, blamed the fact that the book was “hard readg” on Homer, sce he had “practilly no life asi om his art” and “no ner life worth mentng.” This was, of urse, jt what Homer would have wanted. Yet trepid bgraphers have prsed on, drawn by the siren song of all he did stead of livg.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Cross’s scpulo new book is voted to Homer as both man and artist and is largely a pleasure to read, spe the evable difficulti of the subject: ll him reprsed; ll him, as Cross do, “a misf by nature” or even a “human perispe,” who liked to observe others whout beg seen. Cross tri to circumvent the difficulti by placg the life a wir ntext, particularly Homer’s early years, when abolnism was ablaze Boston and Cambridge, where the boy grew up, exposed to mountg outcri about the evils of slavery. Homer’s fay was middle class but stggled to rema so, fancially and socially. His father, Charl, a proud man, seems to have failed every bs venture he tried; his mother, Henrietta, a gifted waterlor artist, had a wealthy brother who helped them (however huiatgly) get through. Devoutly Christian, the pair ially attend two different church: hers was strongly pro-abolnist, his strongly agast, a posn fundamentally aligned wh the enomic terts of Massachetts. But wh Wslow’s birth, 1836, Henrietta joed her hband’s church, a move that seemed to go beyond awakened wifely duty. Wslow was named for their preacher, who voked Scripture to claim that abolnists would “fill the land wh vlence and blood.”</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Man holds umbrella om street food vendor ra while walkg wh woman." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“What’s the hot-dog guy gog to do?”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by P. C. Vey</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 13.9642C11.7819 14.0403 12.0058 13.9485 12.1147 13.764C12.2794 13.4849 12.1103 13.1276 11.8083 12.9992C11.7041 12.9549 11.6014 12.9044 11.5007 12.8475C10.0658 12.0368 9.57417 10.2413 10.4026 8.83712L12.4026 5.44715C13.2311 4.04298 15.0658 3.56187 16.5007 4.37257C17.9356 5.18327 18.4272 6.97878 17.5988 8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc iOlxjf alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">How the young man managed such personal and polil disrd is unknown. Cross, whose scpl sometim lead to a Homer-like reticence, ref even to ask qutns. (Is this how Homer learned to keep his thoughts to himself? Or why his adult life he stayed away om church?) By the time he was seventeen, he’d left high school and set to work a Boston lhography shop. He may already have had hop of patg, but hop beme certa plans six years later, when he arrived New York. Here aga, Cross seeks to provi a wir ntext, and while the material remas th, one is grateful for every scrap that shows Homer livg as a pater among paters, jog clubs and sharg thoughts a downtown <em>vie bohème</em> filled wh excement about sellg patgs and (more often) worri about not sellg them.</p><p class="paywall">Settlg Greenwich Village for some twenty years, he bbed shoulrs wh such close neighbors—often wh studs the same buildg—as Church and Bierstadt and, most important, the lser known Eastman Johnson, who preced Homer treatg Ain Amerin subjects wh sympathy. It is extraordary to thk of the human perispe havg dner wh Johnson and John Frerick Kensett at the Waverly Inn, or regularly attendg exhibns. “What I remember bt is the smell of pat,” he relled of the years, which extend through the eighteen-seventi. “I ed to love a picture gallery.”</p><p class="paywall">Speculatn about why he turned toward solu—that is, evably, about his love life—has n the gamut. Was he homosexual and hidg? The fact that there is “no evince” (as Cross not) of a relatnship wh a specific man means ltle, the absence of evince of any kd. In his work, the renrg of the male body lacks the overt eroticism of Eaks or Sargent (or, for that matter, of Michelangelo), but some crics (particularly Thomas Hs) have perceived there, and, any se, almost nothg about Homer is overt. A photograph of him and a iend, Albert Kelsey, both rather dandified and evintly close, is hardly evince, but a nu drawg of Kelsey, however ic add tails, go some way toward jtifyg speculatn. Yet Homer’s nflicts show signs of beg even more plex.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="9a1omu"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="6w0q9"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Physilly, he was slight and wiry, elegant drs and bearg but prematurely baldg, and wh a large mtache he seemed to hi behd. Although he earned cril acclaim as early as the mid-sixti, sal remaed slow; was only 1875 that he was able to qu illtratn work, and far longer before he began to achieve fancial stabily. He was well aware durg all the years that he uld not support a wife and fay. Romantic failure was another possible reason for secrecy, and the pretty women who fill his postwar nvas have prompted var scholars to gus at which one may have broken his heart. The bt ndidate is a betiful young artist, Helena Kay, whose marriage seems to have disturbed him. Homer’s ld and mournful portra of her, drsed black, was precisely dated “June 3rd 1874,” her weddg day, and tend as a ls than joyo gift. Still, the majory of women the patgs are anonymo figur, purely social, as illtrative of a termedly sunl Ameri as his other postwar subjects: the energetic boys of “Snap the Whip,” the one-room schoolhoe of “The Country School,” the broad green pastur of “Milkg Time” and of a untry at peace.</p><p class="paywall">The are still among Homer’s most beloved works. The genial populism of such subjects, however, was regard wh notable loathg by Henry Jam, then a workg cric. In 1875, he plaed about the artist’s “eckled, straight-haired Yankee urchs, his flat-breasted mains, suggtive of a dish of ral doughnuts and pie, his li sun-bons, his flannel shirts”—all the proud provcialism (wh a b of sexual repugnance thrown ) that Jam would flee for Europe, and which he felt Homer was wastg his enormo talent on. Homer himself had spent seven or eight months Paris, 1867. But, asi om an affy for Millet’s glowg scen of noble peasants the fields, French art left ltle mark, and seems rather to have shown him how sentially Amerin he was. He displayed no tert gog back. He was rtls, though, and may have been dissatisfied. He had begun to pat waterlor for the first time sce his youth; he ma creasg e of photographs; he travelled om one picturque lole to another, as though search of a purpose like that he had felt durg the war. No one has suggted a better reason for his headg back South jt as the suatn there was once aga beg dire.</p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Near Anrsonville by Wslow Homer." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“Near Anrsonville,” pleted 1866, refers to a notor Conferate prison southwtern Geia. As Unn prisoners of war are led off the background, the ntemplative face of this lone enslaved woman nveys the stak of the war.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Art work urty the Newark Mm of Art, N.J.; Photograph by Richard Goodbody</span></div></figure></le-embed><p class="has-dropp has-dropp__lead-standard-headg paywall">In 1877, wh the new polics of Print Rutherford B. Hay, remag Feral troops the South were relieved of the task of enforcg racial jtice. Renstctn was at an end, and the wispread rult, through a batn of disenanchisement, enomic exploatn, and vlence, was a return to a system hardly different om slavery. Homer was Virgia that sprg, and was likely also there the prev year, spe beg reproved and even threatened by lol wh for showg undue tert Black life. The work he did affirms that they had e for ncern. “A Vis om the Old Mistrs,” of 1876, offers a nontatn between the whe woman who has entered stiffly to former slave quarters and three Black women who regard her steadily, whout greetg; the air is thick wh distst, the gap between them ght wh unrolved history. Pated the same year, “The Cotton Pickers” displays two formerly enslaved young women, ak to Millet’s peasants, loomg like godss agast a cloud sky yet wholly trapped—as they mt know— a field of tton overspillg and bldgly fe. Like the wheat of “Veteran a New Field,” the tton suggts more than self, but shar only the sorrow of that Northern crop and none of s hope.</p><p class="paywall">The celebratory preparatns of “Drsg for the Carnival,” of 1877, have such a brightly lored, sgg bety that tragedy tak hold only on examatn. A group of figur, all Ain Amerin, are gathered a sunny yard. Two women are stchg a young man to a brilliant Harlequ stume, while a sttered group of barefoot children, some holdg ty Amerin flags, look on. The man’s fantastic stume has been lked wh Jonkonnu, a Jamain holiday wh Ain roots that had long sce spread to parts of the South. Grantg slav a brief moment of relative eedom, was held around Christmas for s. But, wh the bold promis of Renstctn, elements of Jonkonnu were joed to the natnal ftivi that seemed at last to belong to everyone: Homer’s origal tle was “Sketch—4th of July Virgia.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">The domatg figure, once aga, is a woman: this time, a tall, rawboned, tensely termed olr woman wh a pipe her mouth—tobac was the ma crop Virgia—who, takg a stch, draws a thread through the air wh the powerful gture of a Fate. This woman has been through everythg and n rry any load. Yet, as Homer and much of his dience knew, she is as trapped as the dreamy young women the tton fields, unable to make a life for herself or for the shoels, happily exced children wh their heartbreakg flags.</p><p class="paywall">Cross’s portrayal of Homer, as ntemporary as the Met’s, emphasiz his “empathy wh Blacks and Native Amerins.” The latter part of the statement is not unte, although Homer’s ntact wh Native Amerins was limed: a Montkett chief on Long Island whom he met (and pated) 1874—Cross relat that Homer’s wealthy uncle swdled the tribe out of land—and Indigeno guis hired to lead a fishg trip he took wh his olr brother Quebec, people whose work makg no he documented and admired. The patgs have never been well known, and Cross’s ntributn here is particularly h. Homer’s pictns of Ain Amerins, on the other hand, were regard as exceptnal as early as 1880, although this aspect of his work fad om view along wh the accepted rights and humany of his subjects.</p><p class="paywall">Patgs disappeared, too. “Near Anrsonville,” origally owned by a New Jersey woman who’d gone South to teach eedmen’s schools, was fotten for nearly a century, and emerged om the woman’s fay attic only the early neteen-sixti. Regnized as a (signed) Homer, but wh nothg else about known, was given the tle “Captured Liberators” by an astute aler Civil War artifacts. By this time, however, the untry’s leadg Homer scholar did not believe that Homer would have given a patg even such a dly polil tle, and soon renamed “At the Cab Door.” It was a pair of scholars wh ey and mds sharpened by the civil-rights movement, Peter H. Wood and Marc Simpson, who revered the patg’s story and te tle and, along wh the art historian Karen C. C. Dalton, set out to reëstablish the importance of Homer’s Ain Amerin subjects, and to expla the artist’s relevance to our tim. And so today Cross fortably par “The Cotton Pickers” to portras by <a href=">Keh Wiley</a> and the Met’s show clus, as part of a “ntemporary da,” several terrific <a href=">Kerry Jam Marshall</a> sketch riffg on one of Homer’s late sea patgs: a relaxed and high-livg morn Black fay out sailg, boom box and all. No victims here.</p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Image may nta Outdoors Nature Human Person Harvt Countrysi Field Art Patg and Grassland" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“The Veteran a New Field” (1865). Homer ially pated a cradle scythe—the implement actually ed by soldiers who returned to their fields after the war—but then pated parts of out and left his veteran wieldg the anachronistilly stark curve of a scythe that evoked imag of the Grim Reaper.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Art work urty the Metropolan Mm of Art</span></div></figure></le-embed><p class="has-dropp has-dropp__lead-standard-headg paywall">Women and tempts. The dangers of the sea and the bety of the sturdy fisherwomen on the northern ast of England, near Tynemouth, the village of Cullerats, where Homer, still rtls, travelled 1881, followg the path of many other paters, and remaed for close to a year and a half. Tempts and angry seas and women, over and over. And then, 1884, back the Stat, he bed them anew “The Life Le,” pictg a woman beg saved om shipwreck by a man, the pair spend by a pulley jt above a crashg sea. This throbbg tumult of a patg was a great succs on exhibn, s suggtivens—the <em>Tim</em> noted that the woman was “a buxom lassie”—largely subordated to s heroics. There has been much discsn of jt where Homer saw this new mo of rcue, which he pated wh exactg re. Cross not, too, the work’s “dramatic tth.” But the enzied scene also looks very much like a sexual fantasy n amok, a Victorian ravishment, wh the man’s face hidn by the woman’s billowg red srf, and her water-soaked cloth outlg every curve and crevice, as she swoons, unnsc, his arms. Only his abily to see her so exposed, and her unawarens of her exposure, sured the patg’s (and the viewer’s) hold on propriety.</p><p class="paywall">Expandg on the subject two years later, this most rerved and subtle pater achieved a sort of aggrandized light pornography “Unrtow,” which two sculpturally chiselled men drag two provotively drenched and entwed women om the angry surf. (Legend has that Homer posed his young mols on the roof of his New York stud buildg, perdilly dog them wh water.) Highly praised at the time for s “virily” and scribed as “an altogether manly work,” this patg, followg on “The Life Le,” seems rather to betray the artist crisis on the very matters.</p><p class="paywall">Could this crisis acunt for the fact that Homer’s work me virtually to a halt the next few years? He never went further than a drawg for a wildly sensual work lled “Ship Deck wh Two Women Lashed to the Mast,” which would have required great pailfuls to be brought up to the roof. When he rumed patg, the sensualy was belmed, as the two women raptly dancg together, before a moonl sea, the elegiac work “A Summer Night,” of 1890. But soon even such figur me to seem superfluo. People on the shore or on surroundg rocks appeared ls equently, were pated out, were unnecsary. The sea alone beme his most sistent subject, the place where his sir were drowned.</p><p class="paywall">Homer was able to replite the spirg astal geography of Northern England at his fay’s newly fashned homtead Mae, on a rocky promontory lled Prouts Neck, where he spent much of the rt of his life. But not all of , spe his preferred image as a herm. (His door knocker was a Msa head, and he put out a sign that read “<em>SNAKES! SNAKES! MICE!</em>” to keep people away.) Although he never returned to Europe, there were trips to New York, even after he gave up his stud there, and many trips to Boston—pecially, mic lover that he was, to hear ncerts. Prouts Neck was on s way to beg a summer rort; Homer’s stud, wh a balny overlookg the sea, was hailg distance of an elegant hotel, whose kchen would liver his lunch.</p><p class="paywall">Neverthels, wters were isolatg and bter. After Homer’s mother died, April, 1884, he assumed the re of his obstrepero father, and that December, whether to flee the ld or the sorrow, the two men vatned together Nass, the Bahamas; Homer, alone, went on to Cuba for a few more weeks. There were later wter trips to Florida and to Bermuda. But the Bahamas, he wrote, was special: “the bt place I have ever found.” Although he returned only once, after his father’s ath, 1898, the work he did as a rult of the two trips—one major oil patg and an outpourg of waterlors—seems ever more important, and forms the rplennt yet strangely vexed re of the Met’s show.</p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Image may nta Art Patg Human and Person" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“The Gulf Stream,” begun 1899, is the lchp of the Met’s show.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Art work urty the Metropolan Mm of Art</span></div></figure></le-embed><p class="paywall">Turquoise waters, bright sun, brown sk—renred a waterlor technique newly ee and vibrant, g the whe of the paper to set off lors already saturated wh light, so that the imag appear to glow om wh. The Met’s selectn of the agile and rarely shown works suggts not only summery breez but also the human warmth and tert so creasgly absent om the ocean scen back home. Yet, to judge by the talogue that forms the permanent rerd of this show, the bety of the works is a signifint problem. Although slavery end the Bahamas the eighteen-thirti, Homer’s era was a Brish lony wh a racially btal enomic system, ak to sharecroppg Ameri. Tourism, a means of e for the Brish ernor, was jt gearg up, and Homer, who published some of the scen as illtratns a “touristic article,” 1887, is the dock.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">“He seemed entirely fortable wh lonialist stereotyp of Caribbean islands as exotic idylls,” the historian Daniel Immerwahr wr. Te, he adms, Homer picts hurrin htg the islands, and the works have “variatn and nuance,” but the weather he shows is too often bright, the people too nsistently healthy. We see Black men wrtg a livg om the betiful waters, but not “the harsh enomics of lonialism” that impels them. Nor do we see any “dictment” of “U.S. lonialism,” which did not fact exist the plac Homer knew: the Bahamas remaed Brish until pennce, Bermuda is still a Brish terrory, and the U.S. takeover of Cuba followed his vis by some thirteen years. Beyond the Atlantic, the artist is censured for failg to pict the murro vlence of the U.S. war of nqut the Philipp—about which Immerwahr has wrten elsewhere wh effectivens—and a rear might easily fail to realize that Homer was never the Philipp. No matter. An illtratn of the vlence appeared on the ver of <em>Life</em>. The artist uld have—should have—pated such a scene. Instead, he spent the years when the war was takg place (1899-1902) makg works so enticg they amounted to “an vatn to empire.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="ysoyqx"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">A bt is owed to the -curator Stephanie L. Herdrich for nceivg this show. So is even more perplexg, terms of the triumph of prupposn, when she wr, of the Bahamas waterlors, “He foced on the quotidian liv of the island’s Black habants and uncrilly acknowledged the rigid stratifitn of Bahamian society.” Uncrilly? The statement would be perfectly accurate were not for this explible word, which ntradicts the ntent of several of the works on the mm’s walls, and even some of Herdrich’s scriptns of them. “A Garn Nass,” for example, of 1885, which a small Black child stands on a dty road, lookg up toward a tall, closed gate a whewashed wall, forcefully exclud om the lh growth of palms and flowers on the other si. (We know that Homer origally pated and then erased two figur climbg the wall to pick a nut, creasg the poignance of the lone child.) Or “Native Hut at Nass,” of the same year, wh a group of Black children starg om the doorway of a poor hut a hardscrabble yard; Cross, whose perceptn of the artist’s tent is more genero, se him as “eager to unrstand the liv they lived wh the ho.” Or “A Wall, Nass,” of 1898, showg the same sort of whewashed wall wh cultivated plantgs behd , and jagged shards of glass along the top to keep the unwanted out. Needls to say—or is ?—the imag are not exotic idylls and are far om uncril of the racial stat quo.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Then, there are the sharks. Even the healthit islanrs, “Shark Fishg,” of 1885, take mortal risks a rowboat hardly larger than their prey. The rults for some n be seen the same year’s “Sharks (The Derelict),” which another small if sturdier boat, now swamped by sharks, is eerily empty and gog over on s si. Homer placed this image at the climax of his first show of Caribbean works, 1885; was found so unnervg that didn’t sell for twenty years. The culmatn of this output, “The Gulf Stream,” long ntemplated and begun only 1899—the sgle oil based on his time the Bahamas—also failed to sell for several years. Homer said that he knew was not ma to hang anybody’s home.</p><p class="paywall">The lchp of the Met’s show, “The Gulf Stream” tensifi the artist’s racial foc even as universaliz s sailor’s plight. A sgle Black man, the drama’s protagonist, is shown bare-chted and sually majtic—“molled wh a mculature and physil power,” Ala Locke wrote 1936, that “broke the tton-patch and back-porch tradn” and “began the artistic emancipatn of the Negro subject.” But his nate power is to no avail. He li across the ck of a vastated boat, as gape-mouthed sharks close ; the water nearby is flecked wh blood. A few stalks of sugarne il across the ck, eher a pla fact of his rgo or a sign of centuri of slave tra. “I regret very much that I have pated a picture that requir any scriptn,” Homer replied wh typil aspery to qutns about s meang. He also mentned, though, the fluence of Turner’s patg “Slave Ship” (origally tled “Slavers Throwg Overboard the Dead and Dyg—Typhoon Comg On”), which Rk had once owned but said he found too paful to keep.</p><p class="paywall">Wh the unsold patg returned to his stud, Homer ma chang. The boat—and prumably the man adrift —beme Amerin; we n make out “Key Wt” lettered on the stern. He add a broken sectn to the hull, and a grand but ghostly ship, gray and nearly transparent, on the horizon. Some speculate that this ship was meant to supply the hope that people wanted to see, but that is not how Homer worked—and rarely how artists work, pecially old age. It hurts more to know that Corlia was almost saved, and that the ship, pace Aun, had somewhere to get to and sailed lmly on.</p><p class="paywall">It is no surprise that Homer pated no self-portras. There are, however, some imagative hts two of his most magisterial late works. “Fox Hunt,” of 1893, is the biggt patg he ever ma: six feet across, is given over to a sgle alert yet weary fox, pursued by a flock of terrifyg crows—a athly wged mass—across an expanse of glarg snow. It is wter Mae; the sea is visible the mid-distance, cuttg off the fox’s path. The stgglg animal, legs skg periloly the snow, looks off toward the impassable waters. Homer signed the patg a cur way, givg the letters a round weight, so that his name, too, sks like an object or a creature the snow, to the very bar of the pal “H.” In his late fifti, he still posssed somethg of the fox’s elegance, as well as the ironic w for the parison, and as much wonr at this empty whe world as spair.</p><p class="paywall">The hunched figure “Driftwood,” pated when the artist was seventy-three, 1909, also looks out to sea, foul weather. He is unual simply that he exists, a man on Homer’s by now long unpeopled shore. He is tyg a rope around a fallen, washed-up tree tnk—“driftwood,” too, seems ironic—that is far too massive for him to move; he might better e to anchor himself agast the elements. He do not appear young. There is a real chance of his beg blown off his feet, undated, badly hurt. Homer was exced about this patg, which he took up after sufferg a d stroke. It was the last work he pleted before his ath, the followg year. “I have ltle time for anythg,” he warned his younger brother, excg himself om Thanksgivg dner. “<em>I am patg.</em>”</p><p class="paywall">“Driftwood” has the qualy of a votnal image. The figure, as nspicuo agast the wav as the fox is arrtg agast the snow, is difficult even to see, at first. Before him, the sea is pated wh an acute discernment (ep gray agast the nearby rocks, wild sprays of textured whe, glassy opal and limpid gray beyond) that was learned by lookg hard, for years, wh a pth of mment most people rerve for each other. He braved , holdg fast, to show others so much they didn’t see—bety, jtice, sheer mystery—his gaze ever outward and his face turned away. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="12tyu"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU 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at Large</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Iphigenia Fort Hills</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">Anatomy of a murr trial.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Ja Mallm</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Transn" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of History</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Transn</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">Lyndon Johnson and the events Dallas.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Robert A. 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class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="A Cold Case" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of Crime</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">A Cold Case</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">Sudnly, a New York p remembered a long-ago murr.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Philip Gourevch</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left 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Three Gays of the Condo | Simpsons Wiki | Fandom

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Contents:

THREE GAYS OF THE CONDO

HOMER THE GAY

20 GAY GREEK GODS

HOMER GAY FOUND 28 PEOPLE ILLOIS, TEXAS AND 18 OTHER STAT

SIMPSONS GAY CHARACTERS: WHO IS LGBT THE SIMPSONS?

BEAR-MAGAZINE.COM HOMER GAY

Three Gays of the Condo | Simpsons Wiki | Fandom

Recent Posts

Tags

Contents:

THREE GAYS OF THE CONDO

HOMER THE GAY

20 GAY GREEK GODS

HOMER GAY FOUND 28 PEOPLE ILLOIS, TEXAS AND 18 OTHER STAT

SIMPSONS GAY CHARACTERS: WHO IS LGBT THE SIMPSONS?

*BEAR-MAGAZINE.COM* HOMER GAY

BEAR-MAGAZINE.COM HOMER GAY