The third chapter discusses the recent reception of Tom of Finland, perhaps
the best-known artist within and outside of leather communities, and asks
the question: What does Tom of Finland’s work gain when it is collected by
major art museum in the U.S.? In exploring a potential answer to this
question, the historical influences, reception, and distribution of the
artist’s work are detailed; it is a history that is now primarily told by
the Tom of Finland Foundation. The Foundation, located in the house the
artist lived in for a time, is one of the primary subjects of a video by
artist Patrick Staff entitled The Foundation (2015). In it, Staff explores
the limits of normative leather masculinities through verité footage of the
daily activities at the Tom of Finland Foundation and a constructed studio
scenario, wherein Staff and an older gay man (roughly fitting into the ‘gay
daddy’ type) dance together and explore their differences.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.