Sex, Love and Longing in 1970s Gay New York: Edmund White on His Past Lovers

Throughout the 1970s I was in love with Keith McDermott, ten years younger than me. When I first met him, I was living in a third-floor walk-up studio on Horatio Street in the West Village. He was living across the street with Larry Kert (he’s dead), the original young male lead in West Side Story. I was one of Larry’s rainy-day fucks—he’d call me midday or early evening when he was horny and the weather forbade open-air cruising (snow, rain, or tropical heat).

Maybe I met Keith at Larry’s or through someone else; I don’t remember. Keith was living rent-free with Larry. They’d started out as lovers but now, after a year, Keith was expected to help in maintaining their big, luxurious apartment by cleaning and doing chores—and disappearing when Larry had a trick he was bringing home.

Keith wanted to move and I had a lead on an eight-room prewar apartment on the Upper West Side, a block away from Central Park and just four hundred dollars a month. The landlady lived downstairs from us and had decided to rent only to gays—but, what narrowed the field, gay men without dogs. In those days gay couples had dogs, not yet children. We were too poor and unsettled to think of wanting a dog. It never crossed our minds.

Keith was a famous beauty (famous in the West Village and Fire Island among gay men). He was blond, blue-eyed, just twenty-one, and perfectly formed (an expert gymnast). In good weather he rode his bike everywhere. The sound of the whirring wheels as he came racing around the corner and glided to a halt became the very whisper of desire for me. He was fleet, funny, and so handsome that Bruce Weber, the most famous photographer of handsome men back then (Abercrombie & Fitch, GQ, Calvin Klein), took his picture. Weber’s men, often nude or in wet white underpants, were twenty-something, athletic, Ivy League, and passably heterosexual—perfect eye candy for gay men of the period, who liked their men to be iconic and unobtainable, i.e. straight.

Of course I wanted to sleep with this beauty, but he found a way to forestall my lust. He said he was sick of “meaningless” sex and invited me to join his chastity club. We could sleep side by side as long as we never touched. I was content to have that constant access to his beauty and company—and he was happy, I guess, to reap the devotion of a fit, charming, bewitched man in his early thirties who was just publishing his first novel. Before long we were living in our vast eight-room apartment. Whenever I would buy an ugly but big dining room table and six high-backed chairs at Goodwill, Keith would be so outraged that he would drag the furniture out the front door into the hallway. He was a resolute artist and had a horror of looking or being middle-class.

Keith was careful with his “instrument,” i.e., his body. He drank tiny cups of liquid buffalo grass, ate sparingly, mainly vegetables, and visited the gym daily for two hours, where he’d twist and turn on the exercise rings, climb ropes, and strengthen his arms and core, his shoulders and legs, but he never wanted to become a heavily built muscleman. He was a Peter Pan, the puer aeternus. I was abject in my longing for him. I can’t bear to recall the scenes of my crawling toward him, arms outstretched, or the moment when I saw him as an emanation of God. Once I organized an orgy of several guys I dragged back from the Candle Bar in the neighborhood, hoping to be able to touch Keith in the melee. It worked.

Larry Kert had had a cruel streak—maybe that had rubbed off on Keith. Or maybe my idolatry was just that absurd and I needed vinegar poured in my wounds. I suppose some of the mystical strains in Nocturnes for the King of Naples, the book I was writing then, were a spillover from my almost religious love for Keith.

And then Keith was cast in the Broadway hit Equus, in which he was naked onstage eight performances a week for years. Dirty old men would sit with binoculars in the front row night after night. A pimple on his ass would send Keith into an anxiety attack. He was brilliant in the role; I saw him in the play dozens of times opposite Richard Burton or Anthony Perkins. It was such a titanic strain (no colds, no hemorrhoids, no weight gain or perceptible loss), thousands of lines, gymnastic feats blinding the “horses” (dancers dressed as stylized horses), rowdy adolescents seated in the cheap seats onstage making wisecracks, kids who were so used to TV that they thought these performers, too, couldn’t hear their remarks. His life became one of iron discipline. I like to think he even came to appreciate our domestic life.

He moved to Los Angeles but was a little too openly, rebelliously gay for Hollywood in those days (no one wanted to see the fag kiss the girl and there were almost no gay roles in the seventies). Then I moved to Paris for sixteen years. When I came back to New York in the late nineties, Keith was living with a sweet, talented Israeli painter; he’d mellowed, was just as funny as ever, became a close associate of the avant-garde director Robert Wilson.

Keith himself directed plays at La MaMa and had published a book. We’re great friends. He insists that I helped form some of his tastes in music and literature. His own curiosity and experience in so many domains of the arts, however, didn’t need my influence, I’m sure. When I told him I’d be writing about him in my sex memoir, he said, “Just say I have a big dick.” That’s easy—his dick is huge.

__________________________________

From The Loves of My Life: A Sex Memoir by Edmund White. Copyright © 2025. Available from Bloomsbury Publishing.