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After Gore Vidal published The City and the Pillar (1948), his novel of queer love gone bad, some reviewers suggested his homosexuality—gay themes now seemed more traceable to gay authorship—and Vidal began his career of coyly handling such suggestions. 52 But public discourse had functional equivalents of the queer designation through what D. A. ’’ In such cases, the ‘‘open secret’’ operated ‘‘not to conceal knowledge so much as to conceal the knowledge of the knowledge. . ’’ 53 The ‘‘open secret’’ was a loose convention, not a rigid formula, and one with many variations.

It must be fun for him though: think of all the filthy thoughts the rest of us miss by not looking askance at such seemingly harmless things as trench-coats and pork-pie hats. Sex, sex, everywhere! ’’ Normalizing what Towne saw as shocking, One got the argumentative upper hand, but Towne had the bigger audience. ’’ The ‘‘invasion’’ theme was common. ’’ 45 34 Waldeck and Towne articulated the major themes of postwar agitation: gay men covertly controlled cultural production and nurtured a culture lacking authenticity and weakening the nation.

Unlike the localized prewar skirmishes about homosexuality, postwar scandal often played out in national arenas and hinged on presumed offenses to national power and prestige. State Department efforts to exhibit American art abroad in the late 1940s met insinuations that modernist artists might be homosexuals as well as communists. 42 The State Department, allegedly infiltrated by communists and homosexuals, was suspect as the supervising agency. Scandals about queers in the arts and about queers in politics shared an emphasis on conspiracy.