Gay Student Fiction from 1914-1923

"What did it look like to voice queer identity on a campus
seemingly repressed in a world focused on tradition and norms?"

This exhibit examines queer storylines in Dartmouth student fiction that were previously explored by the Hidden Queer Stories project. In particular, we were interested in how romantic feelings were expressed during a time of increased homophobia on campus. Clifford Orr's story "Watch that Jazz!" offers a coded narrative, in which a straight romance contains strong queer undertones. Gilbert Patillo's story "Dorymates" and George Blanchard Phillips's story "An Evening with Phil O'Frenis" both push the boundaries of what friendship might mean. In every instance, hints of queer existence or love are shrouded within plausible deniability.

Photograph of Clifford Orr ‘22. From his alumni file.

Orr, author of "Watch that Jazz!", would continue to write. His first book, The Dartmouth Murders, would become a 1935 film titled Shot in the Dark. In addition to his literary pursuits, he worked for The New Yorker, where one of his colleagues later described him as a "homosexual" and a heavy drinker. He died in Hanover in his early fifties.

Photograph of George Phillips ‘24. From the 1916 Aegis.

George Blanchard Phillips, author of "An Evening with Phil O'Frenis", later received his PhD in Philosophy, then worked in various academic appointments, most notably at Washington University. His later years were spent in service to the Army. He never married.

Photograph of Gilbert Pattillo ‘14. From the 1914 Aegis.

Pattillo, author of "Dorymates," would later go on to serve in the army and write children's stories. He never married, though his obituary mentioned a dorymate of his own, Sherman Saltmarsh '14.

Orr, Clifford. "Watch that Jazz!" The BEMA 10:3 (1921). DC History LH1.D3 B4.

"Watch that Jazz" is a story of romance without romance. Damon meets Bertha Trent, and their music tastes are just too incompatible to have a relationship. Only after Damon's music taste saves the life of Bertha's mother does she agree to marry him.

"You don't like my ‘high brow stuff' as you call it. You don't understand it. You've never been educated up to it. Well it's the same with me. I can't bear your ragtime…I've never been educated down to it, that's all." - pg 8

Bertha, upon initially meeting Damon. ‘High brow stuff' refers to classical music, while ragtime is another word for jazz. ***

"Too bad she's that way." - pg 8
"...Miss Trent was different. Even sort of queer sometimes." - pg 8
Damon's thoughts of Bertha shortly after their initial encounter. ***

"I don't want to get married. Our tastes are absolutely different. Why, mother, he actually worships this ragtime!" - pg 29
Bertha's response to her mother's pointed questions about Damon. ***

"I am very sorry, but don't you see this distinct barrier between us." - pg 33
Bertha, initially refusing Damon's proposal. ***

Pg. 36, entire column.
Damon and Bertha's long, extended conversation where they agree to marry, their tastes in music used for comedic effect. ***

Pattillo, Gilbert. "Dorymates". The BEMA 2:7 (1914). Call number LH1.D3 B4

"Dorymates" is a story of one love lapsing in favor of another. When two lifelong ‘friends', Donald and Angus McDonald, fall in love with the same woman, Kate, they confront each other about their friendship's future while out at sea. A storm comes and breaks their ship, and while in mortal danger, Donald calls out for Angus to "hold on" if he loves Kate. Angus passes away, and later, Donald does too.

"Angus and Donald were not brothers, nor even cousins, in spite of their common name, but they had been dorymates ever since they had first sailed together, and that was now several years since." - pg. 19
This is the characters' introduction at the beginning of the work. How could they have the same last name if they weren't related to each other?  ***

"No closer friends had ever left the home port; no dorymates of their age had braved so many adventures together. In every emergency that had yet surprised them they had been able to trust each other wholly, but now there had arisen an emergency which neither knew how to meet." - pg.19

An ambiguous description of their relationship. It is never made clear what these adventures are, or what their days were filled with. Instead, the two are close, and call themselves friends. ***

"Neither man noticed the storm clouds brewing in the north, neither felt the subtile increase of the cold, for their thoughts of Kate and of each other occupied their minds." - pg. 20
The narrative can not mention Kate without mentioning their relationship shortly after. Kate does not ever exist as a person; only as a prop between Angus and Donald. ***

"Donald was bending forward and back in short powerful strokes." - pg. 21-22
Donald attempts to right the ship, though the description feels more like a double-entendre than anything else. ***

"We can both be saved I tell you. If you go, I go too—you can't help me any by going! You're crazy, you don't know what you're saying! For the love of God, hold on!" - pg. 23
Donald desperately pleads with Angus to live, referencing their binded identities.  ***

"Angus! Angus!" Donald's voice was choking with the passion of his final appeal. "Angus! this is no time to settle between you and me; no time for friends to part! Live, boy, and I'll give you Kate! Live, and you can have her! Hold on if you love Kate!" - pg 23-24.
Donald pleads again, bringing up the heterosexual romance as a motivator to live. Angus dies. ***

""Hold on!" he whispered, "hold on!—hold on!—hold on if you —love—Kate!" And with his voice growing weaker, still tensely whispering, "Hold on !—hold on"—in spite of his own warning, he, too, slipped into eternity." - pg. 24
Donald repeats the line after he has been recovered, in agonizing ignorance that Angus is already dead. Donald then dies, too in his absence. ***

Phillips, George. "An Evening with Phil O'Frenis". The BEMA 2:4 (1914). DC History LH1.D3 B4

The narrator sits down and talks with his long time friend, Phil O'Frenis. They discuss poetry and literature, and the original works of the narrator imply queer love, though also with a layer of deniability built in.

‘The historians gravely inform us that the heroes of Greece fell in love with each other. I think that is what many Dartmouth men do in absence of something better. Such do I consider my relationship to Phil O'Frenis, an old friend, with whom I became acquainted in Prep. school." - pg. 28
The opening lines of Phillips' story, which hints at queer love between the characters and also shuns it. ***

"There's a magic in the moon-beams, There's a wonder in the night, When you're safe away from people, And your heart is beating right. For the cricket's chirp reminds you Of the past's onrushing sea … Then you see sweet visions rising From the waters as they flow; Hear desire from out the future, Calling tenderly and low." - pg. 31
The narrator reads his poetry to Phil O'Frenis. ***

"Don't tell people that you are crazy and they won't lock you up. Next time you write, get a meter, a rhyme, and a subject; then perhaps you'll do better. I might help you with rhyme and meter, though I confess I do not know about the plot and subject." - pg. 31
O'Frenis' response to the narrator's poetry . ***

"It was a very beautiful girl of about her own age, but as pale as chalk. The new-comer seemed strangely familiar, but Mildred did not realize for a moment, that the other young lady was very, very like herself. She drew near the silent one, fearing, she knew not what, till at last their fingers touched. The hand that grasped here was as cold as death, and sent a strange thrill rushing the length of her body. '" - pg. 32

The narrator shares this story within a story as the final lines of the work. ‘Very, very like herself' is a suggestive phrase that might invite a queer reading. 

What does it mean to be a "Man of Dartmouth?"

Official and unofficial school songs reflect Dartmouth's past and present struggles to balance tradition with inclusion. Originally titled "Men of Dartmouth," the alma mater's revision to recognize female students post-coeducation sparked an intense debate that revealed the enduring influence of "The Dartmouth Man" amid evolving social values.

Fein, David B. "Additional verse of alma mater reflects changes in student body". The Dartmouth. June 27, 1980. From the "Men of Dartmouth" Vertical File.

This article, published by The Dartmouth, covers the Cobra Senior Society's efforts to advocate for revisions to the alma mater. The group aimed to reflect recent changes in the school's student body. As the 1980 Cobra Advisor, Merelyn Jacobs, explained: "The members felt it necessary to have a verse that reflects the changing status of the College."

Graham, Robert B., Jr. Press release from the Director of Dartmouth College's Office of Information Services. 1972. From the "Men of Dartmouth" Vertical File.

In 1972, the year women were admitted to Dartmouth, President Kemeny closed convocation with "Dartmouth Undying," in an effort to be more inclusive to the new student body. The same year, a vote to keep "Men of Dartmouth" revealed strong support from the student body and alumni against this inclusive edit. The letter above outlines an example of a female student protesting the change, revealing an alternative attitude among female students at the time. This perspective contrasts with that of groups like Womben at Dartmouth and the Cobra Senior Society, both of which would surface later.

Uhlman, R. Hugh. "For safe sex that enslaves her, / For condoms that will save her". 1987. From the "Men of Dartmouth" Vertical File.

This parody of Dartmouth's official song was written by R. Hugh Uhlman, a member of the Class of 1937, potentially in connection with his class's 50th reunion. The parody's exact purpose is somewhat ambiguous, as its year of composition coincided with both the height of the debate over the lyrics of Dartmouth's alma mater and the 50th anniversary of Uhlman's graduating class. Since 'Men of Dartmouth' had been adopted as the official song in 1926 and was still relatively new during Uhlman's time at the College, this parody may have been his way of responding to its legacy.

Baron, Beth Ann. Letter protesting the Alma Mater. 1980. From the "Cobra" Vertical File.

Dartmouth's first all-female secret society, Cobra, wrote an additional verse for "Men of Dartmouth." The new verse was included in the Commencement Programming for the class of 1980, but would not be used again in an official context. From that point until 1987, only the original lyrics of "Men of Dartmouth" were performed in formal settings.

"Womben to overthrow dartmyth". October 18, 1986. From the "Men of Dartmouth" Vertical File.

An anonymous collective of Dartmouth students, identifying themselves as "Womben of Dartmouth," distributed simulated bloody tampons on the lawn in front of President David McLaughlin while he was delivering a speech during homecoming weekend. The accompanying letter articulates a critique of broader structural challenges within the College's administration, framing the alma mater debate as symbolic of wider issues concerning institutional change at Dartmouth in the aftermath of coeducation.

"A Discussion of ‘Men of Dartmouth'". Pamphlet. Winter 1987. From the "Men of Dartmouth" Vertical File.

This pamphlet accompanied a discussion hosted by The Student Committee to Review the Alma Mater in the winter of 1987. It encapsulates the various proposals concerning the "Men of Dartmouth" song – whether to keep it unchanged, alter the lyrics, change the alma mater to another existing Dartmouth song, or commission a new alma mater altogether.

Photograph of Dean of Students Carroll Brewster and the brothers of Theta Delta Chi. The Aegis. Hanover, N.H: Dartmouth College, 1975. Reference LD 1447 .A2.

This photo was taken after Theta Delta Chi (TDX) won the song competition at Green Key. The competition judge, Dartmouth's Dean of Students Carroll Brewster, is pictured with TDX brothers. His formal suit contrasts with their casual outfits and painted chests, emphasizing his official role as one of Dartmouth's leaders. He selected their song as the "most creative and original." Following this victory, the college endorsed the song to be performed at Green Key.

Reproduction of song lyrics, "Our Cohogs," 1975. From the "Coeducation 1972-1979" Vertical File.

Our cohogs, they play four
They're all a bunch of dirty whores
With a knick-knack, paddy-whack
Send the bitches home
Our cohogs go to bed alone

The Dartmouth fraternity Theta Delta Chi (TDX) created this song for the annual 1975 fraternity "Hums" singing competition. It was selected as the winning song after being deemed to be the "most creative and original" by the college's dean. "Cohog" is a sophomoric play on words, combining "co-ed", "hog", and "quahog" (a type of clam). The Cohog Song would survive in Dartmouth's oral tradition for many years, lasting until approximately the spring of 1987, when the Womyn's Re/view (also featured in the exhibit) identified its presence lingering on campus among male dormitories, fraternities, and sports teams.

Photograph of student protest against "Men of Dartmouth" lyrics. 1987. From the "Student Protests - Women's Issues" Photographic File.

This photograph depicts a student protest from 1987 against Dartmouth's official song, "Men of Dartmouth." Signs expressed the sentiment that the collective term "we," when used at Dartmouth, often referred exclusively to "men." That year, the Student Alma Mater Committee recommended to President McLaughlin that the lyrics be revised. Following this recommendation, updated lyrics appeared in the Commencement program as an alternative singing option, although the title "Men of Dartmouth" remained.

Photograph of student protest against "Men of Dartmouth" lyrics. 1988. From the "Student Protests - Women's Issues" Photographic File.

This photo depicts another student protest that occurred in 1988, arguing for a more inclusive school song. Later in the same year as the protest pictured above, new modified lyrics appeared in the Commencement program, labeled "Alma Mater."  

"Womyn Hate Messages". Womyn's Re/view. Spring 1987. DC History HQ1101 .W669.

"Womyn Hate Messages" was an article produced by women vividly describing the sexism they experience at the hands of men on Dartmouth Campus. These students provided examples of the messages they received on a daily basis such as, "Cohogs are cunts and thereby deserve rape and death".  The article implies that the scope of the offensive term "cohog" was not limited to the infamous "Cohog Song." Rather, its misogynistic reach was widespread in its harm.

Women of Dartmouth Button. 1997. From the "Women of Dartmouth" Vertical File.

This button was produced in celebration of the "Women of Dartmouth" group's 25th anniversary.
 

A Chronology of Professor Saccio (1941-2024), the First Openly Gay Professor at Dartmouth College

This case draws upon the late Peter Saccio's personal records to commemorate his life and highlight his lasting legacy at Dartmouth College. From studying his correspondence with James Steffenson, his long-term partner, and his lecture notes on queer philology, we can engage with the depth of his dedication and advocacy for queer communities both at and beyond Dartmouth. While his devotion to James and work at Dartmouth provide hope and inspiration, the recency of his passing should remind us that his struggles remain relevant to queerfolk today, and that we must continue his lifelong commitment to queer liberation.

Peter Saccio to Thomas Bickel, Dartmouth Registrar. February 29th, 1992.
Bickel to Saccio. March 2nd, 1992
From the Peter Saccio Papers. MS-1493, Box 2, Folder 24

In this 1992 letter to the registrar, a student requests an omission of the LGBTQ+-related course titles on his final transcript. The letter expresses his concern that direct references to homosexuality in the names of the courses may negatively impact his future career, calling our attention to the cultural climate of shame and guilt surrounding queer identities at the time. The registrar ultimately refuses to fulfill the request, but the final part of his response indicates that the issue will be discussed with the course instructors, suggesting the possibility of future revisions to course titles.

Bookmark – Glad Day Bookshop. From the Peter Saccio Papers. MS-1493, Box 2, Folder 24.

This bookmark from Glad Day Bookshop in Boston, belonging to Professor Saccio, hints at his search for repositories of lesbian- and gay-related literature. Both sides are scribbled with the names, addresses, and phone numbers of other LGBTQ-oriented bookshops.

"How to Love While Working", sent October 1961
"Morning Song", sent September 1961
From the Peter Saccio Papers. MS-1493, Box 3, Folder 16

Professor Saccio's correspondence with his long-term partner Jim is brimming with love, both in their casual use of various terms of endearment and in passionate declarations, as in the poetry displayed here. Even as their relationship experienced the strain of Saccio's parents' disapproval (who encouraged him to seek out a psychotherapist) it is clear that their love itself was never in doubt.

Saccio, Peter. "Gay Literature: Intro" class lecture notes. From the Peter Saccio Papers. MS-1493, Box 2, Folder 25.

Professor Saccio's class notes for "Gay Literature: Intro" explore the sociolinguistic connection between the performance of eating and the performance of sex. By highlighting the problem of discussing sex and the "speakability" of male homosexuality (in the context of AIDS), he provides insight into the cultural attempt to whitewash "taboo" subjects. His notes are surprisingly unabashed about their explicit content, consistent with the very nature of teaching a course on gay literature at Dartmouth during a period of stigmatization. Such boldness reflects Professor Saccio's commitment to destigmatizing such topics through discussion, as well as his enduring love of language and philology.

"2. Honesty/ a. Discussion of sex: words for the deeds themselves: fellatio/cocksucking (oral sex)/ gen. problem of discussing sex: analogy to "eat" → gobble - eat - dine (ingesting nourishment)/ fuck - ? - make love/have coitus"

"Especially for male homosexuality: anal intercourse "getting fucked"  (AIDS has made it speakable)"

Saccio to Steffensen. Bright yellow card with image of Snoopy from Peanuts on cover. 
Saccio to Steffensen. Postcard with a statue of two men wrestling. Florence. 
From the Peter Saccio Papers. MS-1493, Box 3, Folder 17.

Peter and James' remarkably well-kept written correspondence is evidence of the depth of their love for one another. The Snoopy card for Valentine's Day is not only sweet, but adds a level of ease to their relationship in contrast to the heavier contents of some of their letters. Many of Peter's postcards to James depict statues of male statues embracing.

James Steffensen to Peter Saccio. Multiple drafts. From the Peter Saccio Papers. MS-1493, Box 3, Folder 17.

During Peter's time spent undergoing psychotherapy in an attempt to "cure" his homosexuality, James Steffenson wrote many painstaking letters – pages long – expressing his continued love and support for Peter. Displayed are four of over a dozen hand-written attempts at a fourth page, all of varying lengths and contents. The obsessive revisions reveal James's anxiety, longing, and the immense pressure they were both under.

Photograph of Peter Saccio.
Golden necklace with a charm in the shape of a hand.
From the Peter Saccio Papers. MS-1493, Box 3, Folder 16.

An early photo of Peter Saccio, as well as a necklace belonging to him that was kept in a small, yellow manilla envelope. Though the symbol is quite small, the symbol of the thumb between the index and middle finger is known as the "fig gesture," symbolizing both good fortune and a sexually vulgar insult.