Revisiting Randy Shilts' groundbreaking history of the early day of the AIDS epidemic in the United States after my first reading of it some twenty-five years ago was a little bit of an eye-opening experience. I still admire Shilts' month-by-month analysis of how public health officials, the research science industry, the gay population affected most directly by the plague, and the government at both the local and federal level responded—or in most cases, failed to respond—to the burgeoning threat. His almost cinematic scope makes the work eminently readable, while the inherent drama in the ever-increasing numbers of people felled by the virus keeps the focus as tight as any summer action thriller.
I'm struck on this re-read, however, by some of Shilts' uglier and more manipulative stunts while posturing as an objective reporter to the unfolding of events. Sure, he's angry, and he's quick to point fingers and spread blame throughout the book. That stance is understandable—and frankly, there are plenty of people and institutions that deserve the blame. When it comes to the gay community in particular, however, Shilts indulges in some incredibly guileful rhetoric to divide that community between the good gays and the disgusting, bad whores who ruined everything for everyone else.
He's not really all that subtle about it, either; the bad gays are not only sluttish bathhouse habitués, but are drawn in broad and villainous strokes as amyl nitrite addicts who all, to a soul, indulge in the vicious sports of fist-fucking and urinating upon each other. (The good gays in the book, in case you wonder, all very chastely are shown to lie next to each other upon their beds without having sex, and if they do, they "make love" after they confess their high school-like "crushes" on each other.) The bad gays populating the bathhouses and dark alleys are all insanely beautiful as well. They may have a "sensual charisma," or may prefer to be "the only charismatic guy in the room," or they're at (God help us) "the top of Manhattan's ziggurat of beauty." In fact, Shilts' biggest villain in the book walks around in chapter after chapter, flipping his hair and twiddling his mustache while smirking and thinking to himself in scenes that are clearly fictionalized (though in an afterword, Shilts claims to have fictionalized nothing) that he's "the prettiest one in the room."
The hyperbole Shilts employs in his obsession with "the royalty of gay beauty and . . . the stars of the homosexual jet set" is weirdly off-putting, this time around; he writes almost from the disgruntled perspective of the ugly kid laughed out of the high school junior prom. Worse yet, his demonization of hair-flipping Gaetan Dugas, the Canadian flight attendant he dubbed "Patient Zero" shows a callous zest for scapegoating instead of any kind of journalistic integrity. It's commonly accepted now that Patient Zero (who may or may not have been Dugas) was not the first person in the U.S. affected by AIDS, nor did he bring it to the country—yet Shilts is all too happy to write scene after scene of Dugas literally leaping out the bathhouse shadows, Boogey Man-style, to frighten its denizens with his Karposi's Sarcoma lesions after he's infected them all.
During the book's publicity tour, Shilts acceded to the publisher's requests to emphasize the Dugas story in his book's promotion; whether enthusiastically or not, he became a willing accessory to the conviction of the dead man without much of a trial. And it's difficult to buy Shilts' tepid disclaimer that "Whether Gaetan Dugas actually was the person who brought AIDS to North America remains a question of debate and is ultimately unanswerable," several hundred pages into the book, when all along Shilts has depicted him relentlessly as the Freddy Kreuger of the Castro.
But then, Shilts is quick to laud those he admires and vilify anyone he finds faintly disagreeable. If someone is angry with public officials and speaks out rashly, and that someone happens to be Larry Kramer, he's lauded as a hero (and has all the good reviews of his play quoted in one big lump). If someone else gets angry and speaks out rashly in pretty much the same way, Shilts feels free to damn him as a "sociopath." In a maddening chapter on some phenomenon he calls "AIDSpeak," Shilts dismisses as obstructionist and dangerous anyone from the gay community who at any time brought up issues relating to patient confidentiality in testing for HIV, or who worried about conservative demands for quarantining or for mass HIV testing to root homosexuals from their jobs and communities . . . even though those concerns were quite legitimate, and in some ways still are.
Again, as someone who lived through those terrible years myself, I understand Shilts' anger at everyone who delayed AIDS research and relief funds to a suffering population, or whose politicking precluded good public health care. However, I don't think it journalistic, or even professional, to play fast and loose with reputations in the name of telling a good story, while pretending to be neutral—especially with the crystal-clear focus that only comes with hindsight. There was a point late in the book in which Shilts tsk-tsks at the notion that outsiders might mentally divide the gay population into "the fist-fuckers of Folsom Street" and "respectable middle class gays" . . . when that's exactly what he does himself from page one of his epic.
For all of its sweep and its pace and its moments of justified, righteous anger, And the Band Played On apportions its blame not all that even-handedly. It's decidedly unsubtle at choosing its villains, and it rides roughshod over anyone who dares to have been sexual or who has even a passing regard for civil liberties in a time of crisis. His narrative choices are a telling relic from the era he covers, perhaps, but it doesn't make for an entirely impartial historical inquiry.