Boy in the sand

A Daily Jocks ad, paired with gay-erotic poetry (definitely not for the sexually modest), then with a series of notes.


Boy in the Sand

He erupts from the surf, his skin
Tangy with salt, his cock rising, his balls
Heavy with his seed. We kiss, I am a
Sea anemone, roiled by desire for him.

I stroke his wet hair, follow the
Arrow of his widow’s peak down his long torso,
Down to his sweet belly, girded by
Hard muscle, take him in my mouth.

We trade, he takes me, opens me with his
Wet fingers, I need him in me. Fuck me,
Cal, oh fuck me, fuuuck me! He

Mounts me, panting heavily, fills me in
Long slow muscular strokes.
Breeds me. Gets me off ferociously.

I become a sea creature like him,
Dive into the surf,
Return to our ocean.

(Notes after the fold.)

Notes on the poem. Cal is Cal Culver (1943-1987), acting in porn as Casey Donovan, most famously in Wakefield Poole’s Boys in the Sand. The poem loosely follows the first scene of that movie, between Casey Donovan (who comes from the sea, naked and horny, at the beginning of the scene) and Peter Fisk (who goes naked into the sea at the end of the scene); but the poem is much rawer than the Donovan-Fisk scene, which is mostly tender (and mostly oral).

Culver did have a long torso, didn’t have a widow’s peak, and was leaner and less heavily gym-muscled than the model in the ad.

The movie. From Wikipedia:

Boys in the Sand is a landmark American gay pornographic film. The 1971 film was directed by Wakefield Poole and stars Casey Donovan. Boys in the Sand was the first gay porn film to include credits, the first to achieve crossover success, the first reviewed by Variety, and one of the earliest porn films of any genre to gain mainstream credibility

… Produced on a budget of $8,000, the film is a loose collection of three segments depicting Donovan’s sexual adventures at a gay beach resort community [The Pines on Fire Island]. Promoted by Poole with an advertising campaign unprecedented for a pornographic feature, Boys in the Sand premiered in New York City in 1971 and was an immediate critical and commercial success. The film brought star Donovan international recognition.

… The film’s title is a parodic reference to the Mart Crowley play and film The Boys in the Band.

… Suddenly, out in the water, the blond naked Donovan appears and runs up onto the beach to [Peter] Fisk [who was Poole’s lover at the time].

On hair color: Donovan’s hair in the movie is certainly lighter than the model’s in #1 (which is black), and in some of his roles, Donovan was certainly blond. In Boys, his hair is light brown, with blond highlights, and I wouldn’t call it blond — but it’s definitely lighter than Fisk’s:


On roles in gay porn: Fisk is darker than Donovan and taller than Donovan and he’s bearded, while Donovan is clean-shaven. So Fisk clearly beats Donovan on masculinity points, and you’d expect Donovan to play the b role to Fisk’s t — but in fact Donovan controls the action in their scene, penetrates Fisk, comes first, and only then gets Fisk off, orally, so he’s straightforwardly the t.

More Donovan. Two images:




Roger Edmonson, Boy in the Sand: Casey Donovan, All-American Sex Star (Alyson. 1998).

Wakefield Poole,  Dirty Poole: The Autobiography of a Gay Porn Pioneer (Alyson. 2000).

I Always Said Yes: The Many Lives of Wakefield Poole. Documentary film (2012) by Jim Tushinski.

Note: widow’s peak. From Wikipedia:

A widow’s peak is a V-shaped point in the hairline in the center of the forehead. Hair growth on the forehead is suppressed in a bilateral pair of periorbital fields. Without a widow’s peak, these fields join in the middle of the forehead so as to give a hairline that runs straight across. A widow’s peak results when the point of intersection on the forehead of the upper perimeters of these fields is lower than usual.

… The term stems from the belief that hair growing to a point on the forehead – suggestive of the peak of a widow’s hood – is an omen of early widowhood… The expression widow’s peak dates from 1849.

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