The handsome drifter he rescues from the gutter comes to fulfill Phil's darkest erotic fantasies, but once he is completely transformed into a cop, his mind warps and he frames the dirtiest of betrayals.
Samuel Morris Steward, also known as Phil Andros, Phil Sparrow, and many other pseudonyms, was a poet, novelist, and university professor who left the world of academia to became a tattoo artist and pornographer.
Throughout his life he kept extensive secret diaries, journals and statistics of his sex life. He lived most of his adult life in Chicago, where he tattooed sailor-trainees from the US Navy’s Great Lakes Naval Training Station (as well as gang members and street people) out of a tattoo parlor on South State Street. He later moved to the San Francisco Bay area, where he spent the late 1960s as the official tattoo artist of the Hells Angels motorcycle gang.
Phil Andros, o prostituto-literato, está agora a morar em Berkeley, mesmo em frente a São Francisco, do outro lado da baía. O ambiente universitário, em modo hippie, paz e amor, drogas, rock'n'roll e bolsos vazios, não traz negócio que se veja a Phil, mas vai-lhe lavando as vistas. Certa noite, Phil depara-se com um belo rapaz de cabelos compridos, Larry, completamente ganzado com LSD, e resolve escondê-lo em casa antes que os chuis o prendam. No sofá da sua sala, Phil despe o rapaz e dá-lhe torazina, para o ajudar a aterrar em segurança. Mas a visão do apolíneo corpo nu do rapaz faz-lhe lembrar Greg, um seu antigo namorado polícia, dominador, o único homem a quem se submeteu sexualmente, e Phil não resiste, enrola-se em incontáveis cenas de sexo tórrido com Larry, acabando por convidá-lo a viver com ele e a convencê-lo a cortar o cabelo e a candidatar-se à Escola de Polícia de São Francisco...
Sam Steward escreveu um conjunto de livros de pornografia com o pseudónimo Phil Andros para ganhar dinheiro e, seguramente, porque lhe davam prazer a escrever (e a imaginar...). É por isso que os seus livros têm sempre uma componente de referências culturais forte e uma escrita cuidada, não se limitando à sucessão de cenas de sexo "perfeito" que são o lugar-comum da pornografia. Em Shuttlecock, as citações e referências multiplicam-se, e Sam Steward parece ter-se entusiasmado tanto com o enredo que, a certa altura, se esquece dos seus objetivos financeiros para se deleitar com uma narrativa centrada no suspense e no mistério quase policial, onde o sexo só aparece esporadicamente.
My first Phil Andros. Phil meets a hippie on Telegraph while hustling on the Berkeley campus. He takes the hippie home, sucks him off, and decides to give him a place to stay. Phil is feeling rather glum. At 28, he's getting old for a hustler, and he feels weird about his desire for submission and his need for dominance. Larry, the hippie, looks for a job and continues to sleep with Phil, but Phil gradually pushes him into becoming a cop, largely in order to fulfill Phil's fantasies of being dominated by the fuzz. Larry quickly shifts from being affectionate and mild to being incredibly dominating and authoritative. Phil comes to realize that the unbending domination that he had hoped for is rather intolerable as a lifestyle.
The writing is indeed quite literary for sleaze, although it wears its literary pretensions too much on its sleeve and is sometimes comically overallusive. Some of Phil's meditations on the hustler lifestyle are very interesting. A rich book.
I read the first edition, published as a Greenleaf Pleasure Reader under the title Renegade Hustler. Just noting in case there's any difference between the two.
Another page turner in which Phil Andros has to end up leaving town. It is very interesting how Samuel Steward wrote some of his real life experiences in Phil Andros.