I perambulate the lush pages of Gerald Heard’s AE: The Open Persuader (1969), a work of gay transhumanist utopian science fiction — surely one of the most peculiar books I’ve yet encountered, published under a pseudonym (“Auctor Ignotus”), read I’m sure by at most only a few hundred people planetwide. In certain ways, the narrative is fairly straightforward. As is common to the genre, a traveler arrives to a previously occulted utopia and, after being sketched in biographically in a bewildering first chapter titled “The Interviewer Interviewed,” receives a tour from a mysterious host. Heard’s prose is so maximally cultured and so mannered, however, that one has a difficult time determining who’s who. The guest character, in his relative innocence a stand-in for the reader, responds to the name “Ulick Stackpole” (or, later in the novel, the name’s abbreviated form, “L”), his initials reflecting his county of origin, while the more experienced “host” character, dialoguing at length on the workings of the utopian creation, answers to several titles: Preter Praetor, the Lord Persuader; Arbiter Elegantiarum; AE. Because utopias are inherently political, consensus reality encircled, relativized, compared and contrasted with another, I find myself wondering at Heard’s aims. What is the nature of this utopia? In trying to imagine the evolution of humanity toward what he calls “total uprightness” (in which one should also hear “erection”), Heard seems to have crafted a secret gay separatist demimonde, home to a race of immortal or at least semi-immortal elites. As AE’s various titles indicate, there’s no great fondness for democracy or self-rule in this utopia. One should thus be wary as one reads, noting questions and concerns. Why is the utopia set in Uruguay, for instance? Why has the book’s author invented elaborate fictions about money manipulation featuring European refugees fleeing to South America during WWII?