This is basically my talk about Homoerotica in the Highlander Universe, which I gave at HLDU2. In researching it I borrowed ideas from everyone.

These people include Kathryn Andersen, T'Mar, Miriam, Terry L. Neill, Patricia Scheiern Lewis, Camille Bacon-Smith, Henry Jenkins, John Fiske, Constance Penley, R'Rain, mouthorgan, Mona, Susan Beth Schnitger, Mark Dery and Carmel Macpherson. I downloaded many, many pages of information on slash before I started to read it all. Now some people don't have their names on all their web pages, so if you recognize some idea which is yours, and I haven't acknowledged you here, PLEASE email me and I will add the acknowledgement immediately.

1. Introduction

First of all, let it be said that erotica is not anything new. It is as old as - Methos. We have records 4000 years old of an erotic description of love-making between the goddess Inanna and the young shepherd Dumuzi in cuneiform script on Sumerian clay tablets!

But what is erotica? The word comes from the Greek - erotikos - from Eros meaning sexual love. If we look it up, we find "of or pertaining to the passion of love" "tending to arouse sexual desire or excitement" "of or concerned with sexual life."

The key words here are Passion, Love and Life. Erotica is positive writing. That is what distinguishes it from pornography, the sole purpose of which is to arouse. Modern erotica can be both sensitive and extremely graphic - and all effective erotica can be - as the saying goes - read with one hand. However, erotica does not concentrate on the plumbing, but rather on the relationships between the characters.

The erotica - and especially the homoerotica - in the Highlander universe, is certainly not written only to arouse, but to explore the relationships between the main characters - the relationships that we imagine are developing in between the scenes that we see on screen, or between the episodes.

2. What is slash?

As most of the people here will know by now - Slash fiction is the name given to fan-written fiction where the characters of the same sex in a media production are portrayed as sexually involved with one another. There may not be explicit sexual activity in the story (hence the common rating PG slash) but the relationship is always accepted or suggested. The attraction is there.

Slash began in the Star Trek universe with a classic hurt/comfort story between Kirk and Spock which went just that little bit further... and a new genre was born. The word slash comes from the punctuation mark which is written between the protagonists - Duncan - slash - Methos, for example. Hmmm....Good example, too...

There are several types of slash which one can find in fanzines and on the net - and just about every TV show has its share of slash. I found my first piece of slash from The Bill a few weeks ago! Highlander, however, is one of the most slashed shows , after Star Trek. Other well-slashed shows include The Professionals, Starsky and Hutch, The Sentinel, Due South, and, of course, Hercules and Xena. Later in the talk I will look at why Highlander, in particular, is so often slashed.

One of the most common topics in slash writing is "First time" slash. This looks at how the relationship between the characters is established. Essentially, it is the most difficult to write, and, arguably, the most satisfying to read. The writer must show how the barriers to communication are breached, explore the feelings of the protagonists that must be taken into account. This scenario requires sensitivity. It is very complex, very difficult to write well and believably, and therefore, when our heroes eventually do get together, it is very satisfying to read.

Here are some excerpts from several writers who have written convincing and highly believable "first times". Their URLs are included (quoted with permission). These are all EXCELLENT writers, and well worth reading, but for those who wish to skip to the rest of the talk, scroll down to the next line of stars.

Mac makes the first move when they first meet.

The Winds of Circumstance
Rachael Sabotini

Once again, their eyes caught and held, fusing with some inner need. Duncan swallowed convulsively, unsure of what he saw written in those hazel depths. Darkness and a hint of shadow played among the light, and then the ancient immortal smiled, placing his hand on Duncan's arm. "I think you left your car in front of my place. Come on. There's a short-cut through that alleyway."

At the moment, Methos radiated a roguish charm, reminding Duncan of both Amanda and Fitzcairn. MacLeod smiled, his awe giving way to a feeling more elemental in its nature. His heartrate increased and his arm burned where he'd been touched.

Duncan could see the mirror of his attraction reflected on the other man's face, and suddenly knew what would happen this night. A long, slow burn settled deep into his spine, igniting a whisper of desire, feeding the spark of need. His roiling energy mutated and transformed itself into hunger, and almost of its own accord, his hand ran down Methos' arm, coaxing a small shiver of response. "Okay," he said, his voice low. "You lead."

As they headed down to the canal, Duncan could not help but wonder how Methos had maintained his vulnerability this long, and then he wondered why he found that openness so attractive.

Images from his past called to Duncan as they walked: the scent of new-tilled earth, the taste of fresh greens, the feel of a warm spring breeze on bare skin, the brightness of color, and the faith that this was he best of all possible worlds.

They were at his car when the vision faded, their arms loosely entwined across each other's back, and MacLeod realized that he had lost control of the situation, if he'd ever had it in the first place. He licked his lips, suddenly uncertain, not quite sure of what had happened while they walked, but knowing he needed to do something to assert himself. He looked over his shoulder at Methos, feeling the heat from the other man's body drifting off him in tantalizing circles. "My place all right?"

Methos nodded, an assessing look glinting in his eyes; MacLeod wondered if the same look was mirrored in his own.

After a Modern Prometheus

A Heart for any Fate
Maygra de Rhema

Methos set his coat down and came back to the galley-island, crossing his arms as he leaned against the granite top. "What is it, Mac? What's wrong?"

"We are," MacLeod said. He lifted his eyes at last to meet the gold-green gaze cast so anxiously at him. Methos tensed a little at the even phrasing. MacLeod, it seemed, had come to a decision of sorts. "We are wrong? Are you going to explain this to me or am I supposed to guess?" he asked, a trace of sarcasm entering his voice. Had they not settled this already? Had not Mac's earlier comfort and apology been honestly meant? The combination of a few too many beers, the depressing reason for the gathering, and the lingering brilliance of Byron's words as the poet had set them to music had left Methos over-sensitive and vulnerable. Neither was a feeling he relished or was well acquainted with any longer.

"Don't," the Highlander said and then fell silent again.

"Don't what, Mac? What have I done this time? Or is this a long term decision you've been working on?" he demanded softly, not willing to take another round of guilt from the Highlander. He wasn't strong enough at the moment to counter more of the Scot's brooding morality and veiled judgments.

"Don't jump to conclusions and don't..." MacLeod closed his hand around Methos' wrist lightly. "And don't throw up a barrier of cynicism. This is hard enough for me as it is..."

Methos drew a slow breath, eyes closing as if expecting a blow.

He felt a pair of soft lips against his instead. His mouth and eyes opened in surprise, then his eyes closed again as the Highlander took the parted lips as an invitation and made a thorough exploration of his mouth. A broad strong hand caught the back of his neck and pulled him closer, hip nudging him away from the counter so MacLeod could slide his body against the older immortal's.

The initial shock faded quickly as Methos responded, arms slipping to the Highlander's waist to steady himself, a low moan escaping him as MacLeod brushed his groin against Methos' in a gentle suggestion.

They parted reluctantly, Methos a little glassy eyed. He hadn't expected this...not in a million years.

The Sword Outwears its Sheath
Melina Clarke

Methos kept looking at MacLeod, meeting his eyes. Could he accept MacLeod's friendship again, knowing it would never go any further, knowing that his love for the Highlander would forever go unanswered? Could he be a part of this man's life, watch him with Amanda and other lovers, and know he would never be anything more than a friend, a buddy? He dropped his eyes. Maybe it was time for Adam Pierson to disappear from Paris. Bora Bora was nice this time of year... or perhaps a nice monastery somewhere. Anywhere he wouldn't run into Duncan MacLeod.

MacLeod watched his friend's face as he spoke, the eyes that continued to stare into his for a moment and then dropped away, and realization suddenly dawned like a light bulb going on above his head. He had seen the look in Methos' eyes just before he dropped them from MacLeod's face. He had seen that look from women who couldn't admit their feelings, couldn't put words to their emotions.

What of his own feelings, which were suddenly welling up with such force that they threatened to choke him? He knew that his feelings for Methos were sharp, intense. They had been since that day he walked into the old man's apartment. Intensely curious, protective, trusting, grateful, worried... intensely angry, hurt and betrayed. He couldn't find a single neutral word to describe how he felt about the man -- every feeling he had was simply intense.

MacLeod's sexual experiences had occasionally included men, mostly long ago, but he had never been in love with a man before. Were the feelings he had toward Methos love? He didn't know. Suddenly, he felt his eyes raking over his friend, who was still staring down at his hands. Most people would describe Methos as thin, but looking at his friend's bare chest, MacLeod didn't see a thin man, just a lean one. His chest was well-defined muscle, covered by perfect ivory skin.... beautiful eyes, a sensual mouth.... MacLeod felt his face flush, and suddenly he had another word to add to his list of feelings about Methos. Intense desire.

When he finally spoke again, it was perhaps two minutes after Methos had made his comment, although it felt like an eternity. His voice was choked with emotion. "Maybe I'm not the only open book."

Methos snapped his head up to look at MacLeod, and saw the realization there. He dropped his eyes again, trying to keep himself from screaming, or sobbing. Perfect, old man. Now he knows, and you won't have to worry anymore about whether you want to be his friend or not. He's about to walk out of this flat and out of your life forever. He decided to take one shot at defusing the situation. Slowly, he looked up. "Duncan, I...."

He was interrupted by the Highlander, who was suddenly sitting beside him on the bed. "Methos, no, please... don't say anything." Duncan leaned forward, taking Methos' chin in his hand, and kissed him gently. Slowly, he traced his tongue over Methos' lips, learning every curve, every texture.

Methos was so stunned that he could only react, his heart starting to race. He was torn between shock, bliss, and fear; fear because he had no idea what was going on in Duncan's head. Was this a whim, a curiosity for him? Was Methos willing to make love now and worry about the consequences later? He finally parted his lips for air, and Duncan took the opportunity to plunge his tongue deep inside the older man's mouth, continuing his slow, sensual exploration. Methos couldn't hold back his gasp, and decided that consequences be damned... did he want this? Yes... oh, yes.

After Duncan returns, after Richie's death

Dante's Prayer
Monica L Anthony

Duncan rose as well and asked with noticeable anxiety, "Are you hungry? I can make us something?"

Methos shook his head and took a step toward the rack where his coat hung. "I should go," he said.

"Stay," Mac whispered and the older man froze for an instant.

"I can't," he replied gently.

"Why?"

"The plane leaves at midnight."

Something flashed in the dark, expressive eyes. Hurt and disappointment both. "I see." Mac started to turn away, but then thought better of it and came to stand in front of the older Immortal. "Stay until you have to leave."

"Duncan--"

MacLeod reached out with two fingers and placed them gently against the softness of the other man's lips to stay whatever words he was going to say.

Methos fell silent and still but Duncan's fingers remained resting lightly against his mouth. And there was something in the Highlander's eyes. Not a plea or even a question, but a silent bidding, an almost demand that Methos found himself unable to resist.

As if compelled, he parted his lips slightly under the minute insistence of the fingers pressing there and Duncan's fingertips slipped between his lips to caress the silky, moist skin within. Methos closed his eyes and nothing more was said.

As Long as You Burn
Kellie Mathews-Simmons

Concerned, Duncan moved until he could see his face, and his fears were confirmed as Methos buried his face in his hands in a vain attempt to keep him from seeing that he was crying. Without a second thought, he slid down next to Methos, reaching to hold him, remembering Tessa, and how much he had wished he'd had someone to do this for him when she died. Methos resisted for a moment, then turned his face against Duncan's chest, and slid his arms around him. Duncan held him stroking his hair, surprised that the style which looked harsh and spiky felt like velvet under his hand. It went on for some time, the aching sound of his sobs like knife blades. There was nothing he could do except hold him, and rock, and hope it didn't hurt as badly as it sounded like it did. Methos quieted eventually, and pulled away, sitting up as he took a long, ragged breath. "Sorry," he began.

Duncan cut him off. "No, don't be. If it were me, I'd want someone I could cry with."

"I'm just so tired of death. Gods, everyone dies! Everyone I care about, everyone I love, gone."

"I know," Duncan said, at a loss. What could he say besides that? It was the truth.

Methos turned suddenly, grabbing Duncan's shoulders almost painfully, his expression urgent.

"Don't die, Duncan. I couldn't take that. Promise me you won't die!"

"Methos, you know I can't promise something like that!"

Methos shook him. "Promise me!" he snarled, almost feral in his distress.

Stunned, Duncan stammered a reply. "I promise . . . if I have any say in it."

Methos leaned in and kissed him full on the mouth, then abruptly let him go and lunged to his feet, stumbling away to stand by the port hole again. Duncan sat there, stunned silent, the implications of the last few moments beginning to sink in. Duncan studied Methos' back, eyes wide with amazed comprehension. He felt very odd; embarrassed, flattered, even slightly aroused. He should be used to this by now, but it seemed that after four hundred years of declarations of love, he could still be taken completely by surprise.

Other themes in slash writing are Romance, Humor, Violence, Sadomasochism and rape-survival. It is interesting, that when the characters suffer angst - emotional distress - then someone comes to comfort them etc...

When violence is introduced, it is usually in a bondage/dominance/sadomasochism situation where the bondage allows the one experiencing it to enjoy the sex more, give in to their deepest fantasies, etc. We are looking at a situation where our heroes are being hurt, but only to increase their pleasure. It is a truism that most people believe that a sex act performed out of love is more preferable to one performed out of simple lust - and in the Highlander Universe, I am pleased to report, this is the case most of the time. Our heroes (nearly) always love each other.

Slash fiction is popular. People want to read it. It is not just to get turned on - though there is that aspect to it - but if that were the only reason, then there is good erotic fiction elsewhere. In the Highlander universe, as in every other universe, who does what when and where and to whom is important, but the better slash looks at the why.

Most first time slash, for example, is written to a formula which one writer has described as : Initial partnership...masculine dystopia...confession...masculine utopia. In the pair, one of the partners is experiencing a conflict because of his attraction for the other. He cannot communicate these feelings because it will disrupt other aspects of their relationship - friendship, work, etc. Something happens and the truth comes out, and then there is sexual release and acceptance. This follows the standard script pattern of Introduction - conflict - catharsis/climax - resolution - although in this case, the resolution is often a climax of a different sort!

We fans do not watch single episodes. True fans have what is called a meta-text which is the picture of the universe and the characters built up over all the episodes. We know about the ongoing relationships between our heroes. We evaluate each episode not only for its story line, but in terms of the new information it provides us about the characters and their relationships with one another, their past, etc. These are analyzed, discussed, pulled apart, added to in lengthy on-line discussions, and explored in fan fiction. We Highlander fans owe so much to Carmel for her well written and careful analysis of just about every Highlander development imaginable. What would we do without her?

Slash, of course, looks at the men in our Universe, sees how they interact, and essentially eroticises their interactions. It brings the sexual manifestation of their personal relationship to the foreground. It offers an alternative to the male goal-oriented bonding that we see on screen, and makes the bonding person-oriented. Methos does not save Duncan because he is "too important to lose" in the Game - although we know it is a good excuse. Methos does it because he loves Duncan. Writers of slash fiction reconstitute the male/male relationship by allowing it to focus on the relationship - essentially a traditional female thing to do. The characters are, if you will, being allowed to express their female side.

4. So why Highlander?

Why does it work so well in the Highlander Universe? Well, primarily it works because Methos and Duncan - the main pairing - make such a wonderful couple. With Carmel's permission, I am reading her analysis of what makes the two men so erotic, and I think we can see how this leads to the pairing of the two.

Why Highlander is the Most Erotic Show in Television.
by Carmel Macpherson.

Duncan: the passionate dark warrior, the avenging angel with the heart of a poet and the body of a sword-wielding, swirling, twirling, martial arts trained Adonis. He entices the mind, body and soul. His chocolate, light filled eyes offer a different menu with every mood - and there are many. His mouth and lips just beg to be touched and kissed and to touch and kiss. His shoulders, back and chest demand caressing. He broods, he suffers, his hands kill brutally and caress lovingly - a voice that cries out, lasciviously, "Come" to the Quickenings of his enemies and can also enfold a little girl in a world of fairies and fantasy; a body that shudders and groans and yells aloud with passion and pain - head and hair thrown around wildly as the orgasmic Quickening gradually carries him to a wild and passionate release ... and can still be so fragile, so broken with pain and longing that he calls forth every caring and nurturing instinct we have, to offer him physical release and comfort in the safe sanctuary of our minds...

Methos: for those who like their hero wan, poetic, a perennial student, sharply defined facial planes, eyes that mirror his glittering, enigmatic soul, untidy hair - through to adding layer upon layer until he delivers a fierce and brutal warrior - all with a humor and biting wit second to none. His body spare, lean and beautiful. Thousands of years of living and loving call forth memories of Ancient Greece, Persia...and erotic images of lives he lived and the parts he played.

Carmel - you say it so well! It was your writings on the Highlander discussion lists that ensured that I can never watch an episode of Highlander without seeing the slashy bits!

And so we come to viewing them together, and here I showed a 7 minute video of many of the "slashy" bits of Highlander. This was very skilfully put together by Brenda Hotop, who deserves a huge amount of credit here. The video included the following clips:

~ Methos' visual undressing of Duncan when he first arrives on the barge with Joe in Finale, ~The nose painting from Chivalry, ~ Methos' lounging all over Duncan's bed in The Messenger, ~ the emotionally charged scenes in Comes a Horseman - when Duncan says, "We're through!" , ~ the Luxembourg Gardens scene in Forgive us our Trespasses, and many other small clips.

Highlander, in slash fiction, is not simply the story of Duncan MacLeod. There is another story there. It is the love story of two men who happen to be immortals, happen to be fighting evil, happen to be in many ways opposites, but working together. It is easy to see why. They work as a couple. They complement each other.

Now I know some of you are saying - "but the slash is not all Duncan/Methos." No, it isn't. But Duncan/Methos is the most common pairing, and the most believable. I qualify this by saying that Methos is such an enigma that I have read believable pairings between him and all the main characters, as well, of course, as with Kronos and Byron. There are also stories which pair Joe and Richie, Joe and Duncan, Duncan and Richie. Some people can see it. It is a personal thing.

5. So why do writers write slash?

What motivates us to want to write and read it? There have been so many interesting theories put forward. You see, 90%, maybe more, of slash fiction is written by and for heterosexual female fans. The writers are mostly the "pink collar workers" - professional women.

So this is a conglomeration of all the theories: Bear with me:

The show lacks any really strong female characters. Even when Amanda or Tessa or Anne is in the episode, the men get all the good stories, most of the good lines. Because of that, they are easier to write - they are characters we know and love. The readers are interested in them. We are interested in them. Both Duncan and Methos are gorgeous men. We love both of them and want them to be happy.

Who can deny the chemistry between them when they are on screen? The intensity of the relationship between the two men? Most of us love watching the Duncan/Methos interaction, whether we interpret it as having any sexual undercurrents or not. I love watching them together. What could be better than to take that next step and imagine them happy together because of their relationship with one another?

Remember - for slash writers, the whole thing is about relationships. By creating a relationship between our heroes, we do several other things - we avoid the built-in inequality of the romance formula - the dominance/submission roles of males and females. We unfreeze our men and allow them to care for one another. It is empowering as a woman writer tobe able to manipulate the men into doing what you know would be best for them. And what could be better for Duncan and Methos than to be in a relationship where each can take full advantage of the strengths of the other? Even avid feminists can write slash - it allows us to write sex without putting women into a subservient and demeaning position!

Slash is also designed to be a turn-on. And it is. But to be erotic, it has to be believable. The Duncan/Methos relationship, as a case in point, is certainly believable. And if one of them can turn us on, then two can do so doubly. Men like the idea of two women together - ask them - so some of us like the idea of two men enjoying each other. Especially our heroes.

At the very least, the stories are fun to write and fun to read. They are enjoyable stories that explore our favorite characters. They provide us with an escape from Real Life, an interaction with our favorite characters beyond the confines of the screen.

Let's face it, while our heroes are busy with each other, they are not in a relationship with any other women (except us).

And finally, for those of us who aren't secretly in love with Duncan or Methos or Joe or Richie, and who don't get turned on by erotica. Well, we read and write Slash Fiction because it is a profitable intellectual exercise for people who enjoy the challenge of creative, original interpretation and reinterpretation of texts.

Would I lie?