Lesbian Historic Motif Podcast - Episode 161 (previously 47a) - On the Shelf for June 2020 - Transcript
(Originally aired 2020/06/06 - listen here)
Welcome to On the Shelf for June 2020.
The Color of the Past
Sometimes I think if I didn’t have regular commitments to my blog and podcast -- to say nothing of the day-job -- I’d want to just curl into a ball in a corner and hope for the world to stop burning. It’s a standing joke among my writer friends that no novelist or script writer would have been allowed to create a year like this one because it has smashed the limits of plausibility. And yet, we persist.
Watching people rise up, not only across the US but around the world to once more protest the callous disregard and disrespect for the lives of certain human beings purely because of the color of their skin, I’m reminded of how critical it is for the stories of our history to tell us truths. Truths about the deep and poisonous roots of the social dynamics that are at play. The truth that history does not belong to only certain people.
Historical fiction and historical dramas too often offer us lies instead of truth. Not the inventive lies that entertain, but lies about who exists, about who matters, about who is allowed to imagine a happy ending. If you learn your history from novels and movies--and too many people dig no deeper than that--you are fed a skewed version of the past. And it we don’t understand the past, how can we expect to understand the present?
History has been used by racists to distort our image of the past by careful and selective omission. Historical fiction reinforces that distortion when it sticks to safely familiar tropes and images.
As queer people, we’re accustomed to thinking about the ways in which certain genders and sexualities have been erased from the popular fictions of history. But how often have you thought about the erasure of entire ethnicities, entire religions, entire cultures from the vision of history that we passively consume?
When was the last time you read a sapphic historical story that centered around black protagonists? When was the last time you read one where the story did not revolve around the traumas of black history? That allowed the character simply to exist like everyone else? When have you ever seen a sapphic historical novel set in Africa and written by a black author? How often have you paused to notice and wonder about the gaps in the stories available to you?
I’m white. And I’ve had to work to learn to notice those absences. Every month I search out new books, and believe me I notice how overwhelmingly white the field of f/f historical fiction is. Or that when non-white characters are featured, too often they are written by white authors to be the “exotic” love interest. Beyond doing my best to feature and promote authors and characters of color when I find them, there are limits to one person’s ability to influence the field. But readers, collectively, can make a difference by supporting a diversity of authors and stories: with your reading, with your reviews, and with your enthusiastic recommendations of what you love.
There are so many stories out there. Ask yourself what you can do to bring all those pasts to life so that we can survive the present and build a better, more inclusive, more just future.
June is, of course, Pride month. It was Pride month that originally inspired me to start the Lesbian Historic Motif Project blog. And if you like queer genre fiction, one tradition is the Pride Storybundle: a curated collection of eleven SFF books featuring queer characters, many with a historic flavor, available on a “pay what you like” basis (with a fixed minimum) that supports not only the authors but a worthy charity as well.
This year I once again have a book in the Storybundle: my most recent historical fantasy Floodtide alongside authors like Melissa Scott, A.J. Fitzwater, A.C. Wise, and Ginn Hale. Check out the link in the show notes and consider picking up this bargain while it lasts.
June also means that the year is nearly half over and it’s time to look ahead to 2021. Next month it will be time to officially announce the 2021 podcast fiction series. Stay tuned for details of what we’ll be looking for and details regarding submissions.
Publications on the Blog
The Lesbian Historic Motif Project blog spent May working through some books and articles on gender presentation and the many ways in which gender and sexuality intertwine. If there is a single lesson to take from this field, it is perhaps to shift from thinking of gender in terms of male and female, but to contemplate a whole array of male genders, of female genders, and of genders that blend the two in diverse ways. By gender, of course, I mean social and performative identity categories, but those categories also interact with the variability in human bodies in a similar spectrum of ways.
Toss the question of desire into the mix and we can see the oversimplification of trying to classify desire into homosexual, heterosexual, and bisexual. Within this context, it becomes easier to understand the difficulty of applying a label like “lesbian” to a specific subset of that spectrum of identities.
Every once in a while, the blog examines a book that helps me break my brain free of previous ways of thinking. It needn’t be a book that is particularly earth-shattering in subject matter, but simply one that unsticks a particular image or idea. Halberstam’s Female Masculinity was one of those books for me last month. The other May publications in the blog were Garber’s Vested Interests: Cross-Dressing and Cultural Anxiety which unfortunately was much more dated in its analysis, Hindmarch-Watson’s study of a cross-dressing Victorian juvenile delinquent “Lois Schwich, the Female Errand Boy”, and Hermann’s literary analysis "Imitations of Marriage: Crossdressed Couples in Contemporary Lesbian Fiction". In June, my plan has been to cover several books that have only bits and pieces of lesbian-relevant content, but I may have to scramble to do all that reading, given the way the quarantine has disrupted my normal working routines. First up is Klosowska’s Queer Love in the Middle Ages, which falls more in the literary analysis category. Next is Goldberg’s collection Queering the Renaissance, which has three articles of interest. I was going to follow that with Alan Bray’s Homosexuality in Renaissance England, but my intention was to read a library copy on the assumption that the lesbian-relevant content would be too scanty to be worth buying the book. Since going to the library is out at the moment, that book will get moved to a later date. How much later is anyone’s guess at this point.
New book acquisitions haven’t been from shopping but a gift of a copy of Anne Choma’s Gentleman Jack: The Real Anne Lister, the biography on which the tv show was based. One of my friends from science fiction fandom had promised to give me the copy he was done with the next time we met, and since meeting face-to-face is postponed indefinitely, he mailed it to me instead.
This month’s author guest will be Amy Hoff whose historical fantasy novel My Heart’s in the Highlands is coming out from Bella Books this month. So look forward to hearing more about that book next week.
I don’t have an essay topic lined up yet for this month, so it’ll be a surprise. At this point, it’ll be a surprise to me as well!
Recent Lesbian Historical Fiction
On to the recent, new, and forthcoming books!
I have one March book which is a bit further back than I usually reach, but the sequel came up in my search and when I checked out the first book, it looks to have sapphic themes as well. This is the Chinese-inspired historic fantasy The Empress of Salt and Fortune (The Singing Hills Cycle Book 1) by Nghi Vo from Tor.com.
A young royal from the far north, is sent south for a political marriage in an empire reminiscent of imperial China. Her brothers are dead, her armies and their war mammoths long defeated and caged behind their borders. Alone and sometimes reviled, she must choose her allies carefully. Rabbit, a handmaiden, sold by her parents to the palace for the lack of five baskets of dye, befriends the emperor's lonely new wife and gets more than she bargained for. At once feminist high fantasy and an indictment of monarchy, this evocative debut follows the rise of the empress In-yo, who has few resources and fewer friends. She's a northern daughter in a mage-made summer exile, but she will bend history to her will and bring down her enemies, piece by piece.
April books missed during previous searches include Lovers & Dancers by Heather Ingman from Lume Books.
Ireland, 1916. The First World War rages on and rumours fly about nationalists planning an uprising against the British for Independence. Sheltered from the outside terrors, Louisa lives at High Park, an upper-class estate in the Irish countryside where she feels she never quite belonged. Caught between an unhappy marriage and mundane wifely duties, Louisa’s dream of being a painter never felt so distant. But then she meets wild, strong-minded Viola Luttrell and Louisa’s world is turned upside down. Viola has a secret that could put both their lives at risk: she knows James Connolly, the nationalist rebel leader, and she plans to join the imminent uprising against the British. As Viola and Louisa grow closer and their friendship blossoms into something more, the fight for freedom becomes more than a fight for a nation, but a fight for themselves.
Another April book is Heart of Gold (Heart Series Book 1) self-published by Luci Dreamer. This is one of those gender-disguise stories where it’s hard to tell from the cover copy how the author is handling gender identity themes, but the cross-dressing character is referred to with female pronouns in the description.
Sometimes to be yourself, you have to become someone else. Thomasina Miller knew from a young age she wasn't like other girls. She didn't want to be a rancher's wife, so she makes the harrowing decision to leave all she's known, risking everything for the chance to choose her own fate in life. Now going by 'Thomas' she realizes hiding her identity is a rather small price to pay for the freedom to live her own life and the Klondike Gold Rush is the perfect opportunity to help her fund her endeavor. Rachel Harkes knew that marrying Roy would be her ticket out of her small town in Kansas. Two years into their marriage and still looking for more adventure, Roy decides they should try their luck and join the Klondike Gold Rush. When tragedy strikes and Thomas and Rachel are brought together at the top of the world in the unforgiving, arduous search for gold, can Thomas navigate her relationship with Rachel without revealing her secret? Will Rachel reconcile what she's known with the new, seemingly overwhelming reality she now finds herself in?
The recent May publications continue the theme of series books. So many books with Book N of the X series!
Leather and Lace (Gold Sky Series Book 5) by Rebel Carter from Violet Gaze Press is part of a romance series encompassing many types of couples set in a not-quite-entirely-historical Montana.
What do you do when you’ve been chasing the wrong dream your entire life? Mary Sophia James came to Gold Sky, Montana to find a husband at the insistence of her overbearing mother. Striking out in spectacular fashion after setting her eye on Julian Baptiste, her options are dwindling, and time is running out. She needs to find a man to marry before her condition becomes...obvious. Her mother’s prejudice and sharp tongue aren’t helping matters and Mary, to her shame, hasn’t behaved much better. But all her plans are upended when she spots the most beautiful person she’s ever seen across the town square. Alex Pierce is strong, intriguing, looks stunning in a pair of trousers...and a woman. Gold Sky is accepting of all types of love, and that between women is no different. Still, Alex didn’t expect to be so floored by the sight of the firey haired, yet fragile looking young woman. Mary needs to be married and Alex has a solution. Because in Gold Sky, Montana there are many ways to be married...and not all of them include a man.
This next publication is quite short and appears to be the start of a serial, being released in individual chapters. So don’t expect a full, completed story yet. The Queen Takes All (Part 1, Book 1) self-published by Clarissa Somers.
A rumored courtesan, an exclusive party and a secret society. What could go wrong? Hetty is overcome with excitement when her stepfather asks her to complete an undercover assignment. The catch? She must travel to London and pose as a French Lady in order to win the friendship of the infamous Delphine Dubois. Yet the evening takes an unexpected turn...
A Matter of Time (The Unlikely Adventures of Mortensen & Spurlock Book 1) by Lucy True (aka Jea Hawkins) from Persephone Press takes place in a supernatural version of the past.
It’s not easy finding love in 1892 Victorian London. Midnight adventures, artifact hunting, and the occasional murder—it’s all in a day’s (or night’s) work for Alice Mortensen. As an Aetheral, a supernatural race with special abilities, she is hardly an eligible marital prospect, even with her upper class social status. Not that she minds. The woman she once loved broke her heart and that, for Alice, is that. Until said woman, one Lady Eleanora Spurlock, returns with a desperate request: find a powerful artifact to ransom in exchange for a kidnapped servant. It’s one thing for Alice to risk her life. It’s quite another to risk her heart for the second time. But her perpetual curiosity about the mysterious Aetheric world is enough temptation for Alice to gamble both. Soon, both Alice and Nora are fighting off fireballs, an over-eager stepmother determined to see them marry, and each other in a race to rescue an innocent lady’s maid.
Coming back to ordinary--very ordinary--life, we have Like a Tornado self-published by Lauren Abosamra.
Charlotte Swanson comes from an affluent family in the town of Yursbury, Vermont. The time is 1955. To the untrained eye, Charlotte has it all. A charming husband, two young adoring sons, and a prominent place in the town's circle of book clubs, tea times, and a local women's organization. A beautiful newcomer, Evelyn Howard comes to town and does more than intrigue our restless Mrs. Swanson. Exchanged glances, accidental hand brushes, and small talk may not be all these two share.
I found five books coming out in June, though based on experience, more will pop up in next month’s search. The first one is rather cagey about whether the queer content is solid or only being teased at.
Belladonna: A Novel by Anbara Salam from Penguin.
An evocative, atmospheric story of friendship and obsession set in the 1950s that follows two schoolgirls from Connecticut whose lives are changed forever when they travel to a silent convent in northern Italy to study art for a year. Isabella is beautiful, inscrutable, and popular. Her best friend, Bridget, keeps quietly to the fringes of their Connecticut Catholic school, watching everything and everyone, but most especially Isabella. In 1957, when the girls graduate, they land coveted spots at the Accademia di Belle Arti di Pentila in northern Italy, a prestigious art history school in the grounds of a silent convent. There, free of her claustrophobic home and the town that will always see her and her Egyptian mother as outsiders, Bridget discovers she can re-invent herself as anyone she desires. Only Isabella knows the real Bridget, just as Bridget knows the true Isabella. But as that glittering year goes on, Bridget begins to suspect Isabella is keeping secrets from her, secrets that will ruin all of her plans and that will change the course of their lives forever.
I keep thinking from the title that this next book is set much earlier, but it’s a post-World War I story: Her Lady's Honor by Renee Dahlia from Carina Press.
When Lady Eleanor “Nell” St. George arrives in Wales after serving as a veterinarian in the Great War, she doesn’t come alone. With her is her former captain’s beloved warhorse, which she promised to return to him—and a series of recurring nightmares that torment both her heart and her soul. She wants only to complete her task, then find refuge with her family, but when Nell meets the captain’s eldest daughter, all that changes. Beatrice Hughes is resigned to life as the dutiful daughter. Her mother grieves for the sons she lost to war; the care of the household and remaining siblings falls to Beatrice, and she manages it with a practical efficiency. But when a beautiful stranger shows up with her father’s horse, practicality is the last thing on her mind. Despite the differences in their social standing, Beatrice and Nell give in to their unlikely attraction, finding love where they least expect it. But not everything in the captain’s house is as it seems. When Beatrice’s mother disappears under mysterious circumstances, Nell must overcome her preconceptions to help Beatrice, however she’s able. Together they must find out what really happened that stormy night in the village, before everything Beatrice loves is lost—including Nell.
This month’s author guest has written a cross-time story that blends several of her favorite eras and themes: My Heart's in the Highlands by Amy Hoff from Bella Books.
Lady Jane Crichton is one of the Edinburgh Seven, the first women to study medicine in the United Kingdom. Jane’s real love is science and invention, and she builds a time machine. Her first flight, attended only by Dr. Joseph Bell, ends badly when she crash-lands in 13th-century Gaelic Scotland. Her rescuer, a gruff warrior woman named Ainslie, shows her the delights of island life and teaches her more than she’d ever learned in the university’s hallowed halls.
A.J. Fitzwater has had two book releases in the last month, and I can’t go without mentioning The Voyages of Cinrak the Dapper (published by Queen of Swords Press), a collection of stories about a lesbian capybara pirate. Yes, you heard that right. But Cinrak doesn’t quite fit into anything resembling our history, so for that I’ll feature No Man's Land from Paper Road Press.
Dorothea ‘Tea’ Gray joins the Land Service and is sent to work on a remote farm, one of many young women who filled the empty shoes left by fathers and brothers serving in the Second World War. But Tea finds more than hard work and hot sun in the dusty North Otago nowhere—she finds a magic inside herself she never could have imagined, a way to save her brother in a distant land she never thought she could reach, and a love she never knew existed. Inspired by feminist and LGBTQ+ history and family wartime memories, AJ Fitzwater has turned a piece of forgotten women’s history into a tapestry of furious pride and love that crosses cultures, countries and decades.
And we finish up the June books with what looks like the start of another series, Vera Kelly is Not a Mystery (A Vera Kelly Story) by Rosalie Knecht from Tin House Books.
When ex-CIA agent Vera Kelly loses her job and her girlfriend in a single day, she reluctantly goes into business as a private detective. Heartbroken and cash-strapped, she takes a case that dredges up dark memories and attracts dangerous characters from across the Cold War landscape. Before it’s over, she’ll chase a lost child through foster care and follow a trail of Dominican exiles to the Caribbean. Forever looking over her shoulder, she nearly misses what’s right in front of her: her own desire for home, connection, and a new romance at the local bar. In this exciting second installment of the Vera Kelly series, Rosalie Knecht challenges and deepens the Vera we love: a woman of sparkling wit, deep moral fiber, and martini-dry humor who knows how to follow a case even as she struggles to follow her heart.
What Am I Reading?
And what am I reading? Still not much. I started the non-historical science fiction story Cat-Fishing on Catnet by Naomi Kritzer but it isn’t really grabbing me. I swear I started reading something on Kindle but my Kindle app is being wonky at the moment and I can’t check--and I don’t remember the title. And--now don’t laugh--I always have a hard copy book that I’m reading while brushing my teeth because it ensures I spend the right amount of time on the job, and for that I just started--very belatedly--Malinda Lo’s young-adult fantasy Huntress. And I’m still listening to the audiobook of N.K. Jemisin’s fantasy of a sentient New York, The City We Became which is simply amazing. (And at least one of the avatars of the city is a lesbian so it fits in the theme.)
How about you? Has the quarantine completely disrupted your fiction reading or has it sent you to books for comfort?
Your monthly update on what the Lesbian Historic Motif Project has been doing.
In this episode we talk about:
Links to the Lesbian Historic Motif Project Online
Links to Heather Online
THE 2020 PRIDE MONTH BUNDLE
Celebrating Pride Month with a StoryBundle has become an annual tradition, one in which we present a different and wonderful collection of LGBTQ+ books and authors each June.
This year, I'm curating the Pride Month Bundle for StoryBundle and it is an amazing lineup. We have novels and novellas as well as an anthology and a single author collection, each one a unique and terrific read. As always, at StoryBundle, you name your own price—whatever you feel the books are worth and you can designate a portion of the proceeds for our selected charity, Rainbow Railroad. Rainbow Railroad is a nonprofit that works with LGBTQ refugees, helping them to leave dangerous situations and safely resettle in new areas.
The 2020 Pride Bundle includes two works by creators from New Zealand, in honor of this year's Worldcon. A.J. Fitzwater, author of the joy-filled collection The Voyages of Cinrak the Dapper, is a Sir Julius Vogel Award finalist this year, as is editor Andi C. Buchanan, whose ground-breaking special issue of Capricious SF Magazine, Capricious: The Gender Diverse Pronouns Issue, is also included in the bundle.
Like your queer fiction to have elements of the Southern Gothic, perhaps a touch of horror and mystery, coupled with sumptuous writing and compelling characters? You're sure to enjoy A Spectral Hue by Craig Laurance Gidney and Catfish Lullaby by A.C. Wise. Looking for beautifully written stories set in historical settings with a fantastical edge? We've got you covered with Melissa Scott and Lisa Barnett's Armor of Light, Floodtide by Heather Rose Jones and Will Do Magic for Small Change by Andrea Hairston. Want adventures set just beyond the worlds we know? Come along on some glorious adventures with Grilled Cheese and Goblins by Nicole Kimberling and the novellas The Counterfeit Viscount and The Hollow History of Professor Perfectus by Ginn Hale. And finally, for something a little different, join author R.R. Angell's cadre of queer college students as they play an unusual game set in virtual reality with an AI who's more than she seems in Best Game Ever.
Not only is this year's bundle an intriguing mix of stories, it's star-studded too! Our bundle's authors and editor have won the Astounding Award, the Otherwise Award, the Sir Julius Vogel Awards and several Lambda and Spectrum Awards, as well as being finalists for awards like the Nebulas. So there we have this year's Pride StoryBundle – lots of variety, lots of new voices, a fun mix of new and classic tales, adding up to 11 great reads for a great cause! – Catherine Lundoff
* * *
For StoryBundle, you decide what price you want to pay. For $5 (or more, if you're feeling generous), you'll get the basic bundle of four books in any ebook format—WORLDWIDE.
If you pay at least the bonus price of just $15, you get all four of the regular books, plus seven more more books, for a total of eleven!
This bundle is available only for a limited time via http://www.storybundle.com. It allows easy reading on computers, smartphones, and tablets as well as Kindle and other ereaders via file transfer, email, and other methods. You get multiple DRM-free formats (.epub, .mobi) for all books!
It's also super easy to give the gift of reading with StoryBundle, thanks to our gift cards – which allow you to send someone a code that they can redeem for any future StoryBundle bundle – and timed delivery, which allows you to control exactly when your recipient will get the gift of StoryBundle.
Why StoryBundle? Here are just a few benefits StoryBundle provides.
StoryBundle was created to give a platform for independent authors to showcase their work, and a source of quality titles for thirsty readers. StoryBundle works with authors to create bundles of ebooks that can be purchased by readers at their desired price. Before starting StoryBundle, Founder Jason Chen covered technology and software as an editor for Gizmodo.com and Lifehacker.com.
Why yes, yes we have. Sorry for being so brief this week.
Boyd, David Lorenzo & Ruth Mazo Karras. 1995. "The Interrogation of a Male Transvestite Prostitute in Fourteenth-Century London" in GLQ vol. 1, 459-465.
Sometimes being a completist means including publications that are simply summarized as "see this other publication by the same author." Sorry to disappoint.
* * *
This is a preliminary treatment of the legal record concerning 14th c crossdressing prostitute John/Eleanor Rykener that appears in more expanded analysis the next year as:
Karras, Ruth Mazo & David Lorenzo Boyd. 1996. “’Ut cum Muliere’ - A Male Transvestite Prostitute in Fourteenth-Century London” in Premodern Sexualities ed. by Louise Fradenburg & Carla Freccero. Routledge, New York. ISBN 0-415-91258-X
The text of the present article is included in the 1996 version largely verbatim. The one significant difference is that this 1995 article has both the Latin transcript of the record and a modern English translation while the 1996 article includes only the translation. So if you're interested in original versions of texts, then you'll need this publication as well.
But for the content, see the link to the 1996 article.
Lesbian Historic Motif Podcast - Episode 160 (previously 46e) - “Cardinal’s Gambit” by Catherine Lundoff - transcript
(Originally aired 2020/05/30 - listen here)
For the second episode in our 2020 fiction series, we see the return of Jacquotte Delahaye and Celeste Girard in Catherine Lundoff’s “Cardinal’s Gambit,” continuing the adventures of the 17th century pirate and spy who appeared in the debut episode of the fiction series back in 2018.
Catherine Lundoff is quite familiar to regular listeners. She is an award-winning writer, editor and publisher from Minneapolis where she lives with her wife, bookbinder Jana Pullman, and the cats who own them. She is the author of over 100 published short stories and essays, which have appeared or are forthcoming in such venues as Fireside Fiction, Nightmare Magazine, Respectable Horror, the SFWA Blog and SF Signal. Her books include Silver Moon, Out of This World: Queer Speculative Fiction Stories and Unfinished Business: Tales of the Dark Fantastic. She is also the editor of the fantastical pirate tales anthology, Scourge of the Seas of Time (and Space) and two other anthologies. In addition, she is the publisher at Queen of Swords Press, a genre fiction publisher specializing in fiction from out of this world, and she teaches online writing classes at the Rambo Academy and Hidden Timber Books.
Our narrator this time is Cherae Clark.
Cherae is a writer originally from Kansas City. She’s been a personal trainer, an English teacher, and an editor, and is some combination thereof as she travels the world. Although, presumably the world-traveling is on hold at the moment. When she’s not writing or working, she’s learning languages, doing P90something, or reading about war and [post-]colonial history. She’s currently one of the co-editors at PodCastle which--by the way--is one of my favorite fiction podcasts and you should check it out. Cherae’s short fiction has appeared in Beneath Ceaseless Skies, FIYAH, PodCastle and Uncanny Magazine.
This recording is released under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License. You may share it in the full original form but you may not sell it, you may not transcribe it, and you may not adapt it.
* * *
By Catherine Lundoff
Jacquotte Delahaye sighed and stretched her legs out before her. The impulse to scratch her head under the stiff, scratchy wig disguising her blazing red tresses was well nigh overpowering and she cast a quick glance at the others cooling their heels in his majesty’s antechamber to see if it would be noticed. Not surprisingly, the only one paying any attention to her was Mademoiselle Girard, who was frowning at her from a nearby, equally uncomfortable chair.
Unlike Jacquotte, Celeste was dressed as a lady, albeit a somewhat impoverished one. Still, the sight of her pretty face and exposed, and no doubt chilled, décolletage, made for a pleasant distraction from Jacquotte’s current discomfort. At least until Celeste noticed the direction of her gaze and wrapped her shawl tighter.
Celeste’s frown made Jacquotte smirk as she surrendered to impulse and scratched beneath her wig. For the kind of young gentleman that her disguise suggested she was: fresh up from the country, uncouth and brash, it was not unexpected. She surprised a sneer from one of the footmen and contemplated carving him a new smile with the blade she had hidden in her boot…but then neither Celeste nor the king were likely to condone that.
She settled for giving him one of her pirate captain glares, the kind calculated to get her a stool in any tavern in Port Royal. He paled and looked away and Celeste waved her fan before her face to hide a smile.
“Perhaps we should return tomorrow?” Jacquotte murmured softly.
“We are at his majesty’s pleasure since he has commanded us to attend him here. Really, it is not every day that the Sun King himself rewards a pirate and a spy. You might be more gracious about it,” Celeste leaned forward to murmur the words behind her fan.
As if summoned, a liveried footman in a large white wig appeared before them and said softly, “Cardinal Mazarin requests your presence.” His expression suggested that this was obligatory and that others in the antechamber were not intended to hear his words.
Jacquotte and Celeste glanced at each other in puzzlement, but since it was clear that they were expected to obey, Jacquotte rose to her feet and offered her companion her arm to assist in rising. “Let us not keep the Chief Minister of France waiting, chérie.” She kept her words soft but it was hard not to observe that many eyes followed them as they exited the chamber. She suspected that the Cardinal’s newfound preference for the company of country bumpkins would be all over the court in an hour or two.
The footman took them on a circuitous route through the palace, but Jacquotte could see Celeste noting each room and corridor that they passed down. She, at least, could lead them back out if they were abandoned in one of these gold-plated cherub-coated ridiculous excuses for rooms. Give me the ocean breeze and a wooden deck beneath my boots any day, instead of this smelly oversized rat hole with its wasted gold, Jacquotte thought.
She thought that even harder when they were finally ushered into a small ornate chamber, crowded with a desk, several chairs and a man in cardinal’s robes. And a tremendous number of paintings, quite a few cherubs, a great expanse of ornamented plaster and several rich carpets. If there had been any doubt as to his identity, the large portrait hanging on the wall behind the man at the desk certainly dispelled it.
“Your Eminence.” Celeste swept her skirts to either side in a deep curtsey and Jacquotte, much against her will, managed an awkward bow.
The dark-haired man studying them might have been carved of stone for all the reaction he showed. After a long few moments, however, he flickered long fingers in a gesture that suggested that they could be seated in the chairs that faced him. Jacquotte noticed that he did not also signal the guards to depart and the space between her shoulders itched at the thought of blades at her unguarded back. Celeste gave her an unnecessary warning glance before perching daintily on her chosen seat.
“You honor us, Your Eminence. How may we serve you?” Celeste asked quietly as Jacquotte took the seat beside her. It was a good question, she thought. She herself had no desire to serve the cardinal, the church or even the king, if she could help it, but she had, reluctantly, promised Celeste her assistance. Celeste served the king, and Cardinal Mazarin was well known for seeing no contradiction between serving the king and serving him. How complicated her life had become since she allowed Mademoiselle Celeste Girard into it!
“A spy and a privateer,” the cardinal murmured speculatively. “What use I could make of you! But that is for the future. For now, you need to know no more than that a Spanish ship will be at the dock in Calais in four days time. It brings the new ambassador from His Spanish Majesty, the Count of Olivares. The count carries certain papers of interest to me and, therefore, to France.”
Jacquotte quirked one red eyebrow upwards and asked the question she could no longer contain, “Your pardon, Eminence, but I am only a simple privateer and a woman at that. Such subtle machinations as kings and their advisors engage in are outside my understanding. If I comprehend your meaning correctly, you wish the ambassador and his papers to…part ways? Surely Your Eminence has servants who might serve you better in this endeavor than two humble women such as ourselves?”
Cardinal Mazarin laughed, the sound dry and echoing in the small chamber. “How hasty you are, Captain Delahaye. Do you think me a foolish or rash man? I am well aware of how all the king’s servants may be of service to France and I am able to advise him on this, as well as all other matters of import. If I intend to trust you with a mission of this delicacy, you may be assured that I know the nature of the tools that I wish to employ.”
Celeste’s breath hissed between her teeth. “Of course you do, Eminence. What my…friend meant to ask was how such poor tools as ourselves might have come to your attention and how we could possibly be of service.” Her bright blue eyes met Jacquotte’s eyes for a moment with an unreadable expression before she glanced back to the cardinal.
“And how such service might reward you? I am inclined to say that being of service to the king should be all the reward that you require, but I suspect that such will not suffice for the Captain, and her expertise with naval documents may be of some use in the success of this enterprise. In short, I wish you to work together to acquire the plans for the King of Spain’s new warship from the ambassador. I shall need those plans in my hands within a fortnight. “
Jacquotte blinked in astonishment. How…Celeste’s subtle headshake caught her eye and she closed her lips against further questions. Presumably as a spy in the king’s employ, she was accustomed to receiving her orders this way. That said, Jacquotte herself would not have ordered her crew to sack a captured ship with so little information.
A few more details were exchanged and they were dismissed to go back to cooling their heels at the king’s pleasure. When the day finally ended with them at a nearby inn, Jacquotte reflected that they were one small bag of gold the richer, still had not seen the king himself, had seen the cardinal and all in all, would have been better off had they taken her ship and raided boats on the Seine instead.
With that thought, came another: why not set sail immediately? The cardinal’s reach would not be so long in Madagascar or in the English seas of the Caribbean. Perhaps they could disguise themselves and live incognito somewhere for a year or two, until Mazarin’s attention turned elsewhere; she had enough gold for that.
Celeste eyed her askance as they entered their room but said nothing until the door was closed. Then she sat down on the one sturdy chair that the room provided and tilted her head up at Jacquotte. “I know what you’re thinking,” she said at last, “but I don’t want to flee. Not unless we must.”
“If we fail, you mean. If we fail at this fool’s errand that has almost no chance of succeeding.” Jacquotte swept off her hat and wig and tossed them onto the small table.
Celeste looked away for a moment, jaw set. Then she fixed her gaze on Jacquotte. “I have an idea.”
After two days by post and a broken night’s rest, Celeste walked slowly past a portside tavern in Calais. The ambassador’s ship was at the dock and the ambassador himself merely waiting on the King’s pleasure to disembark. Now there remained only the need to create an opportunity to board the ship, find the papers, steal the papers and get back to Paris. She suppressed a gesture of frustration at the thought of the huge obstacles that this list encompassed.
Jacquotte had left the inn that morning, clad in a sailor’s disguise with hair and eyebrows dyed black, bound for the taverns on the docks to see what she could learn. Celeste had not been able to bring herself to tell her that she had met the Count de Olivares once before. It had been two years ago and she had been passing herself off as the daughter of a visiting French nobleman when Olivares had stopped in Saint Martin briefly on his way to Cuba. There had been some papers involved then as well, along with an uncomfortable hour in which she had to wait for the sleeping draught that she gave him to take effect.
But would he remember her? She had been in disguise, her face powdered, her hair hidden by an elaborate wig. Robbers had been blamed for the loss of the papers, not she. How great a risk was she taking by trying a different ruse to see him now? In any case, she couldn’t see anything that Jacquotte could do about it and they were, after all, only here because she insisted on it.
Celeste bit back a heavy sigh as she slipped down a side street, her mind still awhirl in thought. Her distraction made her oblivious to some crude advances by passing sailors, but not to a sudden sound behind her. Celeste pulled a small knife from the hidden sheath in her skirts and turned quickly. Jacquotte emerged from a nearby alleyway, two Spanish sailors at her heels. She sauntered up to Celeste and gave her a ringing rum-soaked kiss. “What ho, my beauty! Looking for me, were you?”
Celeste found her hand tucked in the crook of Jacquotte’s arm as she was towed unsteadily down the street, the sailors trailing behind. “Where are we going? Did you find…the ship you were looking for?” She had been going to ask a different question, but the presence of the sailors behind them and the appearance of two guardsmen in uniform at the top of the street was inspiration to change her mind.
But conversation was not what Jacquotte had in mind. Instead, her companion staggered and stumbled, suddenly much drunker than she had been a moment ago. Celeste found herself first off balance, then pitched into the guardsmen, resulting in all of them tumbling to the ground in a heap. Jacquotte gave a drunken yell of outrage and waded in, nearly stepping on her hand.
The melee lasted a few minutes, long enough for Celeste to scramble to the side and out of immediate danger. She turned just in time to see Jacquotte’s Spanish companions seize her arms and drag her away. The guardsmen lurched to their feet, cursing, and charged after them, leaving Celeste sitting on the cobbles with her dress in disarray and her basket upended. With a curse or two of her own, she scrambled to her feet, retrieved her possessions and started after them. At least now she had a strong suspicion about how Jacquotte intended to get aboard the vessel.
Jacquotte nearly laughed out loud as Arturo and Felipe dragged her away from the guards toward the San Cristobal. She was a big ship, a galleon with 36 guns or more, and Jacquotte’s pirate heart ached to seize her, put the surviving crew to the articles or the sword and sail away. She could almost picture sailing into the harbor at Maracaibo in this beauty, flying the flag of the Spanish king and none any the wiser until they opened fire on the fort and seized the next gold shipment.
She shook her head a little and forced herself to abandon the vision as the shouts of the guards behind them grew louder. Once aboard, she would be under the ambassador’s protection, at least temporarily. Then it was up to her to prove to her new Spanish friends that she could be useful enough to keep aboard for a night or two. If she could smuggle Celeste onto the ship tonight…no, she knew that she was imagining a lack of obstacles where, in truth, there would only be obstacles. Get aboard, establish herself, steal the papers and make the cardinal ransom them: that was clearly the path to follow.
The direction that her thoughts were taking made her hide a smirk. Besides, when had she become so concerned about Celeste? The spy could take care of herself, and would, if the past was anything to go by. Jacquotte shook her head. She must be getting soft. Next she’d even be dreaming about leaving her fleet and settling down on an island, Celeste at her side.
A dagger point hovering before her nose brought her abruptly back to the present. Evidently, Spanish bosuns were harder to convince than those under their command. A flood of Spanish, liberally sprinkled with curses she’d learned from years of seizing Spanish ships, filled her ears and the guards shouted their own versions in French from the dock.
She narrowed her eyes and pushed the dagger point back from her throat before responding in pure dockside Spanish with a tale about pirates seizing her previous ship and marooning the crew, herself included, then being abandoned anew on French soil by the ship that found them. She had only been trying to find a ship sailing back to Spain when she was attacked by those fools. Here, she gestured at the dock and the French guards who were still swearing as they walked away. Her newfound friends had assured her that there was a place aboard the San Cristobal that needed filling. Were they correct? Did not this magnificent ship need more seasoned hands?
Some fast words followed, including the suggestion that her story was, perhaps, embroidered. But it was true, to some extent, and she told it most convincingly. She had commanded the pirates herself and several Spaniards had joined her crew rather than be marooned. Eventually, the boson reluctantly sheathed his blade and agreed to let her demonstrate that she knew her way around ropes and sails.
By the time she slumped into her tiny new bunk below decks, she had little energy left to wonder about documents or Celeste.
Celeste gazed up at the Spanish ship from the dock. A day of gathering gossip in the marketplace had given her a sprawling and often contradictory, picture of the habits of those who sailed aboard her. She had even gathered a few tidbits about the ambassador himself. Now it only remained to apply them and get herself aboard, presumably to join Jacquotte, who she hoped was already there. She had arrived too late to be certain of that.
The clothes she had bought from a lightskirt she’d met in one of the taverns fit well enough, did she not have the sneaking suspicion that the other woman had an infestation of what might be fleas. She tried to scratch unobtrusively while she waited for the deck watch to turn over. Once the senior commanders were gone, it was a matter of convincing one of the less experienced men that she had just what the ambassador needed to bring him joy.
According to the gossips on the docks, it was not her delightful person, as such, that she needed to present to him. Rather it was the somewhat motley bag of dried leaves in the small sack at her belt. The count was said to have been separated from his beloved tobacco for a fortnight now, by secret order of the king. Or the cardinal, so went the tales in the dockside taverns, and no reward was too high for the smuggler that brought him what he craved. Celeste glanced at the moon and judged the time to be about right. She made her way to the bottom of the gangplank.
Her journey aboard did not go as smoothly as Jacquotte’s and she found herself cornered on deck by a minor ship’s officer and one of the sailors, both of whom seemed eager to sample what they perceived as her wares. Neither of them spoke French and Celeste spoke little Spanish. She was holding one of her daggers and was making plans to use it by the time that Jacquotte herself appeared behind her interrogators.
“Ah, chéri, is it you?” she greeted her companion in rough, heavily accented French. She grinned impishly at Celeste before engaging the two men in a rambling conversation in Spanish. Jacquotte insinuated herself between Celeste and the sailor and appealed to the officer, man to man, in a stream of words of which Celeste understood only “tobacco” and “Conde.”
Celeste tried not to tap her foot impatiently or fidget. In their way, these were negotiations as subtle as any she had performed as a king’s agent in the Caribbean. At a lull in the flood of words, Jacquotte seized her elbow and towed her between the men, hustling her toward the entrance to the largest cabin on deck. A quick word here, a touch of the knife at her belt when words did not suffice, and the pirate captain provided her with safe escort to the vicinity of the man they needed to rob as if their feet had wings.
But there, their progress hit a snag. Bemused, Celeste listened as Jacquotte attempted to charm their way into the ambassador’s cabin. That attempt was a failure until Celeste flaunted both her décolletage and her precious packet of leaves. Even then, she had to insist on Jacquotte’s staying at her side as her translator. The count himself emerged briefly at the sound of raised voices and a woman’s laughter, and with a bemused expression, allowed them to be escorted inside.
And once in his quarters, Celeste had a moment to grasp the full impossibility of the mission that the cardinal had sent them on: a single room where the count slept and worked, a pallet for his valet at his feet, two guards at the door, the only other way into the cabin the great glass windows more than halfway up the ship’s side. She knew a moment of pure despair.
From the flicker of Jacquotte’s eyes, the pirate had seen what she saw. Celeste wondered if they would set sail for Madagascar tonight or wait for a new tide. But then, the count’s attention turned to her and she was instantly alert. She named the most outrageous price she could think of for her tobacco leaves and was astonished when the servant was ordered to fetch the ambassador’s purse.
Jacquotte gave her an almost apologetic look and volunteered what sounded like some unkind speculation on her virtue, and the count gave her a considering glance. Celeste begged the fleas to itch less, just long enough for her to appear desirable. Long enough for her to get the ambassador and his documents alone.
He looked somewhat interested, though his eyes lingered more on the pouch than on her person, Celeste noted. A few more comments from Jacquotte, some minutes of consideration by the count, and the guards were dismissed with a wave of his hand. It took somewhat longer to be rid of the servant and the pirate, but by then, Celeste was seated in a carved and cushioned chair with a flagon of wine at her lips.
Jacquotte gave her an infinitesimal nod before stepping outside, a small Spanish coin in her fist. Celeste pulled her precious pouch of tobacco free from her belt and placed on the table before the ambassador. He did not hesitate to reach out and seize it, holding it open and inhaling its scent with a loud, “Ah!”
She licked her lips and leaned forward, hoping to look distractingly seductive, but he held up his hand, then bend down to extract a pipe from a drawer. In silence, she watched as he filled the bowl, then lit it from the candle on the desk. He puffed slowly, eyes closed as a cloud of smoke enveloped his face.
Celeste wondered how long this would take. Would he require her to watch him smoke until the herbs she had added to the tobacco took effect? Would she have to find some other way to distract him until then? Whatever happened next, she promised herself that she would take his purse, as well as the documents, if the opportunity presented itself.
While he busied himself with the pipe, she risked a look around, trying to guess where he was most likely to store important papers. She could only hope that she would recognize what they looked like without Jacquotte’s assistance. But perhaps that wouldn’t be necessary…
He was still quietly puffing at his pipe, head wreathed in smoke, eyes closed, when she looked back. Celeste sent up a silent prayer that it would not take long to take effect. But what was she to do then? Claim the ambassador had fallen ill and summon the guards and the servant, and Jacquotte, if she was nearby, for help? Hope to take both purse and documents in the ensuing chaos? Hope merely to flee unscathed? She wished that there were better options; how had the cardinal expected them to succeed in this endeavor?
She decided that he was most likely keeping the documents in the locked strongbox on the table before him or in the drawers that he had kept his pipe in. She could see nothing else in this room that might serve the purpose and with an effort, she strangled the small voice in her head that suggested secret compartments or other rooms.
The ambassador gestured, eyes open and more alert now, the glint in them unmistakable, despite the cloud of smoke, and Celeste put her flagon down and rose reluctantly to her feet. She had resigned herself to being pawed, hopefully no more, when she caught the light of dawning recognition on his sleepy face. No! He opened his mouth to shout just as the candle caught her eye. She had a moment of inspiration and blundered into the table, flailing wildly as if to catch herself.
It tipped over slowly, the flame meeting the wood with a fiery kiss. A letter on the table caught light as the ambassador lurched unsteadily to his feet, reaching for the strongbox. Celeste screamed and scrambled backwards while he shouted for assistance. The guards thumped against the door as the table caught light and Celeste got to her feet to let them in. It was no part of her plan to let the Spaniards all burn, at least not if she had to join them.
But the ship shifted under her feet and she fell, tangled in her skirts. The door shuddered as the guards outside brought a ram of some kind to it. The ambassador staggered toward it as the flame caught the edge of his cape, and he dropped the strongbox. Celeste looked up to find a spreading wall of flames between her and the door and she screamed again with renewed urgency. The cabin filled with smoke and she scrambled to her feet and pulled her kerchief free from her neck to tie it over her mouth and nose.
The door shuddered and she threw herself forward through the flames, flinging herself on the count to smother the embers on his cloak. She also contrived to cut his purse free in a single motion. The door crashed open and soldiers and sailors poured in with buckets of water. The ambassador babbled like a man well into his cups and Celeste scrambled to her feet to make her way outside to cough and choke in the night air.
“Strongbox!” she coughed imperiously at Jacquotte as the latter ran past with a bucket. Celeste made her way across the deck, staggering as she went, trying to avoid the rush of men headed for the ambassador’s quarters. She lost sight of Jacquotte and was feeling her way along the rail when a man’s hand fell heavily on her shoulder. Reeling backward, she saw the sailor who had stopped her at the gangplank when she came aboard, just before he crushed her to him with a bruising embrace that reeked of fish oil, garlic and sweat.
Celeste coughed directly into his mouth and he sputtered and pulled away, but did not let her go. Clouds of smoke and men were beginning to pour from the ambassador’s cabin. If she was to free herself and flee, it must be now. She twisted and stomped on one of his booted feet with all the force she possessed. A sharp box of his ear loosened his grip and she tore free of his grasp.
Cursing, he grabbed for her again, just as an arm emerged from the smoke and a silver blade flashed across his throat. Jacquotte dropped him to the deck, then nudged his body behind a pile of rope. She seized Celeste’s arm and together, they scrambled down the gangplank with Jacquotte yelling something about orders and the ambassador’s commands as they shoved past the disoriented sailors.
Once they reached the dock, they ran, scrambling past some French guardsmen who had come to see what the commotion was all about. Jacquotte shouted they were following orders from some unnamed important someone, since using the ambassador’s name would not get them past French guards. And somehow, they were not stopped. They kept running until they reached a noisome alley between the taverns, just out of sight of the ship. Celeste slumped up against the side of a building and coughed for a few minutes.
Jacquotte put a flask in her hands and she drew a long draught of rum, which only made her cough more at first. But at last, she recovered enough to notice the sea bag at Jacquotte’s feet. “Is that them?” she gasped.
“I thought it would be easier to break the lock and take the contents than to take the box.” Jacquotte looked amused, even though it was clear from the bleeding cut on her cheek and her smoke-stained and burned clothes that it had been anything but “easy.”
“Did you think about keeping them?”
Celeste took another swig of the rum and laughed. She couldn’t stop herself from giving a quick glance back towards San Cristobal. A familiar face stood at the rail, seemingly watching them, even though she knew they could not be seen. The ambassador had recovered quickly, both from the herbs she’d put in the tobacco and the smoke from the fire. Too quickly.
Jacquotte followed her gaze. “Do you think he knows?”
“Of a certainty. That was far too easy. He also recognized me right before I knocked the candle over.” They looked at each other for a long moment and started laughing, the sound echoing off the walls around them.
“What do we do now?” Jacquotte asked at last, wiping the tears from the edges of her eyes.
“Claim our reward, I expect. Then off to Maracaibo or whatever benighted place you wish to sail to next,” Celeste grinned and crossed the alley to Jacquotte’s side. “No, I don’t think the cardinal will object to receiving whatever is in your bag, regardless of whether or not it includes the documents he claimed that he wanted. I think he sent us here to test vulnerabilities, not to succeed.”
“In that case, the sooner we leave France, the less likely we are to be immediately useful to him,” Jacquotte leaned down and gave Celeste a gentle kiss. The spy returned it, burns, smoke and all and when they broke apart, they gave each other smiles of perfect understanding.
“Shall we?” Celeste took her arm and they made their way down the alley, eagerly anticipating a different kind of adventure.
The second story in our 2020 fiction series. Written by Catherine Lundoff, narrated by Cherae Clark.
Links to the Lesbian Historic Motif Project Online
Links to Heather Online
Links to Catherine Lundoff Online
Links to Cherae Clark Online
Cross-dressing is a common theme in f/f historical fiction, but the fictional genre has tended to develop its own tropes and assumptions about the relationship between cross-dressing and sexuality that don't always match the historical reality. Furthermore, cross-dressing had different motivations, contexts, and meanings in different eras and cultures. If you're planning to write a story with a cross-dressing heroine, it can be a good idea to dig deeply into the specific context she would be operating in. Lois Schwich provides an example of one such model.
Hindmarch-Watson, Katie. 2008. "Lois Schwich, the Female Errand Boy: Narratives of Female Cross-Dressing in Late-Victorian London" in GLQ 14:1, 69-98.
Contrary to the suggestion in Dekker & Van de Pol, “passing women” did not fade out of sight after the 18th century, but perhaps their contexts shifted. This article examines a case in late 19th century London that was well-documented in the papers, due to the criminal aspects. In fact, the nature and variation of that newspaper coverage is itself of interest in exploring Victorian understandings of the phenomenon.
In 1886 Lois Schwich was tried and sentenced in London for stealing expensive clothing from her employer. But the bare facts of the crime were not what attracted extensive media attention. Schwich had done this while passing herself off as a fifteen-year-old boy, and had done so for several years. Her case illustrates the various narratives around crossdressing in Victorian England as well as the intersections of gender, criminality, sex work, and competing images of masculinity.
We have almost nothing of Schwich’s own voice regarding her story, but Hindmarch-Watson has attempted to reconstruct as much as she can. Schwich started crossdressing at 17 and took odd jobs doing errands and deliveries, eventually specializing in working for clothiers. Across several jobs she began stealing and re-selling clothing from her employers, usually deflecting the crimes (when detected) by accusing others before she could be accused. There is clear evidence that Schwich’s mother not only knew about her crossdressing but supported her by providing references for her “son”. And part of Schwich’s explanation for her actions in general was that her work was needed to help support her family. But access to employment was not the only male prerogative Schwich claimed, and during the trial her habits of smoking, drinking and participating in other male-coded leisure activities were woven into the charges against her.
The author considers whether Schwich could reasonably be identified as transgender and is hesitant to do so, at least as the concept of transgender is defined today, and in the same sense that it is ahistorical to use the concepts of “gay” or “lesbian” to identify historic figures. [Note: which is to say that the whole discussion is problematic on many levels, including the assertion that one must use modern identity concepts as the benchmark for evaluating historic identities.]
Historic “passing women” are traditionally divided between those who had erotic relations with women who are then appropriated by lesbian history, and those who have erotic relations with men who are assumed to be cross-dressing purely for pragmatic reasons. Historically, passing women typically had working-class backgrounds. Alhough the male-coded professions they entered were spread across the social ranks, the majority tended to remain working-class. That history of cross-dressing women was invoked in Schwich’s trial.
Like many other cross-dressing women, Schwich had a disdain for the law, but this stereotype is skewed by the problem that our evidence for (known) passing women tends to come from criminal records. Those legal conflicts were not always due to a criminal profession, but might arise out of acts of passion, anger, or desperation. Perhaps a few cross-dressing women did adopt disguise specifically to pursue a criminal career, but that doesn’t appear to be the case for Schwich. There are hints--including the age at which she began--that for her cross-dressing may have been a way of claiming sexual agency (or perhaps more precisely, agency in avoiding becoming sexualized). The article examines the context of Victorian sex work and how it offered it’s own sort of sexual agency, as well as noting some social parallels in the image and opportunities of sex workers and passing women.
One notable aspect of Schwich’s career is the obvious support from her family, especially her mother, but from other community members as well. Her mother clearly accepted her cross-dressing and provided references for Schwich’s male persona. There are other examples from the same era of cross-dressing women either asserting family support, or reporting that the presentation had originally been a mother’s idea. This may shed a different light on theories (by e.g., Dekker and van de Pol) that female cross-dressing more or less disappeared in the early 19th century. What if, instead, it simply became less visible due to community acceptance and support? [Note: Another possibility is that cross-dressing shifted into modes and contexts that were different enough from previous modes that they were not recognized as the same phenomenon.] Since the majority of the hard evidence for passing women comes from criminal records, perhaps a larger proportion avoided activities viewed as criminal. Regardless of speculations concerning causes, there are plentiful anecdotal examples of passing women in the Victorian era.
Another factor that became relevant in Schwich’s trial was the particular style of masculinity that she adopted: not a “respectable” upwardly-mobile presentation but that of the more flamboyant “swell” characterized by working-class hypermasculinity. She may have been negatively influenced by the stylings of theatrical “male impersonators” who adopted specific styles and mannerisms that advertised their underlying gender as feminine. Due to the nature of the evidence, it’s difficult to assess whether Schwich’s male presentation reflected some degree of male self-identity.
But heart of this article is an evaluation of how Schwich was treated in three different categories of the press that illustrate the complexity of how women were both admired and condemned for passing as male. Press treatments of her are regularly contradictory but cluster according to the audience and purposes of the publication.
Proto-feminist presses initially championed Schwich as a hero for women’s rights, emphasizing that cross-dressing had provided entry to a livable wage (shared with her family). She was used as a poster child for providing wider employment opportunities for women. They also viewed her cross-dressing as a means of resisting sex work, and therefore a symbol of chaste feminine virtue. This set of narratives faded away as Schwich’s self-confessed stealing and false accusations came out, as well as being undermined by her habits of drinking and smoking.
The latter were emphasized by politically conservative papers, which played up her criminality and anti-social behavior. These, too, dropped interest in the story once the basic facts had been established.
The sensational police tabloids, which presented Schwich as a spectacle, form the majority of the coverage. Her attempts to claim male privileges and status were treated as a matter of amusement and mockery, sometimes colored with respect. That mockery extended to other aspects of the trial, in which regular jokes were made about witnesses or jurors being unable to distinguish male and female, as all identities were called into question. Interestingly, these sensational papers never raised a comparison with theatrical male impersonators, possibly because it would tarnish people's ability to enjoy the latter.
The sensational tabloids were the ones who connected Schwich with a historic tradition of cross-dressing--not of everyday working-class passing women, but of prominent fictional or high-culture “heroines” such as Shakespeare’s Rosalind, Mademoiselle de Maupin (the fictional one created by Gautier, not the historic one), the Chevalier d’Eon, and James Barry.
But the tabloids also made a different connection, suggesting that Shwich’s male disguise was not as sexually innocent as it might seem. That, rather than having the purpose of avoiding male sexual attention as a woman, it might have been intended to solicit male homosexual attention. This is insinuated in various articles, though not stated outright. This framing follows a long tradition in England of associating female gender-crossing with sexual licentiousness in general. Upper-class Victorian attitudes toward working-class sexuality saw it as dangerously uncontrolled and degenerate, in contrast to the myths about upper-class sexuality.
One element that is nearly entirely absent from the coverage of Schwich’s trial is a medicalized sexological take on her identity and presentation. Although sexological theories were prevalent on the continent already, they had not yet taken root in the popular understanding of sexuality in England. Only a few decades later, a woman’s predilection for wearing male attire and smoking would be taken as solid evidence of deviant psychology and lesbian tendencies.
Lesbian Historic Motif Podcast: Episode 46d - Aphra Behn (reprise) - transcript
(Originally aired 2020/05/22 - listen here)
(This is a reprise of episode 7, aired 2017/02/25)
This is a reprise of an earlier episode from the Lesbian Historic Motif Podcast. I hope you enjoy revisiting the topic, or perhaps this is your first chance to listen to it.
* * *
I confess that, although there’s a lot of validation in finding historic evidence of ordinary everyday women who loved women, I’m a bit of a sucker for real-life stories that might be considered unbelievable as fiction.
One such person is the 17th century novelist, playwright, and spy Aphra Behn. Behn had an interesting and colorful career, the early parts of which are clouded by deliberate mythologizing.
What is clearly fact is that during the mid 1660s, when she was in her 20s, she worked as a spy for King Charles II in the period shortly after his restoration to the throne. Her espionage career may have begun in the Dutch East Indies, and is more solidly known from her time later in the Netherlands, where she operated under the code name "Astrea" which she also used as a pen name.
She was a staunch royalist, though one must assume her loyalty to King Charles was strained a bit by the efforts she had to go through to get paid for her work. Her career as a playwright was somewhat more lucrative, though not without occasional reverses. Her works were in the libertine style of the restoration era when the playhouses that had been closed under Cromwell turned to rather free-spirited works, in a sort of artistic whiplash. Her personal life was also free-spirited and she was linked romantically with a number of artistic figures. The late Mr. Behn had left the stage before her writing became popular.
During her heyday, she was a prolific playwright, second in productivity only to John Dryden the Poet Laureate and her poetic output was enormous, both published and private.
So what is Aphra Behn doing on this podcast? Behn was also openly bisexual--or at least as open as one could be about it at the time. Indeed, her pen name Astrea, is taken from the play L’Astrée whose plot involves several erotic scenes between female characters (or characters passing as female). And certainly her poetry and correspondence with a number of women had no hesitation in expressing sentiments that would be clearly understood as romantic and erotic if directed at a man. Or rather, that are accepted as romantic and erotic on those occasions when she directs them at men, for she was promiscuous with her attentions and her most well-known lovers are male.
Behn addressed several poems to a woman named Emily Price, possibly an actress, when the two were briefly separated, including a love song that begs for her affection to be reciprocated, and with acts, not words. The following poem of the group expresses a somewhat different emotion: the vain hope that absence from her beloved might diminish her desire.
It is entitled: VERSES design'd by Mrs. A. Behn, to be sent to a fair Lady, that desir'd she would absent her∣self, to cure her Love. Left unfinish'd.
IN vain to Woods and Deserts I retire,
To shun the lovely Charmer I admire,
Where the soft Breezes do but fann my Fire!
In vain in Grotto's dark unseen I lie,
Love pierces where the Sun could never spy.
No place, no Art his Godhead can exclude,
The Dear Distemper reigns in Solitude:
Distance, alas, contributes to my Grief;
No more, of what fond Lovers call, Relief
Than to the wounded Hind does sudden Flight
From the chast Goddesses pursuing Sight:
When in the Heart the fatal Shaft remains,
And darts the Venom through our bleeding Veins.
If I resolve no longer to submit
My self a wretched Conquest to your Wit,
More swift than fleeting Shades, ten thousand Charms
From your bright Eyes that Rebel Thought disarms:
The more I strugl'd, to my Grief I found
My self in Cupid's Chains more surely bound:
Like Birds in Nets, the more I strive, I find
My self the faster in the Snare confin'd.
The poetic circles Aphra moved in often used pastoral nicknames, which can conceal the identity of the people they are written to. She addressed several poems to “Aminta”, which may have been an alias or may have been a generic name. In some Aminta has experienced the pangs of heterosexual love, but in the poem entitled “The Dream” she is the subject of the poet’s desire:
All trembling in my arms Aminta lay,
Defending of the bliss I strove to take;
Raising my rapture by her kind delay,
Her force so charming was and weak.
The soft resistance did betray the grant,
While I pressed on the heaven of my desires;
Her rising breasts with nimbler motions pant;
Her dying eyes assume new fires.
Now to the height of languishment she grows,
And still her looks new charms put on;
Now the last mystery of Love she knows,
We sigh, and kiss: I waked, and all was done.
‘Twas but a dream, yet by my heart I knew,
Which still was panting, part of it was true:
Oh how I strove the rest to have believed;
Ashamed and angry to be undeceived!
Shall we hope that the Aminta--whoever she may have been--that Aphra dreamed of bringing to “the last mystery of love” entertained the same dreams?
The poem that is most often discussed in the context of Aphra’s playful takes on gender and desire is “To the Fair Clarinda Who made love to me, Imagin'd more than woman.” One should understand that the phrase “make love” was not used as a euphemism for sex in this era and might be read as meaning something more like “to court, or to flirt.” We see here some of the troubling contradictions of the 18th century, where love between women was considered inherently “innocent” and yet the object of a woman’s desire might be imagined as masculine to some degree in order to justify the intensity of the emotion. And so the poet compartmentalizes her desire as friendship for the feminine part (Aphrodite) and love for the masculine part (Hermes), playing off the image of the gender-queer hermaphrodite.
Fair lovely Maid, or if that Title be
Too weak, too Feminine for Nobler thee,
Permit a Name that more Approaches Truth:
And let me call thee, Lovely Charming Youth.
This last will justifie my soft complaint,
While that may serve to lessen my constraint;
And without Blushes I the Youth persue,
When so much beauteous Woman is in view.
Against thy Charms we struggle but in vain
With thy deluding Form thou giv'st us pain,
While the bright Nymph betrays us to the Swain.
In pity to our Sex sure thou wer't sent,
That we might Love, and yet be Innocent:
For sure no Crime with thee we can commit;
Or if we shou'd - thy Form excuses it.
For who, that gathers fairest Flowers believes
A Snake lies hid beneath the Fragrant Leaves.
Though beauteous Wonder of a different kind,
Soft Cloris with the dear Alexis join'd;
When e'er the Manly part of thee, wou'd plead
Though tempts us with the Image of the Maid,
While we the noblest Passions do extend
The Love to Hermes, Aphrodite the Friend.
Although Aphra’s poetry often couched love between women in sentimental terms, her plays were most famous for their bawdy humor and that could include a recognition of the erotic potential between women, as when a character in “The False Count” asserts, "I have known as much danger hid under a petticoat as a pair of breeches. I have heard of two women that married each other," which may, in fact, be a reference to the marriage between Amy Poulter and Arabella Hunt, discussed in a previous podcast.
The most intriguing romantic possibility in Aphra’s life is suggested by the dedication she wrote in 1689 to Hortense Mancini, Duchesse Mazarine, the niece of the great Cardinal Mazarin who, with her sisters and cousins, were known as the Mazarinettes, the glitterati of their day, lovers to a parade of great men and not a few women. Hortense Mancini enjoyed a number of unambiguously sexual relationships with women, both as an unhappy newlywed in France, and later in England, where she counted the young Countess of Sussex among her lovers, though the primary reason she had some to England was to elbow out a rival as the official mistress of King Charles.
In any event, Hortense Mancini had a reputation even more flagrant than Aphra’s own, and it is with that in mind that the following dedication has led some historians to conclude that the two women had most likely been lovers at some point. The dedication reads in part:
…to the Most Illustrious Princess, The Dutchess of Mazarine...how infinitely one of Your own Sex adored You, and that, among all the numerous Conquests, Your Grace has made over the Hearts of Men, Your Grace had not subdued a more entire Slave. I assure you, Madam, there is neither Compliment, nor Poetry, in this humble Declaration, but a Truth, which has cost me a great deal of Inquietude, for that Fortune has not set me in such a Station, as might justify my Pretence to the honour and satisfaction of being ever near Your Grace, to view eternally that lovely Person, and hear that surprising Wit. What can be more grateful to a Heart, than so great, and so agreeable, an Entertainment? And how few Objects are there, that can render it so entire a Pleasure, as at once to hear you speak, and to look upon your Beauty?
To be sure, much of this may be the simple flattery that was common in such dedications. But Aphra Behn’s life, taken as a whole, suggests that the inquietude in her heart was genuine.
If you’re interested in further information about Aphra Behn and discussions about the queer and feminist elements of her life, see the show notes for links and references. And if you’d like to read a fictional imagining of an encounter between Aphra Behn and Hortense Mancini, there’s a link to a novelette that features them.
This episode is about the 17th century novelist, playwright, and spy Aphra Behn.
In this episode we talk about:
This topic is discussed in one or more entries of the Lesbian Historic Motif Project here:
Links to the Lesbian Historic Motif Project Online
Links to Heather Online
This article is getting a bit “meta” for the blog, since it’s an analysis of themes in modern lesbian historical fiction. But I thought it might be fun to summarize. And besides which, hey, evidence that lesbian historical fiction is considered a topic of serious study! I've run across a couple other articles studying queer historical fiction (and even sent a query email to one of the authors about potentially appearing on the podcast -- alas, unanswered). There are a lot of topics I'd love to see studied around this subject, if only there were interest enough (or time to do it myself).
Herrmann, Anne. 1992. "Imitations of Marriage: Crossdressed Couples in Contemporary Lesbian Fiction" in Feminist Studies vol. 18 no. 3 609-624.
Herrmann tackles the question of self-knowledge and performance of homosexual identity within the context of cross-dressing tropes in lesbian historical fiction. The performative theory of gender suggests that all gender presentation is artificial, that the state of being “man” or “woman” is an effect, not a cause of gender presentation. But a gender-neutral approach to performative gender overlooks the observation that masquerade itself is perceived as “feminine”. Thus the performance of masculinity has contextual differences depending on whether the body performing it is understood as male or female.
This analysis also touches on the question of “closetedness”, in which knowledge is not the same thing as acknowledgement. Sexual orientation may be an “open secret” without ever being voiced either by the subject or the perceiver.
Gender as performance is most obvious in the context of cross-dressing, when clothing calls into question the ability of the body to signal “true” gender But much of the theorizing on the concept of the closet has focused almost exclusively on male homosexuality, and theories of gender performance destabilize the entire concept of gender identity. So neither approach is well equipped for explaining the popularity of crossdressing plots in lesbian historical fiction. How can an “essentially” lesbian sexuality be presented when one of the women presents a masculine performance? IThe “open secret” of the relationship is a marriage that creates the understanding of erotic possibilities. In this fictional context, lesbian identity is constructed by the existence of the couple: a “butch” (to introduce sexual possibilities) and a “femme” (to reframe the butch’s masculine presentation from “male” to “lesbian”).
At the same time, crossdressing performance introduces the risk, not that the same-sex nature of the relationship will be discovered, but that the role-playing will turn into the realities of heterosexual hierarchies within the context of a ideally egalitarian same-sex couple.
The three books Herrmann chose for this study are Isabel Miller’s Patience and Sarah (1969), Jeannine Allard’s Légende: The Story of Philippa and Aurélie (1984), and Shelley Smith’s The Pearls (1987). [Note: I’ve read the first two but not the third.] All three deal with the performative aspect of gender roles and the ability of cross-dressing performance to enable two women to live openly as a couple while concealing the lesbian nature of their relationship. All three invoke the theme of a “pastoral retreat” but unlike the mythic image of the Ladies of Llangollen, break the potential illusion of passionlessness by the introduction of a “masculine” participant.
The “reason” for crossdressing in the books varies: as physical protection (Patience and Sarah), as legal protection (Légende), and for the purpose of professional advancement (The Pearls). This is paralleled by a chronological function from the ability to create a lesbian domestic arrangement “under the radar” to the ability to engage in same-sex desire separate from a politicized lesbian feminism. [Note: it isn’t clear whether Herrmann’s “chronology” refers to the settings of the stories or to the dates of composition, as the two attributes are parallel in these three works.]
Although all three books use crossdressing in order to appropriate the appearance of a heterosexual husband-wife pair, they produce different understandings of lesbian identity. All of them center in some way around the question of what “natural” means in terms of gender and sexuality. For the “natural” love between two women to be enabled in these stories, one woman must perform masculinity. But in all three stories, the “butch” is introduced to masculine performance as a “natural” consequence of life circumstances: raised as a substitute “son” in the context of gendered agricultural labor, adopting gendered performance for a preferred career, or accepting role-playing for the purposes of espionage where gender is only one facet of the roles required. All three stories culminate in the discarding of the “masculine” role and a rejection of pseudo-heterosexual coupling in favor of same-sex egalitarianism.
At the same time, the “butch” role is centered not only because she introduces an awareness of sexual potential, but because she symbolizes the deception necessary for the success of the union. The crossdressing character is not a “butch” in the sense of an eroticized public butch-femme subculture, but rather a symbol of that deception. Curiously, in two of the three stories, a gay male figure appears as a “mentor” to initiate the crossdressing character into successful masculine performance.
The article goes into a detailed analysis of each of the three books and how the crossdressing motif is used. In Patience and Sarah, Sarah initially crossdresses only when separated from Patience. An excess of honesty has led to the need to learn to dissemble, which occurs during a “wander year” when she meets the aforementioned gay male character. (Sexuality confidences are exchanged after he interprets Sarah as a sexually desirable adolescent boy.) But the resolution to Patience and Sarah’s relationship negotiations is more about class difference than sexuality, reconstructing the socially questionable butch-femme presentation into an acceptable ideal of desexualized middle-class femininity with complementary but non-hierarchical roles.
Philippa/Philip in Légende crossdresses from an early age for protection against male violence but later for access to a profession as sailor. She is initiated into the life by her late mother’s lover who covers for her change of presentation and helps her enter the male professional world. After a shipwreck, she is rescued by Aurélie. They fall in love and construct a marriage to enable their public relationship. There is a twist in which Philip(pa) muses on how, living as a man, she is now locked out of the social world of women that she longs to inhabit. There is also a subplot about an adopted daughter of the two and her own same-sex romance which provides a counterpoint of an openly same-sex couple with no need for disguise.
The Pearls takes up the genre of detective story, in which two female agents agree to a “cover” as a heterosexual married couple in order to be assigned a prestigious case -- roles that lead to recognizing their mutual attraction. Unlike the couples in the earlier settings, they are quite aware of the possibility of same-sex attraction, but only recognized their own lesbian potential within the framework of the fictitious male-female roles--roles that originally had been intended solely as a road to career advancement. Their experience raises the possibility that any woman can discover same-sex attraction given the right context.
Lesbian Historic Motif Podcast - Episode 46c - History and Historic Fiction with Janet Todd
(Originally aired 2020/05/16 - listen here)
A chat with historian and historical novelist Janet Todd.
In this episode we talk about:
Links to the Lesbian Historic Motif Project Online
Links to Heather Online
Links to Janet Todd Online
The last three chapters of Female Masculinity are all of limited interest to the Project, so I've combined them with chapter 4 into a single entry. Now I have three weeks to do the reading an annotating for the 6 entries after that, which are all full books, and two of which I don't currently own. (I'd been assuming I could get library copies.) Past!Me what were you thinking? Most likely I'll rearrange things a little and substitute in some shorter articles. I still have about three months of content lined up in my to-do list, based on my last orgy of downloading from JSTOR at UC Berkeley. It may be a while before I have that sort of access again, unless I can wangle a home JSTOR account based on quarantine conditions. I do have friends who could pull individual articles for me, but it's a different matter to pull up the entire contents of a journal and comb through it for articles I didn't know I wanted. But in the mean time, I do have lots and lots of books on the shelves, waiting for me.
Halberstam, Judith (Jack). 1997. Female Masculinity. Duke University Press, Durham. ISBN 978-1-4780-0162-1
Due to the social and cognitive complexities of discussing a book written by a self-identified (at the time) butch lesbian who now identifies as a trans man, I have chosen to use “H” as a shorthand for the author’s name, rather than using gendered pronouns or trying to avoid pronouns altogether. This is not meant to disrespect Halberstam’s current identity, but rather to respect the identity from which this book was written at the time.
Chapter 4: Lesbian Masculinity: Even Stone Butches Get the Blues
This chapter opens by comparing expressions by Anne Lister and (the fictional) Stephen Gordon about needing always to be the “active” partner in sex, to the archetype of the “stone butch” in the 1950s. But Halberstam is wary of connecting these dots to construct a trans-historical “stone butch” role, while tracing this motif through various historical understandings of embodiment. The theme of this chapter is the equation of masculine untouchability with dysfunction and melancholy. H disputes this framing (i.e., the dysfunctional one) as well and sees the “stone butch” as demanding differential emotional accountability from different roles. It shows how some sexual roles are dismissed as “inauthentic” while others are privileged as “real” to the point where they are not seen as “roles” at all.
While modern academia has produced insights about queer identities and communities, it has avoided addressing the way specific sexual practices and meanings fit into that picture, including apparent logical contradictions between political theory and sexual practice. There are popular assumptions about characteristic sexual practices of political or sexual identities, but these images have little to do with practice. The failure to address the specifics of sex--like the failure to address race within queer communities--passively allows for the projection of a “universal experience” that follows socially dominant paradigms. The sexuality of marginalized queers is both made invisible and made hypervisible in its Otherness. The default has shifted in different eras providing a temporal “other” as well to the contemporary “invisible” default.
Discussions of sex in queer communities have tended to focus on individual acts rather than identities. [Note: where have we heard the framing of “acts versus identities before? *cough* Foucault.] There is a bit of discussion of gender theory and what “gender as a social construction” does and does not mean.
Although Halberstam sees a distinction between lesbianism and female masculinity, masculinity has often been used as the defining feature of lesbian stereotypes. This is embraced in the modern lesbian community in the form of category “butch”. But within this category, butches have many different relationships to masculinity, from performative style to dysphoric to passing. Some parts of the lesbian community view butches as embarrassingly gender-normative, but H rejects the option of excluding butch from the category “lesbian” in order to save that category for “woman-identified woman.” [Note: and yet in other parts of the book H appears to do just that, claiming for example that Anne Lister shouldn’t be classified as “lesbian”.]
[Note: I’m getting a sense that Halberstam may be using the catchphrase “woman-identified woman” in a different way that I’ve always understood it. H seems to be using it to contrast with masculinity, i.e., that the “woman-identified” part means “identifying as a feminine woman”? But the point of the “woman-identified woman” manifesto, presented in 1970 by the Radicalesbians as part of the Lavender Menace protest, had to do with women whose primary emotional connections and relationships were with women, regardless of sexuality or gender identity. So I don’t quite get the contrast suggested between “butch” and “woman-identified woman” unless one is taking the position that butch isn’t part of the category “woman”.]
An exploration of all the varieties of personal expression and experience make category boundaries impossible, while allowing thematic connections. The rejection of butch-femme by some in the 1970s resulted in limiting acceptable gender expression for lesbians in both directions, in favor of an androgynous ideal. That had the result of rendering lesbian identity less visible. When cultural expressions of lesbian sexuality are brought into the picture, the “lesbian-feminist ideal” becomes a form of cultural imperialism. [Cf. “white feminism]
There is a detailed discussion of the definition and performance of “stone butch” as an identity and practice. Leslie Feinberg’s Stone Butch Blues doesn’t necessarily depict “stone” as a positive option, rather as a closing off, a hardening, in response to abuse or vulnerability, where the “right woman” can allow the stone butch to open up. This feeds into the cultural model of stone as dysfunction. (Feinberg’s novel isn’t any more sympathetic to lesbian-feminist than to the stone butch, so this shouldn’t be taken as authorial judgment.) This culture clash is explored further in the chapter through both fiction and sociological studies of the 1970s and 1980s.
Chapter 5: Transgender Butch: Butch/FTM Border Wards and the Masculine Continuum
[Note: This chapter is more about modern social politics so while it’s fascinating history, it isn’t LHMP history except in relevance to handling the butch/trans intersection for contemporary readers.]
Halberstam emphasizes the continuities and overlaps in various experiences of cross-gender identity. [Note: H uses terminology and makes distinctions that were “best practice” in the 1990s but may be deprecated today. In my summary here I’ll tend to follow H’s vocabulary even when usages has shifted, as when H uses “female-to-male” or uses “transsexual” in contexts where “transgender” is preferred today. H does use “transgender” but equates it with “gender-queer”. So for example when H discusses the concept “transgender butch”, a better translation into current terms might be “gender-queer butch” or perhaps “non-binary butch”. The shifting nature of the terminology landscape makes it impossible for me to both clearly present the discussion in the book and follow current norms of reference, because modifying H’s terminology might distort the intended meaning.] In particular, H looks at the potential impact of a visible/accepted transsexual (the book’s terminology) population on how younger people develop an understanding of their own identity. The medicalization of transsexuality has moved gender variance from the context of homosexuality to the context of gender identity.
[Note: this is something clearly relevant to creating historical fiction, because just as homosexual/heterosexual didn’t exist in many past eras as conceptual categories, the idea of trans identity is a cultural construct and has not always been available. And yet as writers of historical fiction, we are writing for an audience that takes those concepts for granted. As authors, we will necessarily be finding the balance between historic accuracy and modern reception.]
Medicalization also shifted the possible choices for expressing gender identity. The growing visibility and awareness of trans men has other sociopolitical consequences than an awareness of personal possibilities. It creates fault lines around access to male privilege as well as around how the performative gender of butchness is viewed. This has created a “strange struggle between FTM and lesbian butches who accuse each other of gender normativity.” [Note: I’ve quoted the book directly to emphasize that this is Halberstam’s characterization and not my interpretation. This is where H’s dual status as a formerly self-identifying butch lesbian and currently self-identifying trans man may provide a unique platform for considering this topic.]
Halberstam uses the term “transgender butch” to identify a key experience/identity within this context. H discuses various conceptual conflicts in how trans men and butch women characterize each other. These “border wars,” as H call it, treat masculinity as a limited resource to be fought over, or as a set of fixed and agreed-on protocols. If, instead, masculinity is divorced from maleness (though related to it at the same time) these conflicts become unnecessary.
What H does in this chapter is to explore the model of masculinity that is contested within this conflict. Within queer studies, transsexuality is a popular lens for examining gender theory, but this theorizing is too often done from the outside. H discusses their own 1994 article on trans topics, focusing on representations in media of gender-ambiguous butch-like characters. The article provoked some negative reactions from trans men’s groups and inspired H to reflect on assumptions about the continuity and overlap between the categories of butch women and trans men. The ways in which the article failed in its intent, and the ways in which it was critiqued by transsexuals pointed out the different value framings brought to the topic of masculinity that prioritized different experiences.
Is gender constructed or essential? Is it performed or experienced? Halberstam’s answer is “all of the above” and to embrace the spaces between. Is the stone butch a “pre-operative transsexual” in an arrested stage of a transformation narrative? Or is the stone butch a locus on the gender map that represents an independent stable identity?
The broader discussion, bringing in a wide variety of personal experiences and identities, argues against trying to build monolithic modes of “doing butch/transgender right.”
There is a survey though history of conflict between some feminist, lesbian, and transgender positions that revolve around themes of gender-loyalty, gender privilege, and “ownership” of historic narratives and persons.
Identifying as a butch lesbian can be a transitional stage for a trans man, even though most butches don’t have transgender leanings and not all trans men go though that experience. But the examples feed into narratives from both sides that destabilize the understanding of butch identity as independent and valid.
The rest of this chapter is full of interesting material but we’ve gone well past the relevance to pre-20th century history. It’s definitely worth reading, though.
Chapter 6: Looking Butch: A Rough Guide to Butches on Film
This chapter looks at the history of butch women in film. While of tangential relevance to the Project, there are a few interesting intersections. In particular, the presence of butch images in film can work to create homoerotic possibilities in ways that femme images do not. Any (femme) woman interacting with a butch woman on the screen can be read as potentially lesbian, while that same femme woman, on her own, carries no such associations, and whereas a lone butch woman is easily read as lesbian. [Note: this recapitulates a motif found throughout history, in which only the active/masculine partner is considered a lesbian/tribade, while her female partner is viewed as a “normal woman” who is simply willing to accept her in place of a man.] The butch makes lesbian identity legible at the cost of reinforcing the myth that lesbians can’t be feminine.
There is an extensive discussion of the effect of the Hayes Code, the more recent emphasis on looking for “positive representation”, and the use of butch imagery separate from lesbian implications. The chapter continues with an extensive taxonomy of butch representation in film.
Chapter 7: Drag Kings: Masculinity and Performance
This chapter discusses the social and historic context of drag king performances. In a modern context, there is a contrast between male impersonation versus the more parodic and humorous drag king style. Male impersonation has a long history on stage (going back to the 17th century and “trouser roles”) but those earlier traditions have much in common with drag kings in that the intent was often to highlight the female body doing the performance. Male impersonators were popular around the turn of the 20th century but faded from view around the same time as the Hayes Code. There was some continuing tradition in lesbian bars, but drag king performance didn’t really make a comeback until later in the century.
There is an extensive discussion of cultural differences between drag king and drag queen traditions, particularly revolving around the equation of femaleness with performance and maleness with “naturalness”. This changes the dynamic of how to “perform maleness.” There’s a typology of drag king performance genres.
Chapter 8: Raging Bull (Dyke): New Masculinities
This chapter summarizes the general themes and includes some personal anecdotes from the author, especially revolving around gender in sports.
One of the most annoying "historical firewalls" in researching queer history is getting past the notion that the rise of the sexologists in the late 19th century was the most defining event in queer history. If you start by looking backward from the present day, it's all too easy to run into Ellis and Kraft-Ebbing and swallow the idea that they invented homosexuality and that everything before that is a "dark age". It's even more annoying when you look at the ways they shoehorned disparate concepts of gender and sexuality into an oversimplified mold and then mangled the self-image of generations to come on the basis of those theories.
But this chapter isn't so much about the sexologists as how the diversity of human experience managed to find a way out despite them.
Halberstam, Judith (Jack). 1997. Female Masculinity. Duke University Press, Durham. ISBN 978-1-4780-0162-1
Chapter 3: “A Writer of Misfits”: John Radclyffe Hall and the Discourse of Inversion
Due to the social and cognitive complexities of discussing a book written by a self-identified (at the time) butch lesbian who now identifies as a trans man, I have chosen to use “H” as a shorthand for the author’s name, rather than using gendered pronouns or trying to avoid pronouns altogether. This is not meant to disrespect Halberstam’s current identity, but rather to respect the identity from which this book was written at the time.
This chapter tackles John Radclyffe Hall and the sexologists’ “invert” as the next archetype. Hall was part of a subculture of “inverts” and their “wives” at a time when sexological theories were becoming familiar to the public. Despite the sexologists’ attempts to identify a unified theory of inversion, there were different models of female masculinity prevalent in same-sex circles. Female inversion (usually accompanied by homosexuality) was the model applied to women similar to Anne Lister: ones with a masculine identification and performance, who desired non-masculine women.
Kraft-Ebbing identified four types of lesbian: 1) non-masculine women who were receptive to the attention of masculine inverts; 2) cross-dressers; 3) “fully-developed” inverts who dressed in a masculine style and took a masculine role; and 4) “degenerate” homosexuals who lived fully male lives. [Note: notice that this typology has no place for the non-masculine woman involved in a relationship with another non-masculine woman.] Kraft-Ebbing did not view these types as a continuum but as fixed and distinct identities.
Havelock Ellis built on this taxonomy and emphasized the distinction between masculine and feminine inverts. [Note: Just to be clear when we talk about “inverts” here, we’re always talking about women.] Feminine inverts were rejected or “leftover” women who turned to homosexuality due to not having access to healthy heterosexual relationships. They were social rather than sexual deviants. Whereas masculine inverts had a congenital masculinity.
Underlying all this is the drive to enforce binary systems of gender difference. [Note: as well as reducing all desire to heterosexual or pseudo-heterosexual relationships.] Female masculinity was viewed as derivative or imitative of male masculinity, rather than a separate identity. This approach continued under Freud.
One problem is that an outside observer will never notice the complexities of identity due to not being familiar with the vernacular, the hierarchies, the codes, or the less visible aspects of sexual practice. Ellis attempted a liberal and tolerant approach to female inversion, but tripped on inherent contradictions. He both considered it congenital and thought it flourished in homosocial environments, such as schools and convents. He sees an attraction to masculinity as natural, due to societal misogyny and gender hierarchies, thus he views successful and powerful women in history as “having masculine traits” without understanding this is because success and power are coded as masculine. Intellect is also coded as masculine. But if a woman with these traits has no social access to positive expression, Ellis asserts, she may turn her abilities to criminality. Despite being unable to consistently correlate female inversion with physical traits, Ellis reaches to find physical signs interpretable as characteristic. This theory was sustainable only because he glossed over counter-examples (such as the entire category of feminine inverts).
When physical signs fail, Ellis relies on early “boyish” behavior: tomboyism. His prototype is strikingly similar to John Radclyffe Hall’s biography.
Various case studies are discussed in their complexity and contradictoriness, especially expressions of being neither feminine woman nor man but something else. The concept of inversion combined gender variants and sexual preference into a single package, based on heteronormative and binary imperatives. But when later lesbian feminists rejected the model of inversion, they also rejected female masculinity as the central model of the lesbian, replacing it with the androgynous “woman-identified woman”. [Note: Halberstam’s underlying theme here is that none of these prototypes are wrong, but that we should reject the idea of a single central prototype for lesbianism. Some day it would be fun to feed these ideas through some of the category structures studied in cognitive linguistics.]
Radclyffe Hall’s fiction recapitulated her own experience of being a masculine woman, desiring women, and trying to find a modus vivendi. Her stories and social circles were filled with mostly upper and middle class women, often with inherited wealth, many of whom were artists. Sexologists tried to collapse their lives into a single model, but a detailed examination of their lives restores complexity. (Lower-class women’s lives are harder to study in this era, but many stories of “passing women” in the military and male professions suggest some approaches.)
The rise of the idea of the female invert came in the same era as the rise of a women’s movement and challenges to the system of gendered labor, driven in part by large numbers of unmarried women. [Note: but demographics like this have always been cyclic. It is hazardous to treat this as a unique social context.] Some date the shift from “invert” to “transsexual” to the point when gender reassignment surgery became practical, but the existence of individuals who desired transition predates that. The transgender model of inversion may, in part, have been a social way to contain women’s desire for equality, but it was also an individual identity. And not all masculine inverts had the same desires regarding “being a man” versus “being masculine”. This era also entailed a separation of the concepts of inversion versus homosexuality: what one was versus what one desired. [Note: but see previous comments regarding cyclicity -- these two concepts had sometimes been recognized as separate in earlier eras.]
Sexual and gender identities do not suddenly appear, they emerge from gradual social shifts. WWI offered scope for women who desired to engage in masculine professions, behavior, and roles. In the 1920s there were many masculine women who functionally “changed sex” and lived as men, marrying women, but it isn’t accurate to categorize them either as lesbians or as “pre-transsexual”. Wealth eased the way for such women as Una Troubridge, Radclyffe Hall, and others in her circle. Such women were often content to live masculine lives without rejecting female identity. Hal’s letters explore her own take on the question. She saw inversion as defined by whom one desires, not by a “mannish” life. She thought most people were bisexual but some, like herself, desired only the same sex. But this contradicts other opinions of hers on record, where she considers her same-sex desire to be channeled through an essential masculinity.
One must beware of how biographers read their own theories of gender into Hall’s life. Hall’s masculine performance contrasted with an expressed disdain for “passing women” as deceptive and masquerading for gain, in contrast to Hall’s “innate” masculinity. [Note: yet another argument against some sort of “natural category” of masculine women, when masculine women themselves see multiple mutually exclusive subcategories.] Hall wanted the possibility of same-sex marriage for inverts, but thought that marrying in male disguise was a type of fraud.
There is a discussion of social/racial prejudice among various prominent masculine women, noting that marginal identity is no guarantee of social solidarity. Hall was both anti-Semitic and a fascist, deriving largely from her class alignment.
There is a discussion of Hall’s novel The Well of Loneliness as an exploration of the female invert from within. Hall’s character Steven Gordon represents an archetype, one that can’t easily be classified as either lesbian or transgender.