New Research in Trans Studies

Jul. 13th, 2025 02:53 am
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Posted by Heather Rose Jones

Saturday, July 12, 2025 - 19:00

Today's article is a survey of recent research in trans (and to a lesser extent, intersex) research on the middle ages.

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Full citation: 

Wingard, Tess, 2024. “The Trans Middle Ages: Incorporating Transgender and Intersex Studies into the History of Medieval Sexuality”, The English Historical Review, cead214, https://doi.org/10.1093/ehr/cead214

This article is a survey of recent work in trans and intersex historical studies covering the medieval period. Wingard notes that these topics have only been seriously included in book-length studies since 2020, following something of a hiatus in queer medieval history publications in general since the early 2000s. This particular survey focuses on work that studies “lived experience” via documentary sources and non-fiction texts, rather than a broader scope that includes literary and artistic materials.

Queer medieval history has revolved around three topics: identity, community, and repression. The first involves identifying individuals where there is probable evidence for sexual, romantic and intimate acts classifiable as queer, though the evidence rarely addresses interiority. Wingard notes the debt owed to approaches developed for women’s history to identify methods and approaches for marginalized subjects.

The field involves several significant theoretical disagreements of approach and method. One position argues against the concept of “persistent sexual identity” being meaningful in the medieval period, much less a clear binary classification of homosexual and heterosexual. In this context, “heteronormativity” is not a useful interpretive framework. Another position (which the author holds) is that while medieval concepts do focus more on acts than identities, there is a clear privileging of male-female relations, which are uniquely classified as “natural.” The result is difficult to distinguish from heteronormativity.

Studies into medieval community again hit a clear divide between those who reject Boswell’s image of an “international gay subculture” and those who more narrowly identify specific contexts for networks and normalized practices among queer men. [Note: And with regard to “communities” the discussion is entirely focused on men.]

The third theme relates to repression and persecution and the forces and logics that drive fluctuations in official attention to queer practices.

Having laid out the map of the field of queer history in general, Wingard discusses a number of very recent publications that explore new ground specifically with regard to trans and intersex studies. [Note: I’m not going to list individual titles, but many of them are on my shelves and will be blogged at a later date.] This field is moving on from anecdotal studies of specific individuals, to studies that address larger theoretical questions, such as philosophical and medical understandings of transness and intersex. These questions are relevant to the study of sex and gender in general because they challenge the nature and definition of sex and gender categories.

Trans history is based on several key principles: that gender is socially constructed, that biological sex itself is—to some extent—socially constructed (i.e., that societies have had different focuses and frameworks for determining how to classify someone as biologically male or biologically female), and that “individuals whose gender identity does not line up with their assigned gender at birth have always existed in all human cultures,” and have used various strategies to negotiate that mismatch. Wingard notes that using a trans history approach to these questions is productive regardless of whether the subjects of study can be considered “transgender” either by modern definitions or by some medieval analog. The parallel to Judith Bennett’s “lesbian-like” approach is noted. Several specific historic individuals are discussed to illustrate these points.

Intersex history also speaks to the social construction of sex and gender, as well as the agency that intersex individuals had to manage their own classification, within certain limits.

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Did Someone Say Pirates?

Jul. 11th, 2025 11:09 pm
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Posted by Heather Rose Jones

Friday, July 11, 2025 - 15:59

When I see pirate novels in the new book listings, I sometimes sigh over how all of them are based on a Hollywood-fantasy version of history. But then, this is part of a grand tradition, because the story we have about Anne Bonny and Mary Read is, itself, a fantasy version of their lives, written within existing fictionalized genres and carefully tailored to audience expectations.

Major category: 
Full citation: 

Klein, Ula Lukszo. 2021. “Busty Buccaneers and Sapphic Swashbucklers” in Transatlantic Women Travelers, 1688-1843 edited by Misty Kreuger. Lewisburg PA: Bucknell University Press.

This article is something of a cross-genre, cross-temporal look at the representation of Anne Bonny and Mary Read as “sapphic pirates” and what part their stories have played within the constructed image of 18th century piracy and colonialism. (The introduction makes reference to their appearance in the video game Assassin’s Creed IV as well as the tv series Black Sails, and these depictions are also referenced later in the article.) It should be emphasized that pretty much everything we know about them has come through dubious sources created as both entertainment and as cultural propaganda, so while there is no doubt of the historic existence of the two women, the specific details that we “know” about them are of questionable historicity.

The women’s stories combined a number of established tropes prevalent in 18th century literature and media: the cross-dressing warrior, criminal biographies, and sexual narratives. These motifs are trans-national and typically work to “other” the women involved in order to comment on (and police) ideas about the role and proper place of women. As pirates, they participate in a culture defined by movement, independence from law and nationality, adventure, and danger. Standing outside social norms along several axes, their transgressive gender and sexuality in the stories are available to be viewed as entertainment, rather than a challenge to those norms. At the same time, certain elements of the stories strengthen and emphasize those norms and work to integrate the two women into a racialized image of white femininity even as they perform masculinity. In this, they illustrate the assimilation of pirate culture into a fictionalized world of (predominantly) white adventure and freedom.

The article gives the background of what it refers to as the “transatlantic” world and its relationship to, and contrast with, national structures and cultures. It also gives a brief background to the publication General History of the…Pyrates in its several editions by Charles Johnson, which is almost the sole source for information about Bonny and Read. The work was first published in 1724 and then republished across the 18th century with increasing modifications to the content. The initial edition appeared very soon after B&R’s convictions for piracy in 1720 and was based on the official trial report, as well as contemporary reporting. But even this earliest version, which can be suspected to be the closest to reality, includes details not present in these sources, including “origin stories” (a motif not included for any of the other pirates discussed in the publication) that parallel stock passing woman biographies, in which they are said to have cross-dressed as girls for somewhat implausible reasons. Due to the questionable veracity of the biographical material, the present article focuses solely on the narratives present in the General History. In particular, the article examines how the narrative emphasizes and supports their status as women and thus—despite the hints at homoerotic possibilities—situations them within a solidly heterosexual framework.

This work flourishes during a transition period in fictions of female adventure, between the adventurous heroines of Defoe and Aubin and the less transgressive ones of the later 18th century. They are allowed to represent themes of “female autonomy…[and] ambiguous virtue.” They are agents in their own stories, in contrast to the status of most women, constrained whether by class or propriety. Their stories can be compared to military passing women such as Hannah Snell, with B&R status as vicious outlaws contrasted with Snell’s image as a heroic and patriotic soldier. These differences stem, in large part, from their participation in pirate culture, even when the shape of the narratives parallel stories not involving outlaw status.

Both women were said to have begun cross-dressing at a young age, at the guidance of their mothers, and for deceptive purposes. Both were stymied in their ambitions by both gender and class and leveraged gender disguise to seize opportunities: Read volunteering as a sailor, in which context she was then briefly married to a fellow soldier, and Bonny to leave a problematic marriage and join Jack Rackam’s pirate crew in male disguise (with his knowledge). Both are framed as brave, fearless, and comfortable with violence. Although the initial version of the text indicated that Rackam purchased Bonny from her husband, later versions suggest that she was the one who arranged the move, reinforcing the image of agency.

The stories about the two women created a probably-invented contrast, with Read being the “virtuous” one, not entirely enthusiastic about pirate life but constrained by necessity, and Bonny being volatile and vicious, embracing piracy eagerly, and constantly contemptuous of men who she considered less able and bold than her. Neither woman is depicted as being subjected to an ultimate punishment for her deeds, with Read dying of illness in prison before sentencing and Bonny—after a temporary reprieve due to claiming pregnancy—was not executed but simply disappears from the historic record.

Despite Bonny and Read’s stories being firmly rooted in heterosexual partnerships with men, they are presented narratively as a pair and their interactions with each other are told more vividly than those with their male partners. The anecdote of particular interest to the Project occurs when Read first joins Rackam’s crew, when both women are presenting as men, and only Rackam knows Bonny’s underlying sex (and not Read’s). Although, textually, the interaction does not proceed to an erotic encounter, the reader not only is offered that as a possibility, but is relied on to consider it as legible and possible. This legibility is bolstered by the standard tropes of cross-dressing narratives (both those purporting to be biographical and those in outright fiction, especially in theater) in which the existence of a cross-dressed woman (much like Checkov’s gun) heralds an evitable incident of mistaken desires.

Bonny, supposedly believing Read to be a man, desires her and makes an advance. The truth of her motivations is made somewhat ambiguous by the phrase “for some reasons best known to herself” rather than describing the purpose as directly sexual. Read, supposedly believing this to be a (male) homosexual advance, deflects it. Bonny then reveals her sex to Read. At which Read reveals her own sex and the momentary erotic potential is converted into humor. The text notes that Read’s motivation to this deflection of the sexual advance is due to “being very sensible of her own incapacity in that way,” that is, knowing that she couldn’t “play the man” for Bonny, but with no overt indication that the idea itself was objectionable. Thus, on both sides there is an implied possibility of sapphic desire, carefully obscured by the ambiguities of disguise. After this mutual revelation, evidently their behavior toward each other changed sufficiently to arouse Rackam’s jealousy, forcing them to let him in on Read’s secret.

[Note: I’m going to summarize a little out of order in the following.] Both women have established heterosexual bona fides before this encounter: Read with a Flemish soldier, to whom she covertly revealed her gender, and Bonny via her initial abandoned marriage and then her relationship with Rackam. Both women are described as having other covert erotic encounters with men while still maintaining their gender disguise, but always with a gender reveal as preliminary. In these other encounters, the women reveal their gender by exposing their breasts “which were very white.”

Klein follows up in detail on one aspect of how this breast-revealing described: the whiteness of the breasts involved. This, Klein argues, is a key signifier that allows the audience to identify with the two women as characters worthy of freedom and agency, within the multi-ethnic (and racially stratified) transatlantic world. Their possession of white breasts establishes them firmly as women, and as acceptable sexual agents within the otherwise all-male pirate milieu. And the emphasis is not simply on having breasts (which one might think was sufficient to establish female identity) but on having breasts which signaled a specific ethnic and even class status.

This identity then provides the titillating contrast between B&R’s courageous and violent behavior (coded masculine) even as they are able to use their feminine status strategically (including after capture when they were able to invoke the possibility of pregnancy to defer judgment). But this strategy—as well as their acceptability as romanticized protagonists—rested strongly on whiteness and in turn served as part of the process of establishing the pop culture version of the golden age of piracy as a white domain, in contradiction to historic reality.

The article concludes with a discussion of the treatment of Bonny and Read in various modern media depictions, including leaning in to the sapphic potential.

[Note: Blogging this article has inspired me to track down the original source materials for what we “know” about Bonny and Read and I’ll put together an entry about that in the near future.]

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Event / person: 

My Worldcon Schedule

Jul. 11th, 2025 03:44 pm
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The Worldcon programming schedule is out and I'm on a number of interesting panels.

Wed Aug 13 - Horrible Histories: A Way to Make Learning about History Fun (Room 343-344)

A discussion about shows, podcasts, and other media that help make learning about history fun. After all, it isn’t just lists of numbers and names! How do you take that dry text and make it engaging enough to reach an audience that isn’t necessarily interested in history?

Thu Aug 14 - Medieval Characters—Women Authors (Room 420-422)

A look at the legacy and influence of Marjorie Kemp, Christine de Pisan, Marie de France, Hildegard of Bingen, the anchorite Julian of Norwich, and more. Their works continue to have relevance today.

Fri Aug 15 - Conlangs 101: How to Get Started Making Your Own Language (Room 322)

Building language goes beyond just putting funny sounds together or making a word that looks cool. Learn what’s needed to make a basic constructed language and how to find the resources and tools to get started in language creation.

Plus autographing on Fri Aug 15 at noon, a (limited attendance) table talk on Sun Aug 17 at 9am and...

Hugo Awards Ceremony - Sat Aug 16 (time TBA) where I will be trying not to chew too hard on my fingernails as I wait for the Best Related Work category to come up.

More details on my blog: https://alpennia.com/events/worldcon-seattle

My Worldcon Schedule

Jul. 11th, 2025 10:41 pm
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Posted by Heather Rose Jones

Friday, July 11, 2025 - 15:41

Planning to be at Seattle Worldcon? Want to know what I'm doing there? Check out my schedule!

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Embodiment requires sacrifice

Jul. 10th, 2025 11:00 am
sporky_rat: Garrus, Mass Effect 2 (hurt)
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Stupid little walk for stupid little brain chemicals in stupid heat.

It was either heat or humidity, so heat.

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Posted by Heather Rose Jones

Tuesday, July 8, 2025 - 19:08

Lesbian Historic Motif Podcast - Episode 318 - On the Shelf for July 2025

 - Transcript

(Originally aired 2025/07/08 - listen here)

Welcome to On the Shelf for July 2025.

You might think that retirement means I’d never have a late podcast ever again, but here I am uploading it several days past the first Saturday. A certain amount of it is finding myself in the middle of “Time? What even is time?” But there’s another factor at play. They say that in retirement, every day is a weekend. Well, my weekends used to be jam-packed full of projects, and now every day is a weekend. On the plus side, I’m making a lot of progress on a lot of projects.

Publications on the Blog

I fulfilled my pledge to blog a publication every day in June for Pride Month, focusing mostly on materials relating to US history, which I’ve tended not to prioritize in the past. This included surveys of Colonial-era legal issues and cases, such as:

  • Richard Godbeer’s “’The Cry of Sodom’: Discourse, Intercourse, and Desire in Colonial New England”
  • Robert F. Oaks’ “"Things Fearful to Name": Sodomy and Buggery in Seventeenth-Century New England”
  • Alden Vaughan’s “The Sad Case of Thomas(ine) Hall”

and

  • Greta LaFleur’s “Sex and ‘Unsex’: Histories of Gender Trouble in Eighteenth-Century North America”

or similar issues in the post-Colonial period, such as:

  • Estelle B. Freeedman’s “Sexuality in Nineteenth-Century America: Behavior, Ideology, and Politics”

Several articles looked at literary themes, such as:

  • Lillian Faderman’s  “Female Same-Sex Relationships in Novels by Longfellow, Holmes, and James”
  • Mary E. Wood’s “’With Ready Eye’: Margaret Fuller and Lesbianism in Nineteenth-Century American Literature”

and

  • Kristin M. Comment’s “Charles Brockden Brown’s ‘Ormond’ and Lesbian Possibility in the Early Republic”

Several articles examined transmasculine topics, such as:

  • Jen Manion’s “The Queer History of Passing as a Man in Early Pennsylvania”

and

  • Rachel Hope Cleves’ “Six Ways of Looking at a Trans Man? The Life of Frank Shimer (1826-1901)”

And of course I spend over a week blogging Cleves’ book Charity & Sylvia: A Same-Sex Marriage in Early America.

Several articles tackled the process of researching queer lives or the historic resistance to doing so, such as:

  • Sylvia Martin’s “'These Walls of Flesh': The Problem of the Body in the Romantic Friendship/Lesbianism Debate”
  • Pamela VanHaitsma’s “Stories of Straightening Up: Reading Femmes in the Archives of Romantic Friendship”
  • Lillian Faderman’s “Who Hid Lesbian History?”

and

  • Linda Garber’s “Claiming Lesbian History: The Romance Between Fact and Fiction”

And due to the vagaries of my process, some non-US topics slipped in, such as Theresa Braunschneider’s “Acting the Lover: Gender and Desire in Narratives of Passing Women.” It’s been a while since I covered that much material in a single month, so I guess I can be excused for getting distracted from writing podcast scripts!

News of the Field

Before I move on to the new book listings, I wanted to give a shout-out to that rare instance of sapphic characters in a historic tv series. Edith Wharton’s unfinished novel The Buccaneers follows the careers of a group of American heiresses looking to marry into aristocratic English society. There was a previous miniseries based on the same material in 1995 that stayed somewhat closer to the original material. The current show plays a bit more fast-and-loose with historic accuracy, introducing some race-blind casting and modern party-girl sensibility, but most pertinent to our interests, we get a sapphic romance that develops with the same scope and detail as several of the other relationships. This particular plot point does not exist in the original text, so we must be grateful to the producers for acknowledging that a female same-sex romance was solidly accurate for the period and working it in. We can’t yet know whether they’ll be allowed a happy ever after ending, but as the heterosexual pairings in the story don’t all get one, it’s probably a toss-up.

Recent Lesbian/Sapphic Historical Fiction

While pulling together this month’s new book listings, it felt like I was finding a lot of titles on the theme of unsent or lost letters, though some of them were part of the current flood of publications that smell like AI, so they won’t be mentioned here.

I’ve been doing some initial stats for this year’s books and one interesting—or possibly concerning—trend is the dearth of historicals from the small queer presses, though in exchange we’re getting a startling number from major publishers. I hope to get back to doing a deeper analysis at some point, though it means I have to go back and do a lot of data-coding.

There are a couple of May books that only just came to my attention.

The Housekeeper's Ledger by Allison Ingram has a solidly gothic feel to it, but it’s difficult to guess exactly when the story is set.

When Anna Hale takes a humble position as housekeeper at the sprawling Ashmore estate, she expects long days, silent halls, and the cold indifference of Lady Catherine Ashmore. What she doesn’t expect is a trail of secrets hidden behind locked doors, a crumbling legacy haunted by old debts, and the sharp undeniable pull between herself and the woman she serves.

As whispers of betrayal and scandal echo through the estate, Anna and Catherine must navigate a web of lies, dangerous rivals, and the looming threat of ruin — all while confronting the fragile, fierce love blossoming between them. In a world eager to break them, Anna and Catherine will risk everything to stand side by side, but surviving the storm will take more than trust. It will take a choice.

I’m not sure that I can give a recommendation to A Truthful Companion By My Side by Claudia Haase, although the historic setting looks solid, but the writing feels like a very awkward translation from some other language.

Princess Agatha is alone at court with her cultural interests and intellect. She does not find any suitable conversation partners in her companions and ladies-in-waiting. Her curiosity is aroused all the more by the smart Ernestine and her unconventional lifestyle - and finally she finds the person with whom she can share all her passions.

The young Countess Ernestine doesn't think much of the aristocratic goings-on at court. She represses the thought that she was once promised to a crown prince as his wife. However, she could imagine a life together with Princess Agatha. But no sooner have they become close than the royal family insists on an early wedding ceremony with Agatha's brother.

Immerse yourself in the love story of two aristocratic women who lived at Bergfels Palace and Sturmstein Castle in the transition from the 17th to the 18th century!

June books cover a fairly wide spread of eras, including some unusual ones.

Secrets at the Ambrose Café by Carryl Church from Choc Lit Historical Romance is set in England just after World War I.

Two women. Two different worlds. One secret that could ruin them both.

Exeter, 1925. Della Wilde has set aside her dream of moving to Paris to study at the renowned Le Cordon Bleu, choosing instead to support her family torn apart by war. By night, she works at the prestigious Ambrose Café, serving the city’s elite — she feels utterly invisible.

Until a chance encounter with rebellious Alice Winters, the daughter of a powerful MP, upends Della’s world.

Alice is a woman caught between duty and desire. She secretly yearns to be an artist but is expected to marry a respectable suitor and raise a family. Della, with her sharp wit and quiet strength, is unlike anyone she has ever known. She makes Alice feel alive.

So she draws Della into her orbit — first as a muse for her secret art, then as something infinitely more intimate. But in a world where reputations are easily shattered, their growing bond is a danger that threatens not only their futures, but those around them.

As Alice risks scandal and Della faces the consequences of following her heart, they must decide: will they allow others to choose their path, or dare to forge their own?

Salt in the Silk by Delly M. Elrose sounds like it’s telling a Titanic story in an alternate form, set a decade earlier on a fictional ship.

1898. Aboard the RMS Victoria’s Grace, bound from Liverpool to New York, two women from opposite worlds collide: one born into ivory and etiquette, the other into soot and survival.

Catherine Ashbury, a refined upper-class heiress, is being shipped off across the Atlantic for an arranged marriage to save her family’s dwindling fortune. Cloaked in silk, obedience, and unspoken longing, she’s resigned to her fate—until she meets a girl who lives with no rules at all.

Nell Nolan, a tough and clever third-class passenger from East London, is an orphaned pickpocket disguised as a seamstress. With calloused hands and a pocket full of stolen coins, Nell isn’t afraid of breaking laws—or hearts. She boards the Victoria’s Grace with a stolen ticket and nothing left to lose, desperate to start a new life in America.

Their first meeting is accidental. Their second, unforgettable. What begins as curiosity becomes defiance—then desire. But love is dangerous in the shadows of a ship ruled by class, reputation, and silent codes. And when disaster strikes in the icy Atlantic, Catherine and Nell must face a choice no woman should have to make: Love, or survival.

A couple years ago I listed the first book in the Lavender and Foxglove series by Hilary Rose Berwick, set in a medieval convent in a world with a bit of magic. Somehow I missed books 2 and 3 when they came out—A Bounty of Bitterwort and A Rondel of Rosemary—but now book 4 turned up on my radar once more: A League of Lavender. Now I only wish the series was available somewhere other than Amazon because it sounds intriguing but not quite intriguing enough to drop my ethical objections.

Within the convent walls, the pestilence has largely passed, and Prioress Emmelot des Étoiles has a new conundrum: how, exactly, do bones become relics, and what will it mean for her convent when the pilgrims come to see them? Of more concern is the king's increased interest in those with magic sheltered by holy orders, including Emmelot's beloved, the novice Ysabeau.

But before she can solve those problems, Emmelot discovers the infirmary holds an unknown body with no signs of pestilence: a young woman clutching a posy of lavender — a sign of the conflict between followers of the old gods and the new. Now Emmelot must solve this murder before a longstanding feud erupts into open warfare.

In Her Own Shoes (The Ferrier Chronicles #1) by Mark Prime is another book with a medieval setting. I was a bit thrown by the title, because I’ve never encountered any adage similar to “in her own shoes” and can’t quite figure out what spin it’s trying to give.

In a castle built on legacy, one woman dares to claim her own name.

England, 1425. Tamworth Castle stands as a fortress of stone, secrets, and centuries-old power. When Elizabeth de Ferrel arrives to marry into the Farrier family, she isn’t stepping into a life of privilege—she’s walking straight into a battleground.

To secure her inheritance, Elizabeth must wed Sir Thomas Farrier, the ambitious heir of a noble bloodline now clinging to its influence. But she brings with her more than a title—she brings a dagger, a sharp wit, and a past she refuses to bury.

Inside Tamworth’s walls, every gaze has weight. Elizabeth forms an unexpected bond with Mae, a dark-haired scullery maid whose loyalty cuts deeper than her silence. Meanwhile, Griselda, the stone-faced housekeeper with more secrets than the cellar, watches Elizabeth’s every move—not as a threat, but perhaps as a guardian. And in the shadows, young Jonah, a servant boy marked by trauma, carries a truth that could set the castle ablaze.

When a bishop dies under mysterious circumstances, and Elizabeth receives a lock of hair as warning, alliances fracture, hearts are tested, and no one escapes untouched. Whispers rise of a Black Nun haunting the chapel—a spectral reminder that Tamworth remembers every sin carved into its walls.

At the heart of it all: a woman who refuses to shrink. Elizabeth isn’t interested in being the lady of the house. She wants to rule it. And she’ll do it in her own shoes.

The Letters Beneath Her Floorboards by Mira Ashwyn is one of those “unsent letters” stories I mentioned above, this time with a supernatural twist and stories in parallel timelines.

One letter. One mystery. One chance to heal.

When Rae Ashcroft returns to her late grandmother’s coastal estate, she isn’t looking for closure—she’s looking for silence. Haunted by a past she’s tried to bury, Rae just wants to escape. But the creaking old house has other plans.

Beneath a warped floorboard, she discovers a letter.

Written decades ago by a woman named Elise, the message unravels a forgotten love story between two women—one that was silenced, hidden, and never resolved. Drawn deeper into the mystery, Rae begins uncovering secrets Elise took to her grave… and uncovers echoes of her own.

At the heart of it all is Camille: the fiercely gentle, storm-eyed artist living next door. Rae doesn’t want to fall for her—but Camille is patient, kind, and maddeningly persistent. As the two grow closer, past trauma rises like a tide, threatening to drown the fragile trust Rae is learning to rebuild.

But someone is watching. The more Rae uncovers, the more dangerous things become. And the more she realizes—Elise never left. And maybe… she never meant to.

We get another medieval romance with lots of danger and angst in House of Ash and Honor by W.S. Banks.

When duty demands sacrifice, love demands everything.

Lady Avilene Northcliff has always been the perfect noble daughter—until her family arranges her marriage to the cold and calculating Lord Westmark. Desperate to escape a loveless union, she flees to the one place no one would think to look: the estate of her family's sworn enemies.

Lady Elara Blackwood should turn away the Northcliff daughter seeking sanctuary. Their houses have been locked in bitter feud for twenty-five years, built on lies, betrayal, and bloodshed. Instead, she offers shelter to the woman who ignites feelings she never knew existed.

As forbidden attraction blooms between them, both women discover that the enmity dividing their families rests on a devastating deception. When explosive family secrets surface, Avilene and Elara must choose between the safety of silence and a love that could cost them everything.

In a world where women's hearts belong to others, two enemies will risk everything to claim their own destiny.

The July books are mostly 20th century settings, or close enough. And as usual, the rhythms of pre-publication publicity mean that they’re almost all from major publishers.

Lavender & Gin by Abigail Aaronson leans in to the current fashion for Prohibition stories.

Taking on her brother’s identity has given Kasia almost everything she wants: money, power, a gang to call her own in Prohibition-era Detroit. Until a new police chief threatens to destroy everything she’s worked for, and a beautiful woman tempts her to expose her secret.

After a decade disguised as her missing twin brother, Kasia leads a gang running liquor for the most powerful mob in the city. The ruse gave her a foot in the door, but in order to keep her position—and more importantly, to keep money flowing in for her and her sick mother—she has to be willing to do whatever it takes. And what it takes is cold calculation and a ruthless hand. She needs both in spades when a new police chief is determined to eliminate Detroit’s mafia, a threat to destroy everything she’s built.

When Kasia learns Sophia—a glamorous flapper who owns an underground queer club—has an unusual hold on the supposedly-incorruptible chief, Kasia wants in on Sophia’s secret. Blackmailing Chief Harding could protect her gang and give her a leg up in the mob’s ranks. But her plan unravels when she falls for Sophia’s fiery spirit and sophisticated charm. After years of avoiding relationships to protect her identity, her feelings for Sophia lead Kasia to take bigger risks than ever. Risks that endanger her gang, her secret, and her life.

Emma-Claire Sunday follows up on last year’s Regency romance The Duke’s Sister and I with another Regency, The Fortune Hunter's Guide to Love once more from Harlequin Historical.

How can Lady Sylvia save herself from financial ruin?

Step 1: Move to the seaside for the summer, where there will be no shortage of wealthy bachelors holidaying.

Step 2: Strike a deal with local farmer Hannah. If Hannah can help Sylvia bag a rich husband, Sylvia will fund Hannah’s dream of opening a cheese shop.

Step 3: Charm their way into luncheons, parties and exclusive balls, but do not start to confuse friendship with romantic feelings for Hannah.

Step 4: Focus on her fortune-hunting scheme and do not let her heart get carried away by her unexpected and magical kiss with Hannah!

With a title like The Rebel Girls of Rome by Jordyn Taylor from Harper Collins, one might guess we were looking at a classical setting, but this one is a dual-timeline story set during World War II and the contemporary era.

Now:

Grieving the loss of her mother, college student Lilah is hoping to reconnect with a grandfather who refuses to talk about his past. Then she receives a mysterious letter from a fellow student, Tommaso, claiming he’s found a lost family heirloom, and her world is upended.

Soon Lilah finds herself in Rome, trying to unlock her grandfather’s history as a Holocaust survivor once and for all. But as she and Tommaso get closer to the truth—and their relationship begins to deepen into something sweeter—Lilah realizes that some secrets may be too painful to unbury…

Then:

It’s 1943, and nineteen-year-old Bruna and her family are doing their best to survive in Rome’s Jewish quarter under Nazi occupation. Until the dreaded knock comes early one morning, and Bruna is irrevocably separated from the rest of her family.

Overcome with guilt at escaping her family’s fate in the camps, she joins the underground rebellion. When her missions bring her back to her childhood crush, Elsa, Bruna must decide how much she’s willing to risk—when fully embracing herself is her greatest act of resistance.

Another story using that popular motif of dual timelines via historic research is The Secrets of Harbour House by Liz Fenwick from Harper Collins.

When Kerensa is sent by her father’s auction house to catalogue a neglected house overlooking the sea in Newlyn, Cornwall, it’s a welcome escape. Once the home of two female artists, Harbour House is a treasure trove, but one painting in particular catches Kerensa’s eye – a hypnotically sensual portrait of a beautiful young woman which dominates the hallway.

Captivated and intrigued, Kerensa finds herself piecing together the enigma of Bathsheba Kernow, a fiercely talented young artist who left St Ives almost a hundred years before, eager to escape a society that wouldn’t understand her, and her sweeping journey from the underbelly of Paris to the heady luxury of Venice, where a chance encounter would change her life for ever, drawing her into the most dangerous and forbidden of love affairs.

For Kerensa, still reeling with a grief of her own and facing an uncertain future in love, Harbour House will have secrets that will change her life too, and in ways she could never have imagined…

It’s fairly rare to find sapphic stories set in non-Western cultures written from within those cultures but there have been several in the past year. This month’s candidate is Whispers Beneath the Banyan Bath by Moon Heeyang, set in Korea, although I’m not quite sure of the date as the reference is to a dynasty that lasted for five centuries.

In a world where lineage rules and silence is survival, two women in a noble Joseon household discover a forbidden love that defies rank, custom, and time.

Soona, a humble maid, and Lady Hyeon, the daughter of the house, share stolen glances in the steam of the bathhouse. What begins as duty unfolds into desire, and soon into a secret bond.

But when their love is seen—by the Lord himself—everything changes. A proposition is made. A second wife is named.

And both women find themselves pregnant.

Whispers Beneath the Banyan Bath is a lyrical, emotional, and unflinching tale of queer motherhood, silent rebellion, and love that grows like magnolia in the cracks of stone.

The Original by Nell Stevens from W.W. Norton & Company has a twisty plot that looks like it has a lot of layers.

In a grand English country house in 1899, an aspiring art forger must unravel whether the man claiming to be her long-lost cousin is an impostor.

An unwanted guest of her uncle’s family since childhood, Grace has grown up on the periphery of a once-great household. She has unusual predilections: for painting, particularly forgery; for deception; for other girls. Her life is altered when a letter arrives from the South Atlantic. The writer claims to be her cousin Charles, long presumed dead at sea. When he returns, a rift emerges between family members who claim he is an imposter and Grace’s aunt, who insists he is her son. Grace, whose intimate knowledge of fakes is her own closely guarded secret, is forced to decide who to believe and who to pretend to believe. In deciphering the truth about her cousin, she comes to understand other truths: how money is found and lost, and who deserves to be rich; what family means to queer people; and the value of authenticity, in art and in love.

Skating the edge of my definition of historical fiction, we have Wayward Girls by Susan Wiggs from William Morrow Paperbacks, where the lesbian is one of a large cast of characters.

In 1968 we meet six teens confined at the Good Shepherd—a dark and secretive institution controlled by Sisters of Charity nuns—locked away merely for being gay, pregnant, or simply unruly.

Mairin— free-spirited daughter of Irish immigrants, committed to keep her safe from her stepfather.

Angela—denounced for her attraction to girls, sent to the nuns for reform, but instead found herself the victim of a predator.

Helen—the daughter of intellectuals detained in Communist China, she saw her “temporary” stay at the Good Shepherd stretch into years.

Odessa—caught up in a police dragnet over a racial incident, she found the physical and mental toughness to endure her sentence.

Denise—sentenced for brawling in a foster home, she dared to dream of a better life.

Janice—deeply insecure, she couldn’t decide where her loyalty lay—except when it came to her friend Kay, who would never outgrow her childlike dependency.

Sister Bernadette—rescued from a dreadful childhood, she owed her loyalty to the Sisters of Charity even as her conscience weighed on her.

Wayward Girls is a haunting but thrilling tale of hope, solidarity, and the enduring strength of young women who find the courage to break free and find redemption...and justice.

Finishing up this month’s books we have a mid-century rural English romance: Miss Veal and Miss Ham by Vikki Heywood from Muswell Press. This is another book where my impulse is to buy it, but the publisher makes that difficult, not because of my Amazon blockade this time, but because they only distribute ebooks through one particular obscure phone app. Ah well.

Public companions, private lovers.

It is 1951 and behind the counter of a modest post office in a leafy Buckinghamshire village Miss Dora Ham and Miss Beatrix Veal maintain their careful facade as respected local spinsters. But their true story is one of passion: suffragist activists who fell in love at a rally in the 1900s, danced in London's secret gay clubs between the wars, and comforted one another during the first night of the Blitz. Together they have built a life of quiet dignity and service in rural England. Now over the course of one pivotal day their carefully constructed world begins to fracture. Through Beatrix's wry perspective we witness the severe impact of post-war changes on their peaceful existence. Changes that will lead to heart-breaking decisions for Miss Veal and Miss Ham. At the heart of this intimate, moving and witty novel is a story of resilience, the dignity of love that cannot be spoken, and the challenges that come when the future no longer feels safe.

What Am I Reading?

So what have I been reading this month, once I get past the complex logic of how I want to acquire and read books? I often have three novels going at a time: one in hard copy, one in ebook, and one in audiobook. The different formats help me keep the stories separate in my head, but that was a bit trickier than usual this time because Joanna Lowell’s A Rare Find (my audiobook) and Lindz McLeod’s The Unlikely Pursuit of Mary Bennet (my print book) are both Regency romances and overlapped so solidly in feel and reading period that I kept having to remind myself which story I was in. Not that the stories are that similar in plot or characters, but if I had it to do over I’ve have avoided overlapping them. A Rare Find has a lot of resonances with the author’s Victorian-era story A Shore Thing which you may have spotted if you listened to my interview with the author. In addition to interesting gender choices, they share a tendency to pack the story full of subplots. So if you like a lot going on, this could be your thing. The Unlikely Pursuit of Mary Bennet is a fairly standard “let’s pick a couple of characters from the Austen Cannon and make them sapphic.” McLeod’s Mary Bennet is quite different from the book’s character and gets a complex queer community supplied by the author’s imagination.

A sale on the Chirp audiobook platform let me to pick up a series starting with The Invisible Library by Genevieve Cogman about which I’ve heard good things from friends. Like magical school stories, there’s an entire subgenre of magical library stories, which should be solidly my jam. In retrospect, I did definitely enjoy the book, but somehow in the middle of it I kept forgetting that it was waiting for me. Not sure why, but it meant it took me over a month to finish.

Wanting something a bit more bite-sized, I browsed through my to-be-read bookcase (yes, I have an entire bookcase with lonely hard-copy books waiting for me to pet them) and picked up Servant Mage by Kate Elliott. This fantasy novella managed to pack in enough plot and action for an entire novel—maybe even for a trilogy. A masterpiece of telling you just enough about the world and setting that you can fill in large spaces on your own.

Author Guest

One of the things I’ve wanted to work harder on in my theoretically greater free time is doing more interviews. I’ve made a good start this year, but from the other dropped balls you might guess that I don’t have one in this show. I do have several interesting people lined up for later this year—not all of them authors—and I’m always interested in doing companion interviews for new releases. In the last couple years, that means most of them have been for books from major publishers, because those are the books I know about enough in advance to set up the interview. I’d love to work with more small press and indie authors, but you have to let me know that you’re going to have books coming out!


Show Notes

In this episode we talk about:

Links to the Lesbian Historic Motif Project Online

Links to Heather Online

Major category: 

neat sky!

Jul. 8th, 2025 08:10 pm
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[personal profile] cellio

Last night I looked out the window a few minutes after nominal sunset and saw an unusual and impressive color in the sky. Naturally, I ran outside to snap a few pictures before it disappeared.

These are unedited cell-phone photos, hastily framed because I know things like this don't last long. Read more... )

Holiday Delays

Jul. 4th, 2025 03:04 pm
[syndicated profile] alpennia_feed

Posted by Heather Rose Jones

Friday, July 4, 2025 - 08:04

After the flurry of postings in the last month, I'm taking a brief break for the holiday weekend. In fact, the "On the Shelf" podcast episode will be delayed probably until Tuesday, since I'm not going to try to record it in a hotel room. (I'm currently at BayCon/Westercon.) If you're at the con, make sure to find me and say hi.

Major category: 
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Posted by Heather Rose Jones

Thursday, July 3, 2025 - 07:00

I did one of those things where I started out writing a blog intro to the LHMP entry and ended up with an essay that needed to move into the entry commentary instead. (I really do need to do an explainer on the underlying structure of the data here.)

Major category: 
Full citation: 

Braunschneider, Theresa. 2004. “Acting the Lover: Gender and Desire in Narratives of Passing Women” in Eighteenth Century: Theory and Interpretation 45, no. 3: 211-29

I sometimes provoke outraged reactions in certain quarters when I claim that it isn't possible to disentangle lesbian history from transgender history. But this article gets into the type of reason why I say that.  (And I'll have an entire chapter in my book digging deeper into this topic.) What lies at the heart is that one strain (and there are others) of historic understanding of and reaction to a female-bodied person desiring another female-bodied person is to simultaneously force them into a heteronormative framework and then punish the "designated male" participant, not for homosexuality, but for gender transgression. We see this in contexts like the one discussed in the present article, where behavioral gender-crossing of some type is involved, but we also see it in the long history of investigating women expressing same-sex desire for signs of physiological masculinity.

Under a heteronormative framework, transness is far more legible and comprehensible than homosexuality. Thus, regardless of what identity models the people involved had available or adopted as their own, there has been a regular (though variable in strength) pressure to accept a trans framing. (This continues up through the late 19th century sexologists' conflation of trans and homosexual experiences under the "gender invert" label.) Even apart from the anachronism of applying current identity categories to historical people, this complicates attempts to neatly categorize historic people with regard to degrees/types of "female masculinity." If a female-bodied person could be labeled "masculine" for being intelligent, brave, strong, tall, athletic, honorable, independent, politically savvy, not conventionally pretty, etc. etc., then how do you trace a line between transmasculinity and accepting cultural brainwashing? (Please note: I am NOT implying that transmasculine identity is due to "cultural brainwashing." I'm saying that some people are trans men and some people have been labeled "unfeminine" for not aligning with certain cultural stereotypes.)

When I get negative reactions to my (admittedly provocative) statement about the entanglement of lesbian history and trans history, my impression is that some of it comes from assuming that I'm talking about trans women in lesbian spaces, whereas mostly I'm talking about the ambiguous classification of female masculinity. But when you come down to it, the historic people who reacted to a female-presenting person desiring a woman by accusing her of being "really a man, in some fashion" aren't that different from the modern bathroom police who see a female-presenting person who deviates in some way from a narrow definition of femininity and accuse her of being "really a man." And I wish more people were more familiar with the deep history of gender policing and the damage it causes.

# # #

Narratives of the lives and “adventures” of passing women were popular in 18th century British culture, purporting to provide biographies of women who lived as a man for some period of time, including: Hannah Snell, Christian Davies, Jenny Cameron, Anne Bonny & Mary Read, Charlotte Charke, Elizabeth Ogden, an unnamed “apothecary’s wife” whose story is appended to the English translation of the life of Catharine Vizzani, and Mary Hamilton whose story inspired the label “female husband” for those passing women who engaged in relationships with other women.

Despite being based on actual lives, and despite the assertion that each was “unique,” the stories as published became highly conventional, with certain fixed elements. One such element (the focus of this paper) is some type of erotic interaction between the passing character and another woman, either actively courting the woman or becoming the object of the woman’s interest (and usually delighted in so being).

There are two other contexts in popular culture of the time that feature cross-dressing women but do not include these erotic encounters: the “woman warrior” plot in which a woman typically dresses as a soldier to follow (or pursue) a male lover; and cross-dressing subplots in novels.

These erotic encounters in passing woman narratives raise and address questions about the relationship between gender and sexuality, and not always in ways that align with the supposed “lesson” such stories provided to the public. Previous scholarship on the genre usually addressed one of two angles: the challenge to stereotypes of gendered ability (Friedli, Dugaw, Wheelwright, Dekker & Van de Pol); or their situation within ideas of female homoeroticism in general (Lanser, Donoghue, Moore).

This article looks at how passing woman erotics disrupt an assumed correspondence between gendered social role and the object of desire. The author notes that 18th century attitudes did not assume an automatic connection between cross-dressing and homoeroticism and, in fact, to some extent passing woman stories act to reinforce heteronormativity, even as they question it. Further, they support an assumed principle that “gender difference must precede desire.”

The author cautions that passing woman narratives should neither be assumed to represent homosexual desire nor that they should be assumed to erase it entirely. Further, she argues that rather than “gender norms [being] defined through sexuality” these texts are part of an active process of creating those norms. The stories’ insistence on making erotic connections between cross-dressed women and normative women in pseudo-heterosexual relations act to separate masculinity (as a gender), with its concomitant orientation of desire toward women, from biological maleness. And it is this separation that creates a potential reading of female masculinity as tied to homoeroticism.

[Note: I’m skeptical about the claim that this is a process being established in the 18th century, because there is a very long historical tradition of associating desire for women with an assumption of masculinity, such that female-oriented desire triggered investigation into the potential masculinity of a female-presenting woman.]

The formulaicness of passing-woman erotic plots creates an expectation within the audience for such an encounter at any time a cross-dressing woman is introduced. In one version, the passing woman decides to court a woman (or women) either as a test of her passing, as a lark, or in active support of the strength of her disguise. And in the standard narrative, she is successful. The object of the courtship falls in love and pledges herself to the passing woman, often preferring that relationship to other rivals. The courtships may be presented hyperbolically or with a certain sly satire on conventional courtship rituals. But the essential element is that the courtship and its reception occur within a context where the two are understood to be man and woman.

This same formula holds when the normative woman initiates the courtship; it occurs within a context involving gender difference. An interesting doubled example is the brief description of the pirates Mary Read and Ann Bonny, when both are cross-dressing and each believes the other to be a man. In order to shift from desire to an active relationship, Bonny reveals her sex to Read (thereby establishing an assumed gender difference), only to have Read reveal her own sex, thus negating (within the narrative) the erotic potential. [Note: Compare a similar double-disguise plot in the play Gallathea, in which desire is sparked in both disguised women when they believe the beloved is male, that desire is challenged when both reveal their sex, but the desire outlasts the reanalysis that it is same-sex.]

The usual resolution of a gender reveal is that the normative woman’s desire evaporates and the previous desire is either reanalyzed as a good joke or an act of fraud. Here, though, we start seeing cracks in the façade. In the Jenny Cameron narrative, after Jenny reveals her sex to avert a duel with her rival for the girl’s affections, the girl immediately decides to marry the rival, lest she make a similar mistake in the future—that is, acknowledging the potential for her to again fall in love with a female-bodied person under the necessary masculine presentation.

A second type of resolution occurs when the passing woman concludes that the relationship is “impossible” (despite wishing that it were possible) and breaks off the courtship concluding that it “could not go beyond a platonick Love.” That is, the passing woman reciprocates the desire but chooses not to pursue it (and may or may not reveal her sex to her beloved). Here we find another distinction in how the narratives are presented. A passing woman who steps back from a homosexual relationship is typically presented as heroic and admirable (at least in that context, even if she may not be in other contexts).

In contrast, the third type—stories in which the passing woman continues to pursue the relationship, up to and including marriage and a sexual relationship—frame the passing woman as deceptive and fraudulent if the sexual relationship shatters the myth of "impossibilities." The classic example is Mary Hamilton.

Type 2 and 3 both challenge the idea that sexual difference is necessary for erotic desire (although the type 3 may frame the passing woman as mercenary rather than besotted), even if gender difference is still presented as essential. If is rare for the passing woman to reject the courtship or reveal her sex due to being horrified, disgusted, or simply uninterested. An essential part of the narratives is to depict the normative woman as desirable and (for all practical purposes) eligible. Rather, when the passing woman breaks things off, it is due to believing the next step (consummation) to be “impossible.”

Here, the passing woman narrative confronts the female husband narrative, in which that supposed impossibility is overcome. Now a different contrast in reception emerges: condemnatory narratives in which the female husband uses an artificial penis to overcome the “impossibility” and more neutral narratives in which some other means is used to side-step the question of consummation. It is this distinction in reception, Braunschneider argues, that works to help construct the normative relationship of gender and sexuality. It isn’t that desire can never precede gender difference, and it isn’t that the consummation of female homosexual relationships is literally impossible, but that when these principles are violated the narrative condemns them and frames the passing woman as monstrous and unnatural.

The judgement of the narratives is not based on the biological sex of the persons involved, but on the performed gender. The texts clearly assume—indeed, depend on—the audience knowing that the supposed “impossibilities” are, in fact possible, for key aspects may be provided only by implication or circumlocution. Thus, they create and acknowledge a space in which female-bodied people can desire each other and can consummate that desire. They simply define those possibilities as unacceptable.

A particularly convoluted example is offered to demonstrate the reductio ad absurdum of this program, contrasting what the participants in the scenario “know” versus what the narrator and the audience “know,” and how that knowledge shapes the presentation of the scenario. As long as the participants in the narrative “know” that an interaction is male-female, it is treated positively by the narrator, or at least as natural and expected, even though the narrator (and audience) “know” that the interaction is same-sex. At the same time, the passing woman is given a pass [pun intentional] on behavior that would be unacceptable in a man (such as abandoning their girlfriends without a qualm) because the alternative (continuing the relationship) would be unacceptable in a woman. The audience reception of the character shifts between treating her as a man and as a woman in inconsistent (but formulaic) ways, sometimes following the narrator’s “knowledge” that she is a woman, sometimes following the other characters’ “knowledge” that she is a man.

The same formulaic inconsistency occurs when it comes to sexual relations. When Mary Hamilton’s narrative follows her through one wedding night in which she doesn’t have her “device” available, wherein her flustered embarrassment is treated sympathetically (although in a mocking way), followed by clearly condemnatory descriptions of the sexual relations she engages in when the “device” is involved—but only after her wife discovers the truth. Her relationship becomes “vile” and “criminal” not only when one specific sexual technique is employed, but when it is known by the partner to be employed. That is, so long as Hamilton’s wife believes she is married to a man, the marriage is successful. When the relationship is known to be same-sex (by both participants) its nature is treated as being materially changed.

Time period: 
Place: 

Nothing Much to See Here

Jul. 2nd, 2025 03:14 pm
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Posted by Heather Rose Jones

Wednesday, July 2, 2025 - 07:00

This is just a placeholder for a cross-reference. Go about your business.

Major category: 
Full citation: 

Garber, Linda. 2015. “Claiming Lesbian History: The Romance Between Fact and Fiction” in Journal of Lesbian Studies, 19(1), 129-49.

This is an early and much simpler version of the content in Garber 2022 to which I direct the reader.

cats: why are you LIKE this

Jul. 1st, 2025 03:52 pm
kellan_the_tabby: My face, reflected in a round mirror I'm holding up; the rest of the image is the side of my head, hair shorn short. (undercut)
[personal profile] kellan_the_tabby
2025 04 01 18.45.15

[A set of wooden shelves, crowded with shipping boxes, padded envelopes, rainbow packing tape, and other shipping paraphernalia. Major Tom’s hinder end is sticking out of a semi-empty space at the end that’s up against the wall.]

He took his sweet time wandering all the way across the table, but I didn’t manage to fumble my camera out until he’d commenced inserting himself into the only place over there that had ANY space left.

2025 04 01 18.45.20

[Tom’s stuffed all but his tail into the space, and is in the middle of turning himself around. It’s a bit of a process.]

& by then all I could do was take pictures, intermittently grumble at him, & laugh. He’s the horriblest.

2025 04 01 18.45.23

[Tom’s sitting neatly in the space, his head sticking out. He’s gazing contemplatively towards the door, ears perked, whiskers relaxed.]

He’s also the very handsomest, & yes, he WILL use that against you.

2025 04 01 18.45.27

[Tom’s now looking up & to the left, neck stretched out. Contemplative, but more in the ‘contemplating shenaniganry’ kind of way.]

YES, there are shelves up there. NO, there is not space for a tomcat. I explained this to him in very clear language. Some of it, I admit, was also fairly rude.

2025 04 01 18.45.36

[Tom’s looking down now, in the general direction of the camera.]

He did take a moment to scout a good path, instead of immediately scramming. He’s remarkably calm about being hollered at, despite having grown up feral. I think it’s because he knows I’m full of shit.

2025 04 01 18.45.38

[Tom’s making his way out of the corner, now, one paw placed precariously on a fortunately double ziplocked bag of soap.]

He NEVER stays on the rare occasions when he makes his way back to that spot. I don’t know why he bothers going at all, but if he’s having fun, more power to him.


originally posted on Patreon; support me over there to see posts a week early!

When You See It, You Can't Unsee It

Jul. 1st, 2025 04:18 pm
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Posted by Heather Rose Jones

Tuesday, July 1, 2025 - 09:00

There's an entire genre of articles on the theme "why is it so hard to find historic evidence for female same-sex relations?" It covers everything from the types of erasures and displacements that Faderman talks about in this article, to the deliberate and selective exclusion of f/f vocabulary from the Oxford English DIctionary (which continues the process of erasure to this day, as people relying on it to be complete and detailed). Time after time you get slapped in the face with the understanding that f/f relations were erased because people considered them shameful and embarrassing. Not even necessarily the people engaged in them! But their biographers, their descendents (who controled their legacy), and most historians up through the late 20th century. If a woman was considered otherwise admirable and praiseworthy, it was important to make sure that nothing "stained" that. And, of course, we can't ignore the contribution of general misogyny, because as we all know a woman must be perfect and of unstained reputation to avoid getting torn down for daring to be a woman in public. But one of the things that Faderman's work points out, is that much of the overt erasure is specifically a product of the post-sexological world.

This is an error that creeps into a great deal of sapphic historical fiction: characters are concerned about aspects of their relationships that actual people of the period would not have blinked at. Sharing a bed? No biggie. Kissing, embracing, and holding hands in public? Utterly normal. Writing love poetry and effusive declarations of affection? But of course! And yet so many current sapphic historicals have characters freaking out over things that their historic counterparts would have taken for granted as, not simply acceptable, but expected behavior. A romance novel requires conflict and roadblocks, but they should be ones that are true to the era, not ones borrowed from the 20th century.

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Full citation: 

Faderman, Lillian. 1979. “Who Hid Lesbian History?” in Frontiers: A Journal of Women Studies, Autumn 1979, Vol. 4, No 3. 74-76. Also appears 1982 in Lesbian Studies; Present and Future ed. Margaret Cruikshank. Feminist Press, Old Westbury.

This article is essentially a teaser for Surpassing the Love of Men (which she explicitly says in the author’s note at the end). Given that, I’m not sure how much value there is to blogging it in detail.

The article starts by reviewing how lesbian aspects of history were being treated before the 1970s, with those aspects either ignored, discussed in coded language, or arbitrarily assigned to some random man. Biographies of women in homoerotic relationships were a particular subject of historical gatekeeping, with even explicit romantic and erotic expressions directed toward other women being forcibly re-interpreted as actually meant to be understood as heterosexual, even if some unnamed hypothetical man needed to be invented to assign the role to.

Another technique was the careful editing of quotations (as was done in Martha Dickinson Bianchi’s edition of Emily Dickinson’s papers) to soften or redirect homoerotic language. Or the relabeling of romantic partners as “companions,” sometimes explicitly for the purpose of “saving” their reputation, even in contexts where illicit affairs with men were acknowledged blatantly. When unavoidable, same-sex relationships may be shrunk down to a brief mention while any possible scrap of evidence for heterosexual relations is elaborated in detail.

Anyway, this is basically a well-deserved rant against the historical erasure of lesbianism which may feel obvious and unnecessary 45 years later.

Rebuilding journal search again

Jun. 30th, 2025 03:18 pm
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[personal profile] alierak posting in [site community profile] dw_maintenance
We're having to rebuild the search server again (previously, previously). It will take a few days to reindex all the content.

Meanwhile search services should be running, but probably returning no results or incomplete results for most queries.

Are We Proud Yet?

Jun. 30th, 2025 03:15 pm
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Posted by Heather Rose Jones

Monday, June 30, 2025 - 07:00

I like setting myself little challenges for the Project to keep up my momentum and to avoid the sense that it's become an endless march from one random publication to the next. Thus, I alternate between thematic groupings and simply working my way through what's left in a folder or on a shelf. Doing an "every day" push for Pride Month helps kick-start me out of a period of distraction where other projects take priority. At this point, I have enough written up to continue posting every day into mid-July. And given what I know of my work habits, I'll probably do just that , though I'll probably slow down a little once I get caught up.

As you might notice from some of the briefer summaries I'm posting currently, in going for a somewhat content-neutral completeness goal, I'm now finding myself encountering a fair number of articles that are preliminary versions of material I've covered in book form, or articles that are more "popular" presentations of material where I've already covered the scholarly version. The Project, of course, has multiple functions. Foremost is the incentive for me to read and digest the information. Secondly is the purpose of presenting a summary for a non-academic audience. But one additional purpose is to give readers a chance to figure out whether they want to track down the original publications to do a deeper dive on their own. And for that purpose, summarizing an article as "this ended up being chapter 3 in book X" or "this material is covered in much greater detail in article Y" or "this is badly outdated and you might want to read Z instead" might help someone else map out their own research more efficiently.

Besides which, with over a thousand titles in my database, I can't always remember what I've already read and blogged! So including everything with any potential relevance that I've looked at means I don't find myself duplicating work on items that I concluded--at some point--weren't all that interesting. One step in working on each entry is reviewing the notes and references to find new publications to add to the database. I regularly find myself thinking, "Oh yeah, that's going to be interesting! Oh...wait...not only is it already on the list, but I've already read it!"

Major category: 
Full citation: 

Cleves, Rachel Hope. “Six Ways of Looking at a Trans Man? The Life of Frank Shimer (1826-1901).” Journal of the History of Sexuality, vol. 27, no. 1, 2018, pp. 32–62.

This article uses the lens of one particular well-documented life in the 19th century to track the shifting images and understandings of female masculinity during that era, and perhaps incidentally to comment on the general environment of shifting understandings of gender and sexuality that continue up to the present. One of the points being made is that for modern people to try to pin down one specific label or category for a historic person undermines the variable ways in which that person themself may have reported their own understanding.

Frances “Frank” Ann Wood Shimer grew up in New York, became an educator including founding and leading a college, and eventually retired to Florida and helped start the citrus industry there. Throughout this life, Frank (her preferred version of her name) used a variety of information sources to develop, shape, and revise her understanding of her identity. [Note: The author of the article uses female pronouns because, despite expressing various aspects of masculinity, Shimer identified her accomplishments as those of a woman who was proud to serve as an example of what women could achieve.) Cleves has identified five successive frameworks: “didactic literature, romantic friendship, phrenology, pioneer chronicles, and sexology.” The title of the article is a deliberate homage to Henry Louis Gates Jr.’s book Thirteen Ways of Looking at a Black Man, which itself plays off the Wallace Stevens poem “Thirteen Ways of Looking at a Blackbird.”

The first stage draws on literature aimed at children to instruct them in the dangers of cross-gender behavior and presentation. This was a genre that developed in the early 19th century in support of changing views of gender roles and the tacit recognition that those roles were not “natural” but must be trained into children. This literature established the parameters that girls should be modest, quiet, and non-athletic, whereas boys were expected to be loud, boisterous, athletic, and competitive. Shimer’s school essays reflect these models, depicting a domestic life as desirable, but at the same time rebelling against expectations by insisting on using the name Frank, rather than Frances, which was treated as a “youthful mistake.”

The articles discusses several typical stories of the type used for gender indoctrination and speculates that Shimer would likely have been familiar with them and that they might have shaped her later recollections of her childhood, such as a disinterest in playing with dolls, a love of outdoor activities, and a tendency to disruptive behavior in school. Like the “boyish girls” in the morality tales, Shimer occasionally cross-dressed as a child to engage in work that earned her enough to pay for her own advanced schooling. Unlike the girls in books, she never “learned her lesson” and retreated to feminine behavior.

At normal school, training to become a teacher, Shimer became part of the culture of romantic same-gender friendships common to single-sex schools. Although the particular institution she attended was co-educational, socializing was mostly gender-segregated. Close relationships with fellow female students are recorded in her “friendship album” (a type of scrapbook and public journal popular at the time). These include exchanges of poetry with Cindarella Gregory, using the conventional romantic language of such friendships, often drawn from popular poetry copied from magazines. Shimer was hardly alone in using a male-coded nickname when engaging in romantic friendships, though perhaps more unusual in using it as a regular thing, rather than only in the context of particular relationships. Male nicknames between intimate friends were a part of the culture of romantic friendship. Cleves speculates that her more general use of a male-coded name may have served as a signal of her deeper romantic interest in women. [Note: As in her book Charity and Sylvia, Cleves is given to phrasing speculations in a way that can become tricky to distinguish from evidence-based conclusions. “The [name]…may have signaled…suggests that…”]

After graduation separated them, the relationship with Cindarella Gregory was sufficiently intense that Shimer strategized to get both of them teaching in the same location, while worrying that she might be hampering Gregory’s career in the process. But the opportunity came when Shimer was asked to help found a seminary on the frontier in Illinois and was able to bring Gregory in as one of the teachers. They shared a household and bed for the next two decades, even after Shimer married—though evidently the marriage was to stave off rumors about a possible male romance, not about her arrangement with Gregory. The two Shimers never cohabited (he immediately left for medical school) and there is no indication that it was anything but a marriage of convenience. However when Gregory married, it caused a break between the two women. Later, Shimer found a new female partner in Adelia C. Joy and that relationship lasted until her death. Photographic portraits of Shimer with each of her partners follow the artistic conventions for married couples, with Shimer filling the pose normally taken by a husband.

Shimer’s interest in science and medicine led her into a third framework, which Cleves identifies as phrenology, but is a bit broader than that. [Note: Technically, phrenology concerns itself with the shape of the skull, but the theories here involve various physical variations and their supposed relationship to personality and intellect. The field also overlaps somewhat with eugenics and can go to bad places.] Shimer had invited a famous phrenologist to present lectures at her school and was particularly interested supposed gender differences expressed via phrenology. Shimer’s own analysis concluded she “had a larger and more powerful brain than the majority of men.” Shimer notes her reaction to the claim that she was “cut out for a man” as being “Not so very flattering either I don’t think.” Phrenology offered the possibility that gender-coded traits could instead by interpreted as physiology-linked traits, such that women could make positive claims to male-coded traits such as intelligence, leadership, and assertiveness without becoming men.

Cleves once again moves into speculation, saying that phrenology “may also have provided Shimer with a context for understanding another quality connected to her masculinity: her desire for intimacies with women.” Some theories based in phrenology relating to same-sex attraction are discussed. Then we get another sequence of “likely..may have…could be read…may have read.” While I admire the lengths Cleves goes to in providing historic and cultural background for her subjects, I get very frustrated when the connections she makes between the two are all framed in speculative language.

The next context for Shimer’s understanding of female masculinity comes through heroic traditions of female pioneers whose lives and actions contrasted greatly with the new models of femininity that emphasized passivity and domesticity. Pioneer women were celebrated for physical prowess and courage. [Note: Somewhat unfortunately, these narratives also existed with a tradition of erasing Native Americans from the historic present, and valorizing the white settlers as being a new foundation of history.] Shimer, in her memoirs, leveraged this tradition both by emphasizing her own “frontier” role in establishing the Illinois academy, but also harking back to a namesake and relative who was part of a prominent “kidnapped by natives” story and became a powerful presence within the Miami Nation. Despite the problematic aspects, the “frontier heroine” tradition provided a context for praising women for male-coded attributes and for positing that all women had the potential to be strong and self-reliant, thus redefining womanhood. Shimer’s work in establishing what would later be renamed the Frances Shimer Academy was constantly praised in gendered terms, noting that she “did the work of two men” and that it had been established with “no man’s aid.”

By the time Shimer retired to Florida (retired from teaching, but not from continued enterprise!), sexology was becoming better known in popular reception. The work of people like Krafft-Ebing reanalyzed the culture of romantic friendship and the lesbian encounters of students and teachers at single-sex academies as being pathological. Educated and economically independent “new women” were another target for psychoanalysis. Shimer pushed back against this framing in magazine essays, praising educated women and arguing that their critics were over-reacting and “hysterical” (using the term advisedly, in contradiction of its usual gendered implications). Although she rejected negative framings of female masculinity, Cleves suggests that in writing her memoirs, Shimer used the format and tropes of “invert” case studies to describe her own life and experiences as reflecting an innate masculinity. (Though her memoir is very vague on the subject of her romantic relationships.)

The concluding section of the articles discusses the value of viewing Shimer’s life history through the lens of trans studies, regardless of whether one considers her to fall within the category of transgender.

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