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Wednesday, July 14, 2021 - 07:00
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I think the only word for this book is “delightful.” In a standard-issue medievaloid fantasy setting, a teenage apprentice baker and wizard finds herself thrust into the unexpected role of saving the city-state from plots and foreign invasion. With the help of an animated gingerbread man and a magical familiar in the form of a sourdough culture named Bob.  I mean, what more do you need to know? The protagonist is believably complex and flawed and the baking-based magic (indeed, the general premise of how magic works in the world) is well-realized and woven into the plot and its resolution. I may be biased in my love of this book because the quarantine initiated me into the Sourdough Tribe. But then again, I think it’s just that good.

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Reviews
Tuesday, July 13, 2021 - 07:00
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A story in O’Dell’s world of River of Souls, but starting a different series (Mage and Empire) that combines threads of romance, adventure, and mystery. You get plunged into the world with its rich geography, history, and politics pretty quickly, so it may help to have read other books set in the world to have a solid grounding. For some reason I didn’t love it as deeply as I did the River of Souls series and I’m not entirely sure why. I think I felt too off-balance with regard to where the plot was going and following all the twists and turns, betrayals and allegiances. O’Dell does fabulous world-building and I enjoyed exploring new aspects of that, but didn’t quite connect with the protagonist as much as I hoped to.

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Monday, July 12, 2021 - 07:00

One of the interesting things Manion does in this book -- though I believe she attributes the practice to someone previous -- is using "trans" as in "to trans gender" as a verb. (I don't think trans has quite made it through all the grammatical parts of speech yet, but it's worked its way through preposition to adjective to noun, so verb was a reasonable next step.) Sometimes a particular bit of imagery or re-framing can click an idea into place, and trans-as-verb did that for me.

I've been working on how to express and explain a unifying historical concept between female same-sex desire and trans-masculine identities and performance. The current view of sexuality and gender as being completely independent axes becomes a hindrance to understanding how people in history understood their own and other lives. It also encourages the treatment of historical persons as the "property" of specific modern identities--and those identities as a scarce and valuable resource. It's part of what encourages people to see a sharp divide in history between "femme-femme" love and desires/relationships that evoke a masculine-feminine dynamic.

If "trans" is an adjective or a noun, it tends to be treated as an either/or category. One is either trans or cis. A binary. But if "trans" is a verb, then it's an action that can be done to different degrees, either intermittently or continuously. One can trans gender a little or a lot, and it was still transing gender if one stops doing it. It's no longer a defined border to be crossed; a different territory to be inhabited. (My imagery is flashing on the classical Roman regional definitions of trans-alpine and cis-alpine Gaul: territories defined by their relationships both to Rome and to the mountain barrier.) Viewed in this context, one can understand any type of behavior, presentation, or inherent characteristic that does not align with a culture's established gender archetypes as performing the action of "transing" without the need to make a judgment about whether that action has effected a change in the person's category status.

This is a way of framing the idea that I need to think about some more and explore further, but I think it could be very useful for discussing historic lives without hitting some of the trip-lines that move the discussion into arguing over who "owns" those lives.

Major category: 
LHMP
Full citation: 

Manion, Jen. 2020. Female Husbands: A Trans History. Cambridge University Press, Cambridge. ISBN 978-1-108-48380-3

Chapter 2: The Pillar of the Community

[The following is duplicated from the associated blog. I'm trying to standardize the organization of associated content.]

One of the interesting things Manion does in this book -- though I believe she attributes the practice to someone previous -- is using "trans" as in "to trans gender" as a verb. (I don't think trans has quite made it through all the grammatical parts of speech yet, but it's worked its way through preposition to adjective to noun, so verb was a reasonable next step.) Sometimes a particular bit of imagery or re-framing can click an idea into place, and trans-as-verb did that for me.

I've been working on how to express and explain a unifying historical concept between female same-sex desire and trans-masculine identities and performance. The current view of sexuality and gender as being completely independent axes becomes a hindrance to understanding how people in history understood their own and other lives. It also encourages the treatment of historical persons as the "property" of specific modern identities--and those identities as a scarce and valuable resource. It's part of what encourages people to see a sharp divide in history between "femme-femme" love and desires/relationships that evoke a masculine-feminine dynamic.

If "trans" is an adjective or a noun, it tends to be treated as an either/or category. One is either trans or cis. A binary. But if "trans" is a verb, then it's an action that can be done to different degrees, either intermittently or continuously. One can trans gender a little or a lot, and it was still transing gender if one stops doing it. It's no longer a defined border to be crossed; a different territory to be inhabited. (My imagery is flashing on the classical Roman regional definitions of trans-alpine and cis-alpine Gaul: territories defined by their relationships both to Rome and to the mountain barrier.) Viewed in this context, one can understand any type of behavior, presentation, or inherent characteristic that does not align with a culture's established gender archetypes as performing the action of "transing" without the need to make a judgment about whether that action has effected a change in the person's category status.

This is a way of framing the idea that I need to think about some more and explore further, but I think it could be very useful for discussing historic lives without hitting some of the trip-lines that move the discussion into arguing over who "owns" those lives.

# # #

James Howe née Mary East had a biography unusual in tracing financial and social success, a happily married life with a wife who not only knew about her female husband’s background but had partaken in establishing their identity, and in passing through the revelation of their assigned gender relatively unscathed, despite a fair amount of drama.

[Note: I included Howe’s story in a podcast on real life queer historical stories that would make a great non-tragic movies.]

Manion has dug through archives and legal records to turn up more details of Howe’s life and marriage then I’ve seen previously. As a very brief sketch -- and with the understanding that there are parts where Howe and other involved parties may have had reason to tell the version of the story that would present themselves in the best light –- here is the gist.

Around 1732, two young women of age 16 or so, Mary East and Mary Snapes, having determined not to marry men and being intimate friends, decided to “live together thereever after”. Recognizing that this would be easier if they were taken for a married couple, they flipped a coin for who would be the man, and thus Mary East became James Howe.

Manion questions whether this division of roles was truly as arbitrary as Howe’s story implies, and points out that the story seems tailored to avoid threatening existing gender structures. In any event, after they married, they moved away from their home – a necessary prerequisite for success – and set up as tavern-keepers. A combination of good business sense and at least one lucky accident enabled them to repeatedly upgrade their business, and they ended up fairly wealthy and as pillars of their community. Their one peculiarity was that they hired no servants and did all the work of their business themselves. Presumably for reasons of privacy.

We might know nothing about this fascinating couple except for two events. A woman named Bentley, who had known them as children, recognized Howe and begin extorting small sums of money for her silence. Then, just before Bentley’s demands went from manageable to outrageous, Mary Snapes died from an illness.

After a calculation of risks we can only guess at, Howe responded to the violent demands of the extortion by appealing to a neighbor for help and revealing their assigned gender. The neighbor colluded in trapping the extortionists who were sent to prison. Howe returned to living as Mary East and retired with a considerable fortune, though bereft of the company of their wife of 32 years.

Manion analyzes the role that a successful marriage played in establishing Howe’s credentials as a man. Indeed, except for Mrs. Bentley, whose knowledge was based on personal recognition, no one seems to have questioned Howe’s maleness. But Manion traces how contemporary accounts and later histories manipulated perception of Howe’s gender via whether and in what circumstances they were granted male pronouns.

Manion tackles the intersection between lives like Howe’s and 18th century feminism. One might expect feminists to embrace proof that those born female could demonstrate the ability to succeed in life in a life reserved for men, but there was an uneasiness among feminist thought around behavioral gender-crossing. The question of whether women’s equality could be based on the fundamental equivalence of men and women, or whether it needed to work around an understanding of men and women as fundamentally different, was hotly debated. Several examples are given of feminist opinions on either the general concept, or specific examples, of persons-assigned-female “transing” gender, either via male-coded pursuits or via gender-crossing lives.

The chapter concludes by tracing shifts and reframings of how the Howes’ story was understood through the 19th century, and the challenge such lives present us to embrace a multiplicity of forms of gender and sexuality, coexisting throughout history, rather than requiring all lives to fit neatly into a set of mutually exclusive categories.

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Sunday, July 11, 2021 - 07:00
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A graphic novel telling the romance between two women in service, set in a time of social change and opportunity. One character is unapologetically plain and plump, the other is a bi-racial daughter of the English presence in India. There’s lots of exploration of family, loyalty, community, and the tricky balance between security and making a life of your own. And sex. There’s lots of sex. Which I hadn’t quite expected to see on the page given the feel of the cover art and description. Not a problem, just not expecting that. There are some fun bonus “self-fan-fic” extras at the end, including a modern-setting AU of the characters. This historic grounding of the story is wonderfully detailed and accurate and the art is delightful.

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Reviews
Saturday, July 10, 2021 - 07:00
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Being a massive Jane Austen fan, I’m also something of a sucker for spin-offs that do fun things with her characters. Though I have strong opinions on some of the ones that didn’t work as well for me. This is a fun, reasonably fluffy, series in which Mr. and Mrs. Darcy play amateur detectives while encountering all manner of characters from other Austen novels in the context of cozy murders. The writing is competent, though not scintillating (and without a serious attempt to mimic Austen’s own prose). There were a few plot holes one could drive a four-in-hand through and some of the character motivations were shaky, but that’s been an issue throughout the series and yet I keep reading them. This is the sixth in the series, of which there are seven in total, and as the title suggests, brings in the characters from Persuasion, as well as a few other Austen-based side characters.

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Reviews
Friday, July 9, 2021 - 07:00
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I'm still trying to figure out the factors that broke through my "reading block" in the past month. One definitely seems to be adding hard-copy books back into the mix, which is how I picked up this one. Another factor I'm beginning to suspect may have helped was trying to stop think about reading as "reading to review" and just read. It's not like I have a significant "voice" as a reviewer, and I started out posting reviews of books just to have a space to think about them a little more. But it's also the case (especially as an author myself) that I know the impact that even small voices can have in the aggregate in giving books visibility. (Even if those small voices aren't necessarily enthusiastic. I spend a lot of time focusing on sapphic fiction and my place in the book ecosystem. So it can be easy for a quiet voice to whisper that I have an obligation to read certain types of books. Which...no, I don't. And maybe that's part of my problem. Anyway, on to the review.


Not so much a collection of short fairy-tale-inspired stories as a chained series, reminiscent of the 1001 Nights, in which each narrator concludes by asking a secondary character in her story to explain what her back-story is. The tales are familiar but their interpretations are new and decidedly queer. The structure made it hard for me to put down, due to the individual stories being so bite-sized, and the tantalizing way they were linked together. “Just one more, then I’ll put it down.” Emma Donoghue is a great writer at any length, but if you want a seductive introduction to her style, this is a good entry point.

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Thursday, July 8, 2021 - 07:00
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Lately I’ve been plucking books almost randomly off my to-be-read bookcase (which really needs to be organized so it’s not quite so random). I’d rather forgotten about picking up this one. A somewhat dated (with respect to gender politics) short gothic with mystery elements, set in an ancient villa and the Etruscan catacombs beneath it. Archaeology, ancient mysteries, terrible family secrets, lots of peril that might have been avoided if people talked to each other more about the odd things they knew about the villa and its former inhabitants. A great study in re-interpreting the protagonist’s understanding as new facts come to light (with a chance for the reader to be a step and a half ahead of her in figuring out what’s going on). The introduction by Paul di Filippo accurately describes it as a bit of a blend of Daphne du Maurier and Thomas Burnett Swann.

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Wednesday, July 7, 2021 - 07:00
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A novella(?) set in the author’s Dominion of the Fallen series, with a tight little murder mystery embedded in the familial/court politics of the underwater dragon kingdom. Lots of drama, angst, peril, and socio-political negotiation to provide distraction from the murder. And that’s just between our dragon & fallen angel married protagonists. I’m going to guess that this story might be a bit too in media res for any reader who hasn’t read the Dominion novels, but you should go read those because they’re really good. (If you like drama, angst, peril, and socio-political negotiation.)

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Reviews
Tuesday, July 6, 2021 - 07:00
Silk and Steel - cover image

A while ago I started working my way through reviews of things I’ve read in the last year or two. Ha, ha, yes, my up-to-datedness is that bad. And then in the last month or so, I finally seem to have broken through my “reading block”. So let’s spend some time getting reviews done, though they’re going to be briefer than I sometimes write. I’m scheduling 18 reviews (following my usual one-blog-per-day maximum) which gets me caught up with everything in my spreadsheet, though I need to comb through iBooks and other files to see if I’ve overlooked something.


The premise for this kickstarter-based anthology was so solidly in my sweet spot that I not only backed the kickstarter immediately, but I was inspired to write a story to submit for it. (Alas, they didn’t take my story, but perhaps it will see the light of day at some point.) The basic premise, inspired by a piece of art, was “two women, one with weapon skills, one with more social/courtly skills, plunge into adventure and romance.” The settings range from classical fantasy worlds to space pirates, with a wide range of character types, story flavors, and interpretations of that premise. The variety is such that I’d predict  if the basic concept attracts you, there will be at least one story that’s perfectly on target for you, and more that are thoroughly enjoyable. Some of my favorites were: Freya Marske’s “Elinor Jones vs. the Ruritanian Multiverse” for its delightful self-conscious poking fun at tropes and the process of storytelling; the delightfully bittersweet worldbuilding of Cara Patterson’s “Little Birds”; the comic romp that is Elizabeth Davis’s “The Epic Fifth Wedding Anniversary of Zayne the Barbarian and Tikka the Accountant”; and the twisty emotional tightrope of Aliette de Bodard’s “The Scholar of the Bamboo Flute.” The only story that didn’t really work for me and felt ill-suited to the theme was Elaine McIonyn’s “The Commander and the Mirage Master’s Mate” whose characters simply felt incompetent in their setting and which spent far too much attention to the technical details of the martial magic and not enough developing the plot.

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Reviews
Monday, July 5, 2021 - 07:00

I inadvertently took a 2 month break in blogging this book, so it may make sense for interested parties to go back and review my coverage of the Introduction.

Major category: 
LHMP
Full citation: 

Manion, Jen. 2020. Female Husbands: A Trans History. Cambridge University Press, Cambridge. ISBN 978-1-108-48380-3

Chapter 1: The First Female Husband

In 1746, in England, Charles Hamilton married Mary Price. While Hamilton was not the first person assigned female (PAF)[see note] to be called a “female husband” or to marry a woman, Hamilton’s case solidified the use of the label female husband, and in particular Henry Fielding’s fictionalization of Hamilton’s life established a number of the tropes that would be associated with the concept from then on.

[Note: PAF (Person(s) Assigned Female) is a usage I’ve only recently begun seeing in online conversations. The arguments used for preferring it to “AFAB” (assigned female at birth) generally center around it being “person-based language”. On a more practical level, since I’m normally using language of this type to talk about specific individuals or categories of individuals, it’s simply more direct and concise than “AFAB individuals” or the like. I don’t know how widespread this usage is, or whether it will increase in acceptance over time, so I’ll probably define it in use, at least for now. But given that use of PAF makes the text flow more smoothly, I’ll probably shift to using it unless I come across some reason to find it less acceptable.]

Mary Price, per her testimony, was not aware of Hamilton’s history and was not agreeable when she came to understand that Hamilton did not have male anatomy. This realization was delayed after the marriage, as they enjoyed sexual relations on multiple occasions which Price reported as having involved penetration. Initially, Price had no basis for believing there was anything unusual about her marriage.

The court case that Price brought to extricate herself from the marriage focused heavily on the sexual details. Price entered into the marriage willingly – even eagerly - and genuinely liked Hamilton. So it wasn’t a foregone conclusion that her realization of Hamilton’s anatomy would be a deal-breaker. Nor was it automatically something one might bring to trial - an expensive and uncertain proposition.

A number of aspects of the case were in flux in 18th century society. Ideas about sexual activity were only starting to shift from a more diffuse range of erotic practices to focus on penetrative sex. And legal cases were in the process of shifting from a victim-driven civil context to a state-driven, more formal code. That Price’s case was taken up pro bono by professional lawyers reflects the unexpected significance placed on it.

Social commentary around the case, and particularly the popular desire for severe punishment, point to public concern focusing not on Hamilton’s gender preference, per se, but on the marriage, and particularly its implied sexual nature. Hamiltons “crime” was the act of deceit, but specifically deceit in order to engage in a sexual relationship viewed as unnatural. The court, however, settled on a charge of vagrancy, a rather flexible charge often used to enforce order and manage undesirable people. The punishment was relatively severe - whipping and hard labor - and had an element of public messaging to warn off others who might engage in similar performances or relationships.

For unclear reasons, this publicity was far more successful than was typical for such cases. The story was taken up by the press, not only throughout England, but in America and Europe. Playwright and novelist Henry Fielding was responsible for bringing the phrase “female husband “to public attention, but both the phrase and the phenomenon of marriage of a PAF to a woman pre-dated him.

The first known recorded instance of the phrase “female husband” in English was in a 1682 ballad, telling the story of a PAF who had ambiguous genitals and was probably intersex. Trained as a midwife by the woman who adopted them at birth, the issue came to attention when they got a woman pregnant. The law ruled that this proved them to be male. They were legally reassigned as male and required to marry the child’s mother.

Somewhat in contrast is the 1680 marriage of James Howard and Arabella Hunt, in which the court tentatively suggested that Howard was intersex – a suggstion she denied and disapproved, claiming instead that the marriage was “a prank”. The fact that Howard was wealthy (and Hunt was popular in court circles) precluded a “vagrancy” charge. (Instead the charges was bigamy, due to Howard’s pre-existing marriage to a man.)

For a PAF to present as male and legally marry a woman was neither common nor rare in the 17th to 18th century. Fielding simply attached a fixed label to the concept via his fictionalized story of Hamilton’s life.

Use of the modifier “female” with male-coded categories was a trend in the Enlightenment, shaping and framing attitudes toward gender. This fixation on the stories of “female [male-coded-concept]” expanded the context for including women in popular culture, while still marking them as nondefault state.

Mid-18th century English culture included a number of gender-blurring and gender-crossing practices. Carnivals and masquerades gave license to both male and female cross-dressing. These contexts also licensed women’s participation in public culture without a male escort.

At the same time, scientific rhetoric was embracing the idea of sexual difference under the “two sex” model, which saw gender differences as qualitative, not simply quantitative. This reframed the “transing” of gender boundaries, not as a moral or social offense, but as being in conflict with biology and reason.

The chapter continues with a detailed discussion of Fielding’s text and its relationship to Hamilton’s facts. Fielding’s interpretation focused on two themes: feelings of sexual possessiveness and the sexual body. In Fielding’s version, Hamilton was living as a woman with a female lover when that lover engaged in a sexual relationship with a third-party (male). Hamilton became frantically jealous and determined that the only way to compete successfully for the love of a woman wants to become a man.  So in Fielding’s view, sexuality (the object of desire) is fixed and innate, but gender is easily changeable to align with heteronormative requirements. [Note: the court case does not discuss any such relationship and indicates that Hamilton had been presenting as male since age 14.]

Fielding’s narrative largely, but inconsistently, changes pronouns to reflect the strength of the social establishment of Hamilton’s gender as-read - using female pronouns when read as female and early in transition, when Hamilton’s gender performance was more tenuous, and male pronouns as Hamilton’s male presentation became solidly established. When Hamilton’s wife became suspicious and then challenged Hamiltons identity, Fielding reverts to female pronouns.

Fielding also framed Hamilton as being unsuccessful at performing a male role in penetrative sex, whereas the historic Hamilton appears to have been successful, and Hamilton’s wife understood herself to have enjoyed penetrative sex as expected with a man. Fielding’s agenda was to reinforce the gender boundaries by depicting Hamilton as incapable of successfully crossing them. Manion notes that Fielding was friendly with actress Charlotte Charke, who engaged in a more irregular and playful form of gender-crossing and this may have shaped his understanding.

Hamilton’s story doesn’t end with Fieldings revisionist version. Several years after Hamilton’s trial and punishment, they traveled to the Colonies, aiming for Philadelphia but (due to a storm) landing in North Carolina and gradually making their way north, again practicing the profession of quack medicine. In Philadelphia, Hamilton came to the attention of authorities for being unqualified to practice medicine. Only in the course of this investigation was Hamilton’s trans identity determined, and accounts describing the case moved from male to female pronouns at that point, reflecting not Hamilton’s identity, but public perception of Hamilton’s status.

Unlike in England, the authorities could find no basis for changing or punishing Hamilton, although they took the step of detaining Hamilton to see if anyone would bring a complaint. The record is silent on further details. The very lack of those details suggest that Hamilton was released.

Ten years later there is a record in the same area of a Charles Hamilton being charged with horse theft, and from the description of person and profession it is likely the same Hamilton. But this time there is no reference to gender issues, perhaps because Hamilton was not apprehended for the alleged crime.

Hamilton became something of a trope in popular crime fiction with their deeds being revised and expanded in repetition.

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