This article looks at two stories within the 1001 nights that set up scenes of apparent homoeroticism due to gender disguise. In two romances—that of Qamar and Budur, and that of Ali Shar and Zumurrud—the woman disguises herself as a man during a period when the lovers are separated, and then when they are reunited and the disguised woman is in a position of greater social power, she teases her lover (who has not recognized her or even realized she is a woman) by demanding that he submit to her sexually (believing he is submitting to a man).
gender disguise f>m
Gender disguise is a major context for exploring homoerotic potential in literature and was a significant tool for establishing same-sex partnerships in real life examples. The most common version is a female-assigned person who presents as male and has access to a male role in relation to a woman. Not all such partnerships may have included sexual activity, but many demonstrably did. Literary examples generally indicate whether the disguise is meant to be situational or is meant to signal transgender identity. Real life examples are rarely clear on this point, due to the legal and social pressures and consequences, and therefore the likely distortion of self-reported motivations.
LHMP entry
This article looks at how beauty and attractiveness and desirability are framed within the early manuscripts of the 1001 Nights as involving similarity rather than gender difference. While later editions, and especially translations and adaptations into western languages, tended to insert a more binary-gendered aesthetic into the descriptions of characters in the thousand and one nights, this is a conceptual shift from the early versions.
Ovid also composed one of the longest texts dealing with love between women from the Roman period—the story of Iphis, also from the Metamorphoses. In brief, a poor man of Crete tells his wife they can’t afford to raise their expected child if it’s a girl. So a girl child would be killed. The child being a girl, at the recommendation of the goddess Isis, the mother conceals its biological sex and raises it as a boy. The name Iphis is given and noted as being a name that might be borne by either gender.
This chapter looks at the role that marriage (to a woman) played within the lives of trans men. We start with the biography of James William Hathaway (Ethel Kimball), born in 1882, whose life history primarily seems to be one of lawbreaking, with gender a minor note in the tune. While living as a woman in her twenties, she was arrested for forgery and then again for using the excuse of test driving an automobile to go on a joy-ride with a group of female friends. At one point during this general period she married a man.
American imperialism in the early 20th century meant the rise of models of masculinity that were not only racially coded but that expected certain types of performance with regard to militarism. This chapter looks at several trans men who either tried to manipulate those models to support the acceptance, not only of their masculinity, but of their Americanism, or who were doubly targeted due to the conflation of “foreignness” and sexual deviance.
One of the factors that allowed the people discussed in the previous chapter to find acceptance in small rural communities was the fact that they were white. Minor fictions or eccentricities that were dismissed for individuals perceived as normative white men would have had more severe consequences for those who stood outside the norm racially as well as by gender. This chapter looks at the implications that whiteness head for the acceptance of trans men at the turn of the 20th century.
In this chapter Skidmore talks about trans men who live in rural communities and small towns within the period of her study. Of the 65 cases she studies, a third lived in non-metropolitan areas and perhaps another third lived in small towns or small cities rather than major metropolitan areas. While the mythology of queer history often emphasizes urban areas as the safest and most promising location for queer lives, the trans men who lived in small towns often deliberately chose those locations, suggesting another parallel view.
This chapter focuses on an individual who story is relevant to a transitional period in US history with regard to trans identities. In 1883 a man named Samuel Hudson showed up in the small town of Waupun with two children, and claimed that Frank Dubois, who had recently married Gertrude Fuller, was actually his wife and the mother of the children. It’s a tribute to the speed of communications and the extensive network of local newspapers that the story broke simultaneously, not only in the local paper, but throughout the US.
In many ways, Emily Skidmore’s True Sex picks up where Jen Manion’s Female Husbands left off with a few minor differences. Skidmore is only looking at US history, while Manion covered both the UK and the US. Manion, in theory, focused on transing gender in the context of marriages or marriage-like relationships, while Skidmore doesn’t have that as a specific focus (although many of the people she covers did marry). In terms of methodological approach they look at much of the same types of data, especially the spread of trans stories in news publications.
Manion identifies the end of the 19th century as a period when the meanings of gender and the various ways in which women pushed back against the restrictions of gender expanded enough that the category of female husband became less coherent. Transing gender had been an individual solution to the various social restrictions of gender roles, but feminism and other societal shifts were now offering systemic solutions to some of the same problems. Same-sex relationships between people presenting as female became more visible and included a range of gender expressions.
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