I've Finished Book Two! That Guy in Our Women's Studies Class!

Well, I've finished rewriting it from scratch from the ground up at any rate. It's still a rough draft, and at the same time I didn't just compose it, either.


It existed previously. The raw material text for both GenderQueer and for That Guy in our Women's Studies Class was generated as part of my autobiographical tome that I wrote between 2010 and 2013. I extracted and edited and named That Guy in our Women's Studies Class as long ago as 2014. I even sent out some query letters!

But honestly it just wasn't a very good book. Whereas I would proofread and edit GenderQueer with pride, Guy in WS kept making me wince. And at some point I recognized that it belonged in a trunk, perhaps to be revised and redone at some future point, and I focused on getting GenderQueer published.

I came back to it in May of 2019. At the time, I was mired down in my efforts with the main book, and I needed a project, something to give me a sense of progress and accomplishment.

In my writer's group, Amateur Writers of Long Island, I quit bringing in excerpts from GenderQueer, which I considered to be a finished book, and began bringing in my work in progress, Guy in WS, the way the other authors were doing, so that I'd get feedback on what I was currently focusing on as a writer.

GenderQueer was accepted for publication in September and for a lot of the following four months I was pretty narrowly focused on that. But during the Coronavirus era, with my book out but no prospect for addressing audiences as a guest speaker, I dove back into it.


That Guy in Our Women's Studies Class (second beta version)

95,000 words in three large units. Chapter divisions to be created later. A mostly autobiographical account of my years in college trying to utilize women's studies as a means to speak and write about my different gender / experience with society's notions about what it means to be male / being a sissy, etc.

It's not quite as absolutely nonfictional as GenderQueer is. In broad strokes, it is, but I took more liberties with moving conversations and discussions into contexts where they made a more interesting story line. Where GenderQueer is about 98 % truth (or as much so as I'm capable of remembering it), Guy in WS is around 85 %.

If you have any interest in being a beta reader of what is still really a work in progress, shoot me a personal message or email and let me know.


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You're secluded in quarantine, and all the performances and events have been cancelled, so it's a good time to read a book!

My book, GenderQueer: A Story From a Different Closet, has been published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


Links to published reviews and comments are listed on my Home Page

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My Book's First Review in an LGBTQIA+ Publication

From Sherri Rase, Out In Jersey:

Allan D. Hunter’s GenderQueer: A Story from a Different Closet is an eye-opening first-person account of Derek, born male, who identifies as a girl. While this hardly raises an eyebrow in the 21st century, in the 1970s, Derek had no role models and no points of reference.

If you are of a generation with Derek, give or take, you thrill with him at his first car, put wings on his heart. You feel the rush of first love, and first touch, when attraction becomes physical. You feel the pain of rejection and being misunderstood.

You may not be able to read the book in one sitting—it takes time to absorb.

"Three Great Books for LGBTQ Summer Reading"




I've had nice reviews in college newspapers and an interview in the mainstream press (Newsday), but this is my first review in an LGBTQIA-centric publication, and I'm excited about it!



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You're secluded in quarantine, and all the performances and events have been cancelled, so it's a good time to read a book!

My book, GenderQueer: A Story From a Different Closet, has been published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


Links to published reviews and comments are listed on my Home Page

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This LiveJournal blog is echoed on DreamWidth, WordPress, and Blogger. Please friend/link me from any of those environments on which you have an account.

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I'm in Newsday! (aka Mainstream Press Coverage); + More Reviews

Newsday, Long Island's primary newspaper, Sunday circulation 495,000, is featuring an interview with me as the lead in Arts & Entertainment section of tomorrow's (Sunday May 3) issue. Author: Brian Alessandro, literary critic

Link goes to the online copy of the article, but it's behind a paywall which will put it out of reach for most people who aren't subscribers of Newsday or one of its partners.

It's not a review of the book. The questions were about my motivations as an author and the political situation of genderqueer people within LGBTQIA and how I feel about putting such personal information about the events in my life out there for public consumption -- most of which I've discussed at length in these blog posts.

Getting a spread in Newsday is excellent publicity and I hope it will direct a significant amount of local and regional attention to my book. Public awareness is very much a snowball phenomenon. When people think something is happening that other people in their community are paying attention to, they want to be at least somewhat acquainted with it and what it's about in case someone asks them.


Meanwhile, I'm continuing to get college newspaper reviews. The corona virus has of course delayed many such endeavors so they are being spread out over the course of months instead of being more closely packed together. That has the beneficial effect of lengthening the time when I'm popping up in print and affecting search engines and whatnot. That works in my favor, ameliorating the effect of being unable to make guest-speaker appearances and do book signings etc.

Here are the reviews that have come in since my April 3 post:

"First and foremost, what this book does really well is testify to the importance of the 'Q' in LGBTQ. When many people furrowed their eyebrows at the addition to another letter in the acronym, people like this author were fighting to show how necessary it was. Derek’s story takes place in a time way before the 'Q' was introduced, way before most began to understand or care about gender issues.



However, even though Genderqueer takes place in the 70s, there are many parallels to today’s world that will make the story resonate with today’s LGBTQ youth. Derek’s confusion and desperation to understand who he is is so palpable that anyone who has gone through anything similar, or is currently going through anything similar, will be able to relate. With this story, Alan D. Hunter sheds light on a gender identity that is relatively unknown to the general public while also giving others who share a similar story to him validation that there is nothing wrong with who they are."

— Anna Vanseveran. St. Norbert Times — St. Norbert College

"The discussion around gender identity and sexual orientation has progressed exponentially in the past decade. Same-sex marriage became legal nationwide only five years ago, and the LGBTQ community continues to fight for equal rights. With this constant push for change, some can only imagine the struggles of coming to terms with your gender identity during the late 1960s and 1970s.



GenderQueer: A Story From a Different Closet offers an eye-opening view into the upbringing of a gender-nonconforming person in an era when many people didn’t know such an identity existed..."

— Camryn DeLuca. The Diamondback — University of Maryland

"This is a novel that is bracingly raw and personal, yet always feels authentic in its sense of place and voice. Its visibility gives an insight into a point of view that doesn’t live in the “traditional” gender boxes...




It is in the last half of the book, when Derek starts to realize the whole person he is inside where the book reaches its peak...it is incredibly satisfying to see Derek hit his stride and finally find his sense of place and belonging in the world. "

— Josh Rittberg The Snapper — Millersville University

"...it’s clear from the beginning of the novel where the story is heading. Hunter introduces their ideas of gender at the start of the novel when they talk about their personality as a child – how they don’t identify with the rough behavior usually prescribed to the male gender – and these thoughts stay with them and influence their growing up.



When the revelation is made, it’s not something that comes out of left field. Because of course it’s not – these things don’t just appear one day like a magic trick. It’s always there, even if it’s not super obvious at first."

— Celia Brockert The Times-Delphic — Drake University

"...a treacherous and often realistic tale that’s packed with frustration, desperation and yearning. Hunter does an amazing job of captivating the raw emotions of a person seeking their own truths in a world where everyone else seems to know who they are and what their place is in the world...



We see Derek from a very young age get picked on and beat up. He tries time and time again not to let the bullies get into his head, but it proves more and more difficult. All the while he starts to believe the things they say about him. He seeks out answers in both healthy and unhealthy ways, often getting him in all sorts of trouble...



Overall this book is very eye-opening. It puts into words a story for people that are almost never represented. It shakes its metaphoric fist in the face of erasure, saying, 'I’m here and I will not be forgotten.'"

— Zarqua Ansari The Beacon — Wilkes University



I've also gradually accumulated reviews on GoodReads, with eight readers leaving review comments behind.


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You're secluded in quarantine, and all the performances and events have been cancelled, so it's a good time to read a book!

My book has been published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.


Links to published reviews and comments are listed on my Home Page

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A Bouquet of Reviews of My Book

Because I figured that my book would be of particular relevance to the college communities, both students and faculty, I solicited reviews from student newspapers. Several college newspapers have now posted reviews of GenderQueer online!



Here are some choice comments, with links to the full reviews.

"The book makes it plain that the 'Q' recently added to the LGBTQIA+ is necessary because the "T" for transgender doesn’t necessarily cover all of the individuals in the category of 'anyone whose gender is different from what people originally assumed it to be...' "

— Noah Young. The Clock — Plymouth State Univerity

"Allan Hunter’s debut book Genderqueer: A Story from a Different Closet takes a personal look at the topic of gender and the dilemma that comes from not conforming to gender norms. The book brings up an important conversation that needs to be addressed while taking a deep dive into the term genderqueer."

— Arielle Gulley. Daily Utah Chronicle — University of Utah

"This memoir is a personal journey about a person who has lived a life struggling to accept who they are based on the reactions of those around them. A lot of the book is hard to read, hearing how cruel people can be. But I recommend this book to anyone who wants to understand gender and sexuality on a deeper and more intimate level."

— Never Retallack. The Western Howl — Western Oregon University

"Although the book is described as a memoir, it reads like fiction. This makes the book compelling and enjoyable to read, and it is far more effective than if the author had approached the topic as a textbook might...GenderQueer is honest, intimate and at times, uncomfortable. The protagonist is extremely vulnerable, bringing the audience into private moments and personal thoughts."

— Jaime Fields. The Whitman Wire — Whitman College

"The discussion around gender identity and sexual orientation has progressed exponentially in the past decade. Same-sex marriage became legal nationwide only five years ago, and the LGBTQ community continues to fight for equal rights. With this constant push for change, some can only imagine the struggles of coming to terms with your gender identity during the late 1960s and 1970s.





GenderQueer: A Story From a Different Closet offers an eye-opening view into the upbringing of a gender-nonconforming person in an era when many people didn’t know such an identity existed..."

— Camryn DeLuca. The Diamondback — University of Maryland

"Derek says he came out of a different closet, but the same door. The “door” represents the struggle one faces about discovering his identity and/or his sexual orientation. The “closet” represents the harboring of one’s gender identity and/or sexual orientation, a secret that is not meant to be a secret. Derek’s decision to wear a denim wraparound skirt showcased he had come to terms with his identity and was no longer inside the closet"

— Aazan Ahmad. The Pinnacle — Berea College

"GenderQueer: A Story from a Different Closet is a coming-out and coming-of-age story of a gender non-conforming individual...the story takes place during the 1970s and 1980s, a time period in which many individuals of the LGBT community were treated with more hostility than today...





[One] group that was not necessarily included was the genderqueer community, now commonly symbolized as the “Q” in LGBTQ, and this is precisely what this book focuses on. Many people are not familiar with the genderqueer identity and this book gives a first-hand account of what someone with this identity experiences. Hunter delves into serious and intimate topics throughout the book, making it very realistic and raw, which was overwhelming at times...despite the fact it may make some of us uncomfortable, it is crucial to aiding our understanding of Hunter’s experience "

— Maryam Javed The Lake Forest Stentor — Lake Forest College





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There are also a handful of reviews on GoodReads and Amazon as well.







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You're secluded in quarantine, and all the performances and events have been cancelled, so it's a good time to read a book!



My book has been published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.





Links to published reviews and comments are listed on my Home Page



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Now It's Real: I'm in Print!!

There's nothing quite like holding the actual physical printed book. Finally! I'm a published author now.

Showing my age, I suppose, but somehow having an eBook to send out as an Advance Review Copy (ARC) doesn't seem much different from just printing the book out to PDF and mailing it to a potential publisher or lit agent.

It is utterly gorgeous. Kudos to Sunstone Press. High quality physical materials, really nice cover, good paper, solid-feeling construction. It feels like something that will survive on library shelves and hold up to being tossed into backpacks and knapsacks and whatnot.



Ten years ago I began writing what would eventually become GenderQueer. (I started trying to get it published in 2013)

Forty years ago I came out on UNM campus — the climactic event in the book. Long before there was any such term as "genderqueer" I described to people how the person I was inside was basically the same persona as what's more typical of girls and women, that this made me different in the same general way that gay and lesbian folks were different, but that it was something else. Not trans, either (I was physiologically male, and that wasn't the problem). I invented my own terms, created my own symbols, wrote my own manifestos and began dealing with the insinuations and innuendos and hints by dropping my own coy allusions and double-entendres into conversations, unworried about whether people could parse them or not, confident, finally, of who I was, what I was, how I was. Let other people be uncomfortable with it if they must, but I'm done with that.



I've been reviewed in a handful of college newspapers with more promised to come, and a couple have been entered on GoodReads. Amazon isn't allowing reviews to be posted until the official release date (I guess?) (3/16/20) and I don't yet have any reviews in commercial or LGBTQ publications but expect those to start appearing as well. Haven't placed any ads yet (aside from a blog tour package) but we're designing them and I do have an ad budget.

I've heard it said that this is a good time for folks to stay indoors and avoid the crowds and curl up with a good book. Read mine! Then, if you liked it, recommend it to your friends.

It's a different story than any you're likely to have read, and I want folks to hear it.



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My book is being published by Sunstone Press, and is now available on Amazon and now on Barnes & Noble

(paperback only for the moment).

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Review: GenderQueer by Maia Kobabe

There's another genderqueer memoir out now (since mid-spring, I guess, but I just obtained my copy); this one's a graphic novel, an autobiographical comic book from a talented comic book artist.

One thing I particularly like about Kobabe's account is that ey drives home the lack of simplicity in figuring out one's own gender identity. Kobabe didn't have the possibility of being genderqueer dangled in front of em as a possibility growing up. For years e knew e was different from the other students in eir class or in her culture, but did that mean e was a lesbian? (No that's not quite it); Transgender? (Not exactly, not precisely...) Well then what I am I?

It's messy and complicated when none of the choices you're familiar with resonate with you as the correct answer, and you have to figure it out all on your own. It's not like ordering from the takeout menu. If having an "etcetera" category is useful as an umbrella term, that convenience runs in both directions. It is important to be able to offer a welcome mat to people whose experience is only sort of akin to our own, people whose specific gender experience is not something we could have predicted and described in more precise language.

Kobabe's tale also points out the importance of retaining "genderqueer" as a not-fully-defined "etcetera" category. I've read several essays and memoirs from genderqueer people, not to mention oodles of posts on Facebook and elsewhere from people explaining what they mean by genderqueer. Until now I had not had the privilege of reading a genderqueer coming-of-age story from an asexual agender person, though. Nor had I read a first-hand account from anyone who did not identify as transgender who had strong physical dysphoria. Dysphoria is typically regarded as a definining characteristic of transgender people, even if it isn't required of everyone who identifies in that fashion. Kobabe explains a genderqueer identity with physical dysphoria. In eir case, it is not so much focused around the pain of failing to be identified as a specific other sex, but more around the pain of being stuck with being identified as belonging to a specific sex e doesn't embrace as eir identity.

Interestingly, as the number of genderqueer memoirs starts to accumulate, the subcategory that I tend to think of as the most typical thing that people have in mind when they say "genderqueer" -- being genderfluid -- has yet to be represented. Audrey MC wrote as an AMAB person who had transitioned to female and then found that too confining; Jacob Tobia wrote as a person who is male but identifies as a sissy. Which makes two of us, since that's effectively my identity as well (male, sissy/femme/girl), although we have material differences in our storylines. Now Maia Kobabe gives us a genderqueer story from an AFAB agender / asexual person.

So if you're genderfluid and have a memoir to lay on us, you should definitely get it out there.


Gender Queer, Maia Kobabe. 2019, Oni Press

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The Amazon's Brother

I've uploaded my 1982-vintage unpublished book, The Amazon's Brother, to my theory web pages.

This was my first attempt to put these ideas into writing and reach people. Have an effect on the world.

Well, actually it wasn't my first. The first attempt was handwritten and was scribbled down in excitement, much of it written in the middle of the night. It didn't go over well; the most tangible outcome of that was being incarcerated in a psychiatric hospital.

So it's more accurate to say that The Amazon's Brother was my first serious attempt to say these things carefully with a considered effort to make sense to people.

The first half of it, titled "Sissyhood", was -- like my current book, GenderQueer -- an attempt to use my own experiences as an "Exhibit A" example. The second half, "Patriarchy", was social theory.


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Pre-Typesetting: Final Author's Edits

I received from Sunstone Press the text of my manuscript, "formatted" and cleaned of violations of the Chicago Manual of Style and corrected for typos and whatnot, for a final author's opportunity to change anything before it moves forward to typesetting.

I have now gone past a landmark that I never reached with either Ellora's Cave or NineStar Press: I'm looking at the content of my book as it will be when it is released, give or take any changes that I make at this point.

If you are not an author--or even if you are but haven't as of yet worked with a publisher--the impact of that may not be apparent. Publishers accept an author's book contingent on a successful round of edits. Changes. Essentially, they're saying they would like to publish your book but first they want to do some things to it.

Even an established author with a high profile is not immune to changes to their work, and I'm not merely talking about catching typos and fixing errant punctuation, either. I've heard that when John Steinbeck submitted Travels With Charlie, the editor modified quite a bit of it before it went to press.

So although an acceptance letter brings great joy, it soon leads to apprehension and trepidaton: "Yay, finally my book will be published. I wonder what they'll want me to cut or write differently or stick in? Will I hate it?"

In my case, it wasn't a hypothetical situation, either. My editor at NineStar, in 2017, wanted to kill the first 35,000 words, the first five years of the story, and start it in the middle. "You can put some of it in as flashbacks, maybe", he told me. This was so far from acceptable to me that I ended up asking to have my contract revoked and my rights reverted back to me. Having a contract to publish and then finding the editing process so destructive that I had to pull out felt like being rescued from a sinking ship only to find out that my rescuers were cannibals and that I was better off jumping back into the ocean.

So although I had heard only nice and supportive things said about my manuscript by Sunstone so far, I could not relax or rejoice just yet. The editing pen still loomed over my work like the Sword of freaking Damocles and I'd wake up in the middle of the night imagining all kinds of awful dilemmas, horrible choices I might have to confront, depending on what they asked of me.

But they like it! They really like it! (He says, sounding oddly like Sally Fields). I've finished reviewing the first two thirds of the book and the book is still my book, intact, not missing any limbs or vital organs, its face not rearranged by plastic surgery into something foreign. The editor at Sunstone has a light touch and I'm seldom aware of where anything was changed, and where I do see it, he's usually made it cleaner and clearer.

I'm starting to feel like Sisyphus would upon getting the damn stone up over the rim of the slope and up onto a flat level place. Oh, sure, something could still go wrong. A meteor strike could vaporize the offices of Sunstone Press, or the economy could go into such a tailspin that the entire publishing industry shuts down. But I'm starting to feel optimistic that this is actually going to happen this time.


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Genre Variant

Originality has its limits; to make sense to people, we have to begin in familiar territory; to say something new, we must connect it with something people already know.

But the worlds of publishing and producing constrain originality far beyond that, in their expectation that books and other creative works fit into an existing genre, and that books within a genre fit narrow specifications and tick off the requisite number of anticipated elements.

The popular mystery/detective genre has its well-established requirement of Clues, Character-Suspects (among whom the perpetrator must exist), the Escalation of further perpetrations of subsequent crimes (and further clues), and the False Suspect thrown in our path to throw us off the scent, and so on. I've never written one, although like most of us I've read many over the years.

The romance genre should have the protagonists Meet Cute but initially behave more like antagonists, give us some Steam but establish reasons to defer pleasure for awhile, and insert a Setback just as things are lighting up (a misunderstanding or an unreconcilable difference) before it resolves as HEA (happily ever after) or at least HFN (happily for now). Nothing I've written qualifies as a romance novel, although I've read my share of these as well.

If an author writes within a popular genre, and writes well with an interesting twist that makes their book ever so slightly different while still mostly fitting the template, they stand a chance of finding a literary agent and landing a publishing contract as a debut author. The publishing industry knows they have a built-in audience.

There are some genres that have fallen by the wayside, styles of writing that were once written and sold in large quantities. Would you like to be a brand new author today and find yourself pitching a book set in the 1800s in the west, featuring an upright male citizen who is a bit of a loner, who rides into a town where the establishment institutions of social order aren't working, so he makes a stand, bravely facing death and being outnumbered, but with his skill with a pistol he and his sidekick, with whom he has his conversations, prevail, only to find it necessary to ride off into the sunset because the little town is ambivalent about him?

Or perhaps you'd like to be fishing for a lit agent for your debut book that features a vivacious gal who finds herself in surrounded by deceptive creeping danger, and is fraught with self-doubt and doubt about the attractive but flawed male of wealth and power who lives in near-isolation in a crumbling old mansion; he starts off hateful but she forces his reluctant admiration and shows him her mettle, then she gradually finds that beneath his compromised and ethically questionable exterior and all his characterological flaws, he's actually shiny and principled -- ?

If you're an established author with a proven track record, it might please you to put forth a book that's a clever twist on the old classic western or gothic genre, but I suspect it would be a far more difficult sell for a first-timer.

One of my favorite examples of a creative work that doesn't shoehorn nicely into existing genres is actually a film (originally a screenplay), Miracle Mile. It kicks off as a conventional romance / romantic comedy, invoking the trope of a main character reaching a misunderstanding about something that makes him believe there's a crisis afoot, resulting in him behaving in amusingly silly ways and luring others into doing likewise. Except this time it turns out that the crisis isn't the result of a miscommunication and the story becomes an apocalyptic end-of-world tragedy.

That it ever got made (without being revamped to make it fit into genre packaging better) is a testimony to screenwriter Steve De Jarnatt and his durable stubbornness. He was a graduate of American Film Institute and had credentials for prior work on Hollywood films, but even after the Miracle Mile screenplay won awards there were misgivings about proceeding with the project as written:

De Jarnatt decided to shop the script around to various Hollywood studios and was turned down several times by executives that didn’t like the downbeat ending. The filmmaker said, “I certainly could have made it a few years ago if (the hero) woke up and it was all a dream, or they saved the day.” In fact, at one point, he was approached to shoehorn Miracle Mile into Twilight Zone: The Movie (1983) only with a happy ending, but he turned that offer down as well.

-- from Radiator Heaven


I hadn't anticipated as much difficulty fencing my manuscript as I encountered. Like most newbie authors probably do, I thought the writing was the primary challenge. Thousands of people crank up their word processors for NaNoWriMo every year thinking maybe they've got a novel in them, probably assuming that if they do indeed write one, and it's good, they can get it published.

I thought of my book as fitting into a genre: the LGBTQ coming-out story. I figured it would fit on the same shelf as Conundrum: From James to Jan and Rubyfruit Jungle and The Best Little Boy in the World and Stone Butch Blues and Emergence and so forth.

Unfortunately, as with the western and the gothic romance, the LTBTQ coming-out tale is treated as an "old genre". As I wrote in my various query-letter incarnations, there have been such stories for lesbian coming-out, gay male coming-of-age, and transgender (in both of the conventional transitional directions) stories *, but nothing addressing that "Q" that sits there at the end of the acronym; nothing that explains genderqueer -- or gender variance by any other name -- that doesn't overlap with the previous four letters. Well, that may have been part of the problem: the people I was trying to sell on the story's concept didn't see any unaddressed need there, because they, too, didn't have a notion of any remaining category for which we didn't already know the story.

Aside from that, "need" isn't the operative word by which the publishing industry makes its assessment. They think in terms of "market", not "need". They consider manuscripts in terms of their potential audience, the people already poised to go out and buy such a book. Genre, in other words.

Instead of being conceptualized as a part of an LGBTQ coming-out genre, my book was typically seen as either an LGBT book or as a memoir. The LGBT genre is mostly fiction, and mostly erotica-romance at that, with an occasional literary fiction piece from an established author. The memoir genre is occupied by the personal narrative by someone we've already heard of, a celebrity or a person who made the news and attracted our attention, and hence has a "platform".


Submission Stats as of October 2019:

Total Queries to Lit Agents: 1453
Rejections: 1441
Still Outstanding: 12

Total Queries Directly to Small Publishers: 117
Rejections: 58
Still Outstanding: 43
Pub Contract Signed (then went out of business): 1
Pub Contract Signed (rights reverted, creative diffs): 1
Pub Contract Signed (publication pending): 1



* to be fair, there aren't many bisexual coming-of-age / coming-out stories either. As with so many things pertaining to bisexual people, I think there's an attitude that if we have lesbian and gay equivalents covered, the story / concerns / situation of bisexual people won't be meaningfully different so we dont need to bother.



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Tréjà Vu — I Have a Publisher for my Book!

I'm happy to report that I have a contract with Sunstone Books for the publication of GENDERQUEER: A Story from a Different Closet. Sunstone is a Santa Fe NM based publisher, which I'm happy about since the action in the book takes place in New Mexico. I don't have a formal release date yet but I expect it to come out in the general vicinity of January 2020.

GENDERQUEER is the coming-out and coming-of-age story of a gender nonconforming male. Set in the late 1970s, it's a work of nonfiction and highlights the realness of an identity that is not gay, bisexual, lesbian, or transgender, but isn't cisgender and heterosexual either -- "it's something else".

It's a work of nonfiction. It's my story.

GENDERQUEER is a 96,000 word tale with real people, characters and dialogue, that is intended to make some fairly complex social concepts accessible to people who aren't regular readers of political and social theory.

It will be my first published commercial piece. So I'm a debut author.



I don't feel like a debut author. I feel like an old and rather weary traveler plodding across the damn desert.

That probably has something to do with the fact that this is the third time I've had a contract to get this book published.

Ellora's Cave was going to publish it in 2016 but they went out of business.

Original Announcement
Retraction

Then, in 2017, StarNine Press said they would publish it, if I worked with the editor to shorten and tighten the first third of the book. It turned out that by "tighten" they meant "discard", and we were unable to reach a mutually satisfactory understanding and publication was cancelled at my request.

Original Announcement
Retraction


I sent out nearly 1500 queries to literary agents about this book and never succeeded in getting a lit agent. Eventually I began querying small independent publishers and at this point the tally of those is 117 queries to publishers, resulting in three signed contracts.

The third of which had jolly well better be the proverbial charm.

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Tomboys

"I think you have a misconception", my women's studies professor told me. "Feminism is not 'for women who step away from traditional feminine expectations and roles'", she said, making air quotes. "Feminism is for all women. We want to support women's freedom to choose their own options, and that includes being a mother, or a receptionist. It even includes being a sex object". She paused and sighed. "In my day we were trying to get away from that, but now lots of women are seeking it. Anyway, my point is, feminism isn't about telling women how they're supposed to be. It's fine to not conform to the expectations that are projected onto women but it's also fine if you do, if it's what you want for yourself".


I understood her point, but it was still nevertheless true that lots of women who were not traditionally feminine had felt a special resonance with feminism. Feminism told them it was okay to be the way they were, in a world where everyone else was saying otherwise, so of course they had a special interest in it!

I just finished rereading Tomboys!, a collection of short reminiscences edited by Lynne Yamagushi and Karen Barber. The subtitle is "Tales of Dyke Derring-Do". It is specifically about the experience of growing up unfeminine, or masculine if you prefer. Tomboyish, hoydenish, boisterous and forward and irrepressible, physical, nervy, athletic, competitive, immodest and not demurely amenable. Hell on wheels.

The women writing the pieces were definitely seeing themselves as revolutionary insurrectionists, and they saw it as specifically feminist bravery. How could they not?

Anyway, I'm reading these stories again, and, not for the first time, wishing for a similarly compiled collection from tomboyish women whose sexual orientation was towards male people. In particular, I'd be interested in reading how they negotiated a sexuality that didn't require betraying their personalities and behavioral patterns as tomboys in order to be sexual participants with male partners. And how they structured their relationships.

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Progress on THAT GUY IN OUR WOMEN'S STUDIES CLASS (Book II)

I'm still plugging away on the second book to be extracted from my autobiographical tome. This is a complete rewrite; the original text of the autobio is not directly usable, unlike the portion I used for the first book, so I just reference it for notes and reminders. With the scene that I wrote yesterday, I'm up to 96 pages, which should come out to be roughly a third of the final manuscript.

I'm a participant in an author's group where we bring up to 1800 words' worth of our work-in-progress and read it out loud to get feedback. That's helping immensely, not just for the direct advice but for the overall sense of connecting to an audience and hearing that yes, they find the story entertaining and engrossing.

Plotwise, I'm at a point where my main character (that's me, of course) is in the first year of women's studies classes, a college freshman, successfully making an impact with professors and connecting with some of the other students, but hasn't yet been able to explain the whole "male sissy" thing in such a way that people understand what these social issues are all about.

In the second year I will show him (i.e., me) getting established on campus as an outspoken political type, with a reputation mostly associated with militancy about pyschiatric rights and homelessness, and known for being that guy who is into feminism. He (i.e., me) also gets a romantic interest! The second and third year together should be no more than another third of the book; the first year section is longer because it has a long retrospective backstory portion and has to do a lot more initial setup.

The big challenge all along was whether I could manage a sufficient balance between complex intellectual ideas versus interactive personal stuff with conversations and characters and all that. So far so good, I think.



By the time of the events in this story begin, I had come out in 1980 as a heterosexual sissy, a person with an identity that was different in the same general way that gay & lesbian and transsexual (see next paragraph) people were understood to be different, but, well, different from those identities. I had even written a book by 1982, The Amazon's Brother. But I was very isolated; I wasn't connecting with anybody who understood WTF I was talking about and I had no one reading what I'd written. I hadn't succeeded in getting a publisher interested.

The scene that would later be called the "LGBT" community did not include gender variance back then, not really. It was all gay rights. I viewed gay people as allies (particularly lesbians who were likely to be feminists) but not really comrades in the same cause. Transsexual people -- yes, that was the word in use back then, nobody was saying "transgender" yet -- were people who transitioned by getting operations and taking hormones, and there was no sense of other kinds of trans people who didn't want to align their physical sex with their gender identity, so I didn't see myself as fitting in with them either, aside from which their presence in the community was mostly just hypothetical. They were so thin on the ground number-wise that a person did not actually encounter them at community centers and so on; officially there was probably starting to be some inclusiveness, some mention on fliers about them as part of what gay and lesbian centric organizations were about, but really it was all gay and lesbian, and mostly gay guys for that matter.

I hitched to New York to become a women's studies major in college. (The book's backstory section covers how I made the decision to do that, and my adventures getting there). I figured that the things I wanted to talk about -- that the expectations for people of a given sex were socially created, not built-in natural, and that the intolerance for people who were different was sexist -- would be right on topic for the women's studies classroom.

And besides, my head was deeply into feminist theory by this point anyway. I felt like the whole way society is set up, its overall values and structures, is a direct consequence of how gender is set up, that society is a machine and it runs differently depending on how gender gets configured. And feminist theory, especially radical feminist theory, made the same claim, that this was the political axis around which all social issues revolved. Not class, like the socialists believed. Not race, like the 60s activists had mostly believed. This. And that insight, incidentally, is something I still find missing from most gender discussions even to this day -- we do a lot of identity politics about who is marginalized and oppressed and unfairly treated, but not so much discussion about whether global warming, the military confrontations and economic deprivations, or the buildup of religious intolerances and so forth are all the way they are as an outcome of how gender is socially organized on this planet.

The trajectory of this book will bring my main character (i.e., me) to the limits of the role that a guy can authentically play in women's studies and in feminism, just as he's getting an academic article published and burning his final bridges with the graduate school department and leaving without a PhD to go figure out some other way of approaching all this.



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Depression

I'm in a dismal mood.

Doesn't happen very often. I'm seldom depressed. When I first obtained a clear sense of my variant identity, I received along with it a political explanation for why I felt pushed aside, why I was so often reviled and hated when I hadn't done anything to hurt anybody, why I didn't make friends, was perennially unpopular, and so on. It was also a political analysis that explained a lot of the worrisome aspects of the larger world to me, things like tyranny and oppression, poverty and inequality, even morality and spiritual meaning in life. So it was very empowering, and gave me optimism, courage, even some modicum of patience.

And you can sort of see why having that kind of understanding in my head made me want to share it, figuring it would offer those things to a lot of other people as well. And why wanting to share it gave me a mission and a purpose in life.

But I do get discouraged and trammeled down sometimes and it's been like that these last couple weeks.


I had a publisher on the line. I had a contract in my hands. There were problems and concerns -- I never quite felt that the editor I was interacting with had a clear understanding of the gender identity thing, either mine or MOGII* identities in general, beyond the average person's mainstream popularized shorthand stuff, and he didn't seem curious or sufficiently intellectually engaged to see what it was that I was trying to say to the world. It was more like "Hey, you write well, this could be an interesting entertaining book with a bit of effort".

I thought maybe I could work with that but the lack of any sense of being on the same channel worried me. He also gave every sign of wanting to be heavy-handed about changes. "I think you should add a scene where you muse about this, and then a scene where you blast out of town and flip off the city limits sign as you drive into the sunset... and I'd get rid of these scenes in this next section..." I got mixed messages about how much of these editorial suggestions I could veto and still have them publish the book. On the one hand, he stipulated that the publisher would not make any changes that the author did not approve, and when I did a preliminary round of edits , adding some scenes he suggested but not deleting material that I wanted to keep, he replied (somewhat sourly, I thought), "Well, do it your way, it's your book, and we don't want you to look back after publication and wish you'd never heard of us". Alongside of these ambivalent-sounding reassurances about my authorial authority, I received periodic comments about how the publisher could not afford to put a book out there that had so many flaws and weaknesses that it simply would not sell, or that would be an embarrassment to the publishing company.

I was sent a document to review and sign, titled "draft contract", and I wanted to modify some clauses to safeguard that the book would come out my way (final word on the book's cover, title, back-cover blurbs, publicity descriptions or synopsis, etc) and also push for a better deal in some places (better % royalties beyond the 2500th copy, because I'd be financing most of the publicity efforts, as tends to be the case with small publishers) -- I figured it did say draft proposal, after all, and that they might say "nope, you can't have that" and if so we'd negotiate to a compromise and then I'd sign and they'd sign and I'd hold my breath and hope we could work together on the edits, right?

Uh uh. I got a reply email stating that the publisher had decided they had too many projects going on and had decided not to publish my book after all, best of luck with it elsewhere, etc. After a day to cool off I wrote a letter of inquiry (and of hubris-acknowledgment). He confirmed that yeah, it was because I'd given them pushback instead of just signing the contract as is. And nope, no room at this point for continuing the discussion, sorry. So that was that.


What are your symptoms when you get down and despondent and mopey?

For me, it's like this:


* I get mad at myself and start blaming myself for the outcome, even though I'm still capable of an intellectual analysis that tells me I didn't do self-destructive things here. I blew it. I had a contract in my hands and managed to drive away the publisher. I must not really want to get my book published, I sabotage myself. Heck, I probably sabotage myself right and left every day, finding ways to not network or communicate, so that I can be a fucking dilettante and keep pretending to be an "activist" or a gender "revolutionary" when I'm really just Walter Mitty and none of this is real.

* I question my beliefs and understandings. Intellectually, I could tell you that it is good for anyone to question what they purport to believe; it makes the beliefs that withstand such questions more valid and sound, and it makes the person who subscribes to them less defensive and more genuinely confident and all that -- but in this mood, the belief-questioning is very dark and takes this form: "My difference probably isn't that I'm differently gendered. That's just an excuse. I'm inferior, there's something fundamentally wrong with me. People mocked and harassed me as a kid because I was pathetic, not because I was a sissy. I have had problems making friends and getting accepted socially because I'm not fun, not friendly, don't remember what is important to other people, and in particular because I don't properly soak up how to be, the little memes and clues, so I am not a part of things. I'm probably impaired neurologically or psychologically. Maybe I'm autistic, or I have some personality deficit so that I'm capable of doing mechanical things like dress myself or do data entry or write term papers for college classes but my brain isn't wired correctly to do people-interaction. Yeah, there's something wrong with me.

* The dark stuff isn't all of the self-blame variety. I have other forms of gloom to wallow in. Why have I gotten so little traction out of forty years of trying to share and explain these ideas? Well it's because I belong to a sexually dimorphic species, and I'm a sissy male, a feminine male, hence a minority and marginalized because of that; and I can try to call that "political" and make an "issue" of it all I want, but my species isn't buying it, there are evolutionary forces that select against it becoming okay for males like me to be accepted and embraced by society. Or (brain switches channels to a different gloomy perspective) it's a conspiracy of sorts, my set of theories and explanations is a potential meme that conflicts in parts with the predominant rising body of thought, which at the moment is the mainstream transgender narrative, What I am saying or trying to say is rejected because the popular social dialog only has room for a few prevailing ideas to proliferate. My notions are no doubt seen as transphobic, or at least they’re seen as incorrect and inaccurate when people compare them with the established transgender explanations. And back in the earlier years, before transgender viewpoints were established, my ideas were probably worrisome to gay people and their supporters, and were perceived as homophobic. So, you see, communication between an individual and the rest of their surrounding culture isn't free exchange; ideas that are not the ones chosen by the consensus get pinched off and blocked because they introduce too much noise, and mine are noise, not the memes that have been embraced and selected for wider audiences. Or (switching channels to one with even less light in it)…

* Ha, so silly to dwell on how poorly I fit as a male, when I should take note of how poorly I fit as a human being. I am not doing this "being a person" thing very well. I was born to a species whose tasks of life and patterns of behavior and interaction and challenges and so forth are a bad fit for me, and not much fun. I am tired of this. Not in the sense of wanting to be dead, not in the sense of craving non-consciousness and non-existence, but, yeesh, if I die and get to come back, I really hope I can come back on some other planet as some other species with a different nature, different characteristics. Or I could come back as a kitty cat, and live in back alleys and prey on mice and if I'm lucky get adopted and taken indoors. Or I could try my hand at being a sycamore tree, or bread mold or something. But this "being a human being" thing doesn't seem to be shaping up to anything like a passing grade. I'm just no damn good at it.


Meh. My way of coping with depression is to ride it out, and to wallow in it self-indulgently and immersively, until I get annoyed and angry and break out of it. I don't think I'm very pleasant company for the duration of these moods (I get even more self-immersed than I usually am, which is admittedly a rather narcissistic threshold to start with); I only listen to the loved ones and important associates and colleagues in my life in a sporadic and distracted way, and I get very forgetful (more spacy than usual, and again I have an embarrassingly bad baseline to start with). And I'm awake much of the time I should be sleeping and dozing off when I should be alert and awake.

But it's not like I don't understand why I would be feeling depressed. I got sufficient reason. So it's normal and natural and part of life for me.

I'll bounce back.


* MOGII = "minority orientations, gender identities, and intersex" -- an alternative to the ever-expanding LGBTQIAA++ acronym


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Church and Sunday School

You’d think a place associated with being nice (kind, sweet, gentle, good) would be appealing to sissy femme males. Their mascot sported long hair in an era when males in general did not. But no, I didn’t find it so.



In my book, woven into the section about growing up, I describe how I tried to fit in and find friends and acceptance among three cliques or groups – Boy Scouts, the choir, and the countercultural mellow potheads. I mention church in passing, as a place through which I’d met this or that person or as the sponsor of this or that event, but I don’t develop a story-theme about trying to find friends and fit in among the others in the church congregation where we attended. That’s mostly because it would have been redundant, wouldn’t have added much to the story. (Three examples are enough).

But I have sometimes thought (and blogged) about the possible affinities between the clergy and the phenomenon of being a feminine male, so lately I’ve been musing about what church was, and wasn’t, to me growing up.

First of all, church wasn’t a place where boys and girls of a certain interest or disposition chose to go, so that those were the kinds of people your own age that you’d encounter there. Instead, church was a place to which children were taken – dragged, if necessary – by their parents. My childhood prior to 8th grade was mostly in south Georgia, and starting with 8th grade (which is when the book’s story gets underway) we lived in Los Alamos, a small and insular community that was also very churchy, populated as it was with scientists recruited from small and often conservative towns. So it was something that people of my parents’ generation did – you took your family to church on Sundays. To whatever extent your children didn’t seem enthusiastic, it was thought to be true to at least that same extent that they therefore needed it all the more. That meant that the other children my age were often there under duress or, at a minimum, would not have picked this as the place to be on one of their weekend days.

For the long span of years from early elementary to junior high, the boys I encountered in our church’s Sunday school classes were full of misbehaviors, being rambunctious, destructive of materials, noisy, crude, and belligerent. Sunday school – for the benefit of any who weren’t raised in a Protestant Christian churchgoing family – is an hour’s worth of time before the church service, and is divided up and, at least for children, age-specific (so it parallels the kind of divisions that define elementary school classrooms); adult classes might be focused on some theme or general topic of discussion, while children’s classes were taught by an adult Sunday school teacher who would come in armed with lesson plans and songs and construction paper and crayons and scissors and whatnot. The adult leaders teaching us (usually women) tended towards condescension and our classes were geared towards absorbing and regurgitating religious-content facts or memorizing verses or learning lots of trite children’s religious songs.

As usual, the girls were better behaved and were generally more willing to get immersed in the purpose of whatever lesson was being dumped on us, and their interaction with each other was nicer and I respected them more for that. There were girls I liked that I saw there and encountered in classes over the years, but since Sunday school wasn’t a discussion format for us, this wasn’t really a place where I made many friends with them either.

I liked the church service better, with its formality and ritual, and the quiet and serious solemnity. Reintegrated with the adults, I wasn’t forced to be among boys my age. I liked the hymns and I particularly liked the choir.

But I was happy when it was over and the rest of the day was available to me. Part of it was the damn clothes. Since I’m a sissy femme, that may seem odd, that I didn’t care for dressing up in the fanciness of Sunday clothes. Was it because, like the rest of the experience, it was imposed on me and not something I chose for myself? I’m not sure, but I hated the suit coat and the collared shirt and the tie, and the cut of the dress pants. Everything had a way of hanging on the body like a set of curtains, loose in places I preferred clothes to be tight yet bunched up and distracting in other places where I preferred to be unencumbered. Little boy dresswear is adult male dressware scaled down to size and I think maybe it just doesn’t fit as well because it wasn’t designed with a child’s body in mind in the first place. Part of it may also have been the gender disparity of it all, too, although I wasn’t conscious of being annoyed by it at that point. People made a fuss over the cuteness of the girls and the prettiness of their Sunday dresses, and the girls seemed to enjoy their garments a lot more. Certainly what they were wearing was quite different from what I was wearing. That wasn’t so true for everyday wear – I would go to elementary school in pants not particularly different from girls’ pants (and they did wear pants as often as they wore skirts and dresses), shirts not particularly different from girls’ shirts. Male formal wear is far more of a costume, all composed of clothes quite different from our everyday clothes but the same for every male except for minor variations in cut and color. It was a uniform. I hated it and wanted out of it as soon as possible.

In later years, in New Mexico as an older kid, the Sunday experience continued to involve the same nasty bullying classmates I was already at odds with from school. There did start to be a shift towards discussion of moral issues and socially relevant topics, and I liked that, at least. I think the church scene could have ended up being an outlet for me. Yet, by sheer luck of the draw, our church congregation consisted of a lot of boys my age but no girls, and a similar concentration of girls a few years younger who were therefore in a different youth group. I do make reference in my book to some church-sponsored activities that gave me opportunities to socialize and mingle, or to discuss important things like sexuality and the possibility of having a girlfriend and being able to date.

But mostly the church scene was not much of a resource for me.

For the purposes of the book, I had a better example with the Boy Scouts; it, too, was an organization that was affiliated with the notion of Doing Right and Being A Good Boy; and although there was considerably more self-selection and I did make better connections there, it, too, was eventually a venue where I didn't have enough in common to keep me from feeling like an outsider. I placed a scene in the book where the Scouts are telling dirty jokes that become increasingly crude about sex and misogynistic towards women. I think it makes my point sufficiently.

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Skirting the Issue

Let me describe what I like to call the "skirt trick".

An author named Ami Polonsky wrote a Young Adults book titled Gracefully Grayson about a tween-aged boy who, in essence, is one of the girls. To illustrate and convey to us, the readers, that Grayson is like this, she describes how the character wears an overly-long nightshirt and spins in it and imagines that it's a skirt or a dress and wishing for the opportunity to wear a real one.

Just this spring, Jacob Tobia came out with Sissy, a book that mine will probably be compared to quite a bit, since Sissy is the first real genderqueer coming-out / coming-of-age story. Jacob, too, presents the fact that despite being male they were "one of the girls" by recounting how they would dress in their mom's clothes and put on her makeup in secret and wish they could go forth into the world adorned that way.

The problem with using the skirt trick is that whatever the heck it may mean to "be a girl" or to "be feminine", it doesn't mean your brain is somehow hardwired to make you want to wear a skirt (or high heels or put on makeup, etc). Trust me, there is no shortage of cisgender women who have never had the faintest interest in adorning themselves in ankle-torturing high-heeled devices, Revlon and Avon gels and creams and powders, or nylon hosiery, and considerably more who don’t necessary hate the stuff but resent having it imposed on them as part of gender-specific “office standards”. Skirts and dresses blow up in the breeze and threaten to show your underpants to the world, often lack sufficient pockets for your keys and wallet and lip balm, and catch on the velvet ropes when you try to step over them at the bank instead of zigzagging your way back and forth down empty lanes during non-busy banking hours – and many women recall, unfondly, having them imposed at a young age and finding them a hindrance to riding bikes and climbing trees *.

But if you try to write a book where you're introducing a character and stating "this person is male but how he is, who he is, the way he is, is more like one of the girls than it's like the other boys", you’re expected to show, not tell, your reading audience that this is true; but no matter what specific behavior you describe, no matter what thinking processes you reveal your character engaging in, you run the significant risk of people saying “Aww, c’mon, that doesn’t make this fellow a girl, I’m not like that, my daughter is not like that” or “How does that make this dude any different from me and a million other guys, lots of boys have feelings like that”.

There is no single behavior that all the girls engage in and none of the other boys do; and if there was, then our main character could not be engaging in it, by definition, unless he was absolutely the only one like that, in which case his story would be the story of an anomaly, not a representative story that explains what it's like to be one of those boys who is essentially a girl despite being male. To complicate matters, the female population has among them some gender-variant individuals too, whose existence dilutes the universality of what girls do and what girls are like. So on the one hand the author needs to show the reader that this character is basically a girl, but on the other, there's no obvious and compelling way to do that.

The difficulty of navigating that complexity and still bringing the reader along, accepting and not contradicting my premise, is a challenge that makes me grudgingly appreciate the skirt trick. But my tale is a memoir, a work of nonfiction, and I did not, in fact, spend my childhood and teenage years donning dresses and skirts and stockings and lace, or applying cosmetics to my face.

There is no single vegetable, meat, or spice that all by itself makes a dish a part of Italian cuisine or Mexican or German or Indian. But I still know the difference between them. I recognize it when I taste it, when I smell it. There’s no single note, chord, or chord progression that is unique to Baroque music, but it sounds a certain way, has a certain feel to it. I think gender is like that, too – we grew up in a social backdrop and absorbed the component notions of it. To borrow the famous aphorism of Justice Potter Stewart, we know it when we see it. People also know when they don’t see what they expect to encounter, which is why outliers, gender-variant exceptions, are so often noticeable to other people and not just aware of it themselves. I didn’t have to wear a sign that said I was a sissy femme in order for the kids in eighth grade to start calling me out for it.

In my book, I’m trying to put a feast of samples in front of the reader, little vignettes and selected events, some mental processes and interior dialogs that I recall, some choices that I made, some behaviors and whatnot. The book has a blatant title and it has an explicit three-page flyover of my early childhood, both of which promise the reader that this book is going to feature a genderqueer person, specifically a boy who is basically one of the girls. But once the book gets started, I’m depending on the reader to react to the samples provided and to reach their own realizations without me pointing to each occurrence and saying “See? See? A conventional boy would not have done that. See? Just like a girl would have!” None of the individual scenes or events is definitive in and of itself, and I don’t lay down any definitions to start with (to the annoyance of at least a couple potential publishers, who insisted that readers are as dumb as a box of rocks and need that).

Ultimately, to make this work, I have to rely on the readers’ independent perception. I’m not going to be able to argue them into seeing it. The experiences are going to have to speak for themselves.

But I’m confident that I’m a pretty damn good cook and that I've prepared some evocative morsels.



* Skirts are so much more comfortable than pants on a humid or hot day, there's something fun about the way they swish around when you move, and you can find them with usable pockets and with belt loops as well. And they take up less room in your suitcase than pants. And unlike pants they don't chafe or bind on you when you're sitting down. Also, they're great if you have nice legs and consider them among your best features and don't want to keep them covered up all the time.

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BOOK REVIEW: Sissy, by Jacob Tobia

There's a brand-new genderqueer memoir out, a genderqueer coming-out and coming-of-age tale going to print, and I'm jealous. Obsessively insanely jealous. I wanted mine to be the first.

Those of you who've been reading my blog regularly are aware that I didn't have such an intense reaction when I discovered Audrey MC's Life Songs: A Genderqueer Memoir. Well, there are two reasons for that: firstly, Life Songs is basically and primarily a transgender story, a tale of transitioning to female by someone assigned and regarded from birth as male, and then very late in the book the author tacks on a throwaway line about how being a transgender lesbian is "so limiting in its binary construct" and so she now identifies as genderqueer; and, secondly, Life Songs is essentially self-published. So on balance I didn't feel authentically beaten to the punch.

SISSY: A Coming-of-Gender Story by Jacob Tobia is the genuine article. Jacob happens to be a gay male and their experiences of being a genderqueer femme were shaped by that, but this is not a gay coming-out story with a nod towards nonbinary appended. This is the real deal.

"I am not a man. I am not a woman. I am a glimmering, genderqueer, gender nonconforming, beautiful, human person, and I don't identify that way for fun. I don't identify that way because I think it makes me interesting. I don't identify that way as a hobby. I use that language to describe myself because it is fundamentally who I am."

As large as being (and coming out) gay did loom in Jacob's teenage years (and how could it not?), it's pretty much incidental to the main narrative they're telling, so yes, there's finally a book being published about what it's like to grow up genderqueer, as a sissy, a feminine male who actually embraces their identity as feminine male, one of us.

And published? Putnam, baby. G. P.-freaking-Putnam's Sons. Yeesh. I have dreams of getting my book picked up by the likes of Seal Press or Sibling Rivalry or something. Compared to that, Tobia is Cinderella in a gold carriage and I aspire to a pumpkin on a skateboard that I can push down the road and call a coach. Did I mention jealous? Jacob Tobia may be in for one seriously bitchy review here.



First, though, some of the sparkly bits. Sissy has some real gemstones.

One of my favorite takeaways is Tobia's replacement of The Closet with The Shell. That being self-protective, and not being cowardly, is the reason people aren't Out yet; that when threatened, one may retreat into one's shell and that there's no reason or excuse to belittle this as if we aren't entitled to put something between us and a hostile world. That we don't owe the world an honest testimonial to our identity, as if it were our secretive lying behavior that causes the surrounding society to make hetero cisgender dyadic normative assumptions about everyone. It's not our doing that makes that the norm that we have to push off from and differentiate ourselves from in order to come out! If we owe a coming out to anyone, we owe it to ourselves, but there's really no excuse for the community to mock people who don't do that, or haven't done so yet.

Tobia at several points talks about what it's like to be in a world that has no term and no concept for who and how we are —

As a child, I understood that my difference was beautiful, was natural, was fundamental. I knew just how special my gender was. But without a name, without language to put to what I was seeing and feeling, I had no way of sharing the importance of my difference with others.

... and later, starting college ...

The problem is that there are generally no lines written for people like me. There was no role for a gender nonconforming person at Duke, hardly even a role for a gay boy. Without realizing it, just by doing what they were used to, by following the rules suggested by the structure around them, my classmates had erased me

... and again in the vivid confrontation at Duke with their classmates and the organizers of a retreat called Common Ground. This time there is a specific conflation of sex and gender: the participants are told to sort themselves:

"Today we'll be talking about gender... we'd like to separate the room into two groups: women—sorry, female—and male participants"

Tobia pitches a totally appropriate hissy fit. It's frustrating living in a world that perpetually, obliviously insists that whosoever is biologically male is a man, that sex means gender, that dividing the room along this fracture line creates two groups each of which will contain the people who belong in it. Tobia starts with warning the organizers that the male group had better be focused on the male body, male morphology, and not about the experience of operating as a man in this world. "Because if we're talking about being men, you and I both know that I don't have much to add to that conversation."

As someone who has spent a frustrated lifetime trying to put these things into words myself, I kept on bouncing in my seat and occasionally raising my clenched fist and cheering.

The showdown with the Common Ground participants is the closing bookend to Tobia's college experiences. The opening bookend took the form of a couple weeks in the wilderness with a different campus retreat group, Project WILD, that hiked into the Appalachian mountains. In the natural setting, temporarily cut off from ongoing social reinforcements and structures, they found gender polarization withering away. "Bodies no longer signified behavior or character traits; breasts were breasts, nipples were nipples, genitals were genitals, hair was hair, none of them bearing ideological weight." It has a lasting effect on Tobia, providing a taste of how things could be different, but less so for the others who disappointingly retreat into their gendered shells once back in the school environment.

It's appropriate and consistent that these bookend-moments are events that are designed to get people in touch with themselves and each other. Tobia is active in the church in his pre-college days and despite living in the south (North Carolina) spends most of the book's trajectory in social environments that are tolerant and open in a modern sense. This is not the Bible-thumping Alabama conservatism of Jared Eamons in Boy Erased, and the issues that Jacob Tobia had to cope with are the same ones that still plague our most issue-conscious and woke societies now. Most of Tobia's story is about a person who is out and proud as a gay person but still trying to figure out how to come out as someone who is differently gendered. It's us, and it's now. Tobia gives us the much-needed "Exhibit A" to enable society to talk about genderqueer people with some understanding and familiarity.

After I came out as gay, I never officially came out as genderqueer or as nonbinary or as trans or as feminine.

I have no idea why Tobia proclaims that they never came out as genderqueer. Maybe they meant specifically to their parents?! It's a worrisome disclaimer at the time it's issued, because this is before Tobia goes off to college, and although the story up until this point includes a lot of secret femme behaviors and tastes, it seemed to me that there was still room for the story to be all about a gay guy who, now that they're writing a book, opts to identify as a sissy femme as well. But fear not, it's not so. It's a coming-out story if there ever was one. Tobia tells many people in many ways, many times. It's just more complicated because when you tell folks you're gay they don't generally get all nonplussed and stuff and ask you what that means, exactly; but coming out nonbinary or femme or genderqueer is nowhere nearly as well understood.

Now, Jacob Tobia does equivocate sometimes, and they of all people should know better! Whilst looking around for a social circle in high school that wouldn't be a badly uncomfortable fit for theirself as a still-secretly femme sissy, Tobia muses about the degree of homoerotic locker-room experiences among the jocks and compares it to the substantial amount of homoerotic anime available to the nerds. Look, hon, if you're going to write an essay about how being femme is its own thing, try not to step on the hem of your own dress. We get another misdemeanor offense like that when the college essay is being crafted — an essay about going forth in public in high heels — and Tobia refers to it as "an essay about wearing high heels and being the gayest thing on this planet." T'weren't so much as a mention in that essay of noshing on dicks or craving male sexual companionship, and just like the Common Ground people treating male as the same as man, this is a problem. Some of us sissyboy folks might like to go forth in high heels ourselves (although that's not quite my aesthetic taste) despite not also being gay guys, and we get just as erased by this conflation as by having "male" tied to being a man.

Be that as it may, gay male culture has not exactly been an unmitigated embrace of femme culture. There are scores and hordes of eligible gay guys posting personal ads and specifying "no sissies" or "no feminine nellies" or "masculine presenting only," and shrinking away from anything feminine as gross, like they think we sissies have cooties or something. There's a scene in Sissy, after Jacob has dashed across the Brooklyn Bridge in stilettos to earn money for an LGBTQ shelter where the masculine gay interviewer asks if comporting like this isn't "playing into stereotypes." So it is a politically flouncy act for a gay femme to put it out there and in your face and to underline their pride in being this way, femme, specifically as a person who is also that way, gay.


In the aftermath of Project WILD, Jacob Tobia finds themself back on a campus in the midst of fraternity and sorority rush (ugh!) and the intense gender normativity and polarization drives them away from the connections made with classmates in the Appalachians.

"In the vacuum that was left, I did what came most naturally: I started hanging out with the queers... within about a month, I'd cemented msyelf as the first-year activist queer, attending every meeting of Blue Devils United, our undergrad LGBTQ student organization… .

Yeah, well, convenient for you. To have a structure like that in place where a person like you would fit in on the basis of sexual orientation (which is almost always going to be the majority identity that brings participants in; you get a roomful of gay guys, a smattering of lesbians, a couple token transgender folks of the conventional transitioning variety, right?). I did promise bitchy, didn't I? You got a platform from this. You made social political connections where you could start off recognized as an activist gay student, something people could comprehend, and over time, even if they didn't fully get that your issues as a femme person were something other or more than an expression of gay male concerns, you could push those too, get them out there, explain them to people who started off believing you were in this group for your own legitimate reasons, marginalized for being gay.

Aww fuck, I can't win with this whine, can I? It's not exactly going to fly for me to try to claim that hetero sissies are more oppressed or that gay sissies are privileged in comparison. Well, Jacob Tobia, one thing you reinforced for me is that if I feel the need to bitch and whine, I should go ahead and be proud of being a sore loser, I should refuse to be classy even if the people I'm jealous of, who seem to have advantages I don't have, are good people with more than a compensating amount of situational detrimental oppressions to offset all that.

I aspired to this; I went to college to be an activist about this peculiar sense of identity and I tried to connect and to become part of a community. I rode into downtown New York City and hung out at Identity House and marched in parades and tried to connect there too. But mostly I met gay guys who came to such groups or events in order to meet other gay guys, or trans women who wanted to talk about surgery, hormones and passing. I even attended a bisexual support group for awhile, thinking/hoping that even though "this wasn't it," that the mindset of people in such a group would be more conducive to someone espousing sissy lib and socially interested in connecting with a butch or gender nonconforming female person who found sissy femmes attractive. No such luck: the bisexual gals tended to interact with males in a conventionally gendered way, according to the heterosexuality script I was trying to avoid. And one consequence of all that is that I didn't become a part of an environment where I could be a spokesperson. (I had similar problems when trying to hang with the feminists, by the way; they didn't regard gender issues as my issues, and saw me as a supporter only).

I suppose it's fair to say that heterosexually inclined sissies get bought off. We're not as often in situations where our queerness can't be ignored; our sissyhood doesn't get us found in bed with a same-sex partner at the motel or in the dormitory, and we don't get seen holding hands with a same-sex partner while walking down the sidewalk. We don't go to designated social scenes that would draw attention to our identities, the way the patrons at Pulse in Orlando did. So it's easier for our difference to be tucked and bound and hidden. And so far there hasn't been an "out game" for us to join so there's been no counter-temptation to offset that.



Hey world, you still need my book, too. Buy Jacob Tobia's, yes, buy it now. It's powerful. Buy it and tell everyone about it, spread the word. But an author in Tobia's situation can't directly attack and dismantle society's equation of sissy with gay. When someone comes out as a gay sissy, it corroborates the stereotype that sissies are gay and gay males are sissies, and because of that, a heterosexually inclined young sissy boy reading Sissy or watching someone like Jacob Tobia in a television interview may not feel very reassured that who they are is someone that it is okay and possible to be. Furthermore, all the gay sissies in the world, along with all the lesbian butch women, can't fully dismantle the gender-polarized scripting that constitutes heterosexual flirting and coupling behavior. Oh, they threaten it: whenever gay or lesbian people connect, it challenges the notion that sexuality requires the participants to be rigidly assigned to a sexual role by their biology. Even in a gay or lesbian relationship where one person is the butch and the other person is the femme, you don’t start out where each person is automatically assigned to being the butch or the femme because of what sex they are. It may be a negotiation between the two people, or perhaps a person comes to feel that the butch role or the femme role is the one that fits them best. And of course lots of relationships don’t use butch and femme at all. But the real challenge has to come from genderqueer people who participate in biologically heterosexual encounters, finally making it so that heterosexuality itself is no longer dependent on those binary polarized oppositional roles.

Well, also history. I came of age and came out in the late 1970s and early 1980s. The entire community of marginalized orientation, gender identity and intersex people (MOGII **) has an interest in learning how being gay or being trans etc. was and has been over time and in different settings. In particular, being genderqueer/nonbinary is often seen and spoken of as if it's an affectation, something that no one would come up with on their own if it wasn't already out there, trending and looking edgy and stuff. So hearing stories from people like me who came to a genderqueer sense of identity before there was such a term (trendy or otherwise) should help retaliate against that attitude.


Sissy: A Coming-of-Gender Story is available on Amazon, Barnes & Noble, Apple Books, Google, Kobo, and most other likely venues. Support gender-variant authors and buy a copy!



* Tobia's preferred pronouns are they, them, theirs

** As an alternative to the ever-expanding LGBT, LGBTQ, LGBTQIA, LGBTTQQIAAP acronym, MOGII is becoming a popular way of designating the community. We're together in this because our sexual orientation, our gender identity, or our physical body is different from the mainstream.

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Revisiting the Wydens: The Assault on Sissyhood

"Many of these ["prehomosexual"] boys tend to be overpolite and obedient, anxious to please adults, to be charming and witty and cute...

"In Tommy's case, his teacher decided to employ her full talents and sympathies at once, right on the first day of school...only Betty J.[the teacher] came to know...that he was a prehomosexual child...

When regular classes started the day after the open house, Miss J. thought that Tommy would find the separation very difficult. Nothing of the kind proved to be true...Tommy left her side quickly and without fussing. Miss J. was delighted. In amazement she wondered whether Tommy was perhaps less of a 'Mama's boy' than he had seemed to be the day before...however, his prehomosexual orientation quickly asserted itself.

"Clearly and pleasantly, Tommy chatted with the new teacher about his age and where he lived. He did not seem the least unsure of himself. But just as soon as he was invited to join one of the groups of other children, or to take part in class activities, he refused -- in the same careful, polite tone...

"When he did strike up a friendship, it was with one of the girls...He used a crayon and chalk, but just as soon as he finished he did something no normal boy would dream of doing: he washed his hands.

'His excessive daintyness reminded me of the fastidiously kept apartments of adult homosexuals...', Miss J. told us..."

-- Peter and Barbara Wyden,
Growing Up Straight, What Every Thoughtful Parent Should Know
(Stein and Day), 1969, pgs 104, 116-117, 119

The Wydens might find themselves criticized these days for openly giving advice on how to keep their children from contracting homosexuality as if it were leprosy or something, because a quasiliberal tolerance of gays and lesbians is "in" right now, but there is still a widespread social acceptance of a direct correlation between sex role nonconformity (which the Wydens would probably call "gender-inappropriate conduct") and homosexual orientation. In Tommy's case, the "prehomosexual" label was applied not because Tommy was known or thought to have eventually grown up gay, but solely on the basis of his "unmasculine" conduct as a kindergartener. I chose this example because it is so unsubtle, but it is quite common for adults to claim to know who is gay on the basis of similarly sexually-unrelated observations.

This is prevalent enough to double-define the term through usage, much as fuck has come to simultaneously mean both sex and destruction. What is gay? Is it the way you are, or something you do?

And what do you do if you are, but don't? The question of heterosexual viability, which caused me to wonder if the orientation I was accused of was the only thing available for me, tries to work as a self-fulfilling prophecy.




* * *


All of the above is a "guest post" -- from my 22 year old self. It comes from chapter 8 of The Amazon's Brother, my first serious attempt to write about these issues, which I wrote in 1982. The chapter title was "That Peculiar Sense of Identity". (Yes, I have been doing this for a long time) (Yes, I am that old) (No, I was never able to get it published)



When I first read the Wydens' book, I immediately and strongly identified with their description. It was definitely me they were talking about!

The boys in my classroom mocked me for refusing to use what we called "dirty words", and for not joining in with them in their obsessing about bathroom functions, and especially for openly disapproving of them for doing so. And I, too, preferred the company of girls, and definitely put a great deal of effort and energy into getting adult approval.

So the Wydens were totally talking about me and they made it sound like being who I was was something very bad. They had the sheer effrontery to disparage something as intrinsically good as the way I was!

And all because it supposedly meant I would turn out gay... or was it?



Let's begin with the obvious: it is blatantly homophobic to express such hostility to the idea of being a femme sissy by saying boys like that grow up to be gay men, as if that outcome were so self-apparently horrible that the prosecution can rest their case, sissyhood is bad. And it is a powerful act when sissy femme gay males reclaim their identity with pride and reply "Yeah, and? Your point being?"

But I think there's more to the issue of conflating the two things.

I'm not authorized to complain on behalf of gay guys, I guess, but the notion that a person is femme in order to attract the attention of males seems to me to be insulting to gay males. Think about it. It conjures up the notion that the males who are attracted to feminine gay guys are basically really stupid heterosexual males, stupid enough to be attracted to other male people if those male people appear to be like female people. Attracted to femininity in appearance and expression and nuance but too oblivious to realize or too horny and unpicky to care that the person in question is actually male. And if we shift our attention to the feminine gay guys themselves, we see the notion that they aren't interested in each other, that they abhor gay guys, feminine guys, that they want those beforementioned stupid heterosexual men. There's a lack of mutuality and equality, and a lack of pride.

Meanwhile, as long as being a sissy femme male is thought of as coterminous with being gay, the sissy femme identity is erased. We aren't thought of as a gender. The fact that this is our identity is masked and hidden because people interpret it all as an expression of gay sexual orientation. We get reduced to a set of mannerisms.



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