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Full Ebook of Transgender History Second Edition Susan Stryker Online PDF All Chapter
Full Ebook of Transgender History Second Edition Susan Stryker Online PDF All Chapter
Susan Stryker
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SECOND EDITION
TRANSGENDER
HISTORY
THE ROOTS OF TODAY’S REVOLUTION
SUS A N S TR YK E R
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LSC-C
10 9 8 7 6 5 4 3 2 1
Compiled by Clare Sears in “A Dress Not Belonging to His or Her Sex: Cross-Dressing
Law in San Francisco, 1860–1900” (PhD diss., Sociology Department, University of
California, Santa Cruz, 2005), based on data from William Eskridge, Gaylaw: Chal-
lenging the Apartheid of the Closet (Cambridge, MA: Harvard University Press, 1997).
shift. For the first time, the urban population in the United States
exceeded the rural population; women wielded historically unprec-
edented political power through the recently acquired right to vote,
and Jazz Age sensibilities embraced more expansive ideas of socially
acceptable female sexuality. The greater scope of possibility for in-
dependent womanhood came to be seen as an important aspect of a
new “modern era.” Coalescing after the upheavals of World War I,
a number of factors characterized this period, such as new enter-
tainment technologies (for example, motion pictures and sound
recordings), modernist styles of art and literature, and electrically
illuminated homes and streets that created more opportunities for
nighttime socializing.
It is important to recognize that we still know very little about
the social history of cross-dressing or the public expression of
continues
continues
William Austin was a Boston lawyer of literary tastes. He saw something of the
world in his cruises (1799–1800) on the “Constitution” as chaplain, and of society
during his eighteen months at Lincoln’s Inn. An account of his life and works is
prefixed to the collective edition, now out of print, edited by his son, John Walker
Austin (The Literary Papers of William Austin, Boston, 1890). This also reprints a
large part of Col. T. W. Higginson’s “A Precursor of Hawthorne” (Independent, 29th
March, 1888. A reference will also be found at pages 64 and 68 of Col.
Higginson’s Longfellow). Of his few tales only Peter Rugg has had any currency.
Indeed, the significance of Austin’s narrative art is mainly negative. Even Peter
Rugg shows wherein what might have been a short story failed of its form. For all
its undoubted quality, it is a short story manqué; and in this it is quite typical of its
time. If artistic sense is apparent in the cumulation of foreshadowings, crudity of
mechanism is equally apparent in the management of each through a different
interlocutor. It is artistically right that Rugg should at last be brought home; it is
artistically wrong that the conclusion should be so like a moralising summary. A
conception much like Hawthorne’s is developed as it were by mere accumulation
instead of being focused in a unified progression. (See also pages 10 and 12 of
the Introduction.)
PETER RUGG, THE MISSING MAN
[First part printed in Buckingham’s “New England Galaxy,”
10th September, 1824; several times reprinted entire, e. g., in
the “Boston Book” for 1841; reprinted here from the standard
collection noted above]