DOI 10.24053/ CG-59-0006 Trans Revising / Revising Trans Elizabeth Schoppelrei Cornell University Abstract: In the first year of its publication, the German lesbian magazine Die Freundin ( The Girlfriend , 1924-1933) included a four-stanza poem entitled “Der Transvestit” (“The Transvestite,” 1924), written by “T�H�” Surrounding the poem is an excerpt from Dr� Magnus Hirschfeld’s Die Transvestiten ( The Transvestites, 1910), the sexological text that coined the term itself� Four years later, in 1928, Tilly Heyne published a revised version of the poem, and, in 1929, another revision - this time from Tilli Heine� Each revision not only announces a new name for T�H�/ Tilly Heyne/ Tilli Heine, but it also brings along differing understandings of what it means to be a ‘transvestite’ and to find happiness as a trans person. Yet, the poems are not the only site where revision stands out as a trans technique� In Hirschfeld’s text surrounding the 1924 poem, he discusses the famed circus rider and female impersonator Ella Zoyara� His near word-for-word translation of English-language obituaries from 1879, however, reveals several notable changes. Hirschfeld favors “she/ her” pronouns and affirms Zoyara’s feminine presentation in places where the English does not� By reading Hirschfeld’s revisions (through translation) alongside the three poems from T�H�/ Heyne/ Heine, I argue that revision is a crucial technique of trans poetics and a tool of trans knowledge� It is a technique that figures, undoes, and considers anew the self, historical figures, language, poetry, and the limits of ‘transvestite’ identity itself in early twentieth-century Germany� Keywords: trans poetry, translation, gender transition, revision, Weimar Republic 98 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 This is the first page of the special section entitled “Der Transvestit: Sonderteil der Halbmonatsschrift ‘Die Freundin’�” (“The Transvestite: Special Section of the Bimonthly Magazine ‘The Girlfriend’”)� Zentral- und Landesbibliothek Berlin� The poem juts out from the surrounding mass of text, its title mirroring the name of the special section at the top of the page: “Der Transvestit” (“The Trans- Trans Revising / Revising Trans 99 DOI 10.24053/ CG-59-0006 vestite”)� 1 Tucked away in what would become one of the most popular German lesbian periodicals of the Weimar era, the poem’s lyric “I” conveys the great pain of existing as a man when she has a “weiblich[e] Seele” (“a feminine soul”)� 2 The author’s name is only recorded as “T.H.” Four years later in 1928, the poem reappears in revised form - a new stanza, changes in diction, and a revised author name, Tilly Heyne� The next year, in 1929, yet another revision is published, another stanza added, and another name shared: Tilli Heine� Each new version of these early trans poems published in the magazine Die Freundin ( The Girlfriend , 1924-1933) reveals a crucial technique of trans poetics: revision� In a time of widespread societal engagement with sexology - where “enthusiasm for science [in Germany] transcended class and gender boundaries” and many were “avid consumers” of sexual science (Leng 30) - these poems serve as a site to negotiate categories and create knowledge around gender and sexuality beyond the publications of sexologists� Not only that, but through revision, the term “Transvestit” and its assumed characteristics shift, expand, and (re)form� Like the case studies and autobiographies that shaped sexologists’ understandings of the very categories they sought to define (Oosterhuis 11—12), T.H./ Heyne/ Heine remakes the ‘transvestite’ through the lens of their own experiences and evolving sense of self� 3 Perhaps readers of the magazine might have also seen themselves in these lines (Marhoefer, “Queer Press”)� Beyond the decorative border separating T�H�’s poem from the rest of the page emerges a different kind of revision. Surrounding this 1924 poem is an excerpt from Dr� Magnus Hirschfeld’s 1910 sexological book Die Transvestiten ( The Transvestites ), a book that coined the term ‘transvestite’ and rendered this category a sexological one� His text was well known among transvestites as was his Institute for Sexual Science� Yet, the excerpt here in Die Freundin is not from the seventeen case studies that begin the book, but rather from a later chapter entitled “Geschlechtsverkleidung auf der Bühne” (“Gender Disguise on the Stage”) found in the “Ethnologisch-historischer Teil” (“Ethnologic-historical section”)� In the chapter, Hirschfeld highlights the frequency of gender transgressions in specialty acts and in the circus, where men often appear and perform under women’s names� He goes on to discuss in detail the life of Ella Zoyara, a talented circus horseback rider� His account is not a case study with a level of intimacy that might compare to the highly confessional first-person poem from T.H. Rather, it is a translation of English-language obituaries, with crucial revisions that accommodate the possibility of Zoyara’s performance persona as much more than an act. Through his translation choices, Hirschfeld at times affirms Zoyara’s possible transness in ways other media coverage did not� If, as Emily Rose argues, “all writing (including translation) is always re-creation or revision” (495), this single page from Die Freundin and the dynamics between these two 100 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 texts - as well as the subsequent 1928 and 1929 poems - provide a rich site to explore revision, trans poetics, translation, and trans histories� There is no original gender or original text, and it is in the “re-creation or revision” that we see the traces of lived experience, sexology, societal expectations, and imagined futures� The article unfolds in the following way: First, I compare Hirschfeld’s text to English-language obituaries in order to examine how his translation is a revision, and one that affirms trans possibilities. I then explore the role of scare quotes in Hirschfeld’s text and T�H�/ Heyne/ Heine’s poems to highlight how they cast doubt upon genders received and perceived in very different ways. Following this, I analyze how the poems from the author who uses the names T�H�, Tilly Heyne, and Tilli Heine provide a space for revising oneself and revising the category of transvestite� In this way, revision is working on multiple registers (translation as revision; versions as revisions) and through different dynamics (Hirschfeld as the “expert”; 4 T�H�/ Heyne/ Heine as the expert of their own experiences)� Ultimately, I argue that revision is a tool of trans knowledge and a crucial element shaping an emerging trans poetics in the early twentieth century. It is a technique that figures, undoes, and considers anew the self, historical figures, language, poetry, and the limits and possibilities of ‘transvestite’ identity - historically - as well as transness in the present� Before engaging with Hirschfeld’s sexological text and the poems from T�H�, Tilly Heyne, and Tilli Heine, there is something to be said regarding the time in which Die Freundin published these and other poems on the ‘transvestite�’ Though the work of locating the start of a literary tradition or claiming any canon is one that will always be undone as we find more documents, writings, and voices, I would like to push against the idea that trans poetry is the provenance of the late twentieth (to a lesser extent) and early twenty-first (to a greater extent) centuries� Aligning historical ‘transvestite’ poetry with contemporary trans poetry is a historically sticky process - full of untranslatable meanings, sociohistorical contexts, and irreconcilable differences. After all, as Laura Doan warns, applying our current understandings of sexual - and gender - identity to the past runs the risk of “blinding us to the variations, deviations, and complications of actual individuals who resist that fixity or who seem to have been unaccustomed to self-reflexivity” (537). Yet, there is also risk in not recognizing transness in Weimar-era ‘transvestite’ identities, in not seeing certain similarities� In the present moment of right-wing backlash and transphobia that constantly asserts the novelty of transnesss - as if it were without a history - the connective tissue between the now and those constellations of gender from the past is necessary and life-giving� Therefore, I hope that examining the poems of ‘transvestite’ persons and their allies will allow us all to adjust and expand our understanding of trans poetry� In her chapter on “Trans Poetry and Poetics,” Trace Peterson claims that “[i] n the literary context, trans poetry was unrecognizable as a category until the Trans Revising / Revising Trans 101 DOI 10.24053/ CG-59-0006 publication of the [2013] anthology” Troubling the Line: Trans and Genderqueer Poetry and Poetics , which she co-edited (“Trans Poetry and Poetics” 231)� In the introduction to Troubling the Line , she writes that, after doing some archival research, she found “few literary precedents which combine poetry as a literary category with the phenomena or sensibilities we would retrospectively recognize as ‘transgender’ in a visible way” (17)� At the same time, Cameron Awkward-Rich reminds us of how, despite the prevalence of case studies and autobiography in early trans writing, trans people have always been present in those “less-authorized forms,” like poetry� They have, “all along[,] been speaking in other genres and in other temporalities, ones more complicated than ordinary transition plots allow” (177)� I invite Peterson and others to join me in critically revisiting these poems found in Die Freundin and to engage with a queer magazine that often housed an entire special section dedicated to ‘transvestite’ topics and included - within and outside of the special section - more than a few poems directly addressing trans life and love� 5 Magnus Hirschfeld’s writing on Ella Zoyara, the famous circus rider, draws almost word-for-word from English-language obituaries on Zoyara’s life and her death in 1879. Hirschfeld starts his account of Zoyara’s life with “it is said of her�” What follows is a large section in quotation marks - a section that I argue was translated by Hirschfeld from an American obituary published in 1879. After all, Hirschfeld was known for collecting newspaper clippings and stories about persons of nonnormative genders, gender presentations, and/ or sexualities� These stories were often incorporated into his recurring publication Jahrbuch für sexuelle Zwischenstufen ( Yearbook for Intermediary Sexual Types ), which ran from 1899 to 1923. The English-language obituary for Ella Zoyara was first published in the San Francisco Chronicle , with reprintings in the New York Times , the Chicago Daily Tribune , The Morning Bulletin (an Australian publication), and The Times of India � 6 In short, this obituary was widely circulated and could have easily ended up in Hirschfeld’s collection of newspaper clippings� 7 In this way, the story of Ella Zoyara in “Gender Disguise on the Stage” is both a translation and a revision of the original obituary� Like the later revisions of the poem “Der Transvestit” that appear in 1928 and 1929, Hirschfeld’s revisions and translation choices here also render visible the negotiations and formations of transvestite identity in Weimar Germany. Yet, this is a different kind of revision� Hirschfeld does not have access to Zoyara’s inner thoughts, and there is no possibility for Zoyara to describe her own relationship to gender or to revise it� Zoyara’s narrative is not one of the seventeen case studies that begin Die Transvestiten , with first-person accounts; it is an obituary. In this time, the case study generally was used to develop knowledge surrounding “disease patterns” and assist sexologists in determining “laws” for irregularities and deviance� Neverthe- 102 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 less, present-day scholars highlight how case studies allow for subjects to speak their stories within, what Ina Linge calls, “an entangled and mutually influential network of sexual knowledge projection” (Lang et al� 4—5; Prosser and Storr 75; Linge 219—20; see also Oosterhuis 215—30)� Obituaries may fall within the unwieldy genre of life-writing, but the “narrative aspects of and influences on the telling of a specific life” are beyond Zoyara’s control (Linge 25). Zoyara cannot speak her story; she also cannot revise and resubmit poems to a magazine� Still, translation provides opportunities to influence the telling of Zoyara’s life. In the text excerpted for the magazine, Hirschfeld balances “deception” around gender with an intriguing validation of Zoyara’s diverse feminine presentations� In the piece, he recounts Zoyara’s inclination to disguise her sex, her various male admirers, the discovery of her sex in a Manila prison, and her death some years later due to smallpox� 8 Hirschfeld describes Zoyara’s successful “Täuschung des Publikums” (“deception of the public”), given that many presumably heterosexual men fell in love with her� Zoyara was, by no means, an anomaly within the circus business, and many equestrians maintained feminine gender presentations during their performances to increase the thrill of the performance� 9 Yet, Zoyara was rumored to be so convincing that many observers believed “the girl had a twin brother” (Senelick 297)� 10 She performed in Germany as Ella Zoyara (Haerdle 38), and her life story was well known within German trans communities. For example, in the first case study of Hirschfeld’s Die Transvestiten , the person states, “[i]n 1900 I firmly decided to live as a woman, especially when I came to know about the life of the beautiful circus-rider Ella” ( Transvestites 21)� 11 As Hirschfeld tells of Zoyara’s initial inclusion into the circus, he writes, “Omar had to appear under the name Ella Zoyara and as a girl” (“Geschlechtsverkleidung” n� pag�)� Zoyara “mußte” (“had to”), and with this word choice Hirschfeld transforms the 1879 English article’s wording of “he soon appeared under the name of Ella Zoyara” into an obligation, a must (“Remarkable Female Impersonator” 1)� Was it an obligation to Mr� Stokes, the circus proprietor? Or did it originate within Zoyara’s own desires? Due to the limitations of these obituaries as well as the “contradictions” regarding Zoyara’s “offstage clothing preferences,” it is difficult to say (Vey 49). But Hirschfeld’s later translation choices reveal a greater acceptance of Zoyara’s feminine gender presentation and a favoring of the pronoun “sie” (“she”) in comparison to the English-language obituaries� In Rose’s theorizations on transness and translation - which build upon José Santaemilia’s book Gender, Sex, and Translation: The Manipulation of Identities - she writes that “translation equals manipulation and the power to re-present certain identities in texts” (485). Hirschfeld as a translator could potentially be, as Rose might word it, “a powerful and creative agent of change [who] can embolden trans identities” (487). Trans Revising / Revising Trans 103 DOI 10.24053/ CG-59-0006 In contrast, the New York Times obituary recounts Zoyara’s life typically using “he,” “him,” and “his” pronouns� For instance, when discussing Zoyara’s marriage to Sallie Stickney, the English-language obituary reports: “he was married to Sallie Stickney” (“Noted Circus Female Impersonator” 5)� Hirschfeld writes instead: “verheiratete sie sich in aller Stille mit […] Sallie Stickney” (“she privately married Sallie Stickney”)� Even though such a marriage would have only been possible if Omar Kingsley were the one marrying Stickney, Hirschfeld still uses “sie” (“she”). In English, those instances where Zoyara is gendered differently are rare� At one point the obituary states the “dispute about her [sex] among the [soldiers] finally caused her or him to be placed” in jail in Manila (5; emphasis added)� Here, the “her or him” indexes the possibility of how others might have perceived Zoyara, yet this trend does not continue further� Whereas Hirschfeld switches completely over to “sie/ ihr” (“she/ her”) pronouns once suitors begin pursuing Ella Zoyara, the English-language obituaries continue to refer to Zoyara as “he,” regardless of the number of male suitors� Even the titles of the obituaries persuade readers to recognize Ella Zoyara as a performance role for Omar Kingsley� While other obituaries only name Omar Kingsley in the title, The New York Times and the New York Clipper both use Zoyara’s name� However, in both newspapers, the name is in scare quotes - reminding readers of the performance, of the distance between Kingsley and Zoyara� Though Hirschfeld himself does use scare quotes in select moments when referring to Zoyara as “sie” (“she”), most of the time he does not� It is only after Zoyara is “revealed” to be a man in the Manila prison that Hirschfeld switches back to he/ him pronouns� Thus, despite Hirschfeld’s labeling of Zoyara as the “schöne Scheinfrau” (“beautiful pretend-woman”), his overall translation choices revise Zoyara’s life story into a gender performance that was much more than a performance� Through these choices, Hirschfeld shows translation to be “an art of composition” that “unfolds new ways of being and knowing in proximity and in difference” (Rizki 535)� Rather than an act of faithful retransmission of a text from one language to another, translation is always an act of revision, mediation, and “ re -creation” (Spurlin, “New Approaches” 201)� Following recent trends in translation studies attentive to gender and sexuality, the work of translation emerges - much like queer or trans - as always in process, “committed to endless proliferation of difference(s)” (Spurlin, “Queering Translation” 308). Like gender and its multiple relations to the bodily and the social, “there is no single ‘body’ […] there is no ‘truth’ to uncover underneath a translation” (Rose 488). Hirschfeld uses “she” more often than “he,” and in these choices, another possible Zoyara appears - one just as possible as the Zoyara of the English obituaries - and readers learn to look once more at the palimpsest that forms bodies, identities, narratives, and translations� 12 Contexts, as Luise von Flotow writes, 104 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 “shape, influence, permit or prohibit certain versions of certain texts at certain times” (39)� Translation is a “planned rewriting” that cannot be separated from its preparation “under specific conditions, to reach a specific audience” (39). Hirschfeld is not a ‘neutral’ translator, no translator is� 13 After all, translation can make identities “visible or invisible, worthy or unworthy” (Santaemilia 6), and Hirschfeld chooses to make visible this Zoyara - a Zoyara whose transness is rendered ever more possible, ever more legible� The excerpt provides only a brief glimpse of what Hirschfeld would label transvestite behavior, as he focuses almost singularly upon clothing’s ability to disguise� The generic constraints of an obituary turned historical evidence prevent Hirschfeld from accounting for any indication of inner feelings, thoughts, and identifications of a transvestite. Though Hirschfeld may have been an “expert” sexologist in his time, his writing here has limits� It is the poem from T�H� at the center of the page that speaks from first-hand experience and that “negotiates,” through the poetic form, a “medico-forensic categor[y]�” 14 This poem may be, to borrow the words of Katie Sutton, part of those “dynamic processes of transformation and negotiation [of sexology] oriented toward the political and identificatory priorities of the ‘third sex’” (Sutton, “Cultural Translations” 67), including transvestites� Such is the potential of literature, even if the impassioned plea for recognition in T�H�’s poem “Der Transvestit” (1924) goes out to a world where she believes “nobody understands me�” In the poem, the speaker begins with the adulation of a woman, a “divine being,” and attributes to her normative characteristics: goodness and nobleness� A few lines later, the speaker shares her wish to be more like the woman and asks: “why am I a man? ” The second stanza similarly laments the speaker’s status, claiming that she has a heart, “the same as a woman’s heart,” and feels with a feminine soul despite her fate as “bound to being a ‘man’�” The third stanza commands “this shell” to fall away� This way, the speaker can transform, through the donning of women’s clothing, and her soul will be free at last, “Stripping away the man! ” (“Streift von sich den Mann! ”). In the final stanza, the speaker reflects on the “common essence” of her inner feminine soul and the outward appearance of women’s clothes� After all, “What shares a common essence should also outwardly be the same�” After emphasizing the importance of women’s clothing - “release[ing] my soul from its captivity” - the speaker ends with the statement that no one understands her. The final line rings out: “-Oh, were I not a ‘man’! ” Through the invocation of the “I,” the poem takes on a confessional tone� Indeed, the subject material and acts of lamentation, punctuated frequently with exclamation points, reveal a sorrowful accounting of the speaker’s torments and hopes� In repeating the exclamation marks in the last two lines of the third stanza, the speaker creates an effect of accumulated joyfulness in the Trans Revising / Revising Trans 105 DOI 10.24053/ CG-59-0006 face of a possible imagined reality� When paired with the seeming blandness of Hirschfeld’s prose, the emotional poem stands out as a welcomed difference, and the ever-present “I” of the poem offers something compelling and new to a page boxed in by third-person, historical-turned-scientific prose. Der Transvestit T�H� The Transvestite By T�H� Das Gute und Edle verkörpert das Weib In Schönheit und Reinheit an Seele und Leib� Du göttliches Wesen, ich bete dich an! O könnt ich dir gleichen! - Warum bin ich ein Mann? Woman embodies the good and noble In beauty and purity within soul and body� You, divine being, I worship you! If only I could be like you! - why am I a man? Muß hart immer scheinen, nicht weiblich und weich� Und doch hab ein Herz ich, dem Frau’nherzen gleich� Mit weiblicher Seele ich fühlen kann��� Muß scheu sie verbergen, gefesselt, als „Mann“� I must always look harsh, not feminine and soft� Yet, I have a heart, the same as a woman’s heart� I can feel with a feminine soul… I must shyly hide her, bound to being a “man�” Fällt ab diese Hülle, so grau und so schwer Und geh ich im Frauengewande einher, Dann darf ich mich zeigen! Klar schau ich euch an! Frei wird da die Seele! Streift von sich den Mann! Drop this shell away, so grey and so heavy And I walk along in women’s garb, Then I can show myself! Look you directly in the eye! There will my soul be free! Stripping away the man! Was wesensverwandt, sei auch äußerlich gleich� Auch ich bin an Schönheit und Güte dann reich! Das Frauenkleid löst meine Seele vom Bann! -Doch Niemand versteht mich�- -O wär ich kein „Mann“! What shares a common essence should also outwardly be the same� I am also rich in beauty and in graciousness! The women’s gown releases my soul from its captivity! -Yet nobody understands me�- -Oh, were I not a “man”! ( Die Freundin , Jahrgang 1, Nummer 4) 01�10�1924 ( The Girlfriend , Volume 1, Number 4) 1 October 1924 106 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 While Hirschfeld’s scare quotes could enact a certain doubt upon the validity of Zoyara’s gender presentation and reception by others as a woman, the poem from T�H� employs scare quotes to call into question the assumed, the inescapable, that which society can only see: the man� In “Gender Disguise on the Stage,” Hirschfeld solely refers to Ella as “she” after she begins to attract male suitors until her sex is “revealed” in Manila� Yet, Hirschfeld initially places she/ her pronouns in scare quotes, writing: “In Moskau verliebte sich ein russischer Graf in ‘sie’ und bot dem Direktor eine große Summe, wenn er ihn mit der ‘schönen Kunstreiterin’ bekannt machen würde” (“In Moscow, a Russian count fell in love with ‘her’ and offered the circus director a large sum if he would introduce him to the ‘beautiful female circus rider’”) (“Geschlechtsverkleidung” n� pag�)� This language of “she” and “female circus rider” gives readers insight into how the count saw Zoyara and, in the way of dramatic irony, grants the audience more information than the Russian count is privy to� Scare quotes also place doubt upon the “she”-ness of Zoyara in this moment� The speaker of “Der Transvestit” (1924) implements quotation marks twice, both times around “Mann” (“man”), casting doubt around the veritable “man”-ness of the poem’s speaker� By 1924, Hirschfeld’s book was already fourteen years old - with a second edition coming out in 1925 - and the transvestite community was evolving� There were questions as to whether the clothes had been “over-emphasized [when] what was at stake was their inner being, their very existence” (Marhoefer in Friedman et al� 323), if and how the body could change with medical interventions, and more� As Hirschfeld points toward transvestites existing in the past, the speaker of T�H�’s poem makes clear her desire to be rid of her masculine characteristics and transform her body through the use of clothes� Hirschfeld’s piece shows that people in the past have used clothing for a variety of purposes - including “Geschlechtsverkleidung” (“gender disguise”), while the speaker of T�H�’s poem proclaims that the clothes free her and her soul� Hirschfeld occasionally casts doubt on Zoyara as a “sie” (“she”); the poem seeks to cast doubt on the thing the speaker wishes most to be rid of, the “Mann” (“man”)� Through the scare quotes, both Hirschfeld and T�H� belie genders perceived and genders received, and both do so under the sexological category “der Transvestit�” As T�H� revises the poem, however, all mentions of the undesired “man” drop away in the 1928 and 1929 versions, except for those in scare quotes� Trans Revising / Revising Trans 107 DOI 10.24053/ CG-59-0006 Der Transvestit Tilly Heyne The Transvestite By Tilly Heyne Die Liebe und Güte verkörpert das Weib In zarter Schönheit an Seele und Leib� Du göttliches Wesen, ich bete dich an! O könnt’ ich dir gleichen! O wär ich kein „Mann“! Woman embodies love and kindness In tender beauty within soul and body� You, divine being, I worship you! If only I could be like you! - If only I weren’t a “man”! Muß hart immer scheinen, nie weiblich und weich� Und doch hab’ ein Herz ich, dem Frau’nherzen gleich� Meine Seele fühlt weiblich in Freude und Leid; - Muß scheu sie verbergen im männlichen Kleid� I must always look harsh, never feminine and soft� Yet, I have a heart, the same as a woman’s heart� My soul feels feminine in joy and sorrow; - I must shyly hide her in men’s clothing� Doch fällt diese Hülle, so grau und so schwer, Und geh’ ich im Frauengewande einher, Dann darf ich sie zeigen, klar schaut sie euch an, Frei wird da die Seele, streift von sich den „Mann“! But if this shell falls away, so grey and so heavy, And I walk along in women’s garb, Then I will be able to show her, she will look you in the eye, There my soul becomes free, stripping away the “man”! Drum bin ich nur glücklich im Frauenkleide, Dann find’ ich mich selbst, hab’ am Leben erst Freude, Es mildert das Leid der gequälten Natur�- Doch meine Sehnsucht verlacht man nur� Thus I am happy only when dressed as a woman, It’s then I find myself, I’m happy for the first time in my life, It alleviates the suffering of this tortured nature�- Yet my longing receives only ridicule� Und niemand versteht mich! - Das Frauenkleid Ist Ausdruck meiner Persönlichkeit! Ein jeder folgt seinem Glücke allein� Nach meiner Bestimmung laßt glücklich mich sein! And nobody understands me! - Women’s garments Are an expression of my personality! Everyone follows their happiness alone� As I follow my fate, let me be happy! ( Die Freundin , Jahrgang 4, Nummer 3) 06.02.1928 ( The Girlfriend , Volume 4, Number 3) 6 February 1928 108 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 In the 1928 and 1929 versions of “Der Transvestit” (“The Transvestite”), the poet imagines and reimagines the transvestite - adding stanzas and altering diction. The poem “Der Transvestit” (1928), from a poet now named Tilly Heyne, expands to five stanzas and no longer makes use of the word “Mann” (“man”), unless it appears in scare quotes� Not only does this revision of the 1924 poem marginalize and undercut mentions of the “man” that haunts the speaker’s transvestite self, but the speaker also increasingly highlights the role of clothing while introducing a new concept: happiness� If everyone else “follows their happiness alone,” the speaker of the 1928 poem simply wants to follow her own fate: to “be happy! ” (Heyne)� Still, the line from the 1924 poem, “nobody understands me,” remains� Added to the misunderstandings of others, the speaker discusses those who “ridicule” her for her “longing�” Coupled with the claim to a common search for happiness, the speaker has arrived at a plea: a request for others to see similarities rather than differences. She suggests to those ignorant others that perhaps they all search for happiness� This is a marked shift from a world where no one understands her and where the only perceived solution is if she could be rid of the “‘man’�” In fact, this common ground continues in the 1929 version of “The Transvestite” from the poet who is now called Tilli Heine� Der Transvestit Tilli Heine The Transvestite By Tilli Heine Die Liebe und Güte verkörpert das Weib, In zarter Schönheit, an Seele und Leib� Du göttliches Wesen, ich bete dich an! O könnt ich dir gleichen! O wär ich kein „Mann“! Woman embodies love and kindness, In tender beauty, in soul and body� You, divine being, I worship you! Oh could I resemble you! - If only I weren’t a “man”! Muß hart immer scheinen, nie weiblich und weich� Und doch hab’ ein Herz ich, den Frau’nherzen gleich� Meine Seele fühlt weiblich in Freude und Leid�- -Muß scheu sie verbergen im männlichen Kleid� I must always look harsh, never feminine and soft� Yet, I have a heart, the same as a woman’s heart� My soul feels feminine in joy and sorrow�- -I must shyly hide her in men’s clothing� Doch fällt diese Hülle, so grau und so schwer, But if this shell falls away, so grey and so heavy, Trans Revising / Revising Trans 109 DOI 10.24053/ CG-59-0006 Und geh‘ ich im Frauengewande einher,- Dann darf ich sie zeigen, klar schaut sie euch an, Frei wird da die Seele, streift von sich den „Mann“! And I walk along in women’s garb,- Then I can show her, she will look you in the eye, There my soul becomes free, stripping away the “man”! Doch niemand versteht mich! Das Frauenkleid, Ein Teil ist’s meiner Persönlichkeit! Es mildert das Leid der gequälten Natur, -Aber mein Sehnen verlacht man nur! Yet nobody understands me! - Women’s garments, They're a part of my personality! They alleviate the suffering of this tortured nature, -But my yearning receives only ridicule� Der Körper hat nicht über die Seele Gewalt, Und äußere Schale nur ist die Gestalt� Die weibliche Seele im männlichen Leib Ist mein wahres Ich! Denn ich fühl mich als Weib! The body has no authority over the soul, And an outer shell is only the form, The feminine soul in masculine body Is my true self! For I feel as a woman! Drum bin ich nur glücklich im Frauenkleide! Dann find’ ich mich selbst, hab’ am Leben erst Freude! Ein jeder folgt seinen Trieben allein; Wie mir es bestimmt ist, laßt glücklich mich sein! Thus I am happy only when dressed as a woman! It’s then I find myself, I’m happy for the first time in my life! Everyone follows their instincts alone; As I was destined to be, let me be happy! ( Die Freundin , Jahrgang 5, Nummer 10) 04�09�1929 ( The Girlfriend , Volume 5, Number 10) 4 September 1929 In the new (1929) version, the poem lengthens once again, and the poet continues to revise their name, their relationship to the term transvestite, and the category of transvestite itself� A search for “happiness” now changes into the following of one’s own “Triebe” (“instincts”) (Heine)� As Katie Sutton notes, the language of “Trieb” (“instinct,” “drive”) is often difficult to translate into English given its long history not only within sexology but also in psychoanalysis and Sigmund Freud’s writings ( Body and Mind x)� That Tilli Heine writes of “Triebe” instead of a common search for happiness renders the general population as one filled with instincts. In this way, the diction of the poem encourages all to dwell on their own inner feelings and shared “essence of human sexual existence�” 15 If everyone has “Triebe,” then a general acceptance of the speaker’s 110 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 own trans desires might be possible in some future moment� The introduction of a common search for “happiness” in the 1928 version, to the following of one’s own “instincts” in 1929, demonstrates the speaker’s changing relationship to transvestite identity as well as her own imaginings of how others might relate to transvestites� Happiness or instincts, both versions emphasize commonalities between those who are transvestites and those who are not in an attempt to gain sympathy and, possibly, acceptance� Alongside these revisions, the poet names themself T�H�, then Tilly Heyne, then Tilli Heine� Trans histories, presents, and futures are full of shifting names� Kai Green describes name changes as “self-reclamation”: “self-determination whereby we challenge and disrupt the influence inheritance has on our present and future” (76). Whereas Green’s theorization is specifically developed in relationship to his own experiences as a Black trans person and indebted to Black feminist thought, in this Weimar-era moment we also see elements of “self-determination” and how a name change might “enabl[e] the possibility of a new articulation of self ” (76)� With each new submission and publication, the poet also has a chance to revise their own name and write something new� Thus, unlike case studies, which are often published as part of a volume (that may come out in several editions but without changes to the case studies themselves), the periodical offers a different temporality. Like a river that one can enter in different places, the temporality of the magazine provides authors with new chances to enter the world of print, to become someone different or to try out a new name� The shift from T�H� to Tilly Heyne to Tilli Heine underscores the importance of naming oneself, especially in relationship to the sociohistorical moment� The Weimar-era trans communities could secure permission to legally wear the clothes of their choosing, but they rarely received permission to legally change their names (Herrn, Schnittmuster 134—42)� In German literature and other literatures, there has been a long history of pen names, helping authors to avoid sexist responses to literary production or to maintain anonymity� 16 However, for the trans writers and trans communities then and now, names are significant and life-giving� As scholar J� de Leon elaborates in their article on trans and nonbinary poets: “Transition often begins in language, the rest following in the wake of words� Our names and pronouns are spoken into the world to give it a new shape, one that can better accommodate our selves” (625)� Transness is not a linear process with a fixed endpoint. Rather, it is potential-filled, recurring, and productive. In the poetic “carving [of] new words and ways forward for and with ourselves” (de Leon 620), these three poems grapple with, recast, and rethink gender, gender presentation, and transness in ways that are inseparable from the shifts from T�H� to Tilly Heyne to Tilli Heine� Trans Revising / Revising Trans 111 DOI 10.24053/ CG-59-0006 Returning to Green’s essay, he calls naming “a powerful act,” but he reminds readers that “the names that we use to call ourselves into community might be the same names used to keep us captive or the same names used by our captors to demonize and pathologize” (79)� The titular identity of these poems, the category the speaker grapples with in 1924, 1928, and 1929, is also a category that can cause distress and one that limits� Take, for instance, the 1924 version from T�H�, where the speaker proclaims “were I not a ‘man’” and asks “why am I a man�” Both lines strike similar chords, conveying an unbearable state to be rid of� In both lines, the speaker questions their man-ness� Indeed, in a poem entitled “Der Transvestit,” the speaker’s man-ness is central to the definition of and sexological conceptualization of the very category� To take away the speaker’s man-ness would mean to remove them from the experience of their poem, the title, the special section, and the sexological taxon� Transvestite respectability politics aligned closely with the gay rights movements of the time, and both often sought to leave more normative understandings of gender intact� At the root of respectable transvestite identity is a very normal , heterosexual man who loves women and experiences great joy from donning women’s clothing. This definition was integral to transvestite respectability politics of the Weimar era� Moreover, the separation of transness from possible allegations of homosexuality was politically advantageous for both transvestite and gay movements� At the same time, Hirschfeld considered “transvestites” to be sexual intermediaries -a natural continuum with an “inborn, organic basis” - and their masculine or feminine gender presentations were simply “‘harmless inclination[s]’” (Meyerowitz 19)� As Marhoefer explains, Hirschfeld “did not think gender was socially constructed; he thought it was essential, and though he had gender as a continuum, he tied certain traits to essential femininity” ( Gay Rights 151)� This claim to naturalness was especially important for emerging activist movements, even as it reinforced sexist and racist logics ( Gay Rights 89). The “bin” (“am”) of “Warum bin ich ein Mann? ” (“why am I a man? ”) from the 1924 version, then, is a painful expression of existence but, nevertheless, a key component of the speaker’s claims to be the titular “Transvestit.” In the final line, however, - “Oh, were I not a ‘man’” - the subjunctive tense and scare quotes around “man” provide space to imagine a life otherwise� This life might feel so close at hand that it places the speaker’s manhood in scare quotes and into question� The placement of this line, too, is telling� While the four preceding quatrains of the 1924 version are all leftaligned, flush with the proper and expected alignment of the poem, the final line breaks from both the earlier quatrain structure and from the hegemony of left alignment� To imagine a life otherwise, a life of subjunctive possibilities, a life where man-ness can exist in scare quotes, necessitates a break from the 112 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 consistent painful lived experience that comes before. To imagine differently, one must set out -differently. Within these subjunctive possibilities, the poems play with the category-defining act of clothing oneself in garments associated with another sex. The poems invite readers to question how important clothing could be or not be in relationship to transvestitism and where the body fits into all of this. In the 1924 version, the speaker defers the actual mention of clothing, so key to transvestitism, to the third and fourth stanzas� This prolongment signals a shift from dominant discourses on transvestite identity and an engagement with emerging questions on the “true depth” of the transvestite’s case� In the 1924 version, a physical body exists only in relation to the ideal woman - an image that begins each version� This woman “embodies” distinct characteristics� In the 1924 version, she embodies “the good and noble,” whereas in the 1928 and 1929 versions, she embodies “love and kindness�” In all versions, the verb “verkörpert” (“embodies”) stands out and encourages connections to the noun: “Körper” (“body”)� Moreover, in each version, the poet describes exactly how the ideal woman embodies these attributes: in 1924, it is through “beauty and purity”; in 1928 and 1929, it is via “tender beauty�” Beauty, purity, or “tender beauty” always originate within the “soul and body,” regardless of version� Aside from these embodied features, the 1924 and 1928 poems rarely make reference to a body. There is the “man” that others see, but mention of “Mann,” in scare quotes or not, decreases considerably after the 1924 version� Yet, there is a far more ambiguous noun that confuses distinctions between clothing and the body� In the 1924 poem, the choice of “Hülle” (“shell”) evokes ambiguity and slipperiness� Could the “Hülle” refer to undesired masculine gender presentations to discard for feminine gender presentations in “women’s garb” or a “women’s gown”? Or could it refer to a desire for transformation of the body - the “Hülle” that is skin, genitalia, facial hair, an Adam’s apple, and more? Within the poem, “Hülle” itself comes into play within the third stanza� If the “Hülle” drops away and the speaker walks “along in women’s garb,” then she “can show [herself]! Look you directly in the eye! ” Until this moment, the speaker has foremostly listed features of women they long to attain� Such features encompass not only characteristics of comportment but also those of the soul, heart, and the “Leib” (“body”)� It is only after the invocation of the “Hülle” that the speaker turns to the taxonomically imperative item of women’s clothing� In marginalizing “women’s garb” and a “women’s gown” to the poem’s second half and in dwelling on the physical body in the stanzas leading up to the “Hülle,” the speaker creates an opening to imagine possible bodily transformation� However, conversations on bodily transformation were vulnerable to foreclosure in mainstream understandings of the transvestite that overemphasized the role of clothing� Trans Revising / Revising Trans 113 DOI 10.24053/ CG-59-0006 Although marginalized within many Weimar-era trans publications, a group of trans people - often called “echte Transvestiten” (“real transvestites”) - rejected notions of transvestite identity that only defined it on the basis of gender presentation� 17 This portion of the trans community did manage to enter into the purview of the mainstream trans community� For instance, Lina Es describes a “Minderzahl von Transvestiten” (“minority of transvestites”) that “bezeichnen sich als zum anderen Geschlecht gehörig und empfinden das Leben nach der Form ihres Körper-geschlechtes als Qual” (“claim they belong to the other gender and feel that the life that goes with their body’s sex is agony”) (qtd� in Herrn, “Die Zeitschrift” 269)� Some trans people from this group even declared that “die Bezeichnung Transvestit bedeutet eine Beleidigung für uns” (“the label transvestite is an insult to us”), because they were women, not men engaging in feminine gender presentations (qtd� in Herrn, “Die Zeitschrift” 270)� It is for this minority of a minority that T�H�’s poem opens up a space of recognition� With a majority of trans publications focusing on “beauty,” “fashion tips,” “calls to political action,” “autobiographical vignettes,” and “poems” that were “von heterosexuellen männlichen Transvestiten dominiert und an diese Leserschaft adressiert” (“dominated by heterosexual, male transvestites and addressed to this same readership”) (Herrn, “Die Zeitschrift” 271), the speakers of the poems and their pleas for outward transformation offer up a welcoming pause to imagine bodily changes and speculate that others, too, may feel this way (Marhoefer, Sex ; Sutton, “Politics”)� Trans poetics can refer both to “the art and labour of transgender poets” as well as those “diverse interpretive and compositional strategies attentive to relational movements between/ across/ within linguistic, embodied, affective, and political domains” (Edwards 252) - the second meaning here has much in common with translation� To claim revision as a crucial technique of trans poetics is to demonstrate how it works within and alongside poetry to “better accommodat[e] silence, irresolution, depreand para-transition, blocked action,” and so on (Awkward-Rich 185). Those capacious possibilities are so often in excess of what Cameron Awkward-Rich calls “the constraint of ‘the expert’ trans imaginary” (185). After all, T.H.’s poem shares space with the “expert” of transvestite experience, but they are not confined to this page. Instead, T.H. can write and rewrite, “perform[ing] the psychological and political work of self-making” in a form that accommodates contradiction, ambiguity, and diverse interpretations (Kaval 22)� As Caleb Murray reminds us, “naming and knowing” might be better understood as “a process of constant contestation and revision, disagreement and compromise” (373)� T�H�, Heyne, and Heine revise and, in these acts, the poet revises not only the self and representations thereof, but they also offer perspectives and possibilities that revise once more categories 114 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 like the transvestite� They “make a map of possibility for everyone” through the unmaking and remaking of categories and gender (Myles 176)� Transvestite identity stands out in these sources as a site of negotiation: from Magnus Hirschfeld’s translation choices that revise Ella Zoyara’s life story to the poem revisions from an author whose very name also experiences changes� Hirschfield’s pronoun choices and tales of “gender disguise” clash with the impassioned and lonesome pleading of T�H�’s 1924 poem� Paired together, however, the 1924 poem grants readers a different entry point into what transvestite identity is and could be� Distinct from the third-person, historical account of Zoyara, the lyric “I” renders the poem a richer and more personal account - a necessary one, given Zoyara can no longer speak for themself. The 1928 and 1929 revisions of “Der Transvestit” further understandings of transvestite identity and community formation as that which is always in process, always subject to revision, always changing� Whether the poems’ speakers emphasize the body, soul, clothing, or, most ambiguously, the “shell,” such shifts render transvestite identity as a speculative space - a space of imagination, possibility, and varied meanings� Taking into account the historical context, however, the sexological category is also one of border patrolling, of respectability politics, of definitions that must be tidied up in order to argue for rights� Thus, returning to and revising the different versions of “Der Transvestit” allows speakers to clarify and revise their relationship to the titular category: transvestite� “A poem,” Eileen Myles reminds us, “seems to be a place where for a moment you can put it all� Or everything else falls away� Gender and the self keep turning all the time” (177)� There are moments when we, through translation, glimpse a trans and queer Zoyara, revised pronouns guiding the way� There are moments when T�H� takes our hand, and says, “now see me, Tilly� Now, look again: Tillie�” Each revision is an invitation to approach once again, to listen once more, and to hear and see transness differently. Notes 1 A brief note on terminology: “der Transvestit” (“the transvestite”) is grammatically masculine in German and, in the early 1900s, described someone assigned male at birth and who was transfeminine� This is in opposition to current terms in German, “die Transfrau” or “die trans* Frau” (“the trans woman”), that are grammatically feminine and place emphasis on gender identity and/ or gender presentation rather than sex assigned at birth� 2 All translations, unless otherwise noted, are my own� Trans Revising / Revising Trans 115 DOI 10.24053/ CG-59-0006 3 For the poet T�H�, Tilly Heyne, and Tilli Heine, I use they/ them pronouns� For the speaker/ lyric “I” of the poems, I use she/ her pronouns� These poems have a very confessional feel to them, but I use the different pronouns to maintain some space between the author (and their possible feelings around gender) and the speaker of the poem� 4 As important as Hirschfeld is - and has been made to be - in relation to transvestite history and activism, it is important to see him as a “complex, flawed historical figure , and not as a ‘great man,’ or institution, or monument” (Vendrell, in Friedman et al� Emphasis in the original�)� Such an approach might give “us the opportunity to include those who have been left out in the writing of queer history” (Vendrell, in Friedman et al�) - perhaps those like T.H./ Tilly Heyne/ Tilli Heine, whose poems are not a “scientific” or “authoritative” text on transvestites� 5 For other transvestite poems and ones written by allies to the transvestite community found in Die Freundin , see Elizabeth Schoppelrei’s dissertation, “Speculative Formations: Queer and Trans Communities in the Long Twentieth Century,” and their forthcoming essay, “Speculative Formations: Trans Poetry, Taxonomies, and Communities in the Lesbian Magazine Die Freundin (1924-1933)�” 6 There is one other obituary that I found for Ella Zoyara which was published in the New York Clipper on May 17, 1879. However, the wording and life details of this obituary vary greatly from the one published in these five other publications - the one which Hirschfeld appears to have translated nearly word for word� It should be noted that the obituary originally published in San Francisco has Omar Kingsley’s name in the title, as do the others except for the New York Clipper and the New York Times which have Ella Zoyara’s name in the title� Omar Kingsley is the legal name, and Ella Zoyara the name associated with her circus performances and other areas of her social life� Although it is not possible to ascertain Kingsley/ Zoyara’s relationship to their gender, gender presentation, etc�, it is worth noting that trans and nonbinary people, historically and presently, are often misgendered and deadnamed in the media - especially in reporting on their deaths� 7 Hirschfeld was fluent in English, gave lectures in English, and translated texts for his own work from English into German� See Bauer’s The Hirschfeld Archives for instances when Hirschfeld translated an American doctor’s notes for an audience who could “read both German and English” (51—52), for Hirschfeld’s English-language contribution to sexology (43— 44), Hirschfeld’s English talks targeted to American audiences (104—05), and his earlier trip to Chicago and other parts of the US in 1893 (20—21). 116 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 8 This, the first installment, informs readers of similar cases (those of the performers Emil Mario Vacano and Josephine ‘Pepi’ Schmeer), but the article and its singular follow-up section are an incomplete reprint of the original chapter found within Die Transvestiten. Rainer Herrn suggests that magazine publisher Friedrich Radszuweit had published this excerpt without Hirschfeld’s approval, and, for this reason, Die Freundin never finished reprinting all the installments needed to include the full chapter from Die Transvestiten (Herrn, “Die Zeitschrift” 284). 9 See Senelick 297� According to Senelick, the initial attraction of having equestrians with feminine gender presentations lies in the combination of life-threatening stunts and the revealing of skin; there was a certain “thrill” in “beholding a young girl carrying out perilous or difficult feats” (297). This, then, lead to a proliferation of feminine presenting aerialists� The “female impersonator” had been a prominent figure in entertainment since 1860 (296). 10 This was the thought of people who witnessed Zoyara’s feminine and masculine gender presentations� Shauna Vey, however, refutes this; according to Vey, “Kingsley’s sex was an open secret for most of his career” (49)� The trope of or (possible) assumption of a twin in order to explain two different gender presentations can also be found in the preface to N�O� Body’s memoir Aus eines Mannes Mädchenjahren � In this 1907 preface, Rudolf Presber writes of meeting a young woman and then two weeks later “derselbe Besuch - und doch wieder nicht derselbe� An Stelle des jungen Mädchens ein junger Mann� Ihr Zwillingsbruder aus einem in seinem Übermut das Unwahrscheinliche streifenden Shakespeareschen Lustspiel” (“Vorwort” 3) (“the same visitor, and yet not the same: in place of the young woman, a young man� Her twin brother, from a Shakespearean comedy, which in its boisterousness borders on the unlikely” (“Foreword” 4))� The mention of the Shakespearean comedy, however, belies the believability of a twin in the case of N�O� Body� 11 This quote comes from Lombardi-Nash’s translated text. It is difficult to say whether Hirschfeld was solely responsible for the popularization of Zoyara’s story; however, the early date (1900) of this person’s discovery of Zoyara leads me to believe that Zoyara’s story was widespread� For her alleged popularity in Berlin, see Tom Cringle’s fan publication, Ella Zoyara, The Beautiful: The Fairy of the Magic Ring (8—10). According to Cringle, Zoyara was so popular that many luxury items were named after her and “her portrait appeared in every window - it was worn as a breast-pin on every cravat” (9)� Additionally, decades later, Zoyara’s story persisted in trans media� In 1930 in Das 3. Geschlecht , a Dr� Wegner cites the popular equestrian Trans Revising / Revising Trans 117 DOI 10.24053/ CG-59-0006 Ella Zoyara in his article “Männer als Frauen - Frauen als Männer” (“Men as Women - Women as Men”), noting similar details that Hirschfeld recorded about her life (Wegner 1—2)� 12 For more on the analogy of the palimpsest see Rose 499—501� 13 Heike Bauer’s chapter on “Suicidal Subjects” in Sexology and Translation discusses translation as a site that can “offer glimpses at the elusive evidence of past emotions and the conditions in which they are formed” (233)� I recommend this chapter to those who would like to learn more about Hirschfeld’s translations in German and English and his relationship to the topic of suicide� 14 See Katie Sutton’s chapter “Representing the ‘Third Sex’: Cultural Translations of the Sexological Encounter in Early Twentieth-Century Germany” in Sexology and Translation for a discussion of “translation” in the sense of “cultural mediation,” whereby authors partake in “fictional negotiations of medico-forensic categories of ‘inversion’ and ‘homosexuality’” through forms like the novel and short story (53, 55)� Though this sense of translation is useful to the work I am undertaking in this article (via the poems), due to length limitation, I cannot explore this further� 15 Sutton opts to translate “Trieb” as “instinct” as it is a broader term and as it often attempts in early sexological writings to “capture the essence of human sexual existence” ( Body and Mind x)� As my work is concerned with sexology and sexologists, I too follow this translation choice rather than translations influenced by psychoanalysis. For more information on the often tense relationship between sexology and psychoanalysis in German-speaking locations, see Sutton’s monograph� 16 This also had implications for in-person interactions� For example, in the early 1800s, Prussian author Louise Aston found that if she wanted to socialize with male authors and intellectuals in a certain Berlin circle, she and all other women had to take on “Kneipennamen” (“bar/ pub names”)� Within this circle, she was known as “Louis” (Hülsbergen 28). There may also be a literary, historical, and cultural quality to these names Tilly Heyne and Tilli Heine� After all, Heinrich Heine was arguably the most famous German-Jewish poet of the nineteenth century, whereas there are any number of scholars or authors named Heyne and whose last name does not have ties to Jewish ancestry� 17 Some scholars refer to ten classifications of “transvestites” that include “the complete transvestite” who was “seen as cross dressing with the desire for sexual-reassignment surgery” as well as the “partial transvestite” who was “said to be satisfied with cross dressing and had no desire for surgery” (Docter 41). Docter attributes these ten classifications to Hirschfeld; howev- 118 Elizabeth Schoppelrei DOI 10.24053/ CG-59-0006 er, Hirschfeld did not specifically outline ten classifications. Other scholars often take the word of N� Lukianowicz’s 1959 article “A Survey of Various Aspects of Transvestitism in the Light of our Present Knowledge�” Lukianowicz translated and interpreted Hirschfeld’s work; a reliable English translation of Hirschfeld’s 1910 book, however, was not available until 1991� Works Cited Awkward-Rich, Cameron� “Looking for Pauli, Pauli Murray’s Trans Poetics�” QED: A Journal in GLBTQ Worldmaking 10�1 (2023): 169—90� Bauer, Heike� The Hirschfeld Archives: Violence, Death, and Modern Queer Culture � Philadelphia: Temple UP, 2017� —. “Suicidal Subjects: Translation and the Affective Foundation of Magnus Hirschfeld’s Sexology�” Sexology and Translation: Cultural and Scientific Encounters across the Modern World. Ed� Heike Bauer� Philadelphia: Temple UP, 2015� 233—52� Cringle, Tom� Ella Zoyara, The Beautiful: The Fairy of the Magic Ring � Melbourne: Clarson, Massina, & Co., Printers, 1866. “Death of ‘Ella Zoyara’�” New York Clipper 17 May 1879: 7. “Death of Omar Kingsley�” The Morning Bulletin [Rockhampton, Qld, Australia] 14 August 1879: 3. “Death of Omar Kingsley� History of a Remarkable Female Impersonator�” San Francisco Chronicle 19 May 1879: 1. Doan, Laura� “Topsy-Turvydom: Gender Inversion, Sapphism, and the Great War�” GLQ: A Journal of Lesbian and Gay Studies 12�4 (2006): 517—42� Docter, Richard� Transvestites and Transsexuals: Toward a Theory of Cross-Gender Behavior. New York: Plenum Press, 1988. Edwards, Rebekah� “Trans-poetics�” TSQ: Transgender Studies Quarterly 1�1-2 (2014): 252—53� “‘Ella Zoyara�’: Death of the Noted Circus Female Impersonator�” The New York Times 28 May 1879: 5. Flotow, Luise von� “Tracing the context of translation: the example of gender�” Gender, Sex and Translation: The Manipulation of Identities � Ed� José Santaemilia� Manchester: St� Jerome Publishing� 39—51� Friedman, Sara, Sheer Ganor, Laurie Marhoefer, Zavier Nunn, and Javier Samper Vendrell� “After Weimar; Beyond Hirschfeld? Nostalgia, Hagiography and What Comes Next�” German History 43�2 (2025): 306—25� Green, Kai M� “Troubling the Waters: Mobilizing a Trans* Analytic�” No Tea, No Shade: New Writings in Black Queer Studies � Ed� E� Patrick Johnson� Durham: Duke UP, 2016. 65—82. Haerdle, Stephanie� Keine Angst haben, das ist unser Beruf! : Kunstreiterinnen, Dompteusen und andere Zirkusartistinnen � Berlin: AvivA Verlag, 2007� Trans Revising / Revising Trans 119 DOI 10.24053/ CG-59-0006 Heine, Tilli� “Der Transvestit�” Die Welt der Transvestiten: Sonderteil der Zeitschrift “Die Freundin” � Die Freundin 5�10 (1929): n� pag� Herrn, Rainer� “Die Zeitschrift Das 3. Geschlecht. ” Das 3. 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