{"id":16839,"date":"2023-07-19T09:00:56","date_gmt":"2023-07-19T13:00:56","guid":{"rendered":"https:\/\/blogs.library.duke.edu\/rubenstein\/?p=16839"},"modified":"2023-07-18T11:36:33","modified_gmt":"2023-07-18T15:36:33","slug":"annie-sansonetti-on-queer-and-trans-childhood-in-eve-kosofsky-sedgwicks-papers","status":"publish","type":"post","link":"https:\/\/blogs.library.duke.edu\/rubenstein\/2023\/07\/19\/annie-sansonetti-on-queer-and-trans-childhood-in-eve-kosofsky-sedgwicks-papers\/","title":{"rendered":"Annie Sansonetti on Queer and Trans Childhood in Eve Kosofsky Sedgwick’s Papers"},"content":{"rendered":"

Contributed by Annie Sansonetti, Ph. D. candidate, Department of Performance Studies, New York University; Recipient of an Eve Kosofsky Sedgwick Research Travel Grant, 2022-23, supported by the Eve Kosofsky Sedgwick Foundation<\/a>.<\/em><\/p>\n

There is a photograph of my best friend and I as children that I especially love. The year is 2002. In the photo, I am in her \u201cgirl\u201d clothes and she is in my \u201cboy\u201d clothes. We pose, my hand on my hip, her arm by her side. We smile with our other arms around each other. I remember our debut in her big, sun-filled kitchen: coffee and pastries on the table and the surprise on our parents\u2019 faces. Laughter ensued, someone took a photo, and we played in our shared clothing all day. I assume that I eventually swapped her clothes for mine, although this moment does not stand out in my mind. The memory of my friend\u2019s roomy walk-in closet and our subsequent exit of it\u2014down the spiral staircase hand in hand, with our footsteps set to a symphony of our giggles\u2014does.<\/p>\n

I call this moment, and the gendered and (trans)sexual activity that transpired there, \u201cEve\u2019s closet.\u201d Play in Eve\u2019s closet is my descriptor for queer and trans pleasure in the curvature of sexual and gendered spaces, what Sedgwick described in a response to an essay by Jacob Hale as an \u201cidentification with what is, at any given moment, understood to be the growing edge of a self.\u201d It recalls moments of childhood play\u2014\u201cof daring surmise and cognitive rupture\u201d\u2014between queer and trans kids (here trans feminine and trans masculine), where clothing, make-believe, and toys are the \u201cvery stuff\u201d of queer sexuality and\/or where friendship is a medium for gender transition or sex change. Eve\u2019s closet is a funhouse for kids: comprised of many entrances and exits, where they are encouraged to come in and come out when they are ready. It is like a theatre\u2019s backstage, or a dressing room, where costume choices are endless. In Eve\u2019s closet, and in play among children, even bridal lingerie has queer and trans potential.<\/p>\n

\"\"<\/a>
Eve Sedgwick poses in front of a shop called Eve\u2019s Closet, Greenwich Village, NY, undated. Eve Kosofsky Sedgwick Papers, Box 16.<\/figcaption><\/figure>\n

I visited the Eve Kosofksy Sedgwick papers<\/a> at Duke University\u2019s Rubenstein Library with an interest in Sedgwick\u2019s writing on trans feminine childhood\u2014what was then-called \u201cfeminine boyhood,\u201d \u201cboyhood effeminacy,\u201d or \u201cboyhood femininity\u201d in common parlance of queer theory in the 1990s. I am interested in how stories of trans feminine childhood\u2014of feminine boyhood and trans girlhood\u2014have been written and performed in theatre and the performing arts, especially when friends (or other queer- and trans-loving collaborators) are the chosen or desired audience members or co-stars. I read an early 1989 draft of her now-famous essay \u201cHow to Bring Your Kids Up Gay,\u201d later re-published in Tendencies <\/em>in 1993 with the subtitle \u201cThe War on Effeminate Boys,\u201d as well as her lesser-known 1989 essay \u201cWilla Cather and Others\u201d on Cather\u2019s 1905 short story titled \u201cPaul\u2019s Case: A Study in Temperament.\u201d But I soon became fascinated by Sedgwick\u2019s collaborations with her best friend and once-roommate Michael Moon, especially their co-authored 1990 essay, more of a \u201cperformance piece,\u201d on the topic of \u201cdivinity,\u201d what they called \u201ca little-understood emotion.\u201d<\/p>\n

In \u201cDivinity,\u201d Moon and Sedgwick reflect on the \u201croominess\u201d of the fat woman\u2019s body\u2014and her closet\u2014for the feminine boy. While I am interested in the content of the essay (especially a film still of Divine and the \u201cInfant of Prague\u201d from John Waters\u2019 1970 film Multiple Maniacs<\/em>, and I certainly have my own stories of play in fat women\u2019s closets as a girly-boy), for the purposes of this report, I want to dwell on Moon and Sedgwick\u2019s collaboration for what it teaches us about the pleasure and play of the trans masculine and trans feminine relation. In Sedgwick\u2019s papers, there are multiple drafts of \u201cDivinity\u201d\u2014some with misplaced paragraphs, others with Moon\u2019s and Sedgwick\u2019s marginalia, and a few with Moon\u2019s initials swapped for Sedgwick\u2019s and vice versa, as if they were sharing and exchanging each other\u2019s voices, or playing dress up with each other\u2019s bodies, if you will.<\/p>\n

Moon and Sedgwick both spent time in the closet. Moon as a \u201cproto-gay,\u201d feminine boy and Sedgwick as a fat woman who accompanied them there (and who was, especially in her white glasses, a fat woman who was a gay man). But they also stepped outside them quite proudly and defiantly, both together and apart, like me and my friend. For Moon and Sedgwick, their play-space was writing; for my friend and I, it was clothing. Inspired by Moon and Sedgwick\u2019s essay and my photograph, we might make the claim that queer and trans children\u2019s play with each other (both \u201cactual\u201d children and the inner child of the queer or trans adult who is \u201cco-present,\u201d not gone, after Mary Zaborskis) can constitute felt and pleasurable enactments of queer sexuality and\/or gender transition beyond the confine of an \u201cadult\u201d\u2014legal, medical, and political\u2014form of legibility and between friends<\/em>.<\/p>\n

Play in each other\u2019s shared clothing is co-authorship. It a chance for queer and trans kids to stage the bodies and lives they want for themselves and their friends, at least for the time being, and until they have the autonomy to demand more from the world at the level of sexual and gender-determination in an adult-centric world. In extant queer and trans scholarship and popular culture, tomboys and sissies are often staged far apart from each other. But what about their conviviality and solidarity\u2014the \u201cI have what you need\/want, you have what I need\/want<\/em>\u201d kind of mutual aid? Think: my photograph. It occurs to me that in our play, a repertoire that was certainly \u201ct4t,\u201d we relished the share of clothing, bodies (body parts?), and toys that sustained our queer and trans childhood\u2014little-by-little, day-by-day, and moment-by-moment, like the best scenes of queer and trans childhood\u2019s \u201cdivinity.\u201d<\/p>\n

In this sense, play among queer and trans children is best encapsulated in Sedgwick\u2019s last words on the \u201cdivine\u201d collaboration between Divine and Waters (and, I add, herself and Moon, and me and my friend). This play, is, as Sedgwick writes, \u201cas scarce as it is precious.\u201d It offers us \u201copulent images and daring performances that suggest the experiment of desires that might withstand the possibility of their fulfillment.\u201d In the absence of a certain fulfillment, there is no \u201cfinale\u201d to such play\u2019s enactment of desire. Instead, there are only a bunch of opulent and daring debuts with the friends who withstand the often frustrated, unrealizable experiments in queer and trans desire with you. This is \u201cEve\u2019s closet<\/em>,\u201d where children can change their genders\/sexualities, stage a scene, and strike a pose with a friend, always as if for the first time. There may even be someone queer- and trans-loving around to photograph it.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Contributed by Annie Sansonetti, Ph. D. candidate, Department of Performance Studies, New York University; Recipient of an Eve Kosofsky Sedgwick Research Travel Grant, 2022-23, supported by the Eve Kosofsky Sedgwick Foundation. There is a photograph of my best friend and I as children that I especially love. The year is 2002. In the photo, I … Continue reading Annie Sansonetti on Queer and Trans Childhood in Eve Kosofsky Sedgwick’s Papers<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":198,"featured_media":16857,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,41,551,11,885,26],"tags":[],"coauthors":[653],"class_list":["post-16839","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bingham","category-research","category-featured","category-from-our-collections","category-gender-and-sexuality-history-collections","category-grants"],"yoast_head":"\nAnnie Sansonetti on Queer and Trans Childhood in Eve Kosofsky Sedgwick's Papers - The Devil's Tale<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.library.duke.edu\/rubenstein\/2023\/07\/19\/annie-sansonetti-on-queer-and-trans-childhood-in-eve-kosofsky-sedgwicks-papers\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Annie Sansonetti on Queer and Trans Childhood in Eve Kosofsky Sedgwick's Papers - The Devil's Tale\" \/>\n<meta property=\"og:description\" content=\"Contributed by Annie Sansonetti, Ph. D. candidate, Department of Performance Studies, New York University; Recipient of an Eve Kosofsky Sedgwick Research Travel Grant, 2022-23, supported by the Eve Kosofsky Sedgwick Foundation. There is a photograph of my best friend and I as children that I especially love. The year is 2002. 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