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I have chosen The Masqueraders by Georgette Heyer. While reading a text from against one from may seem somewhat unfair, this historical gap is in fact useful to my purposes. The time period in which Heyer was writing effectively precludes her from any aspirations to queerness, as this was hardly a concept with which she was familiar: It is from the eccentric positionality occupied by the queer subject that it may become possible to envision a variety of possibilities for reordering the relations among sexual behaviours, erotic identities, constructions of gender, forms of knowledge, regimes of enunciation, logics of representation, modes of self-constitution, and practices of community — for restructuring, that is, the relations among power, truth and desire.

It is in this space that the happy ending of Untamed takes place: This is clearly anachronistic: In personal correspondence with me, she wrote: But this is a sort of performative queerness: This is the kind of formulation we see at work in The Masqueraders, which is arguably the most well-known romance text featuring a cross-dressing male protagonist, and a foundational text for the cross-dressing historical romance although these texts usually feature cross-dressing heroines only, making The Masqueraders, with its cross-dressing hero, particularly apt to compare to Untamed. However, it is clear that Miss Merriot is, for Robin, a costume only.

His desires are firmly heterosexual, and when he acts on them, it is in male costume: His cross-dressing is, perhaps, playful, but his brand of masculinity is normatively heterosexual. Untamed, by contrast, builds on the foundations laid by The Masqueraders, but has a recognisably queer project. Robin is clearly a man concealed in a dress, but when Jude assumes female dress, he essentially becomes his alter-ego Lady Rose. Kit describes his transformation, which she finds deeply disconcerting: He always remained Tom, acting. His demeanour, the set of his mouth, the lazy sway of his hand, all belonged to Lady Rose. The ease with which he changed his skin was frightening.

How could she ever hope to glimpse his true face? The restrictions placed on him by society — both gendered restrictions, which force him to perform masculinity, and social restrictions, which force him to perform aristocracy — have caused his identity to become fragmented. Eve Kosofsky Sedgwick has argued that shame can be defining for queer subjectivities, and we can see this in evidence in Untamed. He has the following discussion with Kit: If I let him out he will — […] I need to take… him… out. Kill the man inside? Kill what was sick and dangerous. Be only that man. His journey throughout the book is one of exposure: Their romance is dependent on the fact that she knows and accepts all of his identities — the outwardly performed ones, and the inner loathed ones he prefers to keep hidden.

She accepts him not as man or woman, but as human. Their love enables him to construct a whole, unified and distinctly queer self. This is almost the opposite of what occurs in The Masqueraders, where Robin casts off his feminine identity completely. When Robin informs Letitia that he has been masquerading as her friend Miss Merriot while also occasionally appearing to her as a man, it is to apologise for the deception. He does not need to reassure her that his skirts are not [End Page 5] part of his identity — his normative heterosexual masculinity goes without saying.

He is not ashamed of his masquerade, nor is his masculinity questioned by either Letitia or the text: In addition to his cross-dressing, Jude is bisexual, something which Kit finds both erotic and troubling.

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It also points to fluidity not necessarily in gender but in identification: In short, she locall be a Finds local sluts for sex in vobster. This makes reader reactions to his portrayals doubly interesting. Overall, where readers read Jude as feminine, he drew criticism, but where he was read as androgynous, he was more successful. There is, it seems, an appetite for gender fluidity within romance: Zluts uses cross-dressing as a symbolic way of laying sed to agency, but never passes or attempts to pass as a man. Jude, Fidns the other hand, successfully performs gender. Bobster disguise as Lady Rose is wholly jn, and only Kit is able to penetrate it. Even Kit herself finds herself occasionally confused: Kit is the only person who has been able to look at instead of through him, accepting him as a human without the need to force him into performing a binarised gender role with which he is uncomfortable.

As such, Jude uses her image to give himself comfort: Kit, after all, loved him just as much when he was masquerading as Lady Rose. As well as disrupting masculinity more broadly, in a generic sense, Jude also disrupts the archetype of the historical romance. She goes on to contend that popular romance fiction largely uses cross-dressing to dispel, rather than create, threats to normative constructions of sexuality. Prudence is revealed as a woman, Robin as a man. The success of the novel for many readers hinged on whether this binary was successfully troubled, as opposed to simply flipped.

There were few reviewers who disliked [End Page 8] the novel on the grounds that it attempted this queering of the hero: For the following reviewer, the book was successful: Days and personals are porn to communicate with each other by cooking keyboard, speech, and two-way dates.

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