First published in 2004. Routledge is an imprint of Taylor and Francis, an informa company.

In 1863, San Francisco’s Board of Supervisors passed a law that criminalized appearing in public in “a dress not belonging to his or her sex.” Adopted as part of a broader anti-indecency campaign, the cross-dressing law became a flexible tool for policing multiple gender transgressions, facilitating over one hundred arrests before the century’s end. Over forty U.S. cities passed similar laws during this time, yet little is known about their emergence, operations, or effects. Grounded in a wealth of archival material, Arresting Dress traces the career of anti-cross-dressing laws from municipal courtrooms and codebooks to newspaper scandals, vaudevillian theater, freak-show performances, and commercial “slumming tours.” It shows that the law did not simply police normative gender but actively produced it by creating new definitions of gender normality and abnormality. It also tells the story of the tenacity of those who defied the law, spoke out when sentenced, and articulated different gender possibilities.

Candid, first-hand accounts of couples who stay together despite highly emotional gender issues. Head Over Heels gives voice to thirty ordinary women who live extraordinary lives as partners to crossdressers, transgenderists, and male-to-female transsexuals. These unique women discuss, with honesty and great candor, how they first learned of their partners’ gender issues, how they’ve coped with the emotions that followed, how they’ve dealt with concerns about privacy/secrecy, and how they’ve handled disclosure to children, friends, and family members. Far from a collection of “happily ever after” stories, these narratives are filled with pain, courage, curiosity, and joy as each woman struggles to redefine a relationship that includes intimacy, social acceptance, dignity, and respect. The women whose stories are featured in Head Over Heels didn't know their partners were gender-variant when they first met. Some found out early on; others learned of their husbands' gender variance after decades of marriage. Some were told by their husbands—men they considered “regular guys;” others found out on their own, sometimes in shocking ways. Their stories represent a wide spectrum of women's life experiences with crossdressers, transgenderists, transsexuals who are nonoperative, pre-operative, and post-operative, families without children, families with children at home, and families with children who have left home. But these women share one thing in common: each has decided to stay in her relationship, exploring her new life with an open, yet cautious, heart. Some of the voices heard in Head Over Heels: “While putting my clothes on, I found a sales receipt on the bureau from K-Mart for shoes, a bra, and stockings. My immediate thought was that my husband had a girlfriend.” “He dressed for me one night and it was the worst experience of both our lives. I was shocked and he knew it and that hurt him.” “My siblings had been aware of Trish’s transsexualism for several years when she went full-time. They have told me that while I will always be welcome in their homes, Trish is not.” “My husband may think differently, but I do have a sexual identity. Actually, I’m real clear about it—I am a woman and he is a man. I do not allow him to crossdress in the bedroom. I married a man; therefore, I will sleep with a man.” Head Over Heels also includes historical and current information about resources and support for wives of gender-variant people, and a substantive introduction that includes basic information about sexual and gender identity and related issues.

Female-to-male crossdressing became all the rage in the variety shows of nineteenth-century America and began as the domain of mature actresses who desired to extend their careers. These women engaged in the kinds of raucous comedy acts usually reserved for men. Over time, as younger women entered the specialty, the comedy became less pointed and more centered on the celebration of male leisure and fashion. Gillian M. Rodger uses the development of male impersonation from the early nineteenth century to the early twentieth century to illuminate the history of the variety show. Exploding notions of high- and lowbrow entertainment, Rodger looks at how both performers and forms consistently expanded upward toward respectable—and richer—audiences. At the same time, she illuminates a lost theatrical world where women made fun of middle-class restrictions even as they bumped up against rules imposed in part by audiences. Onstage, the actresses' changing performance styles reflected gender construction in the working class and shifts in class affiliation by parts of the audiences. Rodger observes how restrictive standards of femininity increasingly bound male impersonators as new gender constructions allowed women greater access to public space while tolerating less independent behavior from them.

This unique and fascinating book, meticulously and systematically develops a theory of male femaling which has major ramifications for both the field of 'transvestism' and 'transsexualism' and for the analysis of sex and gender more generally.

Americans have long cherished romantic images of the frontier and its colorful cast of characters, where the cowboys are always rugged and the ladies always fragile. But in this book, Peter Boag opens an extraordinary window onto the real Old West. Delving into countless primary sources and surveying sexological and literary sources, Boag paints a vivid picture of a West where cross-dressing—for both men and women—was pervasive, and where easterners as well as Mexicans and even Indians could redefine their gender and sexual identities. Boag asks, why has this history been forgotten and erased? Citing a cultural moment at the turn of the twentieth century—when the frontier ended, the United States entered the modern era, and homosexuality was created as a category—Boag shows how the American people, and thus the American nation, were bequeathed an unambiguous heterosexual identity.

This three-volume collection focuses on writings by and about cross-dressing women from the early nineteenth century up until the beginning of World War II. In so doing, it provides a new perspective on one of the most decisive periods in the history of feminism. The anthology brings together for the first time key texts from the sexological and the literary realms, as well as newspaper articles, letters and photographs, which document the phenomenon of cross-dressing women in nineteenth- and early twentieth-century British culture. The collection also includes translations from European texts that impacted on British understandings of cross-dressing during this time. A fascinating work, each of the volumes is introduced separately with a critical essay, and is divided thematically to include sections devoted to theories, fictions and fictionalisations, and lives. Together, these volumes make available important source material for the history of feminism.