|The "big reveal" as spectacle, and the reveal/revulsion of the hero (and viewer)|
Romances featuring transwomen often struggle with that burden established by The Crying Game's precedent (see for example Brian Katcher's YA Almost Perfect). How can you depict trans lives without turning them into spectacle, without making the romance at its heart be about the big secret, the big reveal? Which is why I found Courtney Milan's latest contemporary, Hold Me (book #2 in her Cyclone series) such a pleasure to read. Milan blows right by this "cis-person's burden" of trans-ness as spectacle by making the central problem for her heroine not the revelation of her trans identity, but instead the problematic ways other peoples' responses to that identity have shaped her, and her ability to trust in love.
The first meeting between sexy, gorgeous Maria Lopez and super-brainy physicist Aroon (aka Jay) na Thalang is a definitely meet-cranky. Maria comes to Berkeley in search of her brother, who has just joined Jay's lab. But the driven, demanding Jay has no time for distractions, especially one who looks as hot as does the stranger knocking on his door. "What are you selling, anyway? Lab supplies? Amway?" Jay's sexist rudeness catches Maria a bit off-guard, but when her always-late brother Gabe finally appears and formally introduces her to his friend/boss, her sharp tongue returns with a vengeance:
"Did you know Jay's working on a top secret project for the Department of Defense? He uses invisible radiation to turn himself into an asshole."
Gabe looks at me, then at his friend, then back at me. "I'm missing something."
"Don't worry, little brother." I pat Gabe's shoulder. "His terrible transformation only happens around women. You're safe." (Kindle Loc 171).
|Enemies in person, lovers in print:|
James Stewart and Margaret Sullavan
in Ernst Lubitch's Shop Around the Corner
Milan not only rejects the big reveal of Maria's trans identity (Jay has had both boyfriends and girlfriends, and seems pretty unfazed when Maria tells him about her parents' rejection of her after she announced her desire to live as a girl at the age of twelve). She also rejects the secrecy that the Shop Around the Corner trope often demands: that even after one party discovers the real identity of their "pen pal," they must keep their own identity hidden from the one who has yet to learn the truth. For ultimately, what is keeping Jay and Maria apart is not the secrets they are keeping from one another, but the past traumas that have disrupted their relationships with their families of origin, traumas that have made both wary of trusting others with their most vulnerable selves.
Learning to trust is not about keeping secrets, and it's not about any big reveal, Milan's story suggests. Instead, it is about recognizing one's own blind spots (Jay coming to realize his own unthinking sexism; Maria recognizing her refusal to rock the boat so that she won't be rejected by those she loves). And above all, it's about the long series of small reveals, the everyday sharing of self with other, that builds a foundation of trust.
The Crying Game: Deep Focus Reviews
Girly Girl t-shirt: Busy Bus
Shop Around the Corner: Film Forum