Professional Documents
Culture Documents
against and the death of transsexualsi. These stories condense personal issues
relating to the identity politics of race, religion, sexuality, ability, and age, thereby
“monsters” for public display. “High Theory” also tends to use transsexuals for their
liminal social positions. Judith Butler (2004), for example, upholds transgendered
people as true boundary “troublers” and develops theory using the gendered
embodiment2 of transsexual and intersexed people (who are born with ambiguous
genitals) in order to exemplify the tentativeness of identity categories (p. 121). What is
missing from both “high” and “low” discourse are the voices of transsexual people and
their lived experiences, therefore, this paper seeks to provide a sense of mediation to
daily disquisition. Sociologist Pierre Bourdieu defines social distinction through the
p. 144. 171); Bordieu’s theory of personal distinction and taste can be extended to
1
Popular is defined herein in terms of Webster’s (1996) lexical meaning “widely liked” (p. 531) and is
discussed through its expression in current media that is easily available to vast amounts of people,
easily interpreted (rather than theory which can be arduous to read), and produced in the twenty-first
century. The term imagination in this project is derived from mythology theorist Sven-Erik Klinkmann
(2002) and refers to the larger social patterns that emerge from a reading of certain media as they are
fabricated by positioning “different subjects in relation to the chains of signification that society creates"
(p. 56).
2
For argumentation and definitions of gender and sex, please review endnote i, which also defines
transsexuality. “Gendered embodiment” used here refers to the overwhelming encapsulation of
transsexual people in their bodies as representatives of gender and sex issues across academia and
within the popular imagination. There is seemingly no escape from their liminal embodiment.
Thomas-Williams 1
artifacts of culture. High theory is a distinctive form of writing that produces cultural
academia; high theory almost always positions ideology above practicality, which also
makes it distinctly different from low discourse. Judith Butler is the high theorist
discussed in this paper. She is known for her “analytical complexity” and according to
Vicki Kirby (2006) in Judith Butler Live Theory, she is “one of the most prolific and
influential writers in the academy today” whose work “spans philosophy and
contemporary theory” (p. vii). There is a certain reverence of Judith Butler in the
veneration that makes her an attractive exemplar for examination within this paper.
about the gendered lives of transsexuals, perhaps there is no wider reaching audience
than that of popular television. Richard Campbell (2003) claims that as of ten years
ago more than ninety percent of American households had one or more television sets
(p. 173); now more than 48 million households have digital cable service. In fact, one
study showed that American children between the ages eight to eighteen watch three
or more hours of television per day and found that more than 60% of programs
contain violence (Schmidt 2006, p. 290). This fact will become more important in a
omni-present artifact of the twenty-first century because it has proliferated to the point
argues media produces both “viewers and citizens” with shared ideals, world views,
Thomas-Williams 2
and narratives that all work together to structure a popular imagination where “the
social construction has come to stand in for an imaginary original reality” (p. 373, 375).
Television literally produces and reproduces distinct images, which can be read as
of humanity. It is television’s very location in the “masses” that associates it with the
pejorative lowliness of the “common” people as opposed to the “lofty” high theory of
scholars like Judith Butler. Despite the often deleterious scrutiny that analysis of
artifacts from “popular culture” elicits, it is the wide reaching affect of television that
The danger with the popular imagination is that these inauthentic social
institutions, found in television for example, are often reproduced indefinitely creating
mass mediated images where the reproductions become more “real” than original
lived reality (Baudrillard, 1994). People can become so involved with television, for
example, that the obsession spills over into real life and viewers adopt the social
norms as their own3. So, the “popular” imagination is “widely available” and produced
1996, p. 531), but may portray too narrow a canon to accurately represent people who
are placed outside the hegemonic norm because of their “non-normative” bodies.
3
Media produces image in many ways and through many means, including in and through music. To
demonstrate that people sometimes live their “hyperreal” (fake is real) fantasies what follows are two
well known historical examples from the music industry. In 2004 the BBC News did a follow up story on
the murder of John Lennon by crazed fan Mark Chapman; he told the parole board in 2004 that he
murdered Lennon to “steal his fame” (BBC NEWS, 2004). Wikipedia (2006) also cites that on May 7,
1991 a judge in the state of Georgia dismissed a wrongful death lawsuit against singer Ozzy Osbourne
filed by a “local couple [who] believed their son was inspired to attempt suicide by Osbourne's music.”
Thomas-Williams 3
This paper seeks to illuminate the hyperreal unification of transsexual people
for what it is: a way that hegemony subjects often disempowered people to a dominant
legible paradigm. Exploring the ways that transsexuals are imagined in this
postmodern mediated but shared cultural space, this paper is divided into four parts
using the metaphor of the body. The introduction provides readers with an overview
documentary follows four college students who are in different stages of their
transformations relaying that transsexuality is not the fundamental identity for each of
these young students, especially for people who are also marginalized by poverty,
prime time CBS television show CSI: Crime Scene Investigation. This section
indicate the strengths and weaknesses these arguments. There is a similarity in the
portrayal of trans-characters in “high” theory and “low” culture that seems to leave out
Thomas-Williams 4
transsexuality is. Incomplete representations are very close to what transsexuals are
Embodied Transsexuals
“I want my body to match my mind.”
-Gabbie, MTF, U.C. Boulder Colorado student, TransGeneration (2005)
It is clear from a review of both current and historical literature that transsexuals
know they are “wrong bodied” from their earliest memories. Elizabeth Grosz (1994) in
Volatile Bodies claims that one’s body “is a betrayal of and a prison for the soul,
reason, and mind” (p. 5), and perhaps no people feel this sense of entrapment more
than transsexual people who must seek medical treatment to bring their bodies in line
with their minds. While their very physical identity is shaped by medical intervention,
normative structures in the culture, but also through the authority of “objective”
science.
Judith Butler (2006) writes that humans become known through “conditions of
intelligibility” that are constructed by “a certain regulatory regime” which posits what is
Stryker, p. 183). Human bodies are pivotal as to whether or not a particular human
humanness” (in Stryker, 2006, p. 184). Humans then are clearly “read” as either men
Thomas-Williams 5
or women leaving transsexuals “unintelligible” in this scheme. These notions of what
constitute “normal” and “abnormal” are then repeated indefinitely in the larger culture
medical discourse and Susan Stryker (2006) in The Transgender Studies Reader
points to Psychopathia Sexualis as one source that may have introduced the word
“transsexual” into medical language. The early characterization of the term connects
(1886), the writer of the case study, explains transsexuals as sexually deviant people
with “a pathologic-morbid desire to be a full member of the opposite sex” (p. 40).
Today, this “affliction” is fully instituted in the DSM IV (1996) and listed under Gender
Identity Disorder which is defined by two criteria: first a “strong and persistent cross-
gender identification, which is the desire to be . . . or the insistence that one is . . . the
other sex. . . . [and] evidence of persistent discomfort about one’s assigned sex (p.
532, 533). The pathological nature of transsexuality and its location in a model of
medical illness or disorder leads to mixed discourse about the subject in academia.
Some scholars argue for the delisting of gender identity disorder for its
essentialist notions of right and wrong in terms of gendered bodies; however, Vivanne
Namaste (2005) indicates that such a removal will inevitably make it “impossible to
pay for sex reassignment surgery either though a private insurance company or
through state/provincial health insurance” (p. 7, 8). The issue of insurance masks the
reality that the majority of Americans lack proper health coverage: the National
Thomas-Williams 6
Coalition on Health Care (2006) estimated that one third of the population was without
health care in 2003 alone (electronic resource). The fact that one must almost always
forces at work that seem to advance the marginalization of certain people. Race,
although a contentious word4, is part of the intersectional identities that place certain
For Raci, a MTF5 student at UCLA, her position as a Philippino is just as central
to her life as her marginal economic position and her (dis)ability as a deaf woman. In
the documentary TransGeneration (2005), Raci is extremely insecure about her voice
because she is deaf but more so about her poverty and lack of resources, which leads
to her body insecurities. Raci has difficulty maintaining her hormone regime which
gives her “great breasts, smooth skin, and a great figure” because she is unable to get
hormones for lack of insurance coverage (Simmons, 2005); she then turns to the
streets to acquire drugs illegally and is clearly afraid that she will be poisoned, but her
desire to “fit in,” to avoid “stereotypes,” and to “pass” trumps all fear (Simmons, 2005).
Raci eventually locates a large queer resource center in Los Angeles that purchases
hormones for poverty stricken transsexuals, including those living on the streets, and
Thomas-Williams 7
The very fact that the queer resource center disperses the hormones to needy
individuals associates Raci’s transsexuality with gay and lesbian politics, which are
people rather than within a more central paradigm. This queer standard that posits
its “lack of respect for the lives of [transsexuals] who are heterosexual” (p. 20).
Namaste privileges essentialist points of view, because they allow the focus of
scholarship and activism to be taken off trans-bodies and placed back on institutions.
She wants to be considered a woman, not a gender radical (Namaste, 2005, p. 6).
Namaste’s view: “When I identify as trans it validates that I am abnormal. I don’t want
be seen as “normative” women and men whose genders and bodies are not the locus
Being read as normal is possibly what makes one safe from a myriad of events,
Anthropologist Mary Douglas claims that symbolic ritual creates societal unity (Beynon
and Dunkerley, 2000, p. 470); people in the culture at large recognize “the powers and
dangers credited to social structure [which are then] reproduced in small on the
human body” (Beynon and Dunkerley, 2000, p. 470). Social unity then is created
through the construction of signifiers like gender norms, which are then played out
6
FTM is the abbreviation for a transsexual person who has transitioned from female to male.
Thomas-Williams 8
through dress and behavior. As Douglas indicates with her theory of the sign, these
two markers for gender in America can make individuals normative or non-normative,
and therefore safe or not-safe. It is understandable that people may tend to gravitate
To participate in the normative gender structure unifies people under the larger
system and allows citizens access to the “benefits” of such a system. However, it is
unclear whether transsexuals are ever really allowed to reach a state of normalcy. In
her address to conference participants at the 27th annual National Women’s Studies
Association (NWSA), Susan Stryker spoke of the myriad ways in which her life as a
Despite wanting to pass and lead “normal” healthy lives, transsexuals due to the
liminal positions of their bodies are subject to discrimination on multiple levels like lack
Hausman (1995) writes transsexuals must “seek and obtain medical treatment
about them is located within a medical discourse (original emphasis, p. 3). Indeed, the
about access to proper medical care, specifically hormones, to make their sex and
Thomas-Williams 9
transsexual people, and subjects them and everyone else to a hyper-awareness of the
Chamounix: Performing Transgender Rage confides that she is “too often perceived
as less than fully human due to the means of [her] embodiment” (p. 245); thus due to
the “unnatural” state of her body and the rage of her exclusion from mainstream
society she feels a kinship with “Frankenstein the monster” (p. 245). While Stryker is
making a literary move in her metaphorical kinship with the monster, the popular
Disembodied Transsexuals
“The Transsexual body is an unnatural body.”
-Susan Stryker (2006) The Transgendered Studies Reader, p. 245
more visible with token appearances on cable television shows, like Nip/Tuck on the
transsexuals on prime time (non-cable networked) shows lead to one episode of CSI:
Crime Scene Investigation, which is one of America’s most watched shows currently in
its seventh season of production (Official CBS website, 2006)7. CSI is a version of the
classic “whodunit” entertainment genre, but episodes focus upon figuring out how
crimes are committed using the latest forensic technologies as a means to discover
who committed the crimes. The particular episode under scrutiny here is the one
7
This claim is based upon Neilsen ratings, which track audience participation in television shows to
“maximize profits” for networks (AGB Neilsen Media Research online, 2006).
Thomas-Williams 10
hundredth, entitled “Ch Ch Changes8,” episode eight of season 5 (2004). TV.com
(2006) indicates that “31.46 million viewers tuned in” to this particular episode in
particular “making it the most watched episode in the show's history thus far”
episode.
“Ch Ch Changes” opens with a terrified woman speeding down a dark deserted
road in a very nice convertible. Time lapses, but within one minute from the actual
beginning of the show CSIs are on the scene looking down at the dead body of the
same terrified now dead “Wendy” whose throat and genitals have been slashed. In a
moment of foreshadowing one agent makes the comment that “women in convertibles
are low hanging fruit,” while the other jokes “and it was a top down night” (Zuiker,
2004). These statements set the joking nature of the episode and are purely
metaphorical allusion to the fact that the victim Wendy is a trans-woman, although her
woman, in a storage unit turned operating room. Over her body, which was still naked
on the table in stirrups, one CSI asks, “Catherine? What do you think went on here?”
Her reply, “Someone outsourced their health care to the wrong provider.” It turns out
that “Frankensteinian” Dr. Mona Lavelle had been performing illegal gender
reassignment surgeries to help “normal people live normal lives” (Zuiker, 2004). The
crime is resolved when the CSIs discover that Wendy, the first victim, was killed
because she found “Frankenstein’s lab” and was on her way to inform police. The
8
The title of the show refers to the song by David Bowie “Changes.”
Thomas-Williams 11
show closes with one last allegorical jab at transsexuals: “Before man crawled out of
the primordial muck, perhaps it had the same option and maybe we were supposed to
be able to switch sexes. The mutation may be staying one sex” (emphasis mine,
Zuiker, 2004).
The body of Wendy (photo from Official The body of Vern (photo from Official CBS
CBS website, 2006). website, 2006).
The premise for the show is to solve a crime, but the running theme is the
nearly every scene in an ironic contrast to the statement of Dr. Lavelle who wants
transsexuals to be seen as “normal.” In the spirit of “actions speak louder than words”
transsexuals are made into monsters by their very embodied constructedness, but
also in their perceived connection to homosexuality. Throughout the show the CSIs
homophobic and trans-phobic jokes. “For the record,” exclaims one agent, “I really like
less of a man by his very involvement with people who are constrained by their
penises.
the gendered pronouns of their choice; essentially these acts by the show’s main
Thomas-Williams 12
characters rob the already liminal characters of any agency in the expression of their
identities constraining them to a firm “biological sex by birth” paradigm. Actors rely on
heterosexual principles to elicit information from potential witnesses teasing men who
refuse to speak to the CSIs as perhaps “preferring stick” and refusing to follow
the mouth of the victim Wendy. This leads to the “shocking” moment when
investigators find out that Dr. Lavelle is a trans-woman who has not yet had “bottom”
declaration earlier in the episode. The CSIs then interview Lavelle’s husband and
repeatedly marginalize him for being homosexual by highlighting his wife’s penis with
jokes like “your wife is still packing” and eventually make him repeatedly admit to
several different investigators that he enjoys fallating his wife (Zuiker, 2004). The
agents in making Lavelle’s husband repeat this information were playing up his non-
normative and read as homosexual behavior. Because this was the most watched
episode of CSI to date viewer’s comments are important to contextualize this episode
One viewer lauded CSI for “informing the general public” about a “unique group
of people,” however, this episode was overwhelmingly caste as the “goriest and most
difficult to watch” by viewers (TV.com, 2006). The show was not difficult because of
violence, blood, and “the descriptions of sexual acts and transference of certain body
fluids” (TV.com, 2006). Insinuated in the nuance of this viewer’s comment is his
Thomas-Williams 13
discomfort that the transference of “particular bodily fluids” was from one man to
(re)viewers from TV.com agreed that topics about trans-gendered and transsexual
people need more media coverage, but they also agreed that this episode was a step
in the right direction. This show was disturbing on many levels and not at all helpful in
characters, living and dead, in this episode were robbed of their agency by illusion
politics.
FTM Matt Kailey (2005) in Just Add Hormones is perhaps too positive in his
declarations that transsexuals are more visible now than ever in the media (p. 13).
The show seemingly participates in the “good deed” of increasing the visibility of
transsexuals in prime time television but in a deep reading it is obvious that the show
erases their complex lived experiences through continual marginalization in the show’s
gender pronouns. Additionally, perhaps in an effort to make the show more palatable,
the “monster” Dr. Lavelle was played by a “real” woman, non-trans actor Lindsay
numerous “real” “tranny” characters appear in the show but none are listed in the DVD
credits. This projects the illusion that “all is right” in the “real” world.
Thomas-Williams 14
(2006) in Genderbashing calls an “invasion” of public space by non-normative people
(in Stryker, p. 588, 589). Because transsexuals are non-normative in the expression
Namaste (2006) claims that many transsexuals are victims of violence due to the
conflation of their gender identities (how they identify themselves) into a perceived
homosexual (same sex partner relations) reading, which threatens the heterosexual
norm (in Stryker 2006, p. 587); she argues that both public and private spaces are
policed by gender norms upholding “the binary opposition between men and women”
Stryker, 2006, p. 590). People who fall outside of the socially sanctioned standard for
gender are targeted for violence because they threaten the structured state of
heteronormative behavior.
Susan Stryker attributes the perceived danger of her presence in public spaces
to be due to the “unnatural” medical construction of her body, while Judith Butler
posits that the incoherent gendered nature of transsexuals makes them “illegible” thus
less human (Butler, 2004, p. 58; Stryker, 2006, p. 245); perhaps this illegibility makes
transsexuals more susceptible to hate crimes. In any case, even when transsexuals
are heterosexual (attracted to the opposite gender than their trans-identities) their
gender is often conflated with a perceived sexuality10 that falls outside of normative
behavior making them prime targets for violence. Since gay bashing conflates two
behavior, Namaste (2006) advocates for the renaming of the term “gaybashing” to
9
Gender here refers to explicit roles and behaviors attributed to men and women based upon their
“biological sex.”
10
Sexuality here is defined by the partner choices of people in sexual relationships.
Thomas-Williams 15
“genderbashing” (p. 596). The term “gay” bashing deflects the fact that violence
against gay, lesbian, intersexed, and transsexual people is really rooted in the
witnesses, especially men, to coerce them into answering questions about the crime.
The trans-characters were living their lives passing as “normal” people before the
CSIs insisted upon pigeonholing them into a homosexual paradigm due to their non-
the show made a mockery of Dr. Lavelle’s husband and their “farcical” marriage by
insisting that he describe their intimate sexual relations again conflating gender with
Another form of illusion politics in CSI is evident in the writing of Dr. Lavelle as
a Frankenstein character. While illegal and unlicensed medical practices are unethical
and dangerous, the fact is that gender reassignment surgery is truly expensive. Dr.
Lavelle was providing a service to people who could not afford to “legitimately”
transform their bodies by establishing her own “outside” medical practice, which was
construed as the laboratory of a “mad” doctor. Kailey (2005) writes that female to
complete phalloplasty” can cost up to $100,000 in the United States (p. 77). This
figure does not account for the lifetime of hormone intake required to regulate and
maintain gender reassignments. Not everyone with “Gender Identity Disorder” can
Thomas-Williams 16
afford “treatment”; therefore alternate means of transitioning can seem attractive in
Transitioning is not a matter of choice, argues FTM Kailey (2005), “if the
incongruity between a person’s gender identity and his or her body and social roles is
strong enough, he or she will transition or die” (p. 20). While Kailey does not provide
sources for his claims, he states that many transgendered suicides are due to
suffering and shame in not being able to transition; access to adequate medical care
is a central issue in the transsexual community, and often insurance does not cover
gender transitions (Kailey, 2005, p. 21). Recalling that Raci from the documentary
maintain her hormone treatment it becomes evident that transsexuals will participate
in risky behavior to assimilate with the “regulatory regime.” This in no way excuses
fictional Dr. Lavelle from her criminal behavior, but the fact that CSI chose to collapse
the lived reality of transsexual’s inadequate access to the medical industry into a
dramatic portrayal of “Dr. Frankenstein plays God” indicates that transsexuality has a
Conclusion
Gender theory about transsexuals is inevitably a debate couched in discussions
based mainly on and about the bodies of hyper-gendered people. The bodies of
upon their gendered states of being above all else; therefore, perhaps there is no
more liminal space than a transsexual’s body due to the minimizing and/or essentialist
viewpoints asserted by feminist and gender theorists in terms of the transsexual state
Thomas-Williams 17
transgress what we think of as traditional gender roles, the practice of ‘sex change’
philosophy is the essence of juridical debates over the bodies of transsexuals which
ultimately decide for them whether or not they deserve full “personhood” based upon
their “legibility” (Butler, 2004), which sometimes can manifest itself in the inability to
Transsexuals must seek assistance from both the psychological and medical
fields to feel a sense of self recognition, but also to achieve full personhood in the
land without a safe space in which to seek refuge: one is either “illegible” or too
constrained by their choice of legibility. Current American television also has a hand
in reducing transsexuality to a state of being that is “not quite right,” which often ends
programs like CSI: Crime Scene Investigation relentlessly empty the social and
medical realities that transsexuals face in the hegemonic “regulatory regime” and
dimensions of lived experience like race, sexuality, ability, age, and economics
constructing trans-characters (and the trans- actors themselves) as monsters that are
absent identity, personality, and context. Trans-people are displayed and used for
their liminal positions. This lack of historical context and judgment due to the
Thomas-Williams 18
constructedness of the transsexual embodiment is also evident in the work of highly
regarded gender theorist Judith Butler and also in the work of Bernice Hausman.
of the cultural institution, but is critical of the process; she writes (1995) that
transsexuals are failed “gender outlaws” who reify the hegemonic binary (p. 197).
While gender reassignment adheres to a too essentialist state of being for some
theorists, others posit that the liminal space trans-people reside in can (and should) be
used actively as another sort of antidote to hegemony. Butler (2004b) argues that
one’s liminal embodiment could be used as a political strategy and can “become a site
at all, which are only “instruments of the regulatory regime” (p. 121, 126). In the
the “other.”
Identity, Institutions, and Imperialism asks frankly “where would Judith Butler be if she
couldn’t talk about us [as privileged sites of identity] (p. 18)? High theorist Butler
argues that being a transsexual is powerful in its liminal state, because just as Mary
Douglas argues “all margins are dangerous” (Beynon and Dunkerley, 2000, p.473).
People who open up spaces beyond the boundaries of normative social structures are
norms, thus the argument can be made that transsexuals are gender pioneers.
Alternately, moving transsexuals toward the center and away from the fringes by
Thomas-Williams 19
embracing essentialist binary oppositions liberates trans-people from their liminal
positions destroying the argument that transsexuals are somehow gender pioneers.
Transsexual bodies are used to promote a certain agenda, whether it is to uphold the
transsexual people liminal rather than central, high theorists privileged with an ability
colonizing the lives of transsexuals to promote her own agenda of social change. In
privileging the alterity of transsexuals some theorists ignore the substantive issues in
the lives of trans-people; Namaste (2005) argues “when we restrict ourselves to the
(original emphasis, p. 18, 19). In much of her work Namaste promotes activism in the
increase access to and the quality of health care for transsexual people. She is critical
of any anti-essential argument; in the refusal to disrupt the binary, she argues,
essentialists are doing effective activist work implying that Judith Butler does not do
effective work (Namaste 2005, p. 8; Namaste in Stryker 2006). However in her almost
about identity.
“troubling” norms in general as a political move toward social change (Butler, 2004, p.
121, 135); therefore, for Namaste to indicate that Butler relies upon the identities of
Thomas-Williams 20
trans-people undergoing sex change as a theoretical position is incorrect. Rather,
Butler is merely indicating that transsexualism “proves” the inherent malleability and
instability of gender as an immovable stable identity (Butler, 2005, p. 120). One could
criticize Viviane Namaste for her persistent refusal to acknowledge that millions of
people cannot get access to health care despite the presence of an ever expanding
health care system. Health insurance usually hinges on employment which, according
to Susan Stryker (NWSA, 2005), is also difficult to attain and retain for transsexuals.
criticism to spite the work of others seems antithetical and unnecessary to the “cause,”
between “high” theory and “low” (television) culture in that both presume to “know”
transsexuality, yet in a practice of illusion politics they both tend to erase the lived
transsexuality is and what it means to the people who are marginalized by such labels.
In an effort to better illustrate the “either illegible thus political/or too essential”
nature of current gender theory and popular culture, this paper has delineated some of
oppression, violence, and identity misconceptions, to explore the ways in which the
bodies of transsexual people are “read” in both places: high theory and low culture.
This is not to minimize the gendered experience of transsexual people, but to expand
upon their embodied experiences to provide a legible “text” that more fully represents
Thomas-Williams 21
transsexual people as lived beings with experiences beyond their gender or
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i
Transsexuals are people who live their lives in the opposite gender role, which is outward expression of
embodiment as a man or a woman, as their original sex assignment—the reading of their male or female
genitals at birth as the biological expression of gender—due to an overwhelming feeling that they were born into
the “wrong” body. Transsexuals take hormones and get surgery (if it is affordable) to more closely align their
bodies with their desired sex (the biological expression of gender).
Sex and gender are often used interchangeably in literature. For example, one of the many surgeries
transsexuals often undergo is “bottom surgery” or “sex reassignment” corresponding to a transformation of
genitals from one manifestation (penis) to the other (vagina). Other writings use the term “gender reassignment”
in discussions about transsexuals perhaps indicating more than just surgery to the genitals: this terminology may
in fact include the switching of social roles from that of male to female. It is very difficult to maintain a difference
between gender reassignment and sex reassignment, for example, as there is slippage between the terms.
For the purposes of this paper, sex is the “biological” manifestation of a male or female expressed in genitals,
penis or vagina, and phenotype (bone structure, body hair texture, voice octave, and other physical
manifestations said to be embodied by either men or women). Whereas, gender is a social or cultural
manifestation of sex; accordingly, John Money (1995) writes gender is the expression of “general mannerisms,
deportment and demeanor” usually in accordance to biological sex which helps to “write” a person as either male
or female (p. 21). All of these terms are particularly limiting.
ii
There is a dearth of fictional literature written about transsexuals, and after exhaustive research looking for
popular fiction about transsexuality or featuring trans-characters, two novels were reviewed: Trans-sister Radio
(2000) by John Bohjahlian Invisible Monsters (1999) by Chuck Palahniuk writer of Fight Club. These two novels
are polemic in their overall messages. Not applicable here for many reasons, but often mentioned by queer
theorists and gender novelists is Stone Butch Blues (1994) by Leslie Feinberg.
This novel is clearly about one woman’s journey toward an identity she can reconcile herself with, which ends up
to be he-she or “stone butch,” and the perils associated with being located outside of a socially normative
identity. It is not about transsexuality though it has been highly criticized as so by transsexual scholar Viviane
Namaste. Although the main character wrestles with many identity issues and even begins the transition from
women to man, she eventually ceases the hormone therapy in her acceptance of her woman body. While
Namaste (2005) via Transsexual scholar Max Valerio read the departure from creating a male body to keeping a
female body as negative, it can be read it as a brave exploration of identity (p. 19). The author never reaches a
gender finality as claimed by Valerio and Namaste, but imagines a world where one is possible.
There is a scarcity of information on transsexuality at all let alone in popular American media, but there are
several recent (21st century) mass produced films for central (not interstitial) audiences including The Badge
(2002), Transamerica (2005), and Normal (2003). Also produced recently is the horror of a film Soldier’s Girl
(2003), which is based on the true story of Calpernia Addams an MTF and her relationship with a soldier who
was brutally killed in 1999 due to that relationship. Few documentaries are available although several featuring
Transsexuality have been made, therefore, for the purposes of this paper I reviewed TransGeneration (2005)
and Unhung Heroes (2002).
Finally, if there is little popular literature or film featuring transsexuals there is even less television focusing on
people located (by others) outside of a very rigid binary of “male or female born.” Therefore, after exhaustive
searches of many internet and DVD databanks Season 3 of The L Word (2005), CSI: Crime Scene Investigation,
episode five, Season 5 (2004) and Nip/Tuck, season two (2004) were reviewed which all feature transsexual
characters. Finally, for the sake of comparison or contrast of the imagined realities to actual lived experiences
numerous memoirs written by transsexuals were reviewed.
Similar themes emerged from readings of these artifacts of popular culture, but unrelenting in all of them (even in
the more positive books and movies) was the comparison of transsexuals to monsters. Rather than produce a
paper that shallowly reviews numerous representations of transsexuality in the popular imagination, the focus is
on one artifact in particular to produce a close reading of transsexuality. CSI: Crime Scene Investigation (2004),
episode five, “Ch Ch Changes” is representative of all artifacts reviewed because it encapsulated every
imaginable theme throughout the many books, television shows, and movies that were reviewed.