The Drama of Sex, Identity, and the "Queen"

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Response or Comment


After years of following the developments surrounding the publication of TMWWBQ in real time, it was interesting to step back and read Dreger’s comprehensive reconstruction of events. The story that emerges is reminiscent of classical drama. It comes complete with a protagonist (Bailey), antagonists (Conway, James, McCloskey), characters caught in the crossfire (Kyeltika), and a balanced and half-detached chorus (Dreger) explaining to the audience (the rest of us) the lessons to be learned from the melee. Mercifully, this drama did not end up a tragedy, but it shares significant qualities with the latter. It features a well-meaning, though necessarily flawed, protagonist with the requisite amount of hubris and a group of antagonists whose sordid means nullify any possible empathy the audience may have had with their perceived injury. The chorus seems open-minded and fair, although perhaps a little naïve in her belief in the healing power of her narrative.


Gender identity; Popular culture and literature; Sexual minorities


American Literature | American Popular Culture | American Studies | Gender and Sexuality | Psychology


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