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Book
Sarah Waters · 1998
Waters takes the Victorian world that banned and pitied queer desire and writes it back as picaresque — an oyster-girl follows a male-impersonator onto the music-hall stage and through the back rooms of London, and remakes herself, again and again, through the women she loves and the disguises she wears.
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What this book knows
Desire remakes identity: a Victorian oyster-girl becomes herself only through the women she loves, loses, and survives.
desire
She had seemed chaste as a plaster saint to me, once. But she was not chaste now — marvellously bold and frank and ready; and the boldness made her bonny.
TVSW-RC-359I stroked her, from the hollow at her throat to the hollow of her groin. 'Who would ever have thought that I should touch you so, and talk to you so!'
TV00-RC-370self-and-identity
They were not men, but girls — girls rather like myself... I swallowed. I said, 'Do they live as men, then?'
TVSW-RC-344We were girls with curious histories — girls with pasts like boxes with ill-fitting lids. We must bear them, but bear them carefully.
TVSW-RC-357erotic-as-power
'Flat fucking is one thing, sir, and this quite another. If you want me to, you shall have to pay me for it, rather dear.'
TVSW-RC-343The idea of Flo lying at Lilian's side, stirred to a useless passion, made me bitter; but, as usual, it also made me rather warm.
TVSW-RC-352Editor’s framing
The pleasure of the book is its refusal of the older tragic register. Where The Well of Loneliness pleads, Tipping the Velvet romps — Nan astley moves through cross-dressing, sex work, kept-woman luxury, and finally a politics and a home, and her desire is never figured as a wound to be apologized for. Attend to the role of performance: Nan becomes herself by playing at being someone else, on the stage and in the street, and the book treats the disguise not as a lie but as a way of finding the truth. The Victorian setting is doing deliberate work — Waters writes the queer history the period would not record, filling the archive's silence with bawdy, specific, joyful detail. Vela reads this where desire and self-and-identity meet, the later and freer answer to Hall's banned plea.
Featured passage
I haven’t had the heart for it...’ I gazed into my rum. All at once there came a burst of laughter from the stall at my back that made me jump. ‘I said,’ came a girl’s voice, “‘I only does that sort of thing, sir, with my friends.” “Emily Pettinger,” he said, “said you let her flat fuck you for an hour and a half” — which is a lie, but anyway, “Flat fucking is one thing, sir,” I said, ‘and this quite another. If you want me to - her” ’ - here she must have made a gesture - “ ‘you shall have to pay me for it, rather dear.” ’ ‘And did he, then?’ came another voice. The first speaker paused, perhaps to take a sip from her glass; then, ‘Swipe me!’ she said, ‘if the bastard didn’t put his hand in his pocket and pull out a sov, and lay it on the table-top, all cool as you like...’ I looked at Florence, and she smiled. ‘Gay girls,’ she said. ‘Half the girls who come in here are gay. Do you mind it?’ How could I mind it, when I had been a gay girl - well, a gay boy - once, myself? I shook my head. ‘Do you mind it?’ I asked her. ‘No. I’m only sorry that they must do it...’ I didn’t listen: I was too taken with the gay girl’s story. She was saying now: ‘We flat fucked for a half-an-hour; then tipped the velvet while the gent looked on. Then Susie took a pair of vampers, and -’ I looked again at Florence, and frowned. ‘Are they French, or what?’ I asked. ‘I can’t understand a thing they’re saying.’ And indeed, I could not; for I had never heard such words before, in all my time upon the streets. I said, ‘Tipped the velvet: what does that mean? It sounds like something you might do in a theatre...’ Florence blushed. ‘You might try it,’ she said; ‘but I think the chairman would chuck you out...’ Then, while I still frowned, she parted her lips and showed me the tip of her tongue; and glanced, very quickly, at my lap. I had never known her do such a thing before, and I found myself terribly startled by it, and terribly stirred. It might just as well have been her lips that she had dipped to me: I felt my drawers grow damp, and my cheeks flush scarlet; and had to look away from her own warm gaze, to hide my confusion. I looked at Mrs Swindles at the bar, and at the pewter mugs that hung, in one long gleaming row, above her; and then I looked at the group of figures at the billiard table. And then, after a moment or two, I studied them a little harder.
I haven’t had the heart for it...’ I gazed into my rum. All at once there came a burst of laughter from the stall at my back that made me jump.
6 published passages · book excerpt · research analysis
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