“The way you wea you ha ”: Pe o ma i i y and sel -in en ion in Jackie Kay’s
T umpe and Duncan Tucke ’s T ansame ica
Ca olina Sánchez-Palencia Ca azo
Uni e sidad de Se illa
Jackie Kay’s T umpe and Duncan Tucke ’s T ansame ica make explici use o ansgende
subjec s o deal wi h he in ica e and hyb id na u e o iden i y. Func ioning as des abilizing agen s, hese
cha ac e s disman le hei su ounding uni e se whe e amily choices and social iden i ica ions can be no
longe ixed and p ede e mined. Likewise, as pa adigma ic quee ex s, bo h s o ies ansg ess
con en ional ca ego ies and pa adoxically, hei epis emological collapse u ns in o a powe ul sou ce o
meaning, inasmuch as hose ca ego ies –sex, gende , na ionali y, ace, amily, genealogy-- ha so
s ongly de e mine he subjec ’s iden i y and his/he sense o belonging a e e en ually con on ed wi h
hei own con ingency and hei openness o new meanings. Th ough he explo a ion o o e hemes as
adop ion, jazz, nomadism and anssexuali y –which wo k also as powe ul me apho s o he luidi y and
p eca iousness o he Sel -- hese au ho s align hemsel es wi h he pe o ma i i y pa adigm o Judi h
Bu le ’s and o he quee heo is s in hei assump ion ha iden i y –mo e an imagina y cons uc ion o
desi e and an asy han an essen ial o empi ical gi en-- mus be in en ed and ein en ed. In his con ex ,
he ansgende subjec becomes he epi ome o ins abili y and diaspo ic meaning, and like a so o
“s ange a ac o ” gene a es a scena io o ambigui y which in i es al e na i e ways o coping wi h
subjec i i y and i s social pe cep ion.
T umpe , Jackie Kay’s i s no el is loosely inspi ed in he ue s o y o he
Ame ican Jazz musician Billy Tip on who li ed and wo ked as a man du ing he 40’s
and 50’s and, upon his dea h, was disco e ed o be a woman, causing a emendous
shock among his child en, ex-wi es, band-ma es, iends and audience. Kay mo es his
episode o con empo a y B i ain and makes i in e sec wi h ques ions o ace and
na ionali y hus c ea ing a ic ional mosaic o non-essen ial iden i ies ha became so
success ul in he so-called “quee 90’s” ha i was awa ded wi h he 1998 Gua dian
Fic ion P ize.
He no el s a s wi h he dea h o Joss Moody, a Sco s black jazz umpe e , and
a icula es he di e en eac ions o he doc o ’s and egis a ’s e ela ion, a e hei
ou ine inspec ion o he co pse, ha he is (o a he was) a woman. Then he na a i e
un olds polyphonically in o he h ee majo es imonies cons i u ing he cen al melody
o he s o y: hose o Millie, his widow; Colman, his adop ed son, and Sophie, a abloid
jou nalis eage o publish a sensa ionalis biog aphy o Joss (bo n Josephine). Apa
om hese majo con ibu ions, he na a i e includes he oices o o he people, some
o hem only angen ially ela ed o he deceased: like he une al di ec o , he egis a ,
he doc o , a d umme , he cleane , and a school iend.
Like in a jazz pe o mance, whe e sc ip s a e displaced by imp o isa ion, he
pos humous s o y o his c oss-d esse is o ganized a ound di e en combina ions,
2
addi ions, and e sions o a “ u h” ha in he end emains elusi e, and almos
i ele an . Since his is a pos -mo em accoun we ne e hea Joss’s own oice and we
ge o know him only h ough o he s’ oblique e sions o him, he esul being a plu al,
agmen a y and jazz-like composi ion.
Jackie Kay has decla ed in se e al in e iews how deeply jazz and blues
hy hms ha e gone in o he w i ing (Se e in 2002; Gish 2004); and one can indeed ace
ha music in T umpe : h ough i s lexible s yle, i s hyb id quali y and i s imp o ised
a ia ions in he guise o o e lapping oices and es imonies. As Louis A ms ong said,
"Jazz is music ha 's ne e played he same way once", which gi es au ho s and
pe o me s occasions o endless ein en ion. Tha is why, when playing his umpe ,
Joss “looked eal and un eal like a an asy o himsel . All jazz men a e an asies o
hemsel es, ein en ing he Coun s and Dukes and A ms ongs, imi a ing hem” (190).
Jazz, hen, is a heme in he no el bu also a me apho o he ins abili y and
p eca iousness o iden i y, inasmuch as i o e s a libe a ing space o in-de ini ion whe e
Joss can s ip o any no ma i e ca ego ies:
When he ge s down, and he doesn’ always ge down deep enough, he looses his sex, his
ace, his memo y. He s ips himsel ba e, akes e e y hing o , ill he’s ba ely
human...All his sel collapses –his idiosync asies, his pe sonali y, his ego, his sexuali y,
e en, inally, his memo y. All o i alls away like laye s o skin unw apping. He
unw aps himsel wi h his umpe , down a he bo om, ace o ace wi h he ac ha he
is nobody. (131)
When playing his umpe he seems o ha e a i ed a “ he unbea able ligh ness o
being”, ha in which he sel ( he phan asma ic sel ) explodes in o million sel es
disman ling any no ion o a uni a y iden i y and eme ging ins ead only as simulac a:
“Sco land. A ica. Sla e y. F eedom. He is a gi l. A man. E e y hing, no hing. He is
sickness, heal h. The sun, he moon. Black, whi e. No hing weighs him down.”(136)
The allusion o he unw apping o he sel e okes ha ouching ecu en image
o he un a elling o he bandages w apped a ound Joss’s ches ha he had o change
e e y day o his adul li e wi h he silen complici y o his wi e Millie. I has he
solemni y o a i ual, he sensuali y o a s ip- ease ha , a om being obscene,
esembles he eade ’s ac o un a elling he /his s o y. A s o y whe e he echoes o
quee heo y esona e h ough he delinea ion o his de-iden i ied, de-speci ied subjec
inhabi ing a so o no-man/no-woman’s land.
3
I “being nobody” is he bes exp ession o a quee and non-essen ialis
pos mode n sel , “being someone else” (a ecu en mo i in he s o y and in some o
Kay’s poems) is also indica i e o he p o ean and con ingen na u e o iden i y. As
Joss ema ks in his will, e e yone bea s a alse name o would ha e liked o be someone
else (276). I is no only his own case, ha o a woman passing as a man; ac ually mos
cha ac e s in he no el unde go a simila p ocess o impe sona ion, which sugges s ha
pe haps i migh no be such an abe an ac , bu some hing inhe en o ou e sa ile
human condi ion. Thus, o ins ance, Millie, in he mou ning, wishes she we e a gi l
again and, in a passage ull o Lacanian o e ones, ha dly ecognizes he own e lec ion
in he mi o ; Edi h, Joss’s elde ly mo he , complains ha he daugh e has no isi ed
he o a long ime and ea s ha , as a consequence, she migh loose he own iden i y,
he one ha is gi en o us by ou “signi ican o he s”: “Nobody knows he like
Josephine knew he . And i nobody knows you, how can you be you sel ? Edi h could
be somebody di e en e e y day and mos p obably nobody would no ice” (221); o
Colman’s gi l iend, who is called Melanie a e a dead sis e , “al hough i wasn’
nowhe e on he bi h ce i ica e” (117); and mos impo an , Colman himsel , whose
adop ed condi ion (like ha o Kay’s he sel ) o ces him in o an endless imagina y
c oss-cas ing: “[Y]ou could ha e been b ough up in ano he pa o he wo ld, wi h ich
pa en s, poo pa en s, Mo mons, communis s, ascis s, banke s, Ca holics, Me hodis s,
zoo-keepe s, se ial kille s. You could ha e gone s aigh o a cold o phanage” (46). As
Colman sugges s, he adop ees’s iden i y is necessa ily luid as hei pas is cons an ly
ein en ed and hei bi h pa en s always an asized.
Adop ion, like jazz, is a cen al heme in Kay’s no el, bu also a me apho o
he mul iplici y and ins abili y o he sel , and has been deeply explo ed in he amous
h ee- oice poem The Adop ion Pape s, which a icula es in a e y unsen imen al
he o ic he expe iences o he adop ed daugh e , he adop i e mo he and he bi h
mo he .
I do no qui e ag ee wi h Kay ha he e a en’ many adop ed people in
li e a u e, only in soap ope as (Gish 172). The e is a long adi ion o adop ion in
English li e a u e. O phans, adop ees, os e pa en s and misplaced child en a e
commonplace in Vic o ian no el and melod ama, a li e a y and his o ical con ex which
ied o s ess he ole nu u e ( e sus na u e) plays in shaping indi idual iden i y. These
na a i es a e s ongly in lec ed by class and he edi y, as adop ion always implies
4
social, mo al and economic mobili y o he adop ees. Geo ge Elio ’s Silas Ma ne and
Daniel De onda cons i u e well-known examples o his adi ion.
Ye , Kay makes majo depa u es om ha canon as he s o y e ol es no
a ound he con en ional e ela ion and eco e y o biological o igins, bu a ound he
accep ance o he Fa he (male o emale) he son empo a ily denies o “kills” a e
eeling he has been be ayed by a “ ake” a he , who is also a “ ake man”. Thus wha
makes he app oach a esh one is he way she add esses issues o a he hood and
masculini y wi hin he adop ion plo . So i , in he pa ilineal economy, he a he is
supposed o p o ide he son wi h a social name and place and o ans e him his
malehood legacy, he e we obse e a double sub e sion o his “uni e sally
acknowledged u h”, because i is no only ha Joss is no Colman’s “ eal” (biological)
a he , bu he is no e en a “man”. Colman’s b u al and obscene language e lec s hese
masculinis anxie ies c ea ed by his a he ’s espassing gende bounda ies and his
h ea ening male hegemonic iden i y. His homophobic eac ion e eals a deep ea o
cas a ion a e his a he ’s example, as when he says “My a he didn’ ha e a p ick”
(66). And he is igh , “his a he didn’ ha e a p ick”, bu he did ha e a umpe , which
s ands as a subs i u e o he pa e nal phallus, a powe ul signi ie o alen , p es ige,
p i ilege and public ecogni ion. As any eade can pe cei e in Colman’s childhood
ecollec ions, his e ishis ic ela ion wi h “ his objec o desi e” (and he e o ic
conno a ions in i s desc ip ion should no go unno iced) mo i a es an oedipal i al y
wi h his mo he :
I goes in my a he ’s bed oom. I am six yea s old. I opens hei wa d obe. My daddy
keeps his umpe in he e. I opens he big sil e box, and he e i is, all shiny inside. I
ouched i ...Then I s okes i like I’ e seen my a he do and i pu s. I uns my inge s
o e he keys hen along he u , a he pu ple u in he box...Then my mom inded me.
I can’ make any hing up. She says, Colman, wha a e you doing? Ge ou o you
a he ’s umpe . So I close he sil e lid and push i back in o he wa d obe. Daddy
mus ha e o go en o ake his umpe , I says. I hope i doesn’ make him bad luck, I
says. (49)
Le me no ice ha , in he con ex o Colman’s con lic wi h Joss’s emascula ion (i.e.,
wi h “his no ha ing a p ick”), he son’s in a ua ion wi h his a he ’s “ins umen ”,
becomes qui e i onic.
Ano he di e ence wi h adi ional app oaches o adop ion lies in he ac ha
Kay in oduces ace issues in he a emp a na u alizing B i ish blackness. She succeeds
5
in placing he no el in he con ex o he 70’s and 80’s deba e o e ans acial adop ion,
when placemen o black child en in whi e homes was conside ed by many as
“unna u al”, “a i icial” and con a y o he wel a e o child en who would eel
uncom o able g owing in a disapp o ing su ounding communi y. Con as ingly, in
choosing a mix-up amily (wi h in e acial ma iage and adop ion) Kay hin s ha acial
ma ching ends up ein o cing acialism and he dogma ic belie ha colou de e mines
des iny. In his sense, Colman’s unease abou his being imposed a no ma i e black
iden i y becomes e y signi ican : “Doesn’ eel com o able wi h ma es o his ha go
on and on abou A ica. I eels alse o him, ma es ha ge d essed up in A ican gea ,
wank on abou being A ican wi h a ucking cockney accen , man. Back o A ica is jus
un eal as a as Colman is conce ned. He’s ne e been o A ica, so how can he go
back?” (191). A eeling o aliena ion ha could be compensa ed by Joss’s “Fan asy
A ica” ( he i le o his i s g ea hi ), a s ongly emo ional ec ea ion o a u opian
na ion.
1
Complica ed by bo h issues o gende and ace, Kay’s ideas abou adop ion
in i e a econcep ualiza ion o he Ca esian sel . In su passing he logic o he
biological and an Enligh enmen belie in iden i y as con e ed by blood and genealogy,
she sugges s al e na i e models o kinship, and, as Joss explains o his son, he
possibili y o c ea e one’s own ances y (e hnic, na ional and/o gene ic): “My a he
always old me he and I we e ela ed he way i ma e ed. He el ha way oo abou he
guys in his bands, ha hey we e all pa o some big amily. Some o hem we e whi e,
some black. He said hey didn’ belong anywhe e bu o each o he . He said you make
up you own bloodline, Colman. Make i up and ace i back. Design you own amily
ee.” (58)
I is in his ligh ha we could unde s and Joss’s inal le e whe e he e eals his
son nei he he “name o he a he ”, which would ha e p o ided he o hodox closu e
o he na a i e o masculini y, no he mo i es o his sexual passing (which would ha e
aced Colman back o an u opian “o igin” oo). This uncon en ional es amen (“Las
Wo d”) e ol es ins ead a ound a s o y ( he s o y o Joss’s own a he ) o
des abiliza ion, ans o ma ion, “quee ” lack o o igins and diaspo ic meaning: “E en
he name he was gi en, John Moo e, was no his o iginal name” (276); “his s o y could
be he s o y o any black man who came om A ica o Sco land” (271) In he end, he
1
A no ion equi alen o Salman Rushdie’s “Imagina y Homelands” o “Indias o he Mind” and many
o he pos colonial igu a ions o home and place as con adic o y expe iences o he mig an subjec .

6
only explana ion is ha hey a e all pa o he s o y o diaspo a: “Tha ’s he hing wi h
us: we keep changing names. We’ e all go ha in common. We’ e all changed names,
you, me and my a he . All o di e en easons. May be one day you’ll unde s and
mine.”(276) In he absence o a blood lineage Joss appeals o ha o he kind o ances y
and a ini y, and o he igh o e-in en ou sel es ou o an equally in en ed pas .
Al hough he lea es Colman he documen a y e idence abou his own pas (le e s,
pho os, ce i ica es), his ac ual ma e ial is displaced by he nos algia o emo ional
memo y whe e e e y hing, names, da es, o igin is dissol ed in he Sco ish og, adding
u he con usion and ambigui y o a s o y ha delibe a ely a oids a ixed e sion o
u h. Simila ly, he cold ac ici y o he doc o ’s and egis a ’s epo s and he
scandalous s o y designed by he jou nalis seem o be obscu ed by he luidi y and
inde e minacy o he p e ailing sen imen al es imonies. Thus, o ins ance, Millie lo ed
him as a husband, and his wi ely a i udes ein o ced Joss’s sel -in en ed masculini y;
Colman, a e coming o e ms wi h his oedipal con lic , will end up accep ing ha
“he’ll always be a daddy o [him]” (259); and e en Edi h, he only one who lo ed he
(he Josephine) as a woman, con esses she misses he daugh e .
The choice o he pe o ma i i y pa adigm aligns Kay wi h Judi h Bu le ’s well-
known heo ies, whe e iden i y is only he e ec o he subjec ’s social ep esen a ions
ha cons i u e him/he h ough he e y ac o hei epe i ion (1993a: 311-13) The lines
ha she selec ed as he p e ace o T umpe an icipa e his speci ic iew o gende (and
by ex ension o any iden i y) as a se o lea ned oles: “The way you wa e you ha /The
way you sip you ea/ The memo y o all ha /No, no! They can’ ake ha away om
me!” (Geo ge Ge shwin).
This cons uc i is pe spec i e in i es a b ie compa a i e analysis wi h Duncan
Tucke ’s ilm T ansame ica (2005), ano he s o y o ansgende a he hood, o he ness,
and ul ima ely accep ance. This independen oad-mo ie na a es he ad en u es and
misad en u es o B ee (bo n S anley) a p e-ope a i e male- o- emale anssexual who
disco e s she has a ebellious eenage son wi h whom she has o come o e ms be o e
he sexual e-assignmen su ge y. He e he play wi h gende achie es a ou -de- o ce
quali y, as he ilm ea u es a woman (Felici y Hu man) ac ing as a man ying o
become a woman. Thus, he mo ie s a s wi h he p o agonis ying o ind he igh
speaking pi ch, as one o he many challenges aced by a p e-op ans es i e, because,
like Joss Moody, B ee has o lea n how o build gende cues, bo h physical –in he
body, hai , clo hing, oice o mo emen —and beha iou al –conce ning he manne s,
7
language, deco um o p o ocol, he esul being an awkwa d mix o male/ emale
manne isms. Ye , in T ansame ica, i is no only gende ha becomes e sa ile, bu
abo e all, sex, which is hus p esen ed as likely o be decons uc ed and econs uc ed.
In Bodies ha Ma e (1993) Judi h Bu le adicalizes he inqui ies she began in
Gende T ouble (1990) o e ing a e igu a ion o he ma e iali y o bodies and o he
powe o he e osexual no ma i i y o cons i u e he 'ma e ' o bodies, sex and gende . In
his ligh , anssexuali y, as i is depic ed in Tucke ’s ilm, dena u alizes he biological
sexed body and ede ines i s ma e iali y in e ms o he cul u al and social con ou s
delimi ing i . Thus, B ee decla es ha he body is a “wo k-in-p og ess” and in a
memo able con e sa ion wi h he /his menopausic mo he , hey will ha e o accep ha
eminini y is, o a g ea ex en , p os he ic, as o bo h o hem i is a ma e o ho mone
supply:
B ee Osbou ne: God, my cycle's all ou o whack.
Elizabe h Osbou ne: You don' ha e cycles!
B ee Osbou ne: Ho mones a e ho mones. You s and mine jus happen o come in
pu ple li le pills.
Fo many, sexual e-assignmen su ge y would end up ein o cing a so o body
ascism, and o a g ea ex en , ha would be he case o B ee, o whom ana omy can
de e mine who she is, o a leas how o he s see he , which amoun s o much he same
hing i you a e inclined o wan app o al o eel desi ed o e en jus o ge a li e o you
own. Bu his is only pa ially ue in a s o y ha a oids g appling wi h he in e ela ions
o gende and sex and p oposes ins ead an in es men in a i ice, ha is, in all he
pe o ma i e ges u es ha cons i u e subjec i i y and i s social pe cep ion.
As i is he case wi h mos anssexuals in hei sea ch o a new iden i y, B ee
ies o de ise o he sel no only a u u e bu also a pas , because, as Ka e Bo s ein
a gues, “ anssexuali y is he only condi ion in Wes e n cul u e o which he he apy is
o lie”.
2
The p o agonis has spen he en i e li e coping wi h gende dyspho ia and
inally, when she is abou o ge id o he one hing ha p e en s he om being a eal
woman, she inds ha , much as she wan s o pu ha old sel behind he , he pas canno
be en i ely swep o . He he apis Ma ga e ad ises ha B ee should come o e ms
wi h who she was when she was S anley, and ha includes he son she a he ed ou o
2
Ka e Bo ns ein is a d ag pe o me (a “T ansgende T ansexual Pos mode n Ti esias”) and gende
educa o who led one o he i s C oss-Gende Wo kshops aimed a decons uc ing gende . She is also
he au ho and pe o me in whose wo ks she p esen s a ypology o di e ence and ambigui y occupied
by ansgende is s, ans es i es, anssexuals, c oss-d esse s and all hose gende ou laws in-be ween one
hing and he o he .
8
he only sexual expe ience as a man 17 yea s ago: "This is a pa o you body ha
canno be disca ded." I seems ha o he being a a he is he i onic p e- equisi e o
become a woman.
Tobby igno es ha his conse a i e-looking lady and Ch is ian missiona y o
he “Chu ch o he Po en ial Fa he ” is in ac his spe m dono , and his igno ance is he
s o y’s main sou ce o humou . Ha ing g own up as an o phan –and ha ing hus
expe ienced he p eca ious s a us o bas a ds who lack he ilia ion o social name
con e ed by he Fa he -- he ep oduces he con lic ha F eud de ined as pa o he
“Family Romance”, ha is, he son’s unconscious need o idealize his a he in o de o
pa ake o his omnipo ence (74-78). Hence, in a compensa o y s a egy, Tobby ends o
belie e his a he is an Ame ican Indian and he owne o a big house, and he dis ance
be ween he Real and he Imagined a he is i onically enla ged when he disco e s ha
he is only “hal -Jewish” and “hal -man”. His agg essi e eac ion esembles ha o
Colman Moody’s a e he c ucial e ela ion o his a he ’s iden i y, bu he e i is
agg a a ed by he us a ing ealiza ion ha he a he igu e (agg andized wi hin he
son’s imagina ion) is only an unglamo ous masque ade wi h whom Tobby canno
iden i y no de i e he necessa y nou ishmen and epa a ion. As i in an i onic wis o
he F eudian model he e u n o he homeland –“nos algia” is one o he meanings o
he my hic jou ney ac oss Ame ica he emba k upon—does no imply he e a desi e o
e u n o he body o he mo he (sempe ce issima), bu he encoun e wi h he a he
(sempe ince us) inca na ed in an ins able, e emina e and agmen ed sel . Tobby has
no home –no mo he because she is dead— o e u n o, “wha places him always and
ine i ably ab oad, in a o eign coun y”; nei he has he go a a he wi h whom o
es ablish a phallic (a ) ilia ion. B ee’s “ anishing male body” –a body in ansi ion, a
phan asma ic body—e okes he Lacanian no ions o desi e inasmuch as i s ands as he
“objec o desi e” ha is li e ally i e ie able and inde inable (Gallop148).
This nos algic a emp a u ning o a pas mo e au hen ic (and pala able) han
he p esen also a ec s B ee’s mo he who, epelled by he son’s choice o become a
woman, ies o idealize and e-in en he child by accommoda ing him o he e osexual
no ma i i y, as when she begs “Don' do his aw ul hing o you sel , please. I miss my
son”, and B ee answe s: “Mom, you ne e had a son.”
As in T umpe , cha ac e s in T ansame ica will ha e o assume al e na i es o
no ma i e pa en hood as he ansgende subjec becomes he des abilizing agen ha
disman les i s su ounding uni e se whe e amily choices and iden i ica ions can be no
9
longe ixed and p ede e mined. Likewise, i could be a gued ha quee ex s ansg ess
con en ional ca ego ies (no only gende bina ies), bu , pa adoxically, hei
epis emological collapse is a powe ul sou ce o meaning, inasmuch as hose ca ego ies
–sex, na ionali y, ace, amily, genealogy-- ha so s ongly de e mine he subjec ’s
iden i y and his/he sense o belonging a e e en ually con on ed wi h hei own
con ingency and hei openness o new meanings.
Wo ks ci ed
Abelo e, Hen y, Michèle A. Ba ale and Da id Halpe in, eds. 1993. The Gay and
Lesbian S udies Reade . London: Rou ledge.
Alde son, Da id, and Linda Ande son. 2001. Te i o ies o Desi e in Quee Cul u e :
Re igu ing he Con empo a y Bounda ies. Manches e : Manches e U P.
Ande son, Linda. 2001. “Au obiog aphical a es ies: he nos algic sel in quee
w i ing”. Alde son & Ande son, eds.: 68-81.
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