Kate Bornstein: A Transgender Transsexual Postmodern Tiresias
"Sex is fucking, everything else is gender" Kate told us on the first
day of gender school: a four part, sixteen hour Cross-Gendered Performance
Workshop which was part of Buddies in Bad Times Theatre summer school program.
Kate is a Buddhist M-to-F transsexual performance artist and gender educator.
Kate has been both male and female and now is not one nor the other, but
both-and-neither, as indicated in the title of her play The Opposite
The Cross-Gender Workshop aimed at deconstructing gender: shedding
gender, trying on a new gender; getting to zero point and then constructing a
new gender. The first section of the workshop dealt with gender theory and
learning how to build gender cues: physical cues - body, posture, hair,
clothing, voice, skin, movement, space, weight; behavioral cues - manners,
decorum, protocol, deportment; textual cues - stories, histories, associates,
relationships; power dynamics - top, bottom, entitlement/not; and sexual
orientation (to whom am I attracted).
This was preparation for constructing a character which we would work
on performing for the following three sessions. At the final class we did a one
hour Zen walk across the theatre stage. For the first half-hour of the walk we
shed all our acquired gender characteristics; for the second half we took on our
character's gender traits.
The only constraint on selecting a character was that it be some
version of the opposite gender. I decided on the male object of my desire: I had
done this before, but I had never stood in the shoes of the object of my desire:
a butch chickenhawk. I had usually done boy: the crossover from woman to boy is
pretty easy for a butch-femme, and besides: when women do male, our male often
comes out boy due to similarity in skin, size, weight and energy. This time I
was going to do the sort of male that brings me to my knees: the sardonic,
gruff, older boy lover in the tradition of Jean Genet, Allen Ginsberg, and a
couple of less famous, but no less impressive boy lovers whom I have had the
pleasure of sharing with boys.
Hair and clothing - no problem: the striped prison T-shirt that Genet
was famous for: leather jacket, cords, police boots, hair slicked straight back.
I practiced leaning hands in pockets like Genet on the cover of Querrelle. I got
the sardonic smile. I practiced walking in the footsteps of a gay friend who is
into young men; modeled his body, his deportment, mannerism, voice; lifted some
authentic boy loving poetry, borrowed some of Genet's personal history and took
Ginsberg's age and his presence.
Locating myself in Genet's stomping grounds of the 1930's and 1940's,
the Barrio Chino in Barcelona, I reminisced and cruised the imaginary young men.
I spit my words: "There was the French language and there was me. I put one into
the other and now it is finished - C'est fini"; gruffly solicited company: "Got
some time? Want to go?" I recited poetry fragments to the phantom boys of
Child of Michelangelo
Light the world.
Soft hard sphinx, emerald wild rose,
They won't domesticate
Glowing defiant soft green,
Delicate brown-eyed boy,
Body full of charm.
Big tits of iron.
Funny young boy,
Beautiful bulging eyes.
Funny young boy,
boy growing old.
I disclosed my bisexual desire, so common among chickenhawks: "The
powerful whores, the rough, hairy sailors, the smooth-skinned boy-beauties, we
ate together, drank together, fucked together. God, how I miss them."
I never did fully get the character; I got the form and the voice for
the first performance, and as the character continued to elude me I got glimpses
of the inside of a desire which although frequently enjoyed isn't accepted in
this society of same-age, same-class, mirror-self sexual narcissism. I got the
sorrow of someone who knows the beauty and knows society's corruption of it: "I
saw the beautiful chickens turned off by the state." As Kate was directing me:
"you are old, feel the arthritis in your hand, the burning in your prostate,"
"you haven't scored for a while, feel the desperate desire," "cruise with your
eyes," "walk with the weight lower in your body, show us a glimpse of the time
you had with the sailors, boys and whores and how much you miss those days," "I
want you to go hang out on the Second Cup steps in Boy Town and watch the hawks
cruise the young guys, see how constant it is" - the gender of my character,
like my own gender, was dissipating, devolving. Kate kept asking each of us what
our character was fighting for. Mine was fighting for the right to be. This is
Kate's fight too, and a fight she wages for fellow sexual outlaws. Her San
Francisco theatre company is named Outlaw Productions.
The Opposite Sex ... Is Neither!The Opposite Sex ... Is
Neither! is a one-woman performance piece written and performed by Kate
Maggie, a goddess-in-training, "has taken a wrong turn at the moon and ends
up in late 20th century North America." Her current goddess training exercise is
to allow her body to act as a conduit for seven people who are "neither male nor
female, neither here nor there, and neither dead nor alive." Maggie is to hold
the gateways of higher awareness open for them as they each tell their own story
of crossing gender. The gateways are "no-space, no-time" where truth can be
There is Ruby, the she-male drag queen performer: "tits, big hair, lots of
make-up and a dick," who is dying, her body ripped apart by AIDS lesions. There
is Kat who enters Maggie's body as she is waking up from sex change surgery
(M-to-F); Kat, a compulsive support group joiner, concludes that "gender's just
something else to belong to." Along comes Billy Tipton, the passing he-she jazz
musician, who lived her life as a man because "swing is for men." Billy is dead
but has been waiting in trans-space to tell his story. Mary who used to be Peter
drops into Maggie's body on her way to her surgeon's office. Mary is a devoutly
religious transgenderist afraid she'll end up in hell for her transgression. And
there is Anaya, a post-operative M-to-F who passes through Maggie as she is
dying from being beaten for never passing, for always being outside. Anaya
confesses: "I honestly never believed I was a man. I don't think I ever really
believed I was a woman. Right now, I don't think I am one or the other." Then
there is Dean, a pre-op F-to-M, who at the point of surgery decides to stick
with her pussy: "Fuck the penis - who needs it?" Dean had been told by society
and by lovers that he couldn't be a man because he didn't have a penis: "they
never said it was because I have a vagina. No! It's always about penises[.]"
As Maggie coaxes the no-show seventh gender outlaw to enter her body, she
realizes she is the seventh: "Not dead, not alive! Not here, not there! Not one,
not the other! ... it's me?!?!?"
Kate Bornstein, in The Opposite Sex ... Is Neither!, has
provided a typology of difference in gender difference and has presented the
spiritual side of that state of ambiguity occupied by transgenderists,
transvestites, transsexuals, cross-dressers, and all those in between one thing
and the other.
Kate on KateShannon: In the Cross-Gender Performance workshop
you gave some very right-on definitions of gender.
Kate: Gender is simply a way to classify people. Depending on the time
and the culture, there are different criteria for the classification. In this
culture, at this time, it is genital. Gender assignment happens at birth when
the doctor inspects for a penis. The infant is assigned gender corresponding to
the presence or absence of the penis.
Shannon: How does one go about deconstructing gender?
Kate: The first thing to do is to ask the question: What is gender?
This is a question that does not get asked; people mostly ask "what is the
difference between men and women?" They begin by presupposing a specific
bi-polar gender system. The first step in taking gender apart is to ask the
question; the second step is to get other people to ask the question. As Maggie
says in The Opposite Sex ... Is Neither!, "a civilization is more
well-known by the questions it asks than by the answers it comes up with." I
don't think "what is gender" is an answerable question. I think the answer is
that there is no such thing as gender, other than what we say it is.
Shannon: I really think gender is something to play with. Maybe this
is because over the last eight or nine years I have hung with a lot of people
who have been playing with gender. What is shocking to me is when you see people
totally genderized who aren't playing; gender is such a parody of itself.
Kate: I love watching people play with gender and I think that is
great. Camp could be the leading edge in deconstructing gender. Recently, I have
begun to feel the sorrow that comes from oppression based on gender. So I am not
in a playful mood these days. I have been and I am sure I will be again. But
right now I am meeting more and more people who have been crushed not as men,
not as women, but as neither. When people have been crushed all their lives for
being an effeminate man and then they get crushed for being a drag queen and
then they get crushed for being a transsexual woman, where do they go? It gets
really sad to see these people dying.
I like the idea of playing with gender. I do it in my art. But in my life it
is not as playful right now. I am hoping enough people ask the question about
gender so that I am free to play with gender again.
Shannon: I guess it is kind of a privilege to be able to play with
Kate: In a way, yes. The stakes are a little bit higher when you get
frightened if you don't have a safe base to come back to. It can get really
frightening. You can't say "Oops, I was playing." Because when you go home at
night there is nothing to return to except what you have been playing at.
Shannon: In your performance piece The Opposite Sex ... Is
Neither! Maggie, the goddess-in-training who finds herself in the 20th
century finds the societal importance ascribed to gender very funny, and the
fact that there are only two genders equally silly. Kate, you are pretty
strongly female looking: you are gorgeous, have long honey-red hair, a husky
sultry voice, large breasts and big green eyes, I mean WOW. Do you really think
of yourself as both male and female?
Kate: Oh yeah. I don't think my breasts are large. You know, no one
has said I have really large breasts, but since I came to T.O., about six people
have told me "you have really large breasts." I didn't get implants or anything,
they grew. It is not like I decided this is the size I want. Do I really think I
am not a man and not a woman? I know that I am not a man and most of the time I
feel like I am not a woman. I keep one foot in the place called woman because
otherwise sometimes you can blow away into madness. There is no other place to
touch down in this culture, except among people who are laughing about gender:
the drag-queens, the cool butches, and other transgenderists who are laughing
and not trying to be one or the other.
Shannon: When you are neither are you a mix of the two? What does it
mean to be neither?
Kate: It means I am not bound by the social constrictions of either
gender. To be a man or to be a woman for me at this point in my life would be
one closet or another.
Everyone I have talked to has conceived some sort of dissatisfaction with
gender, be it what they feel they are required to do in this culture, or what
they feel they are being inhibited from doing. Most people have a bone to pick
with gender in some form. When that dissatisfaction can't be cured by buying
enough gender-specific products or when it can't be silenced by the state or the
medical profession or by religion or peer pressure, then it becomes known as
gender dysphoria. I make it clear that I am a transsexual by choice and not by
There are more and more people who are questioning gender, and not by dint of
Gender Studies Programs. There they mainly focus on what is the difference. They
don't study gender. There is a field that is questioning gender and that is
ethnomethodology. Kessler and McKenna's An Ethnomethodological
Approach (1982) deserves tons of credit. Part of the dedication in the
book that I am writing is to them.
Shannon: Do you have a title for your manuscript?
Kate: The title is Gender Outlaw. It is an analysis that
places gender in the same arena as apartheid, Scientology; it places it as a
class system, not something that is natural; it analyzes all the cult phenomena
associated with gender. I know cults from the inside. For years and years I was
a leading spokesperson for a cult: Scientology. I was a big time Scientologist
for a long, long time.
Shannon: That is amazing. You seem perfectly normal.
Kate: Four people from my past in Scientology came to the show last
night. We all went over to their house after and stayed until 1 a.m.,
reminiscing. I left Scientology about ten years ago. I was a male when I was
with Scientology. I was in sales. I used to go around and give sales lectures. I
studied Jerry Fallwell and other televangelists.
Gender is a cult. Membership in gender is not based on informed consent.
There is no way out without being ridiculed and harassed. There is peer pressure
that is being brought to bear on everyone in this cult. There is no humor about
gender. The only humor is from the people who transgress gender. My book will be
the first written on gender by a twentieth century transsexual.
Shannon: You could really popularize Scientology.
Shannon: No wait, can you imagine? You could appeal to a whole new set
of recruits. A male spokesperson for Scientology ending up an SM Lesbian
Transsexual. How Cool.
Shannon: What sort of process did you go through to become a female?
Kate: That is the subject of my next show - How To Be A Girl in
Six Easy Lessons. I went to a voice teacher, for example. Every person I
went to in order to learn how to be a woman, to learn how to act and appear as a
woman, took me too far into the construct, too far into the lie, into the
closet. At voice lessons I was taught to speak in a very high pitched, very
breathy, very sing-song voice and to tag questions onto the end of each
sentence. And I was suppose to smile all the time when I was talking. And I said
"Oh, I don't want to talk like that!" The teachers assumed that you were going
to be a heterosexual woman. No one was going to teach you to be a lesbian
because lesbian was as big an outlaw as transsexual. I actually learned how to
talk by listening to Laurie Anderson. If you listen to my voice, I do hit my end
consonants very strongly, like Anderson.
Shannon: What about your female mannerisms, how did you acquire those?
Kate: It is a matter of juggling cues. Passing is the whole thing.
Cultures from time immemorial have always had people who have been neither one
nor the other. It is our culture that is telling them to be invisible. All
therapists, as good and as noble as they might be, counsel transsexuals to tell
a little lie. They say don't ever say you are a transsexual; you are a real
woman (or real man) now. You have a whole new past. People are going to ask you
about when you were a little girl and you are going to say "when I was a little
girl." Transsexuality is the only condition in Western culture for which the
therapy is to lie. Every transsexual is counseled not to reveal their
transsexuality, but to devise a past for themselves.
Transsexuals (M-to-F) get a lot of shit for walking into women's bars and
into gay men's bars (if they are F-to-M transsexuals). They don't talk, they try
to pass, and that pisses off a lot of lesbians and gay men. There is friction.
And I think there is responsibility on both sides. It is not just those
cold-hearted lesbians or gay men, how dare they pick on another minority group.
No. They see people who are lying. I would be offended if some transsexual comes
up to me and says "I'm not a transsexual." And they have. I get real offended. I
say "go live your life," I can't deal with lies. I have to temper this with
realizing that not only does the entire culture say that they are invisible and
don't exist, but their therapists for years have drummed it into their heads
that they had to lie.
So how did I learn to be a woman? I never did. I learned to be a passing
transsexual. I learned that if I am on the phone with someone and they say
"Good-afternoon sir," I will take my voice up a little bit higher and say "Hi,
it's not sir." I balance and juggle my cues constantly. How did you learn to be
Shannon: Gay men taught me to be the kind of woman I am now. And more
recently, I learned how to be a goddess from Annie Sprinkle:I took her ten hour
Slut and Goddess Transformation Salon and also from just being her friend.
Shannon: You were a het guy until what age?
Kate: Yo, what do you want to know for? Until I was thirty-five or
Shannon: That's amazing. You look younger than thirty-six now. When
did you have your change, last year?
Kate: I'm forty-four.
Shannon: Did you look young as a het man?
Kate: No, I looked a lot older.
Shannon: How do you account for looking younger as a woman than as a
Kate: Part of it is hormonal. I'm on daily estrogen which smooths out
the skin quite a bit. In this culture woman is equated with young, woman is
equated with child; it is the wide-eyed innocent look for women. It says child.
More exposed skin says child. Longer hair says child.
Shannon: You changed genders and you became a lesbian. Did your taste
in women change?
Kate: No, but I was finally able to be with the women I really wanted
to be with. I can't tell you how many women I approached when I was a straight
man only to find out they were lesbian.
Shannon: What is your taste in women?
Kate: I like really creative women. It doesn't matter butch or femme.
I get really attracted to femme - not particularly high femme. I like
three-quarters of the way in either direction. This is real sexy to me. I like a
little bit of danger. I'm into S/M and I am a switch. I appreciate someone who
is into switching.
Shannon: Were you into S/M as a guy?
Kate: No, only in fantasy. It took quite a while after I was a woman
to come to terms with S/M because to me, topping was equated with being male. I
had to get over that before I could top.
Shannon: What did you like about being a male?
Kate: My stock answer is I like being able to write my name in the
snow. I like the safety. You can walk through the streets with impunity pretty
much as a guy.
Shannon: What do you like about being a woman?
Kate: The freedom, the freedom to play with roles, the freedom to play
on a whole spectrum, the ability to talk and the ability to listen.
Shannon: And what do you like about being a lesbian?
Kate: The ability to be on par with a lover.
Shannon: Kat, in The Opposite Sex ... Is Neither! says
"no matter who wins your revolution, I am still an outlaw." What does it mean to
be a sexual outlaw?
Kate: A sexual outlaw is a person who breaks sexual, or in this case,
gender rules. The prime directive of gender in this culture is, if you are a
woman, thou shalt not be a man and if you are a man, thou shalt not be a woman.
And in sex, thou shall be heterosexual.
Shannon: The 90's concept of Queer, Queer Theory and Queer Identity is
supposedly more inclusive. Are transsexuals still pretty much outlaws within
Queer or are they more accepted?
Kate: There has been a lot of debate recently about inclusion. In
Minneapolis and Seattle, Gay Day was renamed Lesbian, Gay, Bisexual and
Transgender Day; whereas, the big National March on Washington had a huge debate
and ended up being Lesbian, Gay, and Bi - not bisexual just Bi - and not
Transgender. Apparently, there were cheers when people heard that it wasn't
going to include transgender. I was kind of hurt by this at first and I made
several calls to the Coalition. They haven't returned my calls. But I stopped to
realize: wait a minute, wait a minute, why should lesbians and gays include
transgendered people? Not all transgendered people are lesbian and gay. In fact,
the majority probably are not.
The majority of people who play with gender are probably straight. I am
including male and female heterosexual cross-dressers. This being the case, why
do transgendered people gravitate to and expect inclusion in the Lesbian and Gay
Community? Because lesbians and gays are a sexual minority and the words sex and
gender have been used interchangeably for so long. No, this is too analytical.
But then I realized where these two groups, transgenderists and lesbians and
gays overlap; it is scary where they overlap and no one is going to like my
The definition of gender in this culture includes the mandate of
heterosexuality. To be a woman means to love men, to be a man means to love
women. So in fact, every lesbian and every gay man is transgressing gender roles
and gender rules. Whereas not all transgendered people are lesbian and gay, all
lesbians and gays are transgendered. It is not a matter of lesbians and gays
including transgendered people. It is a matter of transgendered people including
lesbians and gays, and no one is going to like [that].
What this does is call into question identity and it could be seen as making
light of the lesbian and gay movements. It's not. It is just saying what it is
that we have in common. It is saying yes there is a lesbian movement, yes there
is a gay movement, yes there is a lesbian and gay movement, yes there is a
transgendered movement. What do these four movements have in common? They fuck
with gender roles. Nothing else do they have in common.
I know why transgendered and transsexual people aren't included. It gets back
to passing: you have to be a man, you have to be a woman. But my existence
within a lesbian and gay community is threatening to the very foundations of
that community. Here I am: I am saying that I'm not a man and I'm not a woman.
So what happens when a lesbian is attracted to me? I call into question her
It is a problem for anyone whose identity is wrapped up in a bipolar gender
system. It is fascinating that we would pin all of our sexual orientation on the
gender of sexual partners rather than a person's age or the sexual activity -
what the person does in sex. This is why I really like the S/M world. People
into S/M are pinning their sexual orientation on what they do and not who they
do it with, necessarily. This is a tidal wave about to crash.
I have had lovers who would say to me "you are such a beautiful woman." I
thought "Oh, that is so great," and we'd have wonderful sex. But then I would
start to talk, I'd say "I just realized ..." and start talking about some of the
stuff I have been discussing here. The lover would go "No, no, you are a woman
now!" And I would say, "Well, no I am not. And I do want to talk about being a
boy and playing Davey Crockett with the little boys in the neighborhood."
It wasn't only when I'd talk about my past but when I would do a play like
Hidden: A Gender where I played a chiefly male character. The
character I played was a villain. He was basically the voice of all my
internalized fears about my "gender disorder." I made this character a cross
between Geraldo Rivera and a nineteenth century medicine show barker. He is
peddling this stuff called gender defender: the pink bottle is for the girls and
the blue bottle is for the men. I had studied the barkers; they would invent
illnesses. I asked myself what is a horrible name for this illness and I called
it gender blur. This name has caught on. I see it surfacing in articles around
the Bay Area and I saw it in a book. The term came from this horrible character.
Shannon: This is one of the things I really like about postmodernity.
No one can hang onto a term or an idea for more than a minute because someone
else is already onto it. And often in the next usage the whole meaning is
inverted or subverted.
Kate: There is a transgender liberation happening. Leslie Kleinberg
writes about it in her book Transgender Liberation. Within the
transgender movement there is a hierarchy: at the top of the heap are the
post-operative transsexuals who pass, next down are those who don't quite pass
as well but a repost-operative and then down and down and down, depending where
you are standing. If you are standing in the shoes of a she-male, that is the
top of the heap. At the bottom of anyone's heap is the closet case who puts on
his wife's panties when she is away on a business trip.
Sandy Stones's theory, in The Empire Strikes Back - A Post Transsexual
Manifesto, is that the next step in the evolution of the transgender
movement is the transsexual who does not pass, the transsexual who does not
assimilate, the transsexual who is not ashamed. Marjorie Garber, in Vested
Interests, has pegged the position of the transgendered person, the
cross-dresser, whatever you want to call it, as a signifier of boundary
crossing, as existing at the point of an identity of crisis. Garber proceeds to
examine plays, books, films, paintings and performance and finds that at the
intersection of other identities - race, class, nationality, religion, there is
I think the place of the transgender person in our culture today is the place
of the fool: the jester, the trickster, someone who can laugh. This is
where performance art fits in. It is here that we can find a lot of fools.
Shannon: When did you begin gender performance or performing gender?
Kate: I went from being male to not-male, to female, and now to
not-female. I started performing when I found out people were interested in the
question of gender.
Shannon: What is the condition of being not-male?
Kate: In this culture it would be called androgyny but still on the
male side of it.
Shannon: After you became female did you embrace femaleness for
Kate: I tried to: I tried it all on. Like my character Kat says: "I
tried on your names, I sang your hit parade..." I thought I am a woman so I'll
buy the clothes, I'll be a power dresser. I was at IBM when I did my changeover.
Shannon: How did people react?
Kate: For the most part supportively. It was headquarters that flipped
out. They sent vice-presidents up once a week, three weeks in a row, to check me
out, to see if I was wearing purple eye shadow and feather boas.
Shannon: What is the state of not-female?
Kate: I'm kind of treading water. I think it is more fluid for me now.
It goes into a spiritual space. There is no way to pin that down except to say
"it is not here, it is not there, it is not one, it is not the other." That is
the whole point of The Opposite Sex ... Is Neither!
Shannon: This is a real cross-over between Buddhism and postmodernism
because you get to the not-I, the not-gender.
What wisdom have you acquired by living as both a man and a woman?
Kate: I gained the ability to question gender. Being not-one and
not-the-other is a space where you can make a lot of realizations. It's what
Maggie says at the beginning of The Opposite Sex ... Is Neither!
See - there are these gateways in time and space. They're not here. They're
not anywhere... This is no-space, this is no-time. It's where we can really
experience truth... In my last life as a human, I would look for these gateways.
And whenever I'd find one, I'd stay inside it as long as I could.
I constantly do that, I constantly look for this point of light, this point
of being neither.
I do rituals before each performance. One of the most joyful times is when
there is really no boundary between me as a performer and the audience. That
adds to the no-boundaries of the script and the no-boundaries of my life. I like
to include the audience in the performance. From my S/M background it has to be
consensual. So I try to give the audience a role that is okay for them to play.
In The Opposite Sex ...Is Neither! it is "please witness." When the
audience is included and acknowledged, constantly acknowledged for being there,
the boundary breaks down.
Shannon: Do you miss your penis?
Kate: No, not at all.
Shannon: God, I would really miss my pussy if I had a sex change. You
know if you put a speculum sideways in a woman's pussy you can see the erectile
tissue and muscle surrounding the female eurethra. It looks very much like an
internal cock when it is erect.
Kate: That is what mine is like. What they do for a M-To-F sex change
is cut the penis open, scrape out the inside and then turn it inside out so that
the outside of my penis is now the walls of my vagina. The head of my penis is
now my cervix. You have more sensation in your clitoris than I do because mine
is reconstructed from my perineum. It has lots of nerves and is fine, but yours
is more sensitive. However, the walls of my vagina are more sensitive than the
walls of your vagina.
Shannon: What about your cervix or previous penis head. Is it
Kate: Yes, we have been searching and have just found the right sized
dildo, which is great because pounding hurts. What I have is a cul-de-sac which
just goes so far. I still have a form of ejaculation from the Cowper's glands.
It comes out of my urethra.
After the interview I go to see The Opposite Sex ... Is Neither!
again. I wanted to see Kate channel Billy Tipton, the passing he-she 1920's jazz
musician, one more time. Kate can read her audience: as Billy says:
"My wife left me after sixteen years. See, I never told her I was a woman.
After I died, and word got around, she swore she never knew. That's a mighty big
regret I have, mighty big. If you see her, you tell her I am so goddamn sorry I
never told her. Her name is Kitty. [Billy looking straight at me] You tell her
that, please. Please?"
I whisper "yes," in a sort of inaudible hoarse whisper that carries into the
space between her words and my mind. Can Kate tell that there is something about
Billy, his voice, his maleness, channeled through her gorgeous female body, that
ignites a sense of awe in my clit and continues up the back of my spine and out
the top of my head? Maybe it's because Billy is such a mind-fuck, a trickster
through and through. Billy begins his exit:
"I had to be a man ... I have been readin' all the newspapers since I died,
and they like to make it out I did it for my music. I love my music, but lookin'
back, it wasn't everything. Maybe I just simply loved my Kitty. Maybe I was just
one ornery old bulldagger who got away with it all."
Kate Bornstein is a performance artist, actor and writer. Gender Outlaw:
on Men, Women and the Rest of Us was recently published by Routledge.
Shannon Bell is a pastiche feminist philosopher. She teaches
classical political theory and feminist theory. Her book, Reading, Writing
and Rewriting the Prostitute Body was published by Indiana University
Press, 1994. The Interview with Kate Borenstein was originally published in
The Last Sex: Feminism and Outlaw Bodies, Arthur and Marilouise
Kroker, editors. New York: St.Martin's Press.
Note: All references from The Opposite Sex...Is Neither! are
from Kate Bornstein's script, copyright 1991, 1992.
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