Tomboy is a graphic novel authored by Liz Prince, and published in 2015. It humorously, and very simply, illustrates the many struggles gender-nonconforming females experience growing up. While specific to Prince’s own life, it is a fantastic representation of youth (and typical youth struggles – parents/family, developing friendships, romantic attraction, ideas surrounding sex) intertwined with the struggles of being a masculine presenting girl/young woman in a culture that is largely unaccepting of this type (“tomboys”).

The novel opens with a scene of four year old Liz Prince in emotional disarray from the thought of having to wear a dress that her grandmother bought for her and ends with a humorous layout of her preferred display of masculinity. As she explains the recurrent theme of her own masculinity throughout childhood and young teenage years, along with the resulting emotional turmoil she experienced because of bullying and the general lack of acceptance from her peers, she continually breaks down her own evolving gender display with humorous commentary.

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A particular struggle for Liz Prince was trying to date boys. A boy she admired and fell for was a boy every girl in her school dreamed of dating; he was a school heart-throb. She was not the typical feminine presenting girl – she presented as more masculine, wore men’s clothes – and he rejected her because of it. This seemed to contribute to her struggle of general acceptance, understanding, and good-feelings of herself.

In An Introduction to Female Masculinity, Judith Halberstam asserts that displays/modes of female masculinity are perceived to be the rejected scraps of heroic and legitimate masculinity, in order to make legitimate masculinity legitimate – the right way to be masculine. It instead, according to Halberstam, is a window through which we can see how masculinity is constructed. When Liz Prince began realizing that she embodied a gender display that is not in line with traditional display for females (being feminine), she captures the emotion perfectly in a single page:

The second image on the page shows the pervasive idea that female masculinity does not equal legitimate masculinity because legitimate masculinity can be found only in males and this is the only way to have a legitimate masculine identity. In the first image, female masculinity also means not being legitimately female (female = co-occuring femininity under this logic), and the last illustration shows utter confusion – a sort of, “what am I?” crisis. If not considered – looking through the lens of the binary – to be truly feminine or truly masculine, where does that leave the gender non-conforming female/woman? It leaves them with no legitimate identity. Judith Halberstam points out that tomboyism is harshly punished (including attempts to “reorient” the individual) and seen as a real problem only when it continues into adolescence and adulthood. As Liz Prince grows up, her continuing tomboyism is more harshly punished by peers, and I believe that the partial results of this punishment of the tomboy individual is the emotion that can be seen in the image above. To quote Judith Halberstam, “Female adolescence represents the crisis of coming of age as a girl in a male-dominated society.” Living within this male dominated society, it is possible to assert that whatever most legitimately masculine males perceive as attractive is the rule, and legitimately masculine males are not attracted to displays of masculinity – so not attracted to Liz Prince; I consider this to be one of the many forms of punishment. She felt this strongly and couldn’t seem to figure out why she was never fully accepted throughout her childhood and young teenage years.

I like Tomboy because it illustrates in pictures, as well as words, the struggles of gender non-conforming females, but with the comfort of humor. Thinking of my own childhood, teenage, and adult experience as a tomboy, I can relate strongly to the experiences of Liz Prince, which made this a very enjoyable read for me.

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-Towards the end of Tomboy, Liz Prince illustrates a time when she discovered the works of Ariel Schrag – another graphic novelist. I highly recommend reading Awkward and Definition, Potential, and Likewise if interested in a story about a masculine presenting woman’s struggle with discovering her sexuality throughout high school…and if you’re as enthralled with graphic novels as me.

Here is a pretty great illustration from Potential –

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Ivan Coyote and the Roadmap to Being Butch

Ivan Coyote is a Canadian author and spoken word performer who focuses on gender identity, and more specifically, what it means to be butch. Spoken word allows them to use their own butch and masculine identities to offer a very personal, linguistic perspective on female masculinity. A natural storyteller, they have also published eight collections of short stories and one novel. More recently, Coyote has explored the more challenging mediums of audio and film, producing three CD’s and four short films. Many of Coyote’s publications and performances have been collaborations, most notably with queer musician and performer Rae Spoon, who co-authored Gender Failure with Coyote and who toured with them extensively.

Ivan Coyote began performing in 1992 and has done numerous tours across North America since then. Many of these performances can be seen on YouTube, including pieces such as “To all of the kick ass, beautiful fierce femmes out there,” “Dear Younger Self,” “A Butch Roadmap,” and “Hair Today.” Within these pieces, Coyote considers how to navigate different elements of female masculinity, or butchness. These elements include their experience of (almost) passing as a man and how to find solidarity with other butch women. Coyote considers both how they see the world and how the world sees them, without losing any of their authenticity as a queer storyteller.

Essential to Coyote’s lived experiences and to their storytelling style is the concept of the Butch Roadmap, which they present in a performance aptly named “A Butch Roadmap.” This Roadmap, which they describe as “. . . directions so that I can be found, or followed,” serves as history, both personal and collective. Coyote must create this Roadmap because it does not exist. Their history has not been recorded, so they record the parts that they consider to be the most important. Coyote chooses to highlight the importance of solidarity, asking butch women to “Learn to recognize other butches for what they really are: your people.” To be butch is not to live in solitude. Butches must do things together, without belittling each other for having or doing feminine things.

Another performance that stands out is “Hair Today.” “Hair Today” also references the Roadmap of Coyote’s life, showing them the way to the barber’s chair, a place where, in this case, Coyote finds acceptance and comfort. Wary of the judgment of the surrounding world, Coyote knows that their acceptance or dismissal often depends on whether they pass as a man or not. Even in their self-identification as butch, Coyote often passes, at least initially, as a man, something that many butch women experience, as do trans men. Coyote’s storytelling in “Hair Today” also brings to mind Native American queer poetry, such as Paula Gunn Allen’s Some Like Indians Endure. Coyote’s stories, although different from this poem in medium, also carry a message of survival and solidarity.

In a world that often overlooks butch women, Coyote’s message is a simple one: be the best butch you can possibly be. As they remind us in “A Butch Roadmap,” this can be as simple as driving your grandmother to bingo or shoveling her driveway. For those of us who pass as men, it’s our job to be gentlemen who hold the door for big, burly men and little, old ladies alike. Accept yourself, be the best you can be, and never forget to find your family.