Book Review: Suits Me: The Double Life of Billy Tipton, Diane Middlebrook.

By User:Villanueva at hu.wikipedia [Public domain], from Wikimedia Commons

In Suits Me: The Double Life of Billy Tipton, Ms. Middlebrook chronicles the life and career of jazz musician Billy Tipton, who began life as Dorothy Tipton. She addresses the challenges of gender identity, but also explores individual 1930s social responses to gender, and whether or not such identities were truly significant. She further investigates how gender identity significantly helped and hindered women’s access to careers during the 1930s, when women were still limited when men enjoyed nearly full access to a profession of their choice.

Ms. Middlebrook utilizes primary sources like audio tapes and photographs to piece together Tipton’s life. Her reliance on personal accounts of those who knew Billy Tipton strengthens many aspects of her argument. Such intimate details and discussions between spouses and colleagues lends itself to increased insight, particularly on the topic of sex. Some limitations include potential misrepresentation or questionable memories on the interactions, due to age or misunderstanding or personal reasons. This doesn’t belittle the value of first-person accounts, nor the strength of relying on such accounts to provide important insights. What is significant is these sources show how Tipton’s “wives” (for there was never a legal recognition of a marriage) and colleagues often didn’t know, or were largely unphased, by the birth sex of Billy Tipton, and recognized him as a loving father, partner, and musician, though very private and sometimes withdrawn.

Ms. Middlebrook chooses a chronological narrative, which works well to develop both Tipton’s transformation from Dorothy to Billy, but builds a solid foundation for understanding the circumstances surrounding his shift from Dorothy Tipton, an out of work musician, to Billy Tipton, a moderately successful jazz musician in the 1930s.

Ms. Middlebrook contributes successfully to a wealth of biographical narratives covering significant figures during the 1930s. A few contrasts to the Amelia Earhart book Still Missing seems appropriate, in light of the liberal feminist ideologies of the 1920s-1930s. Whereas Susan Ware’s book showcases prominent, talented females like Earhart and Hepburn proving sex to be no limitation to excellence, Ms. Middlebrook’s title character alters his persona to fulfill a role largely excluding women. This desire to fulfill a part Tipton felt born to perform meant securing access to the role by any means necessary. Counter to the figures of Still Missing, however, one would wonder whether Tipton’s life reflects a woman gaining access to greater independence through adopting the masculine persona, or whether Tipton’s goal was more individualistic, in that it served the purpose solely of allowing him to play jazz music. Nevertheless, what binds these two narratives together is an understanding that both Amelia Earhart and Billy Tipton built independent lives in their own way, when it was largely novel or scandalous to do so as women.

This book offers the reader insight into a little known persona, though now without one or two minor weaknesses. The action of cross-dressing and living as a person of the opposite gender seems almost benign for many socially-liberal individuals today. What seems fantastic is how Tipton managed to maintain the ruse for such a long time, especially during intimate moments with partners. Limited expansion over the motivations or reasons for Tipton transforming his identity, beyond desire to play and monetary demands from his family, seems a point of contention with this book. Though the author gives many options, it eventually falls to the reader to decide which is most plausible. Further, just how he did it, though perhaps intentionally left out due to lack of primary resources and being counter to the focus of the book. The interesting childhood, where mixed signals represented by Tipton’s father teaching her masculine activities as her mother desired a feminine daughter, meant Tipton may have been little constrained by traditional gender roles. Whether such actions make a statement about feminism in the 1930s, or mainly showcase the individual’s decision to access a profession through innovative means, perhaps becomes the book’s greater strength, to leave the reader pondering the ramifications of gender and social access to different professions.

The fact that success eluded Tipton, by his own actions, is understandable considering the chance someone would find out the truth under such media scrutiny, it almost seemed like “the game” and “the role” were more significant to Tipton than the success. Fulfilling the role of “father” and “jazz musician” became the key. The narrative is a rather quick read, also offering an easy style. A reader is left to wonder whether or not Tipton’s actions would be considered moral, given that many of the individuals present in Tipton’s life knew nothing of his true birth sex. Though such an accusation is countered by the fact that many who knew, including many individuals who played music with Tipton, show that as long as one could play, it mattered little what gender they identified with (though women were still largely prejudiced against). One almost questions whether Tipton performed a Catch Me If You Can-esque masquerade through gender deception, or if the draw to play music and live life as he saw fit was the primary, driving goal.

Recommended films: Some Like it Hot (1959), Billy Wilder; Rocky Horror Picture Show (1975), Jim Sharman; Mrs. Doubtfire (1993), Chris Columbus; To Wong Foo, Thanks for Everything! Julie Newmar (1995), Beeban Kidron

Book Review: Still Missing: Amelia Earhart and the Search for Modern Feminism, Susan Ware.

[Public domain], via Wikimedia Commons via http://e-archives.lib.purdue.edu/

Book Review: Susan Ware. Still Missing: Amelia Earhart and the Search for Modern Feminism. New York: W.W. Norton & Company. 1993. $19.13.

Susan Ware’s book Still Missing: Amelia Earhart and the Search for Modern Feminism argues that Earhart, while most certainly an exceptional example of young womanhood during the 1920's, was definitely a product of time and place. Earhart reflected the rising understanding of liberal feminism, specifically that by showcasing the talents and abilities of the exceptional individual, the entire gender would adjust minds by “proving” the category “woman” held no inherent handicap in achievement.

Ware’s strength is in her choice of chronological structuring of her text. Earhart’s philosophies seem to develop organically, particularly between the period of 1928-1937, although not limited to this range. By taking a chronological approach, Ware is able to build the drama of the tale, though we all know what the outcome will be. Nevertheless, Ware’s narrative is not about the end result, but the significance of the journey and the substance of Earhart’s life. Chronology also allows Ware to showcase, in her chapter “Popular Heroines/ Popular Culture” other women who occupy the same exceptional, liberal feminist pantheon of legends, particularly Katherine Hepburn, Dorothy Thompson, and Eleanor Roosevelt, to name a few. These case studies further emphasis on individuals as exceptional examples of possibility for women.

Ware structures her argument organically. This emphasizes clarity in understanding in a linear fashion. One strength here is this very clarity and understanding, as we understand time moving in a linear way. A weakness may be the temptation of thinking the events of Earhart’s life and philosophy were inevitable, or though the author goes to lengths emphasizing at different levels when things may have taken a turn (such as Earhart’s choice to marry G.P. Putnam, or her decision not to have children, or her choice of doing a world-wide flight in 1936-7).

Ware successfully utilizes primary source documents, particularly the words of Earhart herself, to emphasize her brand of liberal feminism and how her words and deeds sparked the imagination of possibility among vast numbers of young women. Ware’s argument suggesting how Earhart’s words and actions supported her aims of expanding women’s access is further supported through her use of unpublished primary source documents like private correspondence, that further emphasizes not only Earhart’s steadfast support of liberal feminist philosophies (avoiding sex-based laws of help or hindrance) remain behind the cameras as much as before them. Even given the limited availability of other primary sources, due to fire at Earhart’s home, Ware does successfully utilize the sources available and seems to mine them very well to emphasize her arguments.

This book encourages the reader to not think of Earhart as a legend, though she certainly was an exceptional individual and a fantastic self-promoter (also thanks to G.P. Putnam. Ware wants us to consider her as a product of 1920's liberal feminism, and as a larger-than-life hero to so many young ladies who see the possibilities within the context of this specific society. Earhart represents these possibilities, and showcases, as the main thrust of this book emphasizes time and again, that women of the 1920's wanted an exceptional example of what women could do, and women like Earhart, Roosevelt, and Hepburn reflected this want. It also emphasizes that liberal feminism was the vogue way of looking at  women’s roles within society and the workplace (among white, middle-class women and their fans). It wasn't sex that one should focus on, but the individual ability and talents, regardless of sex. Nevertheless, the book does not gloss over Earhart’s limitations, nor the limits of liberal feminism. Both Earhart and liberal feminists were largely white, middle-class or upper-middle class, individuals with exceptional talent and exceptional opportunity. The plight of minority women, particularly African-American women and economically disadvantaged women, whose options to excel seemed particularly limited.

In conclusion, Ware’s book expands upon the understanding of Earhart as feminist, and avoids further expansion on Earhart the legend. Ware succeeds at contextualizing Earhart, which is the main emphasis of her text. Earhart was reflective of liberal feminist thought, her contributions unfortunately overshadowed by her unsolved disappearance. Ware ends with a treatment of why Earhart might have taken that last flight, as a publicity stunt for a slumping career or as an answer to the social shift away from 1920's feminine heroes towards 1940's suppression of mass feminist movements. Earhart’s potentialities were not diminished had she successfully returned from her flight, and Ware wonders whether she would have taken a post at Purdue as a researcher or counselor, or taken another aviation-oriented “second career.” One wonders whether or not we would even be studying her had she not disappeared!

Ware’s case studies of other women further places Earhart within a context, although does not bog the reader down in details unnecessary for her main purpose, which is greatly appreciated. It is a fine example of blending narrative and scholarship to produce a product that will appeal to academic and layman historian, although academic historians will likely find particular points of critique, as with any text.

Work for Free, and Reap the Rewards

Liberal arts degrees, or at least liberal arts as a minor, are not completely worthless in the marketplace.

One of the best skills people who study a liberal art, specifically English, Philosophy, or History, among others, is the ability to research and write clearly, for a specific audience, supported by concrete details and evidence. These also help contribute to critical thinking and analysis skills that are required in fields as divergent as science, business, and law.

While the job market is indeed more challenging, or less linear, among certain liberal art fields than it may be in, say, accounting, or computer science, it is no less viable than any other field. The truth is there is work out there for anyone who is seeking employment.

What is necessary for these specialists, however, is creativity in the search. It isn't enough to follow and believe that a seamless transition from education to corporate employee is immediate, or easily obtained. For the liberal artists, and to a lesser degree any field where a leg up on the competition is wanted, it is necessary to utilize multiple approaches to doing the key point of any job application: real world experience.

Most job postings want the "ideal candidate" to have 3-5 years of experience in the field of work, and a laundry list of skills and abilities. How recent graduates can acquire 3-5 years of experience, specifically if they didn't have the foresight to do so while in school, is on the surface unappealing. This task is the "work for free" mentality.

Internships, volunteer work, underpay, or otherwise minimal compensation for work within your specialization is what is necessary to achieve success when starting out. Whether it is writing articles for a few dollars, or processing artifacts within a non-profit museum, or volunteering time at a local shelter or office, these experiences show future employers that you are serious about your work, and are not merely doing it for monetary gain (although it may be a future goal).

It places you within a proper mindset to build a more solid appreciation for the work. When a person is working for low or no pay, they are able to gauge how important the work itself, the field, or the topics are to the individual based on intrinsic merits, and not extrinsic rewards like money or status. It makes sense that finding internal rewards first may make the employee more productive and thus will contribute to increased pay.

Do the work for free, or low pay, to begin with, and reap the rewards of a better, more suitable career in your chosen field.