It is 1997 in Jackie Kay’s Trumpet. While society experiments with various labels for defiers of gender norms, Joss Moody and loved ones defy society. How Kay, in a highly conservative era, dares to discuss gender identity – a topic still controversial nowadays, is undoubtedly the prime reason her novel can captivate readers of all generations until the very last page.
Conservative 20th century London is an eventful place. But there has probably never been a tale like the story about Joss Moody – a trans man. Prior to decease, he was a celebrated musician. As the plot gradually unravels, however, so does his biggest secret.
Consumed by the late discovery of Joss’s sex and gender disagreement, most take his lifelong masculinity as an act of imitation rather than a
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The wife rejects the label ‘lesbians’ ﴾by definition ‘women having sexual relations’﴿ not for the sake of her own heterosexuality, but simply in regard of her husband’s personal identification. Faced with the ‘terrible lies’ ﴾Kay
277﴿ and cruel scrutiny of the media, Millie views herself as ‘the only one who can remember
[Joss] the way he wanted to be remembered’ ﴾Kay 40﴿, constantly seeking solace from fond memories only she has control over.
Colman Moody’s perception of his father’s identity is another puzzle solved accordingly to the story’s progress. Initially ashamed and ‘so embarrassed [he] could emigrate’ ﴾Kay 48﴿, Colman displayed a rather rude and sulky attitude whenever digging into his early years alongside Joss. Nonetheless, though many have mistreated this mentality as
LGBTQ+ prejudice, it is clearly pinpointed by Colman himself that “It's not because I hate gays or anything like that. If my mother had been a lesbian or my father a gay man, I don't think I would have got all het up about it.” ﴾Kay 76﴿ The son is deeper affected by the