This section explores the nature and structure of the Lister’s correspondence. Although the correspondence index in the journal lists the full number of letters sent and received, and some note of their contents, the actual number of surviving letters is much smaller and selective. The nature of the content is also distinct from the journal, even apart from the restriction in which items survive. Letters carefully construct the self that Lister wished to present to the world, as well as managing her social relationships with her correspondents.
sexual/romantic desire
This tag is used broadly when there is discussion of erotic or romantic desire between women, whether or not specific activities are mentioned.
LHMP entry
As an illustration of how topics were handled, this section opens with “this treadmill business.” As part of her general curiosity about the world, and based on a recommendation by a friend, Lister decided to view and try out the penal treadmill at Clerkenwell prison. Public reaction to this event haunted her for some time.
When focusing on the Paris era, Orr found that existing edited material was deficient. Although Whitbread’s No Priest But Love focused on a similar period, she included less than 1/6 of the journal material for that era. Green cataloged 30 letters from the era, but included only 17 of them. Liddington emphasized the importance of incorporating other documentary material–account books, etc.—for a complete understanding.
In this section, Orr challenges the accepted ideas about the meaning and uses of Lister’s “crypt hand.” Most previous editors have presented excerpts from the diaries that do not clearly distinguish material recorded in cipher from that in ordinary writing. Whitbread notes the crypt hand was used to record Lester’s “intimate” (that is, sexual) life, creating the impression that her sexual and emotional observations were always encrypted and that crypt hand was used only for this purpose.
Each of the major editions of Lister material focused on selected aspects of her social or sexual identity at specific life stages. This disjunction mirrors similar disjunctions within lesbian and feminist history. Operating in the context of queer and feminist academics of the 1970s and 1980s, Whitbread and Faderman tended to view Lister’s sexuality through a modern lens, applying sexological theories, or viewing her as transmasculine.
This section describes the nature of the Shibden Hall archives and their history. It covers the history of the several times the cipher has been assailed, from John Lister and Arthur Burrell’s initial cracking of the code, through several researchers who chose to exclude the references to sexuality from their deciphered transcripts, up through Whitbread’s publication of that previously censored material. The nature of Lister’s sexuality was known as early as 1892 but was suppressed for almost a century after that, with each new researcher re-discovering and re-erasing it.
The introduction begins with an overview of Lister’s life and a brief explanation of her importance to various aspects of history. [Note: I’ll skip the background details, as I assume readers are familiar with the general history.]
The motif of the passionless woman was invented by medical writers in the 18th century in England and then promulgated more generally initially via fiction. This totally upended the previous idea of female sexual desire, envisioning women’s sexuality as entirely distinct from men’s.
This article examines themes of female romantic friendship and its limitations in the Restoration-era play Queen Catherine by Mary Pix. The play is a historical tragedy, centered around female characters, involving Catherine (widow of King Henry V) and her waiting woman Isabella, both of whom have heterosexual romances that drive the tragedy.
This article is one of those that eventually went into Traub’s The Renaissance of Lesbianism (chapter 6), but since I did a higher level overview when I covered that book, it’s worth examining more closely.
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