This chapter looks at the historical romances of Georgette Heyer written in the 1920s and 1930s; my intention is to consider readings which are 'against the grain', to consider other possible pleasures offered by consumption in relation to sexuality and sensuality. (82)
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if foppishness conceals an essential masculinity, some characteristics are also indicated as being learnt - the character Leon/Leonie, having spent most of her life dressed or masquerading as a boy, has to be taught how to behave as a lady; Kate/Robin is instructed by his sister; Prudence/Peter is initiated into the 'male arts' by her father and brother. I would argue, therefore, that there is a fluidity in relation to gender and sexual identity in these narratives. Clothing can be used to disguise and conceal biological characteristics, allowing for both the parodying of, and performance of, other gender identities. (88)
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What the examples of masking indicate is a space where dominant moral codes might not be strictly adhered to, places which are vulgar and not genteel. The texts also extend this to explore areas of female and male sexuality. In These Old Shades, Leon/Leonie when masquerading as the Duke of Avon's page (and before the Duke states his knowledge of her sex) is taken to places I can only describe as brothels. (89-90)
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One further point to note, that men will be sexually active is taken for granted in the texts, with references to previous mistresses, children born 'the wrong side of the blanket', and other euphemisms. These are areas acknowledged by the heroines in the texts - whilst their actual sexual (virginal) innocence is assured, their knowledge and awareness are also made explicit. The desire is for a sexually experienced man - there is often a younger, inexperienced suitor who is rejected - as the women in the novels, many in their teens, marry men much older than them, men with a past. Sexologists in the period were arguing the need for men to have the skills to initiate women into sexual responsiveness. (90-91)
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