Lili Elbe, a Danish painter and famously a transgender woman, was born 140 years ago today. She wrote an autobiographical memoir - Man into Woman: An Authentic Record of a Change of Sex - which was first published in English in 1933 and included substantial extracts from her diaries. Norman Haire, a medical practitioner and sexologist, who provided an introduction to the book, starts by noting that this story ‘must seem incredibly fantastic’.
The couple travelled in France and Italy, before settling in Paris, where Wegener felt freer to entertain at home or appear in public dressed as a woman. Over time, the female side of his personality became increasingly important, leading him to research his behaviour, and to consult doctors. In 1930, physicians found that he had more female than male hormones (and therefore may have had what is now known as Klinefelter syndrome). That same year, he began to undergo a series of experimental surgical procedures, to remove his testicles and penis and to transplant ovaries and a uterus into his body. In October 1930, a Danish court annulled his marriage, and he was able to have his sex and name legally changed, to Lili Ilse Elvenes. The pseudonym Lili Elbe first came from a Danish newspaper article. She died in 1931, not long after the fifth procedure. Further information can be found at Wikipedia and Encyclopaedia Britannica.
Not long after Elbe’s death, in 1932, the story of his/her transition was published in Danish, and it was soon translated into German and English. The English version (translated from the German by H. J. Stenning) was published in 1933 by Jarrolds as Man into Woman: An Authentic Record of a Change of Sex with the subtitle The true story of the miraculous transformation of the Danish painter Einar Wegener (Andreas Sparre). The book is freely available at Internet Archive. An introduction is provided by Norman Haire who was a medical practitioner and sexologist. He writes: ‘To the reader unfamiliar with the unhappy byways of sexual pathology, the story told in this book must seem incredibly fantastic. [. . .]
The story of this strange case has been written by Niels Hoyer, partly from his own knowledge, partly from material dictated by Lili herself, partly from Lili's diaries, and partly from letters written by Lili and other persons concerned. The biographer states that the surgeon who performed the operation has passed his account of the case as correct.’
In fact, Niels Hoyer was a pseudonym for a friend of Elbe’s, but the text was written by Elbe herself. Throughout, and very confusingly, he/she uses various names for her male and female sides, as well as pseudonyms for everyone else. Much discussion of these names, and of the work in general and many other issues connected with it can be found in a scholarly edition of the work published in 2020 by Bloomsbury (edited by Pamela L. Caughie and Sabine Meyer). There is also a companion website where the texts can be read online - Lili Elbe Digital Archive.
In her original text, Elbe quotes from her diaries extensively and from those kept by Gottlieb. However, she never tells us much about her diaries, her diary-writing habit, nor does she date most of the quoted entries. However she does tell us a bit about Gerda’s diary: ‘During these days Grete began to keep a diary. Every evening she recorded therein her observations, and the experiences which crowded thickly upon her in the company of the new Lili, in simple, almost fumbling sentences, seeking the way of her friend - this difficult, wonderful way upon which Lili had scarcely ventured to take the first step. Here is a leaf from the diary that she started: “Lili bears everything with incredible patience. True, she whimpers every morning, and even yet believe. . . Or is it that she will not yet show that she believes?” ’
Here is one example of how Elbe used her own diary in writing Man into Woman (NB: Evidently in the narrative, she refers to herself in the third person, with Andreas being her male side and Lili her female side.)
‘Only one thing troubled her rather more than she liked. In contrast to Grete’s and Andreas’ women friends, who had long since accepted Lili as one of themselves, with few exceptions, all the male friends of Andreas avoided Lili. Grete, who had expected help and sympathy for Lili from them most of all, and in this belief had revealed Lili’s existence to them, was very distressed over this failure on the part of Andreas’ friends, all the more so as just at that time the whole secret of Andreas and Lili was divulged in Copenhagen through the indiscretion of a Parisian woman friend and eventually published in unreserved fashion by an organ of the Press. Lili learned of this by accident. All her gaiety vanished again. For many days she would not stir out of her attic. She paid no heed to anything, and could not understand why none of Andreas' friends found their way to her. A little entry in her diary tells of this:
“How is it possible that all Andreas’ friends here have left me in the lurch? That they all avoid me as if I were a pariah? What have I done to them? Andreas was always ready to help them. He was always a reliable friend. And now one of them says that just because he esteemed Andreas so highly he could never recognize Lili. Lili would always stand between him and Andreas. He would shudder at offering her his hand. This sentiment is nothing but an eruption of overweening masculinity. And another excuses himself with other subterfuges. One could not be seen walking with Lili in the streets without compromising himself. Copenhagen was too small to show oneself publicly with such a pitiful creature, unmolested and unsuspected.” ’
And here is another example.
‘Lili now realized that the crisis through which she had passed, especially when she was first in Denmark, and from the effects of which she was still suffering, was a natural consequence of the implantation which had been carried out upon her. She perceived how her whole cerebral function had received a new direction.
She confided all this to her diary:
“In the first months after my operation it was necessary above all else to recuperate. When this had happened to some extent, the physical change in me began. My breasts formed, my hips changed and became softer and rounder. And at the same time other forces began to stir in my brain and to choke whatever remnants of Andreas still remained there. A new emotional life was arising within me.” ’
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