Tipping the Velvet

From the moment Nancy Astley sees Kitty Butler, male impersonator, on the music hall stage, her life is changed forever. She moves from happiness to heartbreak, from street pickups for survival to becoming a "boy toy" for a wealthy, sadistic Sapphist to true love. More than "adult literature" or a "lesbian picaresque," the story chronicles a young woman's coming of age -- admittedly, with a twist. Exceptional writing by Sarah Waters and a breathtaking performance by Juanita McMahon provide a rare view of London's demimonde. McMahon's throaty voice and wide variety of authentic accents bring Victorian-era sexuality, lush in its erotic detail, to life. Her narrative power is especially impressive in the Socialist call-to-action speech Nancy makes toward the book's finale. Nancy's story is well written, entertaining, and artfully performed. S.J.H. (c) AudioFile 2003, Portland, Maine

Starred review from May 3, 1999
With a title that's a euphemism for cunnilingus and a plot awash with graphic lesbian sex, this lush tale fearlessly and feverishly exposes the political, social and sexual subversions of Victorian-era gender-benders: sapphists, libertines and passing women. Set in 1890s London against a backdrop of music halls and socialist demonstrations, Waters's debut (published to acclaim in England) is an engrossing story of a "tommish" woman battered and buoyed by the mores of the times. At 18, Nancy Astley is a fishmonger in coastal Whitstable, working with her sister and parents in the family oyster parlour. Smitten by male impersonator Kitty Butler, Nancy attends every show at the Canterbury Palace until the star notices her. A stunned Nancy finds herself Kitty's companion and dresser, and sexual tension keeps the pages turning as she becomes first Kitty's sweetheart, then her partner ("two lovely girls in trousers, instead of one!") in a wildly successful stage act. Kitty's shame over her sexual preference sends her into marriage to their manager, Walter Bliss, propelling devastated Nancy into a series of erotic excursions and a struggle for survival, first passing as a young man and hustling, then as wealthy widow Diana Lethaby's kept "tart," finally as the housekeeper for union organizer Florence Banner. Waters is a masterful storyteller, tantalizing the reader as Nancy endures melancholy squalor, betrayals, the lustful motives of swindling gay-girls and imperious ladies. The circumstances by which Nancy finally finds true love are unpredictable and moving. Amid the gentlemen trolling Piccadilly Circus for trysts with "renter" boys and the wealthy female guests of the Cavendish Clubs "Sapphists Only" parties, Nancy's search for love and identity is a raucous, passionate adventure, and a rare, thrilling read. Agent, Judith Murray.

From the moment Nancy Astley sees Kitty Butler, male impersonator, on the music hall stage, her life is changed forever. She moves from happiness to heartbreak, from street pickups for survival to becoming a "boy toy" for a wealthy, sadistic Sapphist to true love. More than "adult literature" or a "lesbian picaresque," the story chronicles a young woman's coming of age -- admittedly, with a twist. Exceptional writing by Sarah Waters and a breathtaking performance by Juanita McMahon provide a rare view of London's demimonde. McMahon's throaty voice and wide variety of authentic accents bring Victorian-era sexuality, lush in its erotic detail, to life. Her narrative power is especially impressive in the Socialist call-to-action speech Nancy makes toward the book's finale. Nancy's story is well written, entertaining, and artfully performed. S.J.H. (c) AudioFile 2003, Portland, Maine