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I think pretty regularly about the claim against the queerness of BL that BL was originally constructed for and by women, especially straight cis women. To begin, the last clause of that statement frankly has no possibility for legitimate measurement. Even without the problems of queer identity formation and identification that might prevent people from identifying themselves as such, publishers and marketing analysts haven't actually been going out surveying sexualities. My bigger issue with the claim, however, lies in the implication that women ought to have no voice in the creation and depiction of queer male characters, when the relationship between women and queer men has been foundational for both at a broad level (and for many queer men like me, personally).

On my bookshelf, I have a collection of personal essays titled "Girls Who Like Boys Who Like Girls: true tales of love, lust, and friendship between straight women and gay men." I've had a preoccupation long preceding my engagement with BL with those types of relationships. I looked for it in media to feel represented. The ending of My Best Friend's Wedding where Julia Roberts character ends the movie dancing with her gay best friend was an even happier ending in my mind than romance. Then, there were the women who had their hearts broken by a gay protagonists coming-out narrative like Abby in Love, Simon only to reassemble it with a deep friendship. I had to adjust my ideas of queerness when viewing stories from cultures with gender segregation in schooling or more broadly. For me, gay male identity had a relationship to women (all shapes, sizes, and sexualities) at its core. We all lay distanced from macho masculinity and its orientations.

Queer men had a role in constructing many revolutionary female personas and characters that influenced women's self-perceptions and societal roles, for better and for worse. Think of the Euro-American fashion designers, the hair and make-up artists, the writers and directors who collaborated and/or shaped the great models, divas, and icons of the twentieth century, and likely prior (although the concept of queerness becomes a very different beast beyond Euro-America in the past 100 years). Behind the Screen: How Gays and Lesbians Shaped Hollywood, 1910-1969 by William J. Mann provides a wonderfully intricate and well-researched history about that work. Both women's rights and women's wrongs: queer men created them and queer men celebrated them, ideologically and in the marketplace, in a partnership that had a purpose for mutual freedom from puritanical laws and social expectations.

Did they always hone in on the realities of women's experience? Certainly not. Realism, as we know it, was neither in-line with the genre expectations at the time nor a fully-realizable possibility for men who only bore passing witness to their female allies. Witness always comes with its limits on perspective, but those limits are the forges of storytelling. Instead, these men, despite the areas of ignorance, designed complex and empathetic portraits of power, faltering, suffering, and striving, across the spectrum of feminine to butch.

I will forever kick myself for forgetting the book or article or post I read where a gay-identified man discusses how women might not have insight into all the aspects of every day gay life, but they see and create a version of gay men that's devoid of the self-pity and self-effacing irony gay men have portrayed themselves with historically, which somehow arrives at an emotional reality that feels more honest to his experience. That's the essence of BL for me. The queerness lies not in the accuracy of anal sex depictions or relationship dynamics--some reflect reality and some don't, so what? The creators of BL as a genre develop queer male characters that are soft, sensitive, and often without the artifices gay men have had to put on to endure. To quote a Carly Rae song, they 'Cut to the Feeling.'

Women's fictional prowess in writing queer men isn't novel to BL. One of the most notable examples is Mary Renault, a prominent queer English author in the mid-twentieth century of especially historical fiction, like The Charioteer, The Last of the Wine, and her Alexander the Great trilogy, among others. Enjoy here a elder gay man's engagement with her fiction for The Guardian. It's not simply that her books struck a chord with some gay men, they influenced their self-perceptions, influenced the genre of gay fiction, and garnered an even broader audience of support for queer characters, holding bestseller status prior to the legalization of homosexuality.

What's so noxious and ignorant about the criticism with which I started, even as some people bring it up with good intent, is the idea that an identity is created in isolation. Our experiences are not ours alone. We impact other people, and other people are watching us with care. Women have long had an outsized role in producing influential fiction and circulating it with joy over its observations about people and their social dynamics. Why set a boundary for them around queer men, when in fact we have a whole history of reasons to understand one another? Not all women will get it because they're not a monolith, and not all queer men will vibe with each or even any of the stories because neither are they. Still, BLs' observations might hold truths about queerness for some that other genres don't offer.

We actually have a few scholars offering evidence of BLs' influence, if so far limited, in queer self-concepts. In "Faen of Gay Faen: Realizing Boys Love in Thailand betwixt Imagination and Existence" by Kang-Nguyen Byung'chu Dredge, the author describes how in Thailand "gay couples recreate Japanese bishonen (beautiful boy) and BL imagery in their own photos." That essay's alongside many others that detail the relationship of BL to fan identities across East and South Asian nations in a collection, Queer Transfigurations: Boys Love Media, edited by James Welker, with the input of many Asian scholars (2022). I'd recommend it to people interested with the caveat that there's been massive political and cultural shifts regarding these topics in those regions since even 2022. Thailand's marriage equality law wasn't initially submitted until 2023! And the BL industry has grown dramatically.

Women and queer men and, in fact, plenty of people with gender identities outside of the western binary have built up these stories and this industry together. Women's contributions or exclusions of certain gay male practices don't necessarily make a work less gay. I probably sound like a broken record at this point trying to widen the breadth of queer inclusion on my blog.

Is there even a possibility for something not to be queer in my book? Well, yes. Boys kissing boys won't fall into that category, though, unless its played to disgust the audience and discourage queer relationships. And there are instances in many queer works, Western and BL alike, including media by queer-identified individuals, that disparage specific queer relational dynamics or behaviors or simply fail to evoke the full-force of queer desire. Of course, we all fail on these fronts sometimes, allies and queers alike.

What I will say is that many women were and continue to be as much as a part of my queer development as queer men, if not more than. I value their insights. I value how they have listened to me. I value their observations about what they see in me. I value their vision for my feelings and future even if it's not always what I have in mind for myself. They have an important place in my life and have every right to have an important place in queerly crafting BL. If we have an issue, let's do our best to name the actual issue rather than revert to over-generalizations about someone's identity.

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