(Above, Edyth Eyde is pictured. Image from https://queermusicheritage.com/viceversa.html and courtesy of the ONE Archives)
It is often considered that queer history began at the Stonewall riots, with a protest that kicked off a real conversation on gay rights. And while the riots in 1969 undeniably had a huge impact on queer rights, it was not the first protest against the homophobic establishment. Not by a long shot. Vice Versa, a magazine being written in the late 1940s and also known as ‘America’s gayest magazine’, was drawing attention to queer stories long before the riots. It was authored by Edyth Edyde (under the pen name Lisa Ben - an anagram of the word lesbian), who sought to not only showcase that queer media was alive and kicking in the 40s, but to inspire a form of community among lesbians in Los Angeles. The magazine, often considered America's first queer magazine, clearly indicates a struggle to make queer voices heard, long before any physical protests.
Edith Eyde started Vice Versa because she was bored at work and had time to spare. At its core, Vice Versa is a review magazine. Eyde reviews contemporary books and films (such as ‘Well of Loneliness’ and ‘Turnabout’) by giving a rather long summary of the plot and then her opinion. This continued for nine issues, until she was discovered and lost her job. Publications on homosexuality were considered ‘obscene’ by law (at least until 1958) and even a gay review magazine - seemingly harmless – was breaking the law. The whole magazine is just a lesbian talking about gay books and cinema, trying to get others to also talk about gay books and cinema. On a number of occasions, she implores readers to also get involved, writing pieces and giving them a platform to express their opinions. This can be seen in the ‘Whatchama-column’, described as ‘wherein readers express their ideas and opinions’. Eyde seems to genuinely enjoy receiving criticism and feedback regarding her magazine (proved by her ‘Editors replies’), reinforcing the idea that she’s just happy to have a community to cater for, and that this is, first and foremost, a magazine for the gays.
The significance of Vice Versa lies in the fact that it is categorical proof of queer resistance, long before there was even a sign of progress towards equality. In the 1940s, there was barely any recognition of the existence of homosexuality in everyday life, let alone space for a recreational magazine that actively encouraged queer media and stories. And still, Vice Versa exists. It’s upbeat tone and enthusiasm for queer representation almost hides the continual harassment that gays underwent contemporarily. As a publication, it instead highlights a more upbeat way to interpret life as a homosexual. By diverting the readers attention to what was tangible (fiction with queer stories at the centre), she also distracted them from the ongoing marginalisation and their presentation in mainstream American media– albeit temporarily. She used Vice Versa to review queer books, plays, and short stories, which in turn introduced more people to queer media. In addition, by having material to review, Vice Versa also highlights the fact that there was media concerning homosexuality to be found at that time period. Volume 2 begins with an editorial labelled ‘Just between us girls’, highlighting the importance of ensuring few were privy to the existence of the magazine – its intended audience was to protect the space, partially because there was little else they could savour, and partially because it allowed for the flourishing of sapphic identities.
Eyde made it clear that the magazine was not political, but I personally cannot consider it anything but. A marginalised voice seeking community and familiarity? A desire for homosexuality to be so normalised that gays could read magazines about their stories? Literally having to pass the magazine out by hand to make sure the police didn’t find out? Sounds political to me. But this form of protest is more subtle, as it draws attention to what queers of the time lacked, rather than the immediate changes necessary. Eyde (Or Ben, I should say) makes it clear in her introduction of the first issue that the magazine is to provide a voice for the voiceless – namely the marginalised homosexual community in America.
Ultimately, Vice Versa is proof of queer resistance – and joy – long before homosexuals were even beginning to have rights in America. Edith Eyde’s courage in producing something just because she had something to say, no matter the risk, clearly proves that this was a serious issue – even in 1947. Even if it was only serious to a few, her voice has to account for something.
The best place to read Vice Versa is at queermusicheritage.com/viceversa0.html. The website is a little run down, but I promise its all safe and simply just outdated.
Happy pride month!
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