He was wrong.  

In Nazi Germany, sleep was a poor protection from the horrors of the external world, as Charlotte Beradt, a Berlin journalist, found out. Beradt, a Jew and a Communist—and thus an ultimate outsider in Hitler’s state—began having unsettling dreams shortly after the Nazi takeover of the government in 1933, dreams of being “chased, tortured, shot at, [and] scalped,” from which she awakened drenched in sweat. Wondering if others might be having similar experiences, she began collecting dream reports from neighbors, friends, and acquaintances, aided in some cases by a friendly physician who would ask his patients about their dreams in the context of their office visits. She recorded them in her notebook or on scraps of paper, often in coded language so they would be unrecognizable to prying eyes, especially of the police. This project engaged her from 1933 until she left Germany in 1939, ultimately winding up in New York City and settling among a community of German expatriates and refugees, including Hannah Arendt. She originally published her dream reports in 1966; this new English translation by Damion Searls appeared in 2025. 

The book is divided into eleven chapters, each reporting several dreams that are linked by a common thread. Patterns emerge and are echoed: initially, the loss of privacy and the intrusion of state policies into everyday life. There are dreams in which the dreamer is under surveillance or feel they must conform to state policies; Goebbels and Hitler appear in several of these, or exist in the background. There are Kafkaesque nightmares where household items like stoves and pillows become monitors of activity or nagging and accusatory voices (Beradt refers to the “Orwellian” sense of being watched, noting that the dream content prefigures Orwell’s 1984 by many years).  

Interestingly, after 1935 (and the passage of the notorious Nuremberg Race Laws) dreams show up in the text characterized by a preoccupation with the wish for the ideal Aryan body type (blonde, blue-eyed, tall), or, more commonly, the preoccupation with the dreamer’s falling short of this ideal and being singled out for it. Non-Jewish Germans have dreams in which their noses are too prominent and “the authorities” accuse them, directly or indirectly, of having Jewish ancestry. And in her final chapter, “Jewish Dreamers, or, ‘I’ll Make Way for the Trash, if Needed,’ ” Beradt catalogues the dreams of Jewish Germans, dreams of exile, loss, hounding and pursuit, and self-abnegation. 

The book is a relatively brief (122 pages) compendium of nightmares, some of which have the feel of surrealistic short film clips, which catalogues the increasing encroachment of a totalitarian state on the lives—and into the unconscious worlds—of its subjects. The author’s analyses of dreams bespeak her familiarity with dreamwork concepts (she is referred to in several biographical sketches—not part of the book—as a “member of the Berlin psychoanalytic community,” although she was not a trained psychoanalyst), and many of her interpretations are sophisticated and suggest significant familiarity with Freudian concepts.  

It is worth noting that Beradt has probably surveyed a skewed population; her subjects are mostly people she knows, or referred by people she knows and presumably trusts, and there is a selection bias, in that she has probably not approached, say, Nazi Party members or sympathizers for their dreams. A large number of the dreams seem to date from the early years of the Third Reich, 1933-1935/6; it is possible that in the later years it was just too terrifying to talk about one’s nighttime visions…or that the dreamers had started to leave the country. 

The Third Reich of Dreams makes absorbing and chilling reading. It is fascinating to see how dreams, the realm of the personal unconscious, become infiltrated by and reflective of societal change in real time. Sometimes “the royal road to the unconscious” leads straight to the dreamer’s front door.  

The Third Reich of Dreams  
by Charlotte Beradt, translated by Damion Searls 
c. 1966, 2025 
Princeton University Press 
122 pp. 

Web photo by Ed Wingate 

Kairos is the claustrophobic story of an affair between a 19-year-old woman and a married man more than 30 years her senior. Nothing unique in that situation. But this clandestine relationship unfolds against the backdrop of the last years of the German Democratic Republic before the sudden collapse of the Berlin Wall. This too is familiar territory — from novels like John LeCarre’s The Spy who Came in from the Cold and Ian McEwen’s The Innocent to popular movies like The Lives of Others. What makes Kairos different from anything that I have read about this period is the microscopic view it provides of the dysfunctional relationship between Katharina and Hans and the larger vision of reality that emerges. 

Their initial meeting is a completely chance encounter on a bus in Berlin as they shove to board it and escape the rain. They spy each other immediately and within a few pages are sleeping together. Hans is a married broadcast journalist who seems to have found a secure niche for himself despite state control of the press, while Katharine is a student in theater arts. Literary May-December romances are not uncommon, but the rushed and secretive meetings between the two lovers quickly move into less comfortable terrain. Katharine becomes increasingly insecure and less assertive in her interactions with Hans. Violent sadomasochistic behavior intrudes into their space, and Hans becomes more domineering and demanding. This is not a fuzzy tale of two star-crossed lovers who pine longingly for one another; this is obsessive territory. Over time, distrust and suspicion and mutual cruelty invade the lovers’ trysts. When Katharine leaves Berlin for a period of academic study in Frankfurt, it triggers exaggerated accusations of betrayal by Hans. He blames Katharine for being unreliable and not fully committed to their relationship and calls into question her loyalty to him. There is lots of sex and coded signals and furtive meetings to avoid detection by Hans’ wife and son. But the mood becomes chillier and more tense with each turning page. Eventually, the political uprising across Germany and Eastern Europe ruptures the novel’s narrow field of vision and alters the contour of their illicit relationship.  

The novel is bracketed by two efforts at historical reconstruction, accomplished by mining written records from the period. This highlights the power of literary narratives to frame our lives, something that Kairos accomplishes so successfully. The plot is spare but Jenny Erpenbeck has created a novel that is very thick with the lives of the two characters, and it is that richness of texture and intimacy, disturbing as it might be, which causes the book to reverberate in your memory long after you put it down. 

Why is that? What Kairos accomplishes better than other books I have read in recent memory is its ability to bring to life the impact of our social and political environment on our inner lives. The tautness of Erpenbeck’s writing, the novel’s ominous and suspicious atmosphere, are a direct reflection of what it might have been like to live in East Germany after the Iron Curtain descended and the Berlin Wall was erected. The East German domestic spy service, the notorious Stasi, infiltrated everyday life. Anyone could be an informer and everyone could be informed on. Petty offenses against the Communist party, minor disagreements between colleagues about policy, and trivial comments among friends about current affairs could quickly escalate into charges of treason, of being an enemy of the state. No one knew exactly what could provoke a summons to a closed room interrogation and a prison sentence. 

 It is in this stultifying environment that Katharine and Hans’s relationship takes shape and it is against this sweeping historical background that we confront and must try to understand their thoughts and actions. Katharine is young but seems deadened by life on the dreary East German side of the Berlin Wall with its brutalist architecture and its color spectrum ranging from shades of gray to shades of gray. For her, even a destructive relationship with an older man, a spiteful and hurtful one at that, may have provided a glimmer of hope for a “real” life. Hans has survived under the Communist regime and achieved a modicum of fame and fortune. But we can only speculate on the cost. Erpenbeck makes it clear that the price was high. The humanity of both main characters has been stunted by their reaction to living in a police state and by internalizing the distrustful depersonalizing actions of the government’s internal espionage apparatus. I suggest that Erpenbeck’s accomplishment is to show how the political environment can influence personal patterns of behavior. 

How would we have held up if forced to live under such conditions? Would one have had the courage to speak truth to power or would one have hunkered down, kept a low profile, and avoided confrontation with the state? What would we have resorted to in order to protect ourselves and our job, family, and friends? Could we have maintained our humanity and dignity? Katharine and Hans lived with these unbearable dilemmas every day and their personalities were gradually warped under the relentless pressure.  

It is easy to devalue the lives of others living in the former East Germany or Soviet Union, or current China or Iran, where men and women are forced to remain in countries that interfere with the freedom to think and express oneself and where every thought and action is under surveillance. But it would be a mistake. We should not lose sight of external factors in this country that threaten our individuality and our humanity. Whether it is political uniformity and social tribalism or blind use of the tools of artificial intelligence, we too must recognize and address the social forces that could impact on how we interact with the world and behave to one another. Like the Stasi in East Germany, these forces have the real potential to diminish our stature as moral agents.  

Neither main character in Kairos is easy to identify with and it is hard to muster sympathy for the plight of either one. But our distaste for Katharine and Hans is tempered by the knowledge that their souls have been distorted, damaged almost beyond repair, by a state that has flattened the complexity of human individuality into a file of incriminating notes based on informer reports. I suspect it may be especially hard for a woman to read this book and suffer along with Katharine as she is manipulated and physically and psychologically abused by Hans. But one cannot escape the reality that Hans too is a victim. Quality literature like Kairos does not aim to rationalize human behavior. What it can do is contextualize fictional characters and in doing so make us understand what some of our fellow human beings are going through a little bit better and with a little more sensitivity. 

Winner: International Booker Prize 2024

A Q&A with Jenny Erpenbeck and translator Michael Hofmann

KAIROS 
Author: Jenny Erpenbeck 
Publisher ‏ : ‎ New Directions; First Paperback Edition (May 14, 2024) 
Hardback: 2021, Penguin Verlag 
Paperback: 304 pages 
ISBN-10 ‏ : ‎ 0811238539 

Photo by Lucy Bruell

What makes The Magician so unique as a novel is its depiction of writing as an all-encompassing creative activity that consumes the author’s full psychic energy and that emerges out of his personal struggles as an individual. It would be impossible to affix The Magician to the back cover of all editions of Buddenbrooks or The Magic Mountain. Tóibín offers more than a page of scholarly references to help a reader gain background knowledge about Mann, his life, and the times. But if you are interested in what it might have been like for Thomas Mann to compose these monumental works, Tóibín’s book might offer the best entry point into Mann’s artistic mind and his creative persona.  

The novel covers the full panorama of Mann’s life, from his somewhat pampered childhood in Lübeck, Germany, to his final years spent in the German expatriate community of Los Angeles. The writer’s camera is laser focused on ground level details and refuses to zoom out to the big picture and lose its granular tone. The texture of the bourgeois lifestyle of the Mann family is captured in all its minutia including rowdy family meals, community engagements, and professional insults. One can almost feel the temperature rise and the climate change as Mann and his family move from Munich to Princeton and finally to Pacific Palisades. Mann exerted very tight control over his daily routine and one senses his absence on the page as he withdraws to his private study every morning after breakfast to write without any interruptions. We are excluded from this sanctuary just like his wife and children as they waited for him to emerge after lunch for his afternoon walk and some playtime with them.

Mann was more than a prominent novelist. He was a winner of the Nobel Prize in Literature in 1929, globally recognized and one of the most famous personalities of his time. He hobnobbed with dignitaries and the leading figures of the pre-World War II era, including Einstein and FDR. They parade across the pages of the novel with all their foibles and idiosyncrasies. Tóibín details Mann’s tempestuous relationship with Agnes Meyer, a leading figure in high society along the New York-Washington DC corridor. I had to look her up to learn that she was a well-known journalist and civil right activist and Katherine Graham’s mother to appreciate her impact on the world during the 1930s and 40s. 

The most striking feature of the book is the intimate recounting of Mann’s tortured struggles with his sexual orientation, which infiltrated his fiction from the very beginning of his career. He never denied his homoerotic longings and Tóibín delicately describes the many occasions during his long life when Mann was overwhelmed with desire for a particular man and his secretive attempts to act on his cravings. But he was a man of his era and was forced to submerge his identity as a gay man most of the time. The emotional cost of a life lived closeted on the one hand, and as the married father of six children on the other, is readily apparent. Reading The Magician motivated me to reread Death in Venice and made me realize the courage it must have taken for Mann to portray Aschenbach’s tragic story in such complex but precise prose, to reify his own emotional turmoil without sanctimony or defensiveness. Tóibín’s prose is the ideal conduit to channel the roiling interface between the Mann of the larger world and the inner literary mind of a flesh and bones historical human being. 

The Magician is an engrossing reading experience that also has special salience for followers of the MedHum website, which explores the role of the individual in a changing society. A key element that drives the narrative forward is Mann’s engagement with the political developments in Germany over the long period spanning from the lead-in to World War I, to the outbreak of hostilities in August 1914 and again in September 1939 and the devastating war years, and ending with the rebuilding of his native country. At the start, Mann saw himself as heir to a tradition of German intellectual excellence and nobility. He took great pride in his country and patriotically defended the decision to go to war against France, Britain, and Russia in August 1914. However, he recognized the dangers posed by the Nazi seizure of power and openly decried the degradation of public life. Mann felt the Nazi destruction of the German cultural heritage as a personal betrayal. Mann recognized early on the brutality of the antisemitic legislation and the attacks on his Jewish colleagues. He was forced to weigh loyalty to country against the defense of universal humanistic principles and he struggled to find a path forward between these competing ideals.  

As Hitler rose to power, were Mann’s instincts right that this would bring calamity to Germany, or should he have had trust in his fellow citizens that things would right themselves? How much could Mann rely on his interpretation of unfolding political events and his prediction of what the future would look like? Once the Nazis consolidated their dictatorial control of the Reich and set out on a course for total war and extermination of the Jews, should Mann have been a strident and outspoken opponent of the regime or should he have worked more discreetly behind the scenes? Should he have remained in Germany and risked his own life and the safety of his family, especially his wife’s Jewish relatives, or sought refuge in America, where he could serve as a champion of cultural enlightenment and world peace? How does one weigh the facts and decide on an effective course of moral action? How does one choose among imperfect options? 

Like all of us, Mann was forced to anticipate events and make painful decisions—decisions that would play out over time and have consequences for others– in real time and with only partial or inaccurate data. Much like the case with physicians and other health care professionals, most of these decisions will work out well, some will be imperfect, and a few will even be wrong. Tóibín’s novel, history as fiction, vividly illustrates the human predicament of living while moving forward with uncertainty and anxiety because full clarity only comes in retrospect — something that doctors understand because they experience it nearly every day in encounters with their patients.  

The Magician – Reading by Colm Tóibín & Conversation with Friedhelm Marx at the Thomas Mann House 

The Magician: A Novel 
Colm Tóibín 
New York: Scribner, 2021, 512 pages  

Photo of Thomas Mann generated from Wikicommon Photos

Strauss and Schonberg were products of high German culture and were inspired by the notion of bildung, that man’s perfection is achievable by embracing the humanistic arts. Of all the elements of culture – visual arts, literature, sculpture, dance – for Germans, music was considered the ultimate and most noble embodiment of the human spirit. How could one maintain this enlightened vision of bildung after witnessing the dark years of the Third Reich? That is the tragedy that confronted these two men. Strauss, a non-Jew, had to reconcile his prestigious position in the German musical establishment and his social status with the need to toady up to the Nazi brass to save the lives of  members of  his family by marriage who were Jewish. He never renounced Hitler or the Nazi party. Schonberg, who earlier in his life followed Gustav Mahler’s lead  and converted out of Judaism to the Lutheran church, was still forced into exile to escape the Nazis, and thrived in a German expatriate community in Los Angeles. The world war reawakened his self-identity as a Jew and forced a reassessment of his relationship to his fellow Jews. Eichler sees Strauss’ Metamorphosen and Schonberg’s Survivor of Warsaw as timeless musical monuments to those who suffered and perished at the hands of the Nazis, works that gain their special power by being expressions of each man’s inner turmoil.

Britten and Shostakovich lived in an entirely different world than Strauss and Schonberg. Nonetheless, they too suffered though the ravages of the Second World War. Britten, a gay man and committed pacifist, never served in active military duty. But he witnessed the nightly bombings of England and the German artillery attacks along the coastline near where he lived. Shostakovich was alternatively celebrated and reviled by Stalin. He lived a life of continuous dread, trying to survive as a person and musician when a death sentence could come at a moment’s notice at the whim of the Great Leader. Britten was commissioned to write a musical piece to accompany the dedication of the Coventry Cathedral which had been nearly destroyed by a night-long Wehrmacht bombing raid; Shostakovich was inspired to write his 14^th Symphony after reading  Yevgeny Yevtushenko’s 1962 poem “Babi Yar”.  For Britten, the War Requiem was a pacifist’s response to the self-destructiveness of war and the grievous loss of a generation of young able-bodied men; Shostakovich’s work was his attempt to come to grips with the moral blindness of the Russian people who denied their complicity with the Nazi murder of 33,000 innocent Jewish men, women, and children at the ravine outside Kyiv in broad daylight, in one ghastly day.  

This overview hardly captures the dense description of these four men and the turbulent times they lived through. There are astonishing subplots and characters in each composer’s narrative. Eichler retells how Schonberg originally reached out to Serge Koussevitsky to premiere Survivor of Warsaw. When the conductor demurred, the inaugural concert ended up being performed by a community orchestra and choir in Albuquerque, New Mexico. When Britten toured the Displaced Person camps after World War II and played piano accompaniment with the violinist Yehudi Menuhin at Bergen Belsen, the intensity of his playing profoundly affected a young Venetian woman named Anita Lasker, who survived the Holocaust only because she had been enlisted to play in the inmates’ orchestra, directed by a colleague of Strauss and Schonberg. There is so much in Time’s Echo and the best advice is to allow yourself to be immersed in the book. 

Eichler is a precise and enthusiastic writer, and he fully captures the emotional toll of living through the two World Wars, in Germany, England, and Russia. The inhumanity of the trench warfare in World War I, the insane hatred driving the Nazi genocide of the Jewish people in Europe, the unprecedented destructiveness of World War II, the senseless starvation and killing of millions of Russians during the forced agricultural collectivizations and the German siege of Leningrad – all of these are depicted by Eichler in stark prose. 

There is so much to comment on. Let me focus on one point – Eichler’s assertion that music is the optimal way to memorialize events in the past. To begin, one might question the need to remember altogether. In Zachor (University of Washington Press, 1982), Yosef Dov Yerushalmi documents how important memory is to the Jewish people. History is not a simple record of dates and facts. Instead, history and memory are meant to bring the past to life and reinforce faith and commitment. But David Rieff, in the book In Praise of Forgetting: Historical Memory and its Ironies (Yale University Press, 2016), suggests that overemphasis on memory of past events can ensnare people in a web of accusations and counterclaims and weaken individual agency. And do the musical memorials composed by the four composers point a way forward to overcome the failings of the past or do they create an emotional trap? The swirling currents of hatred circling our world today give pause to any notion that the works of these composers have brought us any closer to a world of tolerance and peaceful coexistence.  

All of the senses participate in the formation of memory. Proust famously wrote about how the smell of a madeleine evoked deep-seated memories in one of his characters. Eichler gives pride of place to hearing and music. There is no question that hearing a particular popular song or piece of music often triggers recollection of pivotal moments in a person’s life. Eichler has a wonderful feeling for the musical compositions, which range from seven minutes to over an hour long and play such a central role in Time’s Echo. However, I wonder whether most of us can delve as deeply into the content and feelings articulated in a piece of music. It is not the evanescence of sound per se that makes me uncertain, because all sensory perceptions are transitory and both sights and sounds can be captured and reserved for posterity in photographs and recordings. But it is the complexity of classical music that I find daunting. In Rebecca Goldstein’s book 36 Arguments for the Existence of God: A Work of Fiction (Pantheon, 2010), there is a scene in which a math prodigy and his genius friends are sitting around and for entertainment, they challenge each other to sing variations of famous classical music pieces like a Bach prelude shifted up by a third, changed from the major key to minor, or starting from the middle and going backwards. Do we need to understand music with such precision to be moved by the complicated creations of Schonberg, Straus, Britten, and Shostakovich? I’ve listened to the four pieces of music discussed in the book, and though I was moved, I know I was not as appreciative as Eichler of their artistry and nuance.  

Three of the compositions were accompanied by text to focus and amplify the impact of the music. Some of the choices were straightforward, like the poem by Yevtushenko. But the selection of works by Wilfred Owen to accompany the War Requiem and the words that Schonberg wrote to be read during the performance of Survivor of Warsaw contribute greatly to the emotional power of the two works. So much to ponder, so much to learn.

Echoes lose their intensity as they bounce off surfaces and spread out in space. Eichler’s book does not echo, it resonates and amplifies. It is overflowing with content that touches on so many topics and issues. It activates each one and gets them vibrating, different frequencies, different pitches. In the end, Time’s Echo creates a symphony of ideas that we can all read and listen to, one glorious mixed metaphor

TIME’S ECHO
Jeremy Eichler
Knopf, 2023, 386 pp

Born in Berlin to a Jewish father and a Christian mother, Harry Benjamin (1885-1986) became a physician in 1912 at a time when German physiology and medicine had much to celebrate. He ended his days in New York City more than a century later, a much lauded, if controversial founder of the entirely new field of transgender medicine. The path was not easy as his own transitions were often painfully turbulent: bullied as a schoolboy for being neither Jew nor Christian, shunned in wartime America for being German, accused of quackery for being an advocate of glandular therapy. And he transited the Atlantic many times always both at home and alien on two continents. Nevertheless, he kept his faith in the miraculous effects of hormones and held fast to an undiminished will to help people live happier lives. 

Using intimate diaries, letters, and interviews in both German and English, Alison Li has written a sensitive, insightful biography that not only traces this remarkable life, but also tracks the birth of endocrinology and the advent of an unprecedented discursive consciousness that challenged social norms. Her earlier biography of J.B. Collip, biochemist of insulin fame, provided her with extensive knowledge of emerging hormones; she handles the technicalities with deft, accessible prose.  

From witnessing the “resurrection” of a moribund patient with dried thyroid medication, Benjamin was captivated by the potential of hormones to bring even the sickest of people to perfect health. Initially intent on the rejuvenating possibilities, he thought of his work as “gerontotherapy” –treatment of the elderly – not so much to live longer but to live better. He became a devoté of Eugen Steinach and his procedure – which aimed to enhance hormone production of the gonads by suppression (through X-irradiation) of their competing elaboration of eggs or sperm. As the female and male hormones became commercially available as pills, they were added to the protocol. Inevitable slippage led to equating (or reducing) these goals to enhancing sexual prowess and attractiveness. 

Along the way, Benjamin encountered many prominent figures, and we read their impressions of each other. Havelock Ellis, Alfred Kinsey, Robert Masters, and Robert A. Wilson make appearances. The semi-autobiographical novel Black Oxen (1923) of his ever-loyal Californian patient, Gertrude Atherton, proclaimed the power of glandular therapy to a wide public and cemented Benjamin’s reputation for dealing with problems of sexuality. From listening carefully to each patient, he realized that the socially pervasive male/female binary failed to reflect individual identifications and orientations; gender was not a duality but a spectrum. Language had to evolve too and that is another theme of the book.  

Married to a much younger woman, Benjamin consulted Sigmund Freud when his desire for her waned; however, thinking of himself as a courtly ladies’ man, he was offended by Freud’s suggestion that he could be a latent homosexual. The experience conditioned his mistrust of psychoanalysis. Choosing physiology over psychology, both men, we learn, underwent Steinach’s treatment.  

With an office in New York City and later a satellite in San Francisco, Benjamin moved in a heady circle of artists, writers, politicians, and intellectuals—striving to find comfort in their own identities. He viewed the source of what became gender dysphoria as something biological.  Instead of fixing the mind, he sought to repair bodies to match minds. For some, peace came from simply living as one of the opposite sex, for others it was hormones, and eventually, for some, it was surgery. Benjamin befriended Christine Jorgensen and collaborated with a few surgeons willing –even eager–to develop operative interventions that resulted in physical sex change. After their transition, he continued to follow his patients to understand if and how the procedures had helped their quality of life. 

Always in private practice, never associated with academe except through research organizations of his own creation, Benjamin was dismayed by how his work was shunned by the medical establishment. From 1929 to 1935, he waged a lengthy lawsuit against Morris Fishbein the crusty leader of the American Medical Association for having disparaged him and his work. Benjamin wanted a retraction and an opportunity to explain in the pages of JAMA how his treatments were based in scientific research. He never got it. 

Nevertheless, at the end of his long career Benjamin witnessed the establishment of gender identity clinics at universities beginning with John Hopkins University and extending to some twenty sites by the late 1970s. He also witnessed their numerous closures in the 1980s as a struggle was waged between those who saw gender dysphoria as a mental illness– not deserving of physical intervention, and those who followed Benjamin’s pragmatic, biological approach.   

With curiosity and tolerance, Li probes the convoluted path of Benjamin’s career. She recreates the atmospheric ambience of exotic pre-war Berlin and the heady optimism of post-war America. She privileges the stories and perspectives of well-known trans people –Renée Richards, Reid Erickson, Jan Morris and many others. Without defensiveness, she presents the current criticisms of Benjamin and his so-called “standards” that had been generated to guide the medical approach to people with gender dysphoria. She treats the critics with the same attentive balance and consideration that Benjamin gave to his patients.  

As a physician, Benjamin could scarcely formulate solutions to the distress of those who sought his help in any way other than through a disease model. His efforts brought their plight out of the shadows of deviance and crime to the attention of well-intentioned minds who applied pills and procedures to serve their complex needs, empowering them to live openly, and enabling them to eventually reject the disease model entirely. Trans is diversity—one of many to populate the postmodern world. This is a very good book. 

Wondrous Transformations: A Maverick Physician, the Science of Hormones and the Birth of the Transgender Revolution   
Alison Li
Chapel Hill NC: University of North Carolina Press, 2023 

https://uncpress.org/book/9781469674858/wondrous-transformations
https://alisonli.com