Beginning in the nineteenth century, Germany was closely associated with homosexuality. The English spoke of the “German custom”, the French referred to the vice allemande, and Italians called gay men and women “Berlinese”. Queer people existed across Europe, of course, but German thinkers actively studied non-heteronormative sexualities and openly debated the rights of queer people, inaugurating the field of sexology. In the first decade of the twentieth century, more than a thousand works on homosexuality were published in German. Researchers from England to Japan cited German sexologists as experts and often published their own works in Germany before their home countries.

The Weimar Republic, the zenith of modernism, witnessed new social liberalization and experimentation. Fritz Lang premiered his Expressionist film Metropolis in 1927, Alfred Döblin published his dizzyingly innovative novel Berlin Alexanderplatz in 1929, and the following year Hannah Höch unveiled her Dadaist photomontage Marlene. And alongside reinventing traditional forms of artistic expression, Germans began interrogating gender roles and sexual identities. As the historian Clayton Whisnant observes, “Perhaps more than anywhere else, Weimar Germany became associated with experimentation in sexuality.” Berlin was the undisputed queer capital of Europe. By 1900, over fifty thousand gay men and lesbians lived there, and countless more visited, looking for friendship, love, and sex. By 1923, some hundred gay bars in Berlin catered to diverse groups: men and women, the old and the young, the affluent and the working class. Nightclubs like the Mikado, the Zauberflöte, and the Dorian Gray became international hot spots, and the city’s elaborate queer balls attracted worldwide attention. Associations offered opportunities for socializing and political organization. Crucially, relaxed rules of censorship allowed for the publication of dozens of pulpy gay novels, queer periodicals, and even personal ads. The British writer Christopher Isherwood, whose account of his thirties stay in Germany inspired the musical Cabaret, put it simply: “Berlin meant boys.” In 1928, the poet W. H. Auden similarly described the German capital as “the bugger’s daydream.” In her famous guide to the Berlin lesbian scene from the same year, Ruth Margarete Roellig concluded, “Here each one can find their own happiness, for they make a point of satisfying every taste.”

The experience was different for trans people. The Third Sex [likely the world’s first magazine devoted to trans issues] bore the subtitle “The Transvestites”, but at the time, the historian Laurie Marhoefer notes, the term meant different things to different people. German speakers were in the middle of developing a critical vocabulary to describe the expansion of recognized identities. Karl-Maria Kertbeny coined the word homosexual in 1869, and in 1910 Magnus Hirschfeld invented the term transvestite. It described both cross-dressers and transgender people. According to contemporary self-reports, some transvestites considered themselves homosexual, but most did not. Many wore clothes traditionally associated with the opposite sex only on special occasions. Others lived fully as a gender different from their sex at birth. A majority seemed interested in passing and adhering to expectations of respectability, while a minority sought to challenge the normative order. Gender affirmation surgeries were available — the first such operation was conducted in 1920 by, no surprise, a German doctor — but uncommon. From today’s perspective, it is therefore unclear whether an individual who identified as a transvestite in thirties Germany, including Hans Hannah Berg, was what we would today consider transgender, nonbinary, a cross-dresser, or something else altogether. In the very first issue of The Third Sex, an essay by Dr. Wegner acknowledges the richness of the term. “Just as people are all different in their outward appearance and inner attitudes, so are the characteristics of transvestites.” Many queer activists in the Weimar Republic were concerned that the population of gender variant people was too fragmented. Trans people were not as visible or as organized as gays and lesbians. Friedrich Radszuweit, the leader of the Federation for Human Rights and the publisher of several queer periodicals, saw a solution. To foster a trans community, he produced The Third Sex.

Matthew H. Birkhold, “A Lost Piece of Trans History”, The Paris Review, 2019-01-15.