Trumpet (novel)

This sole element may be divided in three main subcategories: gender identity, cultural identity and racial identity. They are all developed under the main “umbrella-term” of identity, but genuinely also developed in their own specificity during the narration.The underlying theme of the novel is identity.[1] It explores many dualities such as male/female, black/white, famous/non-famous. Joss's experienced are shaped by his transgender identity, as well as his identity as a black Scottish man. Colman also grapples with not only his black and Scottish identities, but also his complex self-identity due to being adopted. The theme of identity is particularly explored through the novel's focus on names, and the changing of names, as an integral part of one's identity.

• Gender identity: the unravelling of these categories is one of the most highlighted themes in the novel, meaning that it is the first necessary step to develop and build an identity for many of the characters. It does apply to Joss of course, but also to the other characters such as Millie (she never thinks that she is lesbian since she always sees Joss as a trans man, whereas society and other characters don’t). After what appears to be a fight for the right to not conform to gender assigned roles, after the death of Joss, he is forced back into a categorised role delegated by a binary and heteronormative society.[2]
• Cultural identity: the principal location of the novel is set in Scotland in the middle of the XX century. With the storyline spanning from 1927 till 1997, a period of time that saw a lot of change. Scotland is presented as fundamentally traditional, orthodox, conservative country, where the question of identity is not even asked.[3] Many references to the patriarchal culture are seen throughout the narration, as well as with the actions of the characters (the improper use of the “she/her” pronouns by the journalist when referring to Joss; Colman’s sex desire in order to maintain, or define, his own masculinity, virility and manhood).
• Race identity: Race is also an important component in the identity of the characters. Joss is a black man, son of the Scottish nation, but lives in a country which hardly recognizes his social status as minority.[4] An interesting parallel is with the author, Jackie Kay who also grew up in Scotland, and she was Scottish through her mother and Nigerian through her father. Her life and the one of the main characters (Joss) are both of a mixture of backgrounds and many similarities can emerge between the two personalities. Living in Scotland she belonged to a true minority group of British blacks, since according to National Statistics publication for Scotland, only 1% of the Scottish population belongs to the African, Caribbean or Black ethnic groups.[5]

Colman is mad at Joss because his father had a female body. In Colman’s view, Joss is not following the gender roles imposed by the patriarchal society, that he (Colman) conforms to (see for example the scene where Colman wants to have anal sex with the journalist to impose his control on her, as expression of the culture of possession, a crucial element in a patriarchal system). It is almost ironic that Colman is marginalizing his father even if he knows how it feels to be marginalized, especially in a European context where being a black man can be difficult. Colman feels that his identity as a man is being questioned after his father’s death because he loses a sense of attachment to the safety and assurance from the patriarchal culture and system. In a sense we can see Colman categorizing people in the same manner that he gets marginalized by others.[6]

One can read how sex is depicted in the novel in two different ways: the first one is between Millie and Joss, which is described in the very first pages of the book where we know that Joss was assigned female body to birth. It is a genuine, lovely, naive relationship. The second one is the form of sex used by Colman as a form of revenge. The relationship Colman has with sex is certainly due to a trauma when he finds out that his father had female genitalia, but may also be linked to the possessive nature of the patriarchal system.

Jazz music and in general the role of the music in black culture is a form of expression through which Joss expresses his identity through his undeniable ability to play music. Music comes to be a liberating practice.[7] Every single character seems to be an instrument and part of a musical narration where the union of the characters becomes an orchestra.The role of Jazz in this novel shows a sharp contrast to other dominant themes. With a strong duality of themes, notably male and female, black and white, jazz on the other hand, offers a freedom and detachment from social norms and constrictions. With Joss being able to find comfort in his music, and of course the symbolic fact that he played the trumpet (which has a phallic shape)[8] music in this novel plays a vital role in liberating the characters from the social norms of society. It is the one consistent theme throughout the novel which does not change, even when Joss’s sex is revealed, the love of jazz remains, so much so that his friend and partner Big Red, defends him even after his death. He builds his public identity through music and with an instrument which (casually or not) reminds him of the organ he doesn’t have.  Joss found his masculinity in jazz music, whereas Colman identifies his masculinity in his physique.[9]

We are not apparently allowed to see Millie’s reaction when she discovers that Joss has the body of a woman in their first intimate encounter; we do, she gets angry and then does not mind. But interestingly, it is never mentioned again, the only remarks of transphobia that we find are from people who weren’t privately linked to Joss (except for this son of course).Through the narrations, we can only see people’s reaction to the discovery after Joss’ death, manifested through a sense of disorientation, disgust or just general transphobia. Miss Stones is the peak of this process, since she refuses to use the “him/his” pronouns from the first time she talks about Joss, denying him the legitimate recognition of his identity.[9] Transphobia then is not only addressed to Joss, but also to all the people he knew, starting with his family and friends, disregarding their opinion of him, making it all the more difficult for him to be defended when he is not there to do it himself.[8]

From the novel emerges a general perception that death is a moment that makes someone more vulnerable and exposed to the critiques from which he cannot defend himself. Private life becomes public.[9] Joss’ identity is discussed and questioned, his body is accurately analyzed, and he can’t defend himself. The only attempt to defend Joss’ is made by his wife Millie, but at the end it appears weak, blurred and almost inconsistent. After his death he is treated as “a black queer monstrosity that can be met only with derision and turned into spectacle” [6] and the only thing Millie continues to do is referring to him using the male pronouns.

Another theme in the novel is familial relationships, especially the relationship between Joss and Colman. After his father's death, Colman reflects on his childhood and how his relationship with his dad has changed over time. His relationship with his father had tension due to the fact that Colman wasn't as successful as his father. Their relationship is noticeably difficult starting from Colman’s adolescence, the moment in his life when he starts developing the typical secondary characteristics and the body becomes physically “masculine”. This tension increased upon Joss’s death and Colman discovering that his father was a trans man. At a certain point in the book, coinciding with Colman’s narration of a conspicuous part of his adolescence, Joss starts to develop a sort of envy for Colman’s body, probably seeing in him attributes that he does not possess (it is important anyway to note that the narration in this part follows just Colman's point of view). The novel ends with Colman reading a letter his dad left for him, which talks about his own father.

The novel also explores issues around race and gender. Both Joss and Colman give insight into the experiences of black people in Britain and Scotland, and the prejudices they experience. For instance, Millie's mother initially objects to their marriage on account of Joss's race. Joss not only had to learn how to navigate the world as a biracial Black person, but also as a transgender man. He had to learn how to pass as a man, and went to great lengths to ensure that no one found out he was trans beside Millie. The novel also explores the fluidity of gender perception, as characters frequently describe Joss's face transforming, becoming more feminine upon learning his identity as transgender, despite previously perceiving him wholly as male.

The novel explores issues of fame and the invasion of privacy through the media, resulting in the private life turning "horribly public".[1] This clash is illustrated through the paparazzi and media who exploit Millie's grief, forcing her to flee from her home. Colman's interviews with Sophie turn private memories public, and the novel's chapters are titled in the style of media headings and newspaper sections, mirroring the invasion of Joss's privacy and identity for public attention.