Why Victorian lesbian history is more than just escaping to the woods

Why Victorian lesbian history is more than just escaping to the woods
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In short: Early queer fiction often depicted women fleeing oppressive homes for isolated lives in nature. Sarah Waters broke this trope with her 1998 debut, Tipping the Velvet. Instead of isolation, she placed her characters in the heart of urban London, forcing them to navigate—and survive within—the complex social structures of the 1890s.

Sarah Waters began writing Tipping the Velvet while pursuing a PhD at Queen Mary and Westfield College. Her research into Victorian activism, socialism, and women's suffrage inspired her to move beyond existing lesbian-themed fiction. She specifically noted that previous works, like Isabel Miller's Patience and Sarah, focused on women escaping to live freely in the woods, whereas she felt there was "so much more to lesbian history than that."

The novel functions as a picaresque adventure and a Bildungsroman, following Nan Astley from her sheltered life in Whitstable to the gritty streets of London. Unlike many historical narratives of the era, Waters chose an urban setting to explore how characters interact with their surroundings. This allows for a detailed examination of gender, sexism, and class difference through various professions—from theatrical performance and rent-boy work to domestic service.

The narrative is noted for its "breathlessly and wittily detailed" use of synaesthesia to describe the sensory overload of Victorian London. Scholars highlight Nan's journey as a moral progression; she eventually forsakes three suitors to find true love with Florence, a socialist activist. While some critics view Nan as a selfish or malleable protagonist who fails to adhere to any single ideal, others praise her resourcefulness and the novel's ability to project the era's atmosphere onto the reader's mind.

Despite its critical acclaim and a 2002 BBC adaptation, the book faced significant hurdles. Waters pitched the manuscript to ten British publishers who all rejected it before Virago Press eventually accepted the work.

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