This article explores how Qiu’s queer politics in this novel have been reproduced in Heinrich’s 2014 English translation. However, issues pertaining to the de-gendering of homoeroticism and discursive intersexuality in literary translation remain underexplored. Since the 1990s, research attention has been given to the emerging gender/queer-related issues in translated literatures. A key value of this epistolary novel is her playful manipulation of fluid sexualities via pronominal markers to break free of the shackles of gender dysphoria. Through the first-person narrative, Qiu obfuscates binary gender categories, and subverts rigid gender norms and cisgenderism. Qiu Miaojin, a lesbian icon in 1990s Taiwan, left behind the quasi-memoir novel Last Words from Montmartre in 1995 that features her unique hermaphroditism ideology.
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