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FORUM: 1776. Views from the British World. “Called It Macaroni”: A British Queer History of the American Revolution

Published online by Cambridge University Press:  28 September 2026

Charles Upchurch*
Affiliation:
History Department, Florida State University, Tallahassee, USA
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Abstract

Timed to coincide with the two hundred and fiftieth anniversary of the Declaration of Independence that launched a revolution that created the United States of America, this series of articles complicates traditional narratives of this transformative event by situating it in a larger British world context. This article outlines the methodologies informing and content of my current book project, “Called it Macaroni”: A British Queer History of the American Revolution, as I presented them in public-facing lectures for Tallahassee Pridefest in 2025 and 2026. This project examines a range of individuals, from the lowest to the highest social ranks on both sides of the American Revolution, who expressed feelings of same-sex desire or trans gender. Also, more importantly, it explores the ideologies that underpinned the American Revolution, and highlights the ways in which they contain the basis for queer and trans inclusion, as well as supporting critiques of injustice around race, class, gender, and citizenship more broadly. I argue for the value of starting the story of the American Revolution in Britain in the seventeenth century and ask whether doing so, and placing aspirational ideals at the heart of the narrative, can provide a framework for a simultaneously optimistic, historically accurate, and broadly inclusive narrative that does not misrepresent any group's struggle for the sake of forging a consensus.

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Type
Forum
Creative Commons
Creative Common License - CCCreative Common License - BY
This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0), which permits unrestricted re-use, distribution and reproduction, provided the original article is properly cited.
Copyright
© The Author(s), 2026. Published by Cambridge University Press on behalf of The North American Conference on British Studies.
Figure 0

Figure 1. Slide 14 from the 2025 Tallahassee Pridefest Lecture, playfully illustrating the politics of the Glorious Revolution. Centre: John James Baker, The Whig Junto, 1710, oil on canvas, Wikimedia Commons; Left: Peter Lely, Portrait of Mary II when Princess of Orange, c. 1677–1680, oil on canvas, Wikimedia Commons; Middle: Godfrey Kneller, Portrait of William III of Orange, c. 1690, oil on canvas, Wikimedia Commons; Right: School of Peter Lely, James II (1633–1701), Wearing Garter Robes, between 1650 and 1675, oil on canvas, Wikimedia Commons.

Figure 1

Figure 2. Slide 32 from the 2025 Tallahassee Pridefest Lecture, illustrating the progress in the topics covered, and an exaggerated depiction of contrasting masculine styles. What is this my son Tom [mezzotint] (London: published by R. Sayer & J. Bennett, 1774). British Cartoon Prints Collection (Library of Congress).

Figure 2

Figure 3. Slide 18 from the 2026 Tallahassee Pridefest Lecture. Cartoon critiquing George Germain (Lord Sackville) with inset emphasizing his exposed buttocks. Who shewd his reaer at Minden 1759 (graphic). Caricatures and Cartoons, Satires (Visual Works) England 1759, Etchings England London 1759, Book illustrations, publisher not identified, Lewis Walpole Library.

Figure 3

Figure 4. Slide 50 from the 2025 Tallahassee Pridefest Lecture. Images representing feminists, abolitionists, individuals who trans gender, and effeminate “macaronis,” each referenced earlier in the lecture, are placed in the same boat as George Washington and other revolutionaries. Main image: Emanuel Leutze, Washington Crossing the Delaware, 1851, oil on canvas. Wikimedia Commons; Left: Joshua Reynolds, Bildnisstudie einer jungen Dame. C. 1760–1765, oil on canvas, Wikimedia Commons; Centre left: Francesco Bartolozzi, after Thomas Gainsborough, Ignatius Sancho, 1802, print, Wikimedia Commons; Centre right: Victor Marie Picot, after a painting by Charles Jean Robineau, The Assaut, or Fencing Match, which took place at Carlton House on the 9th of April 1787, between Mademoiselle La chevalière D'EON DE Beaumont and Monsieur DE SAINT GEORGE, 1789, stipple engraving, Wikimedia Commons; Right: Philip Dawe. The Macaroni. A Real Character at the Late Masquerade, 1773, mezzotint, Wikimedia Commons; Quotation: L. H. Butterfield (ed.), The Letters of Benjamin Rush, vol. 1, 1761–1792 (Princeton, 1951), lxviii.