  In 1994, The Transsexual Empire was re-issued with a new introduction by Raymond that explicitly takes up the new transgender politics. Her critique largely involves the claim that any gender transgression by transgender people still involves the uptake of sexist gender roles and therefore fails at genuine gender transcendence (1994, xxix). In Raymond's view, most self-identified transgender people are predominantly men who are in some way performing a stereotypical and sexist femininity (ibid.). However, she also discusses Feinberg's Stone Butch Blues, a novel which played an important, informative role in the emergence of transgender politics. In this novel, we follow the lead protagonist, Jess, who moves from the category of butch (in butch-femme lesbian subculture) to the category transsexual, and who then recognizes that transition from female to male is likewise unfulfilling. Jess ends up occupying a middle ground, identifying simply as a ‘he-she.’ Raymond's major concern with this trajectory is that, Jess ultimately refuses self-identification as a woman (1994, xxxii).