Genevieve Pfister, Staff Writer–

A few weeks ago, I was scrolling through one of my favorite book recommendation apps, Likewise, and came across a post from Macmillan Publishers, advertising one of their newest releases: a gay trans reimagining of “Pride and Prejudice” called “Most Ardently” by Gabe Cole Novoa, a queer trans masculine author. Once I read the description, I could not get my hands on it fast enough.

Historical literature, including some of the works now deemed “classics” by society, is one of my favorite genres-from Jane Austen’s charming wit and romance to Robert Louis Stevenson’s mystery and adventure. But I will also be the first to admit that one glaring problem with classics as a whole is their severe lack of diversity.

These stories have gained their status and recognition by a prejudiced and patriarchal society, one that privileges the voices of white, cisgender, heterosexual male writers and characters. As a lesbian, I seldom see my identity or other queer identities explicitly represented in the genre, and I am always hungry for any stories at the intersection of classic and queer literature.

So you can imagine my excitement when I found “Most Ardently” and the larger series I soon discovered it was a part of: “Remixed Classics.” And these books did not disappoint.

“Remixed Classics” is a series of young adult romance novels, all penned by different authors and published by Macmillan Publishers. Each book reimagines a classic story through each author’s unique cultural lens, resulting in a refreshingly revamped cast of characters, with tension-packed, swoon-worthy plots that honor the spirit of the originals.

Many of the other books in the series are also written by queer writers and feature queer characters, including Caleb Roehrig’s “Romeo and Juliet” reimagining, “Teach the Torches to Burn,” featuring two gay men and asexual side characters; queer nonbinary Latinx author Anna-Marie McLemore’s reimagining of “The Great Gatsby,” titled, “Self-Made Boys,” which features an interracial gay trans couple and several lesbian characters; and Black pansexual author Kalynn Bayron’s “My Dear Henry,” inspired by “The Strange Case of Dr. Jekyll and Mr. Hyde,” starring two gay men of color. There are also sapphic reimaginings of “Treasure Island,” “The Secret Garden,” and “Robin Hood,” among others.

These stories are set during the same periods as the original works, all of the protagonists are teenagers, and all of the stories I’ve read so far have happy endings. They are also impressively historically accurate, including details such as molly houses, which were secretive havens where queer men could socialize and date freely, and descriptions of different binders and chest-flattening devices that trans men might have used. They also don’t gloss over the tremendous adversity queer people have historically faced, from outing to deadnaming to horrific discriminatory treatment and violence. But the fact that it also sees queer people achieve the happy endings that they were too often denied in history helps strike an effective balance between historical authenticity and a message of hope and positivity.

Of course, one question that comes up when discussing reimaginings is why we should reimagine older stories at all?

It’s a valid question and one that is even more pressing when discussing queer reimaginings.

First, reimaginings prove that literary “classics” do not have to remain the exclusive domain of white, cisgender, heterosexual male culture. Gatsby can be a gay trans man. Darcy can fall in love with another boy. In the hands of imaginative and diverse modern writers, these stories can be subversive; they can become anyone’s stories, and there is power in that.

Similarly, reimaginings can give young adult readers windows into the classics, allowing them to connect with them in new ways. Diversifying these characters and stories may make them easier to relate to for some students, and make the stories themselves more engaging and accessible. Additionally, it might infuse these tales with new meaning for them, and help queer students feel less alone in their experiences.

Finally, reimaginings emphasize the fact that queer people have always existed-from fourteenth-century Verona to the Roaring Twenties in New York. Being reminded that we are part of a long, proud history and being able to contextualize that history through fictional characters, can be incredibly empowering and eye-opening for readers like it was for me.

All of these factors make queer reimaginings of classics a very worthwhile sub-genre, and “Remixed Classics” is a perfect testament as to why.

Genevieve Pfister ‘24 is an English creative writing major from Columbus.