Interview with Laurie Lee Hall

Laurie Lee Hall is an American architect, author, and transgender woman whose professional life was closely interwoven with The Church of Jesus Christ of Latter-day Saints. Raised in New England, she studied architecture at Rensselaer Polytechnic Institute before spending roughly a decade practicing in New York. In 1996, she moved with her family to Utah to work for the Church, eventually becoming its chief architect and overseeing the design and construction of temples around the world. Alongside her career, Laurie served in several Church leadership roles, including bishop and stake president, all while quietly wrestling with a gender identity she had carried since childhood.

 

In 2011, while still serving as stake president, Laurie began studying gender identity in earnest and started coming to terms with who she was. Her transition eventually cost her a career she had built over decades and, in 2017, her Church membership through excommunication. She has since become deeply involved with Affirmation: LGBTQ Mormons, Families & Friends, receiving its Paul Mortensen Award in 2023 as its first transgender recipient. Her memoir, Dictates of Conscience: From Mormon High Priest to My New Life as a Woman, was published by Signature Books in November 2024. Laurie continues to practice architecture, write, and speak publicly, and lives in Kentucky with her partner, Nancy Beaman, and their combined family of nine children and twenty-four grandchildren. It is my great pleasure to welcome her to The Heroines of My Life.

Interview with Ai Haruna

 

Ai Haruna (はるな愛, Haruna Ai), born on 21 July 1972 in Osaka, is one of Japan's best-known transgender women, a television personality, singer, actress, stage performer and entrepreneur whose extraordinary journey has taken her from a bullied child dreaming of becoming an idol to international fame and, most recently, to seeing her own life adapted for Netflix. From an early age, Haruna was drawn to femininity, music and performance. She loved Japanese idols and appeared in singing and impersonation programmes as a child, developing her passion for entertainment long before she had the language or freedom to fully understand herself. Away from the stage, however, her adolescence was marked by severe bullying and pressure to behave in a way others considered properly masculine. In her autobiography, Subarashiki, Kono Jinsei (This Wonderful Life), she later revealed a far more difficult private life behind her glamorous public image, including her father's debts and violence, bullying so severe that she contemplated suicide, the awakening of her sexuality, working as a hostess from the age of fourteen, a broken engagement and years of financial struggle. As a teenager, Haruna discovered Japan's newhalf stage world, where glamorous performers were living and working publicly in feminine roles. At seventeen, she entered that world herself, developing the skills that would later define her career, singing, dancing, impersonation, comedy and the ability to command an audience. She also tried to build a conventional music career, making an early record debut under the name Onishi Kenji. Her dream, however, was not simply to become known as a transgender entertainer. She wanted to become an idol and be recognised as an artist in her own right.

Interview with Jamie DeCoursey

 

For seven decades, Jamie DeCoursey lived behind a carefully constructed facade, existing inside what she evocatively calls a “windowless house.” Raised in a devout Catholic family alongside five brothers in the mid-1950s, an era defined by rigid binary gender roles and deep societal intolerance, she knew from early childhood that something fundamental set her apart. As young as four, she harbored quiet dreams of magically transforming into a girl, later finding brief, fleeting moments of recognition in front of the bathroom mirror. Yet without the vocabulary, examples, or safety to express her feelings, she locked the doors to her inner world. She coped by suppressing her identity, channeling her energy into becoming an active, sports-loving, people-pleaser, and keeping her true self hidden from even those closest to her. To the outside world, Jamie built an exemplary, highly accomplished life. She enjoyed a long, successful career as a healthcare executive, raised two sons, and fulfilled every role expected of her. Yet performing her assigned male role functioned as a secret prison for her female soul. She survived by cycling through extended periods of hiding and guilt, occasionally allowing her true identity to quietly surface in small, hidden ways, wearing female clothing beneath her business suits, shaving her skin smooth, or trying on makeup in moments of solitary expression.

Renée Richards: Beyond the Icon

 

In 1975, at the age of 41, Renée Richards underwent gender-affirming surgery and began living openly as a woman. Two years later, she would become one of the most consequential figures in the history of transgender participation in sport. Born in New York in 1934, Richards had already lived an extraordinary life before becoming a public symbol: she was a highly accomplished tennis player, captain of the Yale men's tennis team, and an ophthalmologist. In 1976, after she was outed as transgender by broadcaster Richard Carlson, she was barred from entering the U.S. Open women's competition because she refused to submit to the chromosome test demanded by the United States Tennis Association. She challenged the decision in court, and in August 1977 the New York Supreme Court ruled in her favor. At the 1977 U.S. Open, the 43-year-old Richards finally entered the women's draw. She lost her opening singles match to Virginia Wade, but reached the doubles final, where she and her partner lost to Martina Navratilova and Betty Stöve. Richards subsequently became a coach, working with players including Navratilova, and her name became inseparable from one of the earliest and most important legal battles over transgender participation in professional sport.

 

Yet the woman at the center of this history is far more complicated than the historical shorthand of "transgender tennis pioneer" suggests. Now in her nineties, Richards remains a deeply contradictory figure. The person who once went to court to establish her right to compete as a woman now argues that trans women who experienced male puberty should not compete in women's sport. That tension is at the heart of Finding Renée Richards, because the book is not interested in turning Richards into a convenient icon. Instead, it tries to recover the complicated human being behind the headline, the lawsuit and the history-making moment. And it is this woman, with all her contradictions, achievements, struggles and complexities, that journalist and author Julie Kliegman set out to find. Kliegman has spent much of their career exploring the places where sport, identity and the human stories behind public controversies intersect. Their work has appeared in publications including The New York Times, The Washington Post, Sports Illustrated, The Ringer, Slate, The Verge, Vox and Texas Monthly. They have worked as a reporter, editor and fact-checker, served as Copy Chief at Sports Illustrated, and written extensively about transgender athletes, women's sports and mental health. And now that Julie Kliegman has published Finding Renée Richards, I am delighted to welcome them to The Heroines of My Life to talk about the woman they spent years trying to understand, the extraordinary journey of researching and writing her story, and what they discovered along the way.

Interview with Sofía Diéguez

 

Sofía Diéguez is an Argentine transgender actress, singer, performer, playwright and cultural worker. She was born on December 8, 1986, in Buenos Aires and grew up in Lanús. She began studying acting at the age of thirteen and later trained in theatre, musical theatre, ballet and singing, including studies at the Teatro Colón. Her acting training also included work with Alicia Zanca, Ana María Campoy, Pepe Cibrián and Julieta Vallina. At sixteen, she was cast in Pepe Cibrián's El fantasma de Canterville, appearing in the production during the 2003 and 2004 seasons. She subsequently continued her theatrical training and toured Latin America with children's theatre productions. At the age of twenty-five, Sofía began her gender transition and temporarily stepped away from acting and performance. She later returned to the profession with a role in Un gallo para Esculapio.

 

Her subsequent television work included El Marginal, where she played La Luli, and Telefe's Pequeña Victoria, where she played Violeta. Her theatre career includes Crianzas, el musical, based on the work of Susy Shock, for which she received the 2021 ATINA Award for Female Performer. She later wrote and starred in Magenta, una sirena más allá del mar, a children's musical inspired by the figure of the mermaid and addressing identity and freedom. Her later theatrical work has included Estar System, in which she also participated in the creative and dramaturgical process, and Teoría de la Sirena, a musical biodrama and autobiographical work combining theatre, music and elements of her own life. In 2023, she made her feature-film debut in Natural Arpajou's Unicornio. In 2025, she appeared in El suelo que sostiene a Hande, a Buenos Aires theatre production inspired by the life of Turkish transgender activist Hande Kader. Alongside her acting career, Sofía is a singer and songwriter who performs under the artistic identity La Sirena. In 2022, she released her first single, La Sirena, followed by an EP featuring La Sirena, Medusa, Sola and La Poderosa. She writes her own lyrics and melodies and has also participated in musical performances and live cultural productions. Outside the stage and screen, Sofía has worked as a tutor at the Mocha Celis educational project. Her career encompasses theatre, television, cinema, musical performance, songwriting, dramaturgy and autobiographical work, alongside public work on transgender visibility, representation and trans childhoods.

Interview with Stevie Bennett

Stevie Bennett is a British transgender woman, writer, software architect, former quantitative trader, Ironman finisher and father of three. After spending decades suppressing her gender identity, she transitioned in middle age and has since documented her experiences through her writing and social media. Stevie built a long career in software development and architecture and also worked in quantitative trading. Before transitioning, she was married and became the parent of three children. She met her future wife in Dublin when she was thirty-six, and the family later lived in London and rural Ireland. Endurance sport became another important part of her life. After taking up cycling and triathlon, Stevie completed a full Ironman in 2016. Medical investigations into her hormone levels later became an unexpected turning point in her life. After discovering unusually low testosterone and experiencing subsequent hormonal and physical changes, including feminisation, she began confronting the transgender identity she had spent much of her life trying to suppress.

 

Her transition brought both profound personal fulfilment and significant upheaval. Her marriage ended, and she has written openly about the joy of finally living as herself, alongside the grief and loss connected with the changes to her family life. Stevie has since undergone gender-affirming surgery and continued to document her experiences through her publication, Fast Track Femme, where she writes about transition, family, divorce, surgery, ageing, dating, technology and artificial intelligence. Alongside her writing, she continues to work in technology and has explored the use of AI agents in software and creative projects. Today, at fifty-seven, Stevie is continuing to build a new life while remaining a parent, technology professional, endurance athlete and writer. Her story is an unusual combination of a decades-long hidden transgender identity, family life, elite endurance sport, an unexpected hormonal journey and a rapid public transition later in life.