Hostname: page-component-78c5997874-lj6df Total loading time: 0 Render date: 2024-11-10T07:10:29.728Z Has data issue: false hasContentIssue false
  • English
  • Français

Thinkiest

Published online by Cambridge University Press:  23 October 2020

Annamarie Jagose
Get access Rights & Permissions [Opens in a new window]

Extract

All my feeling for Eve Kosofsky Sedgwick comes from her writing. I wasn't a friend. I never met her or even heard her give a public lecture or present a paper. The closest we came was being bound together, one after the other, in the same edited anthology, my essay on sequence and precedence in Daphne du Maurier's Rebecca and its various adaptations following an extract from her A Dialogue on Love. If Sedgwick's essay and mine can be said to speak to each other, to strike a conversational pose, as though the breadth of a page might be mistaken for the more sociable span of a bar or table, it is only to point up the spuriousness of this effect. For whatever weight of significance the closing section of Sedgwick's essay might seem to license my finding in this happenstance—“I don't resist … secretly fingering this enigmatic pebble. I can't quite figure out what makes its meaning for me” (“Dialogue” 351)—is made implausible with the page's turn by the brutalist facade of my first sentence: “Sequence is its own alibi” (352).

Type
Theories and Methodologies
Information
PMLA , Volume 125 , Issue 2 , March 2010 , pp. 378 - 381
Copyright
Copyright © Modern Language Association of America, 2010

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Barber, Stephen M., and Clark, David L. “Queer Moments: The Performative Temporalities of Eve Kosofsky Sedgwick.” Regarding Sedgwick: Essays on Queer Culture and Critical Theory. Ed. Barber, and Clark, . New York: Routledge, 2002. 1–53. Print.Google Scholar
Jagose, Annamarie. “First Wife, Second Wife: Sexual Perversion and the Problem of Precedence in Rebecca.” Intimacy. Ed. Berlant, Lauren. Chicago: U of Chicago P, 2000. 352–77. Print.Google Scholar
Kincaid, James. “When Whippoorwills Call.” Regarding Sedgwick: Essays on Queer Culture and Critical Theory. Ed. Barber, Stephen M. and Clark, David L. New York: Routledge, 2002. 229–41. Print.Google Scholar
Sedgwick, Eve Kosofsky. “A Dialogue on Love.” Intimacy. Ed. Berlant, Lauren. Chicago: U of Chicago P, 2000. 331–51. Print.Google Scholar
Sedgwick, Eve Kosofsky. Epistemology of the Closet. Berkeley: U of California P, 1990. Print.Google Scholar
Sedgwick, Eve Kosofsky. Fat Art, Thin Art. Durham: Duke UP, 1994. Print.Google Scholar
Sedgwick, Eve Kosofsky. “Melanie Klein and the Difference Affect Makes.” South Atlantic Quarterly 106.3 (2007): 625–42. Print.Google Scholar
Sedgwick, Eve Kosofsky. “Queer Little Gods: A Conversation with Michael D. Snediker.” Massachusetts Review 49.1–2 (2008): 194–218. Print.Google Scholar
Sedgwick, Eve Kosofsky. Touching Feeling: Affect, Pedagogy, Performativity. Durham: Duke UP, 2003. Print.CrossRefGoogle Scholar
Sedgwick, Eve Kosofsky, and Frank, Adam. “Shame in the Cybernetic Fold: Reading Silvan Tomkins.” Sedgwick, Touching Feeling 93–122.Google Scholar
Van Leer, David. The Queening of America: Gay Culture in Straight Society. New York: New York UP, 1995. Print.Google Scholar
Weeks, Jeffrey. “The Late-Victorian Stew of Sexualities.” Victorian Studies 35.4 (1992): 409–16. Print.Google Scholar