Abstract

In this essay, I engage with the work of the mid-twentieth-century US suspense novelist Patricia Highsmith in order to open up the question of queerness as a historically locatable theory and practice of antinormativity in the post-identitarian, post-new-social-movement United States. I argue that Highsmith's Ripley novels offer a discomfitingly intimate counter-fantasy to the politically radical ambitions of both gay liberation and queer studies, one that reminds us of the constitutive power of commodification in the making of social fantasies of gendered and sexual subversion in the United States in the second half of the twentieth century. In offering her readers scenes that become situations in their reliance on repetition in order to create and then alleviate tension, Highsmith's Ripley novels enact a relation of attachment indicative of the momentary and addictive pleasures of consumer capitalism. Through this formal signature, I argue, Highsmith's work offers us access to a different affective history of queerness in the United States, one that illuminates the power and appeal of norms and their constitutive presence in the production of queer subjects and worlds.