Aesthetes, Ogees and "The Lady":

Queer Complications in The Line of Beauty

Lorena Russell

The Line of Beauty (2004 winner of the Booker

.Prize) follows events in the life of a young gay man in
1980's London. Nick Guest, as his name implies, is a
character who has not quite yet found his place.
When the story begins, he has moved to London to
begin graduate studies in English literature. He is
living in an attic room in the family home of one his
Oxford acquaintances, Toby Fedden. He has an
unrequited crush on Toby, and is serving as unofficial
caretaker of the younger sister, Catherine. Catherine
suffers from what is eventually diagnosed as manic-
 Russell 170
depressive disorder. Fragile and self-destructive, she
is also the one character in the text that retains a
critical perspective on her family's dysfunctions.
Gerald, the father, has just won a seat to Parliament
on a conservative ticket, and is marked by his
competitive nature and adoration of "The Lady,"
Prime Minister Margaret Thatcher. It through Nick's
_ complicated and baffling engagement with the
Fedden's that Hollinghurst unfolds his story of gay
sexuality in 1980's Britain.
This article focuses on concepts of complication
and aesthetics within The Line of Beauty to argue for a
particularly queer resonance between these two
narrative impulses. In part, my use of queer here
reflects a definition offered by Eve Kosofosky
Sedgwick in her essay "Queer and Now": lithe open
mesh of possibilities, gaps, overlaps, dissonances and
resonances, lapses and excesses of meaning when the
constituent elements of anyone's gender, of anyone's
sexuality aren't made (or can't bemade) to signify
monolithically" (Sedgwick 8). One of the major
impulses within this notion of queer is its resistance
to any simple characterization of sexuality. In the
same essay, Sedgwick goes on to offer considerations
of how the term queer moves beyond exclusive
concerns of gender and sexuality to include lithe ways
Russell 171
that race, ethnicity, postcolonial nationality criss-cross
with these and other identity-constituting, identity-
fracturing discourses..." (9). Both of these definitions
point to the tendency towards queer as a signifier of
excess and elaboration: as a term that strains at the
boundaries of categories, and functions largely
through mechanisms of complication.
On another level, the aesthetic emphasis within A
Lineof Beautystrikes me as akin to what Michel
Foucault describes in his interview "On the
Genealogy of Ethics." In conversation with Paul
Rabinow, Foucault struggles to differentiate a strain
of ethical thought that avoids the kind of prohibitive
normalizing one typically associates with ethical
systems. He tentatively differentiates the ethical
thought of the Stoic philosophers with what emerges
in the later empire. Foucault describes how for the
Stoics,
this kind of ethic was only a problem of
personal choice. Second, it was reserved for
a few people in the population; it was not a
question of giving a pattern of behavior for
everybody. It was a personal choice for a
small elite. The reason for making this choice
was the will to live a beautiful life, and to
leave to others memories of a beautiful
Russell 172
existence. I don't think we can say that this
kind of ethic was an attempt to normalize
the population. (Foucault and Rabinow 341)
For Foucault, this notion of Stoic self-fashioning was
linked to a certain austerity and fatalism, qualities
that are notably lacking in Nick's character until the
novel's conclusion. Still, when Foucault describes
"the will to live a beautiful life," he seems to me to be
moving close to describing the figure of the aesthete
that is so well-represented by Nick (and the literary
tradition of Wilde, James, Waugh, and Forster that
precedes Hollinghurst's novel). As a guiding
principle of an ethical philosophy, such concept
seems limited given our contemporary preferences for
Aristotelian and Kantian philosophies. In fact,
Rabinow describes this turn within Foucault as
"techniques of the self," a term which seems to imply
its elitist ~d solipsistic tendency (Foucault and
Rabinow 341). But by removing the notion of ethics
away from social and political structures and
translating it as a kind of self-fashioning, Foucault
seeks to carve out a space of self-expression that
would disallow for legislating sexualities.
Whether or not the aesthete offers a solid
foundation for ethical reasoning, the character of the
aesthete persists within the gay literary canon, and
Russell 173
becomes one of the central signifiers of a queer male
sexuality. If for Foucault, however, the aesthetic
marks a space characterized by a lack of social or
juridical scrutiny, for Nick Guest it remains a space
muddled by sexual. insecurities. As an elitist impulse,
as a way for Nick to seek a level of superiority and
belonging within a limited social group or family, the
model of the aesthete seems to promise a level of
social position and belonging he so desperately needs.
But his performance as an aesthete is compromised
throughout the novel by his apparent lack of Stoic
resolve, not to mention his failing performance as a
heterosexual man.
For Nick, aesthetic class aspirations are closely
linked with heterosexual privilege. When Nick feels
excluded socially, it gets expressed through
metaphors that capture his difference in terms of class
and sexuality. At Toby's big twenty-first birthday
party at Lord Kessler's magnificent estate, for
example, Nick circles the various groupings: "He saw
the great heterosexual express pulling out from the
platform precisely on time, and all his friends were on
it, in the first-class carriage-in the wagons-lits!" (59).
This sense of being left in the dust is countered by the
reassurance he feels when he catches a glimpse of
himself in a mirror: "As he crossed the drawing room
Russell 174
he acknowledged himself with a flattered smile in a
mirror. He was wearing a wing collar, and something
dandyish in him, some memory of the license and
discipline of being in a play, lifted his 'mood" (54-55).
As readers, we may doubt how dashing Nick really
looks in his great-uncle's dinner jacket, but Nick
himself seems satisfied with the illusion.
This ironic space that opens in the reader's
perspective of Nick's failed illusion finds a comedic
parallel in Nick's self-assured performance as an
aesthete and his clumsy attempt "to be a part of this
hetero mob" (72). Here Nick's desire to pass as
heterosexual is compounded by the fact that the
figure of the dandy that Nick so energetically
embraces serves as an obvious signal of gay male
identity. It's hard to stay safely in the closet when
one is always dashing out garbed in wing collars,
commenting endlessly on antiques and gushing
shamelessly over Henry James! Still he persists in his
attempts inhabit the Fedden's world, wondering all
the while if Lord Kessler, his guests and his wait staff
are seeing through Nick's heterosexual guise.
We view this rarified world through Nick's gay
sensibility. The whole occasion of the birthday seems
to be wrapped up with heterosexual expectations; the
fact that "the huge heterosexual probability that a
Russell 175
twenty-first would be followed soon enough by a
wedding" only makes him feel even more an outsider
to Toby and the Feddens (62)~He clings to every
crumb of gay sentiment, but then deconstructs its
underlying straight assumptions. When Toby says
"God, darling, you smell like a tart's parlour" Nick
dissects it: "He was holding in the unprecedented
,darling' and it was making him as warm and giddy
as the pot. Then he let out the smoke and saw the
baldly hetero claims of the rest of the remark" (77). It
is this tension between his desire for inclusion in the
class-bound Tory crowd and the relentless
heterosexism that is endemic within the group that
keeps Nick in a kind of limbo, attached to a family
where he clearly does not belong.
Nick is drawn into the family grouping on
several levels. There is of course his crush on Toby,
and his longing to find a sense of a place as a "lost
middle child" in the Fedden's constellation.
Primarily, though, he is also attracted to the glamour
of their upper-class lives. While Nick recognizes the
superficialities of the Feddens' "looking glass world,"
he nevertheless can't resist the seduction of their
privilege and its trappings (55). An antique dealers'
son by birth and an aesthete by nature, he moves
through life by following the pull of his finely-honed
Russell 176
sensibilities and desires. Ultimately, though, Nick's
aesthetic disposition will prove an inadequate guide:
this "line of beauty" puts him on a superficial course
of fleeting pleasures, allowing little space for
confronting the meanness and ugliness that lie just
under the surface of the comfortable Tory lifestyle.
The end of the novel finds him alone, outed, brutally
excluded from the Feddens, and facing a likely future
of AIDS/HIV.
When described in this way, the story sounds
like a traditional morality tale: a warning against the
excesses and superficialities of the ruling class and
decadent lifestyles of the 1980's. And in part, this is
certainly what the novel is about. In his review, critic
Andrew Holleran writes "TheLineof Beautymay
suddenly seem, despite its contemporary setting, as
old-fashioned as Richardson's Pamela--orHogarth's
The Rake's Progress."Still, Holleran allows, and I
agree, that Hollinghurst's fiction, while critiquing the
superficialities of an aesthete's life, manages to
convey a broader view than the moralizing one finds
in Richardson or Hogarth. Although the novel clearly
critiques the superficiality of the ruling classes,
Hollingsworth's approach to these social questions
follows more in the path of Henry James, Evelyn
Waugh and E.M. Forster than that of Richardson or
Russell 177
Hogarth, as he updates their critiques to explore the
political and ethical bankruptcy of 1980's England
through a queer lens.
As this trio of literary predecessors implies (and
here one could certainly add Oscar Wilde to the mix),l
Hollinghurst is also writing within a tradition of gay
fiction. But while James, Wilde, Waugh and Forster
for the most part tended to treat homosexuality in
oblique, traditionally coded ways, Hollinghurst
updates his treatment of the figure of the gay aesthete
by considering his explicit relationship to broader
political issues in the Thatcher era. Ultimately, The
LineofBeauty'sengagement with sexuality
complicates whatever moralizing the story invites.
As Holleran points out, the conclusion of the story,
specifically its treatment of AIDS, is largely what
helps the book to succeed. Even beyond that, though,
the novel's queering complicates what could be
simplistic. Such complication is, in fact, one of the
hallmarks of what one could term a "queer poetic," a
literary or theoretical approach that seeks to broaden
readers' understandings of sexuality beyond that of
the commonly received or imagined. In this
complication Hollinghurst's novel mirrors the title's
allusion to the architectural term "ogee," the so-called
"line of beauty" that achieves its aesthetic effects
Russell 178
through a balanced complication. The two lines of
complication I want to concentrate on in this essay,
Nick's negotiations of the seductions of a gay life
against the privileges of Tory lifestyles, point to ways
in which the queering of novel itself thematically and
structurally mimics the complicated yet pleasing
effects of the ogee.
The complexities of the closet complicate Nick's
life on multiple levels. He is drawn to the Feddens in
part due to his unrequited crush on the Fedden's son.
While his affections offer one motivation for him to
install himself in the Fedden's family constellation,
this connection remains unknown to all but Nick.
From the Fedden's perspective, his role in the family
is as watchdog over the unstable sister Catherine,
who is also privy to his early forays into the world of
the want ads. The two conspire like children when the
adults are vacationing in France. When the novel
begins, Nick's gay identification comes out of these
unrequited desires: he has had no gay lovers and has
never really been challenged to live as gay. Through
the course of the story, he moves from an eroticaIly-
charged affair with a working class man he meets
through the want ads to an equally surreptitious
affair with a wealthy, but closeted friend of the
Feddens.
Russell 179
The novel thus carefully maps the sometimes
intricate interdependence of status and secrecy. As
Eve Kosofsky Sedgwick argues in Epistemologyof the
Closet,the closet in queer lives represents that
oppositional space of secrecy through which gay
identities gets crafted. The Line of Beauty tracks these
complications of the closet: those unpredictable yet
potent effects that the ongoing plays between secrecy
and knowledge yield.2 Throughout the text, Nick
must negotiate the imperatives of the closet against
his desire for social acceptance.
From the beginning, Nick Guest's private sex life
is at odds with his life with the Feddens. At the
opening of the novel, a naIve and inexperienced Nick
Guest surreptitiously seeks gay companionship
through the want ads. His efforts payoff when he
meets Leo, a sexy, working-class black bicyclist. At
once, his desires put him at odds with his class
ambitions as represented by the Feddens: "Gerald
[Fedden] could say, 'I want to be Home Secretary,'
and have people smiling but conceding the
possibility. But Nick's ambition was to be loved by a
handsome black man in his late twenties with a racing
bike and a job .inlocal government" (25). This erotic
ambition, with its embrace of class, race and gender
difference, is not going to win Nick Guest social
Russell 180
approval with the Feddens. It does however, prove
gratifying for Nick, at least in the short run.
Hollinghurst offers us insight into Nick's closeted
negotiations, as he carefully avoids a gay bar for his
first meeting with Leo and instead choosing a solidly
middle-class area whose affectations immediately put
the working-class Leo on edge. But Leo's initial
reticence in the pub gives way to passion in the elite
spaces of the Notting Hill gardens. The garden space
that sets the scene for Nick's first gay sex signals the
complications of the closet. As was true with
Hollinghurst's earlier novel, TheSwimmingPool
Library, spaces seem to resonate with queer desire or
its repudiation, its possibility for expression or for
repression.
The ambivalent play between public and private
finds expression through the garden setting. The
communal gardens behind the Fedden's spacious
home are actually far from public, rather they exist as
a shared but locked space in an elitist part of town.
For Nick, they hold strong appeal, in part because of
the way their double nature combines class and
secrecy: "The communal gardens were as much a part
of Nick's romance of London as the house itself: big
as the central park of some old European city, but
private, and densely hedged on three sides with holly
Russell 181
and shrubbery behind the high Victorian railings....
There were hidden places, even on the inside, the
path that curled, as if to a discreet convenience, to the
gardener's hut behind a larch-lap fence..." (13). This
secret yet elitist setting proves the perfect stage for
Nick's sexual experience:
just before he came he had a brief vision of
himself, as if the trees and bushes had rolled
away and all the lights of London shone in
on him: little Nick Guest from Barwick, Don
and Dot Guest's boy, fucking a stranger in a
Notting Hill garden at night. Leo was right,
it was so bad, and it was so much the best
thing he'd ever done (36).
Thus the setting and the sex combine to provide Nick
with a sense of himself doubly situated: at once "bad"
and" good," at once open and hidden, both inside
and outside the dominant culture.
This doubleness is also something Nick lives out
through his ambivalence about his own sexual
identity, and his inability to fit into gay culture: "As
so often he felt he had the wrong kind of irony, the
wrong knowledge, for gay life. He was still faintly
shocked, among other emotions of interest and
excitement, at the idea of a male couple" (94). Still, as
his character develops, he becomes more comfortable
Russell
with this identity, merging his acute sense of style
with what one might call "gay sensibility": "He felt
deliciously brainwashed by sex, when he closed his
eyes phallus chased phallus like a wallpaper pattern
across the dark, and at any moment the imagery of
anal intercourse, his new triumph and skill, could
gallop in surreal montage across the street or
classroom or dining table" (136).
The double existence that Nick will lead
throughout the novel becomes exacerbated when he
leaves Leo behind, and in 1986, pairs with a rich but
deeply closeted Lebanese man, Wani. It seems that
Nick has found his perfect mate, one who combines
the elegance of wealth and its trappings with gayness
and racial difference. They embark on a business
venture, starting a new stylish magazine titled
"Ogee." Together he and Wani move through the
mid-eighties, and the metaphorical meanings of the
"line of beauty" come to encompass cocaine. Nick
continues to balance his queer identity in the
conservative family as an open secret: something that
is assumed to be shared knowledge, but something
which remains unspoken and hidden. Toby knows of
his sexuality from his college days, but remains
oblivious to Nick's attraction towards him. Nick
openly confides in Catherine about his affair with
182
Russell 183
Leo, but remains quiet about Wani, who fiercely
cloaks his identity behind a very public marriage
engagement.
The relationship between Nick and the Feddens
is one of many secrets. There is Nick's secret crush on
Toby that begins the whole infatuation. Their
relationship becomes one that evolves out of secrets.
Early in the story, Nick makes the decision to not tell
the vacationing Fedden family that Catherine had
come close to a suicidal episode with a set of carving
knives. While Nick is not secretive about his
sexuality-they know from the beginning that he is
gay - he does make a point of keeping his
relationship with Wani quiet, and it is the power of
this secret that sets the stage for an eruption of
scandal at the end. Finally, though, the complications
of the closet come to involve Gerald Fedden when
Nicks discovers his secret affair with his secretary,
Penny. The scandal that ruins Gerald's career ends
up having as much to do with this elicit affair as with
Nick's sexuality. Thus the meanings of the closet
come to extend well beyond sexual orientation per se,
and the novel becomes an examination of broader
workings of power, knowledge and ignorance.
This alignment of Gerald Fedden's sexual
vulnerability alongside Nick's sexual vulnerability
Russell
points to the ways the social intolerance can work
. against both straight and queer. But it also invites
consideration of Fedden's secret affair with Penny as
a kind of sex which, while not gay, puts him on equal
ground with Nick. However, it is Nick who will bear
the brunt of Fedden's rage, as they perversely blame
him for Gerald's political downfall. These characters
are as much positioned by power as by desire, and
queerness is clearly as inflicted by class as by
sexuality. While the first party leaves Nick feeling
alienated from the "hetero mob," the latter affair with
Margaret Thatcher leaves him aware of the "The
fantastic queenery of the men. The heterosexual
queenery" (333).
The outsider position that Nick Guest inhabits is
in one sense indicative of his queerness, but his
queern~ss is again something that extends quite
beyond his sexual predilections. Nick also is queer on
account of his oblique and tenuous position within
the Fedden family, and his tentative relationship is a
matter of class and politics, as well as blood. When
things explode at the end of the novel, one of the
Fedden's friends confronts him: "I mean, didn't it
strike you as rather odd, a bit queer, attaching
yourself to a family like this?" "Nick thought it was
unusual- that was the beauty of it..." (420). We are
184
Russell 185
left here with an explicit link between "queer" and
"beauty," two terms that come together over the
notion of the "unusual." For the Feddens and their
homophobic friends, Nick's attachment is "the sort of
thing you read about, it's an old homo trick. You can't
have a real family so you attach yourself to someone
else's" (420). While the phrase" an old homo trick"
reveals the narrow homophobia that informs the
Fedden's circle of friends, the notion of "queer" as
signifying an alternative family signals one of the
ways that the novel shifts identity from the rather .
essentialist notion of desire to a broader notion of
affiliation.
This complication of identity-the notion that
queering might extend beyond the somewhat narrow
definition of "gender of object choice" - is achieved in
part through the text's treatment of the closet and its
potential variations. On another level, though, The
LineofBeautycomes to engage the various
implications of nationality. Hollinghurst refuses to
look at sexual identity in isolation from issues of race,
country and class, and in that sense, his work pursues
another characteristic of queering. As Cathy J. Cohen
explains in her article "Punks, Bulldaggers and
Welfare Queens," to be truly transformative, queering
must be "located in its ability to create a space in
Russell 186
opposition to dominant norms" rather than simply
being liJ.1kedto a potentially homogenizing sexual
identity (Cohen 438). While The Line of Beauty
manages to communicate a traditional, some might
even say homogenous, gay identity, it complicates
this presentation of identity through its engagement
with a range of issues around British nationality,
power, class and empire.
For one thing, one never quite forgets one is
reading an English novel. Hollinghurst's characters
inhabit a range of familiarly English spaces: the
comer pub, the city garden, the manor house. One
hilarious scene takes place at a local fair where Gerald
is campaigning in what is described as "A perfect
English day." In a gesture of perverse
competitiveness, Gerald gets taken up with the sport
of "welly-wanging" or tossing Wellingtons (236).
Even when they are in France they insulate
themselves to the point where they forget they are not
in England:
The talk came round, as it often did with the
Feddens, to the Prime Minister. Nick saw
Catherine clench in annoyance when her
grandmother said, "She's put this country on
its feet!" -clearly forgetting, in her fervour,
Russell 187
which country she was now in. "She showed
them in the Falklands, didn't she?" (278)
This line typifies the level of political conservatism
that dominates in the Fedden household. While
Hollinghurst notably puts such political sentiments
into context, it is hard not to cringe along with
Catherine at the level of jingoism expressed here.
Gerald's mother betrays her attitude with her
dismissal of one guest who "talked a lot of rot at
dinner on...the coloured question. I wasn't next to
him, but I kept hearing it. Racism, you know" (71).
By the end the Fedden's class morality ends up
including a rather damning brew of infidelities and
secrets, of and homophobia and racism.
The Feddens and their circle of friends are
suitably entranced by Margaret Thatcher, whom they
reverently address as "The Lady." The novel invites
readers to consider the superficiality of Gerald
Fedden's seduction of Thatcher against Nick's
seductions of his lovers. In an early scene, Gerald.
refinishes his door in blue when he hears that "The
Lady" disapproves of green. It is notable in text so
conscious of aesthetics that one would bastardize
oneself in this way: renouncing a favored color on the
basis of political aspirations. When Thatcher finally
comes around to their home, Nick engages in the
Russell 188
charade, summoning the nerve to actually ask her to
dance:
It was the simplest thing to do-Nick came
forward and sat, half-kneeling, on the sofa's
edge, like someone proposing in a play. He
gazed delightedly at the Prime Minister's
face, at her whole head, beaked and
crowned, which he saw as a fine if
improbable fusion of the Vorticist and the
Baroque. She smiled back with a certain
animal quickness, a bright blue challenge.
(335)
The dance between Thatcher and Nick dance
stands out as one of the most hilarious, and
performative, moments in the text. A jealous Gerald
"saw the PM, his idol, who had said before that she
wouldn't dance, but who now, a couple of whiskies
on, was getting down rather sexily with Nick," and
moves in to interrupt their perceived intimacy (336).
For Nick, the dance might represent the apotheosis of
his social climbing and heterosexual performance.
The superficiality of the whole social group seems to
find new expression in Nick's characterization of
Thatcher, who is described as moving "in her own
accelerated element, her own garlanded perspective,
she didn't give a damn about squares on the
Russell 189
wallpaper or blue front doors-she noticed nothing,
and yet she remembered everything" (336). As the
party ends, Nick, Wani and a waiter retreat upstairs
for cocaine and sex, while below, the Mercedes carries
the Prime Minister away.
Beyond Hollinghurst's biting characterizations of
Tory superficiality, the novel finds its political
sensibility when it finally comes round to facing the
reality of AIDS. The 1980's are the decade when
AIDS emerged, and this novel silently tracks the
evolution of this epidemic and its effects on the
characters. The Feddens and their circle are
predictable homophobic in their responses. When
Nick finally speaks aloud about gay sex and
protection, a family friend, after some confusion of
oral sex as kissing, responds: "I'm afraid that what
you're saying fills me with physical revulsion... They
had it coming to them" (296). We not only find Nick's
circle narrowing as his two lovers succumb to the
disease, but he also faces the prospects of his own
mortality, and in doing so evolves beyond the narrow
sentiments of his aestheticism.
As the novel concludes, Nick faces the possibility
of his own HIV positive status. Although is just on the
verge of getting the test results, he firmly confronts
this possibility ["it came over him that the test results
Russell 190 Russell 191

would be positive" (437)], and in doing so, shifts his
outlook on the world. Suddenly, his aesthetic removal
turns to involvement and a deeper kind of emotional
engagement with his surroundings:
The emotion was startling. It was a sort of
terror, made up of emotions from every
stage of his short life, weaning,
homesickness, envy and self-pity; but he felt
that the self-pity belonged to a larger pity. It
was a love the world that was shockingly
unconditional It wasn't just this street
comer but the fact of a street comer at all
that seemed, in the light of the moment, so
beautiful. (438)
These closing lines of the novel gesture to a different
kind of aesthetic involvement, one that links with a
broad-based sYmpathy or love, quite different that the
level of solipsistic engagement Nick has modeled thus
far.
This change in sensibility corresponds to Nick's
emergence from the closed and closeted circle of the
Fedden household, but also with his embrace of a
in stoicism" (473). While the transition implied by the
novel's end is by no means earth-shattering, we are
left with hope for a more resolute and self-reliant
character. For Nick, the need to embrace the attitude
of a stoic implies not so much the need to abandon his
ethics of the aesthetic, but rather to pursue beauty
from a more secure and self-contained, albeit fatalistic
position. As he moves out of the Fedden's attic he is
able to move into a more comfortable space with his
own sexuality, and to refashion himself to live as a
guest no more.
Notes
, See Nicholson Baker, The Size of Thoughts: Essaysand Other Lumber, 1st ed. (New
York: Random House, 1996). for a comparison of Hollinghurst's The Folding Star
and Wilde's Picture of Dorian Gray. Certainly the figure of Wildean aesthete also
echoes strongly within The Line of Beauty.
2 See Eve Kosofsky Sedgwick, Epistemology of the Closet (Berkeley: University of
California Press, 1990). for a discussion of the complications of the closet in late-
twentieth century western culture.
Works Oted

new reality, his sensibilities sharpened by the sudden Baker, Nicholson. The Size of Thoughts: Ess<\ys and Other Lumber. 1st ed. New
York: Random House, 1996.
acceptance of his mortality. As he projects himself
Cohen, Cathy J. "Punks, Bulldaggers, and Welfare Queens." ~ 3 (1997): 437-65.
imaginatively into his new future of living with HIV, Foucault, Michel, and Paul Rabinow. "On the Genealogy of Ethics: An Overview
he recognizes "He was young, without much training of Work in Progress." The Fom:ault Reader. Ed. Paul Rabinow. New York:
Pantheon Books, 1984.340-72.
Russell 192

Holleran, Andrew. "The Essentials of Heaven." Gay & Lesbian Review 11.6 .
(2004): 35-6.
Hollinghurst, Alan. The Line of Beauty. New York & London: Bloomsbury, 2004.
_. The Swimming Pool Library. London: Otatto & Windus, 1988.
Sedgwick, Eve Kosofsky. Epistemology of the Ooset. Berkeley: University of
California Press, 1990. .
__. "Queer and Now." Tendencies. Series Q. Durham: Duke UP, 1993.1-19.