1 Kathleen Hanna, conversation with the author, 10 April 2000.
2 See Amber Hollibaugh, My Dangerous Desires: A Queer Girl Dreaming Her Way
Home (Durham, N.C.: Duke University Press, 2000).
3 Dorothy Allison, Two or Three Three Things I Know For Sure (New York: Plume,
4 David Wojnarowicz, Close to the Knives: A Memoir of Disintegration (New York:
Vintage Books, 1991), 121–22.
5 Formative influences on my thinking about the problem of the archive include
JacquesDerrida, ArchiveFever:AFreudianImpression, trans.EricPrenowitz(Chi-
cago: University of Chicago Press, 1996), which is discussed more extensively in
chapter 6; Lauren Berlant, The Queen of America Goes toWashington City (Dur-
ham, N.C.: Duke University Press, 1997), especially the section in the introduc-
tory chapter titled ‘‘ ‘I Hate Your Archive’: On Methodology and National Cul-
ture,’’ and ‘‘ ’68 or Something,’’ Critical Inquiry 21, no. 1 (autumn 1994): 124–56;
and José Esteban Muñoz, ‘‘Ephemera as Evidence: Introductory Notes to Queer
Acts,’’ Women and Performance 16 (1996): 5–16.
6 See Jill Dolan, ‘‘Performance, Utopia, and the ‘Utopian Performative,’ ’’ Theatre
Journal 53, no. 3 (October 2001): 455–79.
7 See Raymond Williams on the two meanings of culture in ‘‘Culture Is Ordinary,’’
in Resources of Hope: Culture, Democracy, and Socialism (London: Verso, 1989),
3–18. My thinking about publics and counterpublics has also been influenced
by Jürgen Habermas, The Structural Transformation of the Public Sphere, trans.
Thomas Burger (Cambridge: MIT Press, 1989), and some of the scholarship that
has emerged in response to it: Oskar Negt and Alexander Kluge, Public Sphere
trans. Peter Labanyi, Jamie Owen Daniel, and Assenka Oksiloﬀ (Minneapolis:
Universityof Minnesota Press, 1993); Craig Calhoun, ed., HabermasandthePub-
lic Sphere (Cambridge: MIT Press, 1992); and Bruce Robbins, ed., The Phantom
Public Sphere (Minneapolis: University of Minnesota Press, 1993).
8 See Lauren Berlant and Michael Warner, ‘‘Sex in Public,’’ CriticalInquiry 24, no. 2
(winter 1998): 561–62.
9 I am therefore revising my own work in Mixed Feelings: Feminism, Mass Culture,