Harriet Smith-Hughes' doctoral research, provisionally titled 'Genres of Intimacy: the problem of the personal in four genres of nonfiction' looks at the function of 'I's and 'we's in late-20th and early-21st century critical nonfiction. In this post, she looks at two moments in which Eve Sedgwick's mid-career 'I' appears to performatively write a queer collective into being, thereby gathering a collective critical authority around her 'powerful' first person singular.
