| Abstract | In lieu of an abstract, here is a brief excerpt of the content: Lynne Huffer likes to laugh. I haven't known her very long and I don't even know her very well, but this much I am certain of: the woman likes to laugh. Whether at amusing intellectual witticisms or truly boisterous, gut-splitting observations of life's absurdities, Professor Huffer enjoys laughing. It comes as little surprise, then, that it is the ludic aspect, which is intimately connected to the erotic aspect, of Foucault's work that she aims to rehabilitate in this remarkable, provocative, beautifully written, meticulously researched, and often funny book, Mad for Foucault: Rethinking the Foundations of Queer Theory. This book is an unusual one. Replete with the intellectual rigor of archival research, subtle, nuanced challenges to accepted translations, critical historical contextualizations, and complex theorizing at the most abstract levels, it is—despite its own anxieties—an intensely academic undertaking. But at the same time, in one of many of its own doublings (the Deleuzian trope through which Huffer initiates her discussion of Foucault), it is also an intensely personal undertaking, shaped by several interludes of appropriately ironic confessions: of Huffer's own coup de foudre in the Foucault archives of a twelfth-century premonasterian abbey in Normandy; of her politico-intellectual biography from high theory French departments to feminist love/hate relations with Foucault; and of her own struggles with various forms of so-called "madness." Giving voice to a transformative experience of encountering "a different Foucault" in that twelfth-century monastery, Huffer clearly gives an account of what Ladelle McWhorter, in her Bodies and Pleasures (McWhorter 1999), calls "undergoing" Foucault. Huffer herself described it to me as "a work of passion"—and this is clear on every page. Consequently, the challenges that it brings to us as readers, thinkers, and cultural theorists are likewise intense and doubled—both academic and personal, both intellectual and politico-ethical, both theoretical and erotic, both historical and present, and both philosophical and not. She invites us, from the outset, to work through these doublings and the folding back upon themselves that become our intricate enactments and reflections upon our subjectivities. Again, her own beginning with the Deleuzian concepts of doublings, foldings, and coextensivity sets the framework for the kinds of intricate unravelings, especially of dialectical thinking, Huffer undertakes. The text consequently unfolds on multiple levels and requires a reading that is also multiply attentive and attuned. I take the heart of her project—namely, to begin the labor of articulating a desubjectivating, queer, feminist ethics of eros that will enact a more promising, less "caged" freedom in its resistance to the normalizing forces of biopolitics—to be a critical endeavor shared by many cultural theorists working in our contemporary milieu. Huffer's rejuvenation of the language of ethics in this project is most welcome and my comments today are meant to engage her in this shared labor of articulating a queer feminist ethics. The most explicit and innovative narrative of Mad for Foucault is Huffer's doubling of Foucault's 1961 History of Madness and his 1976 History of Sexuality, Volume 1. Much more than a mere tracing of Sexuality One's roots in an earlier, lesser known work, Huffer returns to Madness as a site of erotic ethical possibilities that are utterly absent in the ridiculously popular and popularized Sexuality One. Her return to Madness thereby constitutes a critical intervention in not only Foucault scholarship, but also in queer theory. As Huffer puts it, "Not only is Madness an earlier consideration of sexuality, but, historically, analytically, and stylistically, it gives a thicker, experiential texture to its subject than Sexuality One" (Huffer 2010, xiv). In skeletal terms, Huffer argues that Madness gives us the story of the great split between reason and unreason that occurred in the seventeenth century: due to bourgeois moral exclusion and the ascendancy of rationalism, this Age of Reason produces abnormality, which includes sexuality within its wide arc. Reading Foucault's writing of Madness in the late 1950s alongside his first love affair with Jean Barraqué (Huffer 2010, 13-16) and his struggles with the intensely homophobic postwar French intellectual elite (Huffer 2010, 218-19), Huffer emphasizes the sexualized character of the emergence of this...
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