Here are some of the ideas key to Muñoz’s presentation of Herko’s case:
Surplus, “aesthetic excess” / “deviance from conventional forms” / “an uncontrollable and potentially disruptive integer”(147). Traces, in this case, “different lines of thought, aesthetics, and political reverberations trailing from this doomed young artist” (148). The not-yet-here, “a future time and place” of potential and promise (149). The incandescent, a word that “indexes my desire and investment in this lost object, this man who represents a no-longer-conscious” (153).
Please choose any two of these four concepts, point to a instance in the chapter where they overlap, and discuss how their intersection might matter to a queer critique whose work “is often to read outside of official documentation”(148).