This article examines Sarduy's hedonism and its influence on French theorists, indicating its revolutionary impact.
Roland Barthes used the initials S.S. in the margins of A Lover’s Discourse to conjure Severo Sarduy’s queer aesthetics of the Neo-Baroque. This article places the figure of the Cuban exile Severo Sarduy within the history of French theory; his revolutionary hedonism modeled the anamorphic, elliptically shaped thinking that marked not only Barthes’ thought but also Lacan’s, Christine Buci-Glucksmann’s and Gilles Châtelet’s.
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Emily Apter (2025) studied this question.
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