Snap

‘Snap’ deploys the queer cliché of becoming-sailor as a trope for recognition in the amorous encounter and literalises the ‘copycat’ as its catalyst. As Girard argues (1973), the human is foremost mimetic: this story makes its claim for originality and authenticity of connection through the playful recycling of cliché. ‘Snap’ eschews the relative affectlessness of some metafiction by staging an amorous approach under the shadow of mortality. It exploits the liminal moment of modernist short fiction to summon the ‘manifold’ of experience. Here, love opens a space of intertextual esonance (Costello 2007), including motifs of Genet (masquerade), Duras (haunting) and Maurice Blanchot (the infinite approach), by writing the threshold of encounter as the intensive silence of wond