读到乔安妮·邹（Joanne Zou）的这篇评论觉得很好所以简略翻了，邹不仅认可《红的自传》中赫拉克勒斯与格律翁的当代故事中所蕴涵的酷儿性，更肯定了一种酷儿群体回溯历史记忆并运用神话作为媒介进行自我探索的可能性。而卡森本人所热爱的“王尔德套装”则显然是一种酷儿性想象的身份标识。

以及附上Paris Review 04年对卡森的访谈中关于她对自身性别的思考：
“I guess I’ve never felt entirely female, but then probably lots of people don’t. But I think that at different times in my life I located myself in different places on the gender spectrum, and for many years, throughout my thirties, which is when I made that pilgrimage, I didn’t have any connection to the female gender. I wouldn’t say I exactly felt like a man, but when you’re talking about yourself you only have these two options. There’s no word for the “floating” gender in which we would all like to rest. The neuter gender comes up in the unbearable poem, but that doesn’t really capture it because you don’t feel neuter, you feel just wrong. Wrong vis-à-vis the gender you’re supposed to be, wrong vis-à-vis the other one, and so what are you?” http://t.cn/AXlLuytu