The Twyborn Affair (1979) is generally regarded as Patrick White’s covert “coming out” novel, followed by his frank “confession” in his autobiography, Flaws in the Glass (1981). However, this article explores how even an earlier work such as The Aunt’s Story (1977/1948), from the Nobel laureate’s modernist phase, may be seen as a pre-text for the gay self, whereby the author stages incomplete representations of his own subaltern position in the characters he “becomes” in his writing. Through a series of textual feints, his persona is disseminated in the form of polyvalent alternative selves which belie any possibility for recuperation of a stable, authentic selfhood. White thereby refuses the univocal inscription of subjectivity upon which sexual hegemony is predicated. What I aim to do in this article is to extend the particularities of the novel’s writing strategies (found in the Jardin Exotique section, for example, which functions as a Foucauldian heterotopic space) into the province of gender. In doing so, I will show how the gay author, through the central character, Theodora Goodman’s protean identities and the deployment of competing narrative epistemologies, can fabricate alternative subject positions. These attest not only to the artificial technologies of gender constitution, but also function as remnants of White’s own divided status, brought about by his dissonant subaltern position in the borderlands of representation.

特威伯恩事件（1979）被普遍认为是帕特里克·怀特（Patrick White）的秘密“出来”小说，其后是自传《玻璃中的瑕疵》（Flass in the Glass）（1981）中的坦白“供词” 。但是，本文探讨了更早期的作品，例如《阿姨的故事》（1977/1948），从诺贝尔奖获得者的现代主义阶段起，可被视为同性恋自我的借口，由此，作者在他的“成为”角色中表现出他自己的次要地位的不完整表现。通过一系列的文字伪装，他的角色以多价替代自我的形式传播，这掩盖了恢复稳定，真实的自我的任何可能性。因此，怀特拒绝了主宰主宰性霸权的明确表述。我在本文中打算做的是扩展小说的写作策略的特殊性（可在Jardin Exotique中找到）例如，该部分用作性别省份的Foucauldian异位空间）。在这样做的过程中，我将展示同性恋作家如何通过中心人物西奥多拉·古德曼（Theodora Goodman）的千变万化的身份以及相互竞争的叙事认识论的运用来编造替代性的主题立场。这些不仅证明了性别构成的人为技术，而且还发挥了怀特自身在代表国边界上不合时宜的后代地位所造成的自身分裂地位的残余。