And just as gender is the result of certain mannerisms and acts of cloaking, shame is another performative forged, as it were, by and through a continuous process of accepting and resisting the social roles assigned to us. The principal point of this argument is that Godwin’s Fleetwood should be read as a queer novel not simply because it chronicles a bad marriage and the failure of heterosexual love to fully flourish and solidify normative bonds, but because the three-volume structure of Fleetwood, or the New Man of Feeling circles back on itself, ouroboros-like, in keeping with the cyclicity of male shame.
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