Avery explores Lytton Strachey’s engagement with Christian ethical discourse and iconography to promote a queer ethical ideal of friendship and intimacy unfettered by moral convention. In his famous biographies and in a series of essays, short stories, and dialogues, it is clear he was perennially interested in religious questions and themes. Despite his atheism and disapproval of religious faith, he believed that the achievement of sexual and ethical autonomy, the legitimation of alternative sexualities and a new sexual ethic, demanded a serious critique of Christian moralism. In a sado-masochistic crucifixion experiment in the late 1920s, he allowed himself to be affixed to a cross and pierced in the side by his lover Roger Senhouse, providing a striking example from the modernist period and from the Bloomsbury milieu of how an iconically normative object may be used to express a queer ethical, sexual, and social vision.
