1. Lewis Carroll's secrets have captivated scholars for years, prompting such questions as: Why did Carroll suddenly quit photography in 1880? Did he really ask Alice Liddell, the real little girl of Alice in Wonderland fame, to marry him? Was Carroll's relationship with little girls more than play and picture taking? What kind of “more”? What was at the heart of the scandal between Alice's mother and Carroll? [BACK]

2. Lewis Carroll [C.L. Dodgson], “Private Journal,” diary entry for July 22, 1864, British Museum, Add. 54343. [BACK]

3. J.M. Barrie, Peter Pan (New York: Bantam Books, 1985), 1–2. The novel was first published under the title of Peter and Wendy in 1911. The play Peter Pan was written in 1904. For a critical history of the differences between the play and the novel see James Kincaid, Child-Loving: The Erotic Child and Victorian Culture (New York: Routledge, 1992), and Jacqueline Rose, The

4. D.W. Winnicott, Talking to Parents, ed. Clare Winnicott et al. (Reading, Mass.: Addison-Wesley, 1993), 72. [BACK]

5. Marina Warner, “The Shadow of Young Girls in Flower,” introduction to Lady Hawarden: Studies from Life, 1857–1864, by Virginia Dodier (New York: Aperture, 1999), 6. [BACK]

6. Mary Kelly, in an interview with Hal Foster entitled “That Obscure Subject of Desire,” in Interim (New York: New Museum of Contemporary Art, 1990), 55; reprinted in Mary Kelly, Imaging Desire (Cambridge, Mass.: MIT Press, 1996), 170. [BACK]

7. Katherine Dieckmann, “Landscape and the Suspension of Time,” Village Voice, October 21, 1997, 50. [BACK]

8. Ibid. [BACK]

9. Sally Mann, “Correspondence with Melissa Harris,” Aperture 138 (Winter 1995): 2. [BACK]

10. Adam Phillips, “On Being Bored,” in On Kissing, Tickling and Being Bored: Psychoanalytic Essays on the Unexamined Life (Cambridge, Mass.: Harvard University Press, 1993), 69. [BACK]

11. Ibid. [BACK]

12. Roland Barthes, Pleasure of the Text, trans. Richard Miller (New York: Hill and Wang, 1975), originally published as Le plaisir du texte (Paris: Éditions du Seuil, 1973). [BACK]

13. Walter Benjamin, “The Storyteller,” in Illuminations: Essays and Reflections, trans. Harry Zohn (New York: Schocken, 1968), 91. [BACK]

14. Jane Blocker, Where Is Ana Mendieta? Identity, Performativity, and Exile (Durham, N.C.: Duke University Press, 1999), 65. [BACK]

15. Julia Kristeva, “Women's Time,” in The Kristeva Reader, ed. Toril Moi (New York: Columbia University Press, 1986), 190. First published as “Le temps de femmes” in 33/44: Cahiers de recherche de sciences des textes et documents 5 (Winter 1979): 5–19. [BACK]

16. Erwin Panofsky, “Father Time,” in Studies in Iconology: Humanistic Themes in the Art of the Renaissance (New York: Harper and Row, 1962), 69–94. [BACK]

17. Ibid., 93. [BACK]

18. Kristeva, “Women's Time,” 191. [BACK]

19. Christian Metz, “Photography and Fetish,” October 34 (Fall 1985): 83 [BACK]

20. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Farrar, Straus and Giroux, 1981), 15. Originally published as La chambre claire (Paris: Éditions du Seuil, 1980). [BACK]

21. Barthes, Camera Lucida, 81. [BACK]

22. Barthes uses maternal metaphors in relation to photography throughout Camera Lucida. He specifically uses the metaphor of the “umbilicus” twice: see 81 and 110. [BACK]

23. Sally Mann, Immediate Family (New York: Aperture, 1992), unpaginated. [BACK]

24. Marcel Proust, Swann's Way, Remembrance of Things Past, trans. C.K. Scott Moncrief and Terrence Kilmartin (New York: Vintage, 1989), 13. More recently, as anyone familiar with Proust will know, the title has been translated as In Search of Lost Time. For an understanding of the appropriateness of this translation see, among others, Julia Kristeva's Time and Sense: Proust and the Experience of Literature, trans. Ross Guberman (New York: Columbia University Press, 1966), first published as Le temps sensible: Proust et l'expérience littéraire (Paris: Éditions Gallimard, 1994), and Mieke Bal, The Mottled Screen: Reading Proust Visually, trans. Anna-Louis Milne (Stanford, Calif.: Stanford University Press, 1997), from the French manuscript “Images proustiennes, ou comment lire visuellement.” [BACK]

25. Proust, Swann's Way, 55. [BACK]

26. Ibid., 50. [BACK]

27. Brobdingnag is the place of Gulliver's second voyage, where everything is so gigantic as to make his normal size appear like that of someone from Lilliput. [BACK]

28. Mann, “Correspondence with Melissa Harris,” 24. [BACK]