ABSTRACT
The frontispiece to Stolen Glances: Lesbians Take Photographs declares that, ‘Tessa Boffin has been staging scenes, with the consent of others, for as long as she can remember’ (Boffin and Fraser 1991). For me, this at once conjured the pleasure of play: the pubic pleasure evoked by the photographic ‘scene’ which Tessa constructed for the book, as well as the private pleasure of the sexual scenes that she conducted for herself and her partners. Tessa’s work charted the line between her public and private personas with immense honesty and intense commitment.
