Esther Rashkin argues that psychoanalysis galvanizes, as no other discipline can, an understanding of texts in their social, historical, and political contexts. Demonstrating that close reading can be a radical political practice, she exposes heretofore unseen ideologies concealed in works of film and literature, from Last Tango in Paris to The Picture of Dorian Gray, from Barthes's Mythologies and Balzac's Sarrasine to Babette's Feast. Psychoanalytic concepts such as identification with the aggressor, the crypt, cryptonymy, illness of mourning, and the phantom allow Rashkin to reveal how shameful and unspeakable secrets propel the narratives she examines. In the process, she convincingly makes the case for a new practice of psychoanalytic cultural studies, a practice that fully engages with the politicized discourses--anti-Semitism, racism, colonialism, censorship--that mark a text's location in history.