When we talk about an object of desire, we are really talking about a cluster of promises we want someone or something to make to us and make possible for us. This cluster of promises could be embedded in a person, a thing, an institution, a text, a norm, a bunch of cells, smells, a good idea - whatever. To phrase 'the object of desire' as a cluster of promises is to allow us to encounter what's incoherent or enigmatic in our attachments, not as confirmation of our irrationality but as an explanation for our sense of our endurance in the object, insofar as proximity to the object means proximity to the cluster of things that the object promises, some of which may be clear to us while others not so much.

In other words, all attachments are optimistic. That does not mean that they all feel optimistic: one might dread, for example, returning to a scene of hunger or longing or the slapstick reiteration of a lover or parent's typical misrecognition. But the surrender to the return to the scene where the object hovers in its potentialities is the operation of optimism as an affective form. In optimism, the subject leans toward promises contained within the present moment of the encounter with their object.

'Cruel optimism' names a relation of attachment to compromised conditions of possibility whose realisation is discovered either to be impossible, sheer fantasy, or too possible, and toxic. What's cruel about these attachments, and not merely inconvenient or tragic, is that the subjects who have x in their lives might not well endure the loss of their object or scene of desire, even though its presence threatens their well-being, because whatever the content of the attachment is, the continuity of the form of it provides something of the continuity of the subject's sense of what it means to keep on living on and to look forward to being in the world.

This phrase points to a condition different than that of melancholia, which is enacted in the subject's desire to temporise an experience of the loss of an object/scene with which she has identified her ego continuity. Cruel optimism is the condition of maintaining an attachment to a problematic object. One more thing: the cruelty of an optimistic attachment is, I think, usually something an analyst observes about someone's or some group's attachment to x, since usually that attachment exists without being an event, or even better, seems to lighten the load for someone/some group.

But if the cruelty of an attachment is experienced by someone/some group, even in disavowed fashion, the fear is that the loss of the object/scene of promising itself will defeat the capacity to have any hope about anything. Often this fear of loss of a scene of optimism as such is unstated and only experienced in a sudden incapacity to manage startling situations, as we will see below.

One might point out that all objects/scenes of desire are problematic, in that investments in them and projections onto them are less about them than about what cluster of desires and affects we can manage to keep magnetised to them. I have indeed wondered whether all optimism is cruel, because the experience of loss of the conditions of its reproduction can be so breathtakingly bad, just as the threat of the loss of x in the scope of one's attachment drives can feel like a threat to living on itself.

But some scenes of optimism are clearly crueller than others: where cruel optimism operates, the very vitalising or animating potency of an object/scene of desire contributes to the attrition of the very thriving that is supposed to be made possible in the work of attachment in the first place. This might point to something as banal as a scouring love, but it also opens out to obsessive appetites, working for a living, patriotism, all kinds of things. One makes affective bargains about the costliness of one's attachments, usually unconscious ones, most of which keep one in proximity to the scene of desire/attrition.

This means that a poetics of attachment always involves some splitting off of the story I can tell about wanting to be near x (as though x has autonomous qualities) from the activity of the emotional habitus I have constructed by having x in my life in order to be able to project out my endurance as proximity to the complex of what x seems to offer and proffer.

To understand cruel optimism, therefore, one must embark on an analysis of rhetorical indirection, as a way of thinking about the strange temporalities of projection into an enabling object that is also disabling.