The title Somdomites references the famously misspelled epithet leveled by the Marquess of Queensberry at his son's lover, Oscar Wilde—the first in a chain of recriminations that would lead to Wilde's imprisonment and forced labor. This work retells the story in verse over a sequence of five posters screened with the iconic flame type of psychedelic artist Wes Wilson. Made in collaboration with one of Wilson's original printers, the posters highlight the influence of Victorian Aestheticism and sexual politics on Sixties counterculture, as a Nouveau-style font adapts to the vibrant, chromatic fields of a later era. The name that's too hard to say becomes, on viewing, the thing too hard to read: legibility competes with an optical throb that burns letters and ornaments onto the retinal wall. Language is never in full disguise, and yet its choice to retreat into a visual mesh could be taken symptomatically: the shame of hiding, and the deep pleasure of the secret hiding in plain sight.