Abstract
Caryl Churchill's play Drunk Enough to Say I Love You?, an allegory in which a man falls in the love with the United States of America, not only interrogates US foreign policy but also, by using a homosexual relationship with an unequal power dynamic as the lens through which we view America's actions, explores the gendered nationalist appeal of neoconservatism, illustrating how citizens submit to the domination of the state for the sake of associating themselves with its masculine authority. Guy's growing disenchantment with the relationship is tied specifically to the failings of state power and the interdependence of the supposedly sovereign state with the international community in contemporary geopolitics, allowing the play to challenge the very notion of state power and thus disrupt the source of the state's allure, ultimately undermining American exceptionalism.
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