This article of creative-critical scholarship reads Ann Quin’s visual-epistolary novel of domestic desire and conflict Three (1966) alongside the feminist and queer theory of Ahmed (2006), Carson (1986), and Sedgwick (1993), combined with the erotic triangulations, citations, and archival encounters of the author. This affective art writing methodology is proposed—across theory and practice—as a critical, queer feminist method, which surfaces the contradictions of affect, love, and desire that ‘shape’ the novel’s triadic relationship. The article argues for the love triangle as a queer erotic and aesthetic formation, which subverts the ‘straight’ line of desire pointing to heterosexual coupling, and creates an affective stage for homoerotic intimacies, autoerotic encounters, and masochistic fantasies, as well as for hybridized form.