Critics’ temporal position, that is their now, overshadows what they are doing. They unconsciously bring their temporal biases into a literary text. Therefore, it seems natural for critics to bring their current concerns to their passive target text without any consideration of its innate temporality. It seems impossible to contain this temporal brutality of criticism and let the text be resuscitated and talk to us. This paper will look for an answer to this problem in queer temporalities that deconstruct a ‘naturalized’ progression of temporality and unveil how multiple times equally jostle and claim their share in every moment. This paper aims to show how, with help of ideas of queer temporality, we can better understand a victimized text through a history of criticism about a medieval text, The Book of Margery Kempe.