Undeniably, one of the main characteristics of Carmen Maria Machado’s In the Dream House is that it is a queer literary work, and through it and through the (recent) popularity of queer literature in general, it is becoming increasingly more important to find interconnections between queer theory and translation studies as both can offer some useful insights for one another. Translations are rarely unbiased, and one of such inherent biases or underlying ideologies might be the queer one, too, which then influences the way a certain body of work is produced and presented to the audience. The context plays a big role too, and affects the strategies employed in a translation of a queer work. For this and many other possible reasons, translations are often softer and milder when it comes to representation of queerness and explicit, erotic scenes in particular. It is possible, through the way of writing, to highlight and illuminate the queerness of a text, or to do the opposite, to censor it, cover it or erase it completely. The reasons behind either of the directions as well as the possible implications are important to explore further, as is the overlap between the two areas of study, the queer, and the translation one.