Project MUSE®: Canadian Review of American Studies - Latest Articles
https://muse.jhu.edu/journal/269
Project MUSE®: Latest articles in Canadian Review of American Studies.daily12026-05-15T00:00:00-05:00text/htmlen-USVol. 1 (1970) through current issueLatest Articles: Canadian Review of American StudiesTWOProject MUSE®Canadian Review of American Studies1710-114X0007-7720Latest articles in Canadian Review of American Studies. Feed provided by Project MUSE®“The World Unwraps Itself”: Tracing Utopia in Gregory Maguire’s Wicked: The Life and Times of the Wicked Witch of the West and Stephen Schwartz and Winnie Holzman’s Wicked: The Untold Story of the Witches of Oz
https://muse.jhu.edu/article/981253
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The importance of utopian wishes hinges on the unfinishedness of the material world. The world is in a constant state of process, or becoming. The future is “not yet” and is a realm of possibility. Utopia reaches toward that future and anticipates it. And in so doing, it helps to effect the future.In a now viral video posted to Instagram, user Tiffany Stuart (@wellwithtiffany) addresses her viewers: “parents out there who are taking their kids to see Wicked, please know that the book is very different from the musical … you might not want to blindly buy this book, it is not a Harry Potter situation.” What Tiffany (and the viewers in her comment section who she invites to “chime in”) address is a dichotomy in
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/269/image/coversmall“The World Unwraps Itself”: Tracing Utopia in Gregory Maguire’s Wicked: The Life and Times of the Wicked Witch of the West and Stephen Schwartz and Winnie Holzman’s Wicked: The Untold Story of the Witches of Oz2026-01-27text/htmlen-US“The World Unwraps Itself”: Tracing Utopia in Gregory Maguire’s Wicked: The Life and Times of the Wicked Witch of the West and Stephen Schwartz and Winnie Holzman’s Wicked: The Untold Story of the Witches of Oz2026-01-272026TWOProject MUSE®931582026-05-15T00:00:00-05:002026-01-27The Tree-Sound Chora of Toni Morrison’s Beloved
https://muse.jhu.edu/article/981251
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It’s a tree Lu, a chokecherry tree. See, here’s the trunk – it’s red and split wide open, full of sap, and this here’s the parting for the branches.In the beginning there were no words. In the beginning was the sound, and they all knew what that sound sounded like.In Beloved’s forest clearing where Baby Suggs “calls,” Toni Morrison creates a primal space of subject formation. This article examines how the Kristevan chora of these trees and sounds shape Sethe’s journey toward individuation. Theorists such as Michele Bonnet, Laurie Watkins Fulton, and Paul Henderson have pointed out how many trees there are in Beloved, adopting various critical stances toward their affective roles. Others have emphasized that Beloved
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/269/image/coversmallThe Tree-Sound Chora of Toni Morrison’s Beloved2026-01-27text/htmlen-USThe Tree-Sound Chora of Toni Morrison’s Beloved2026-01-272026TWOProject MUSE®792032026-05-15T00:00:00-05:002026-01-27“Local to where, across the river?”: Detroit, Borderlands, and Cycles of Dispossession in Elmore Leonard’s Killshot
https://muse.jhu.edu/article/981252
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In February 2022, the Greater Essex County District School Board (GECDSB) in southwestern Ontario, Canada, announced that as part of its commitment to “dismantling anti-Indigenous and anti-Black racism” and at the request of students, it had begun the process of removing and rebranding the name, logos, and official images associated with the sports teams of Riverside Secondary School, a public high school on the east side of the city of Windsor, Ontario. Out were the Riverside Rebels, and out (in particular) was the mascot Captain Rebel: a cartoon ghost wearing a Civil War–era hat and waving a modified version of the Confederate Stars and Bars flag.1 As the initial GECDSB press release explained:The Rebel name and
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/269/image/coversmall“Local to where, across the river?”: Detroit, Borderlands, and Cycles of Dispossession in Elmore Leonard’s Killshot2026-01-27text/htmlen-US“Local to where, across the river?”: Detroit, Borderlands, and Cycles of Dispossession in Elmore Leonard’s Killshot2026-01-272026TWOProject MUSE®1055282026-05-15T00:00:00-05:002026-01-27Performing the Neoliberal Body: Alienation, Plenitude Fantasies, and the Ethics of the Public in Charles Yu’s Interior Chinatown
https://muse.jhu.edu/article/981254
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The article examines Charles Yu’s Interior Chinatown (2020) as a critical intervention in a long genealogy of US representations of the Asian body: from the Page and Chinese Exclusion Acts that cast Asians as a “permanently foreign” menace, through the Cold War model-minority myth and postmodernism’s celebration of fluid identity, to neoliberalism’s conversion of diversity into a marketable asset. In Yu’s narrative, the Asian body becomes a site of ideological contradiction—praised for its adaptability and performativity yet rendered disposable and fungible under the demands of neoliberal subject formation. Through the journey of the protagonist, Willis Wu, who ascends from “Background Oriental Male” to “Kung Fu
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/269/image/coversmallPerforming the Neoliberal Body: Alienation, Plenitude Fantasies, and the Ethics of the Public in Charles Yu’s Interior Chinatown2026-01-27text/htmlen-USPerforming the Neoliberal Body: Alienation, Plenitude Fantasies, and the Ethics of the Public in Charles Yu’s Interior Chinatown2026-01-272026TWOProject MUSE®821802026-05-15T00:00:00-05:002026-01-27