Project MUSE®: The Hopkins Review - Latest Articles
https://muse.jhu.edu/journal/398
Project MUSE®: Latest articles in The Hopkins Review.daily12026-05-13T00:00:00-05:00text/htmlen-USVol. 1 (2008) through current issueLatest Articles: The Hopkins ReviewTWOProject MUSE®The Hopkins Review1939-97741939-6589Latest articles in The Hopkins Review. Feed provided by Project MUSE®A Knot (From She Goes Ancient 2) 2024, and: Eye of My Eyes 2025
https://muse.jhu.edu/article/989168
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Mixed-media canvas collage, 53 × 42 in.Courtesy of the artist and Pentimenti Gallery, Philadelphia, PAPhoto credit: Vivian DoeringThe cover of The Hopkins Review 19.2 is a detail of the piece above, which has existed in many iterations. It started out as a section in a work that was 72 × 72 inches [right], made in 2019, and many excavations have happened since then. This piece actually no longer exists; I have since incorporated it into a larger work, Eye of My Eyes, which showed at Goucher in 2025.Mixed-media on hand-dyed canvas with acrylic, gel medium, paint marker, Flashe paint, mixed textile and paper collage., 117/½ × 115 in.Courtesy of the artist and Pentimenti Gallery, Philadelphia, PAPhoto credit: Vivian
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallA Knot (From She Goes Ancient 2) 2024, and: Eye of My Eyes 20252026-05-07text/htmlen-USA Knot (From She Goes Ancient 2) 2024, and: Eye of My Eyes 20252026-05-072026TWOProject MUSE®35632026-05-13T00:00:00-05:002026-05-07Uniqueness, and: Innocence, and: Alps
https://muse.jhu.edu/article/989170
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February 2, 19332 febbraio 1933Santa Margherita, June 28, 1929Pasturo, August 28, 1929Pasturo, 28 agosto 1929After taking her own life in 1938, a small collection of Pozzi's poems was posthumously published by her father, with severe edits and changes made to the work. These redactions largely stripped the work of its core sensuality and the piercing sense of struggle faced by a young woman who was carefully recording her rich and complex inner life during the rise of fascism in Italy in the 1920s and 30s. These translations reflect the original, unedited versions of her poems collected by dedicated editors Alessandra Cenni, Onorina Dino, and Graziella Bernabò. The final stanza of "Unicità" is a restoration of a
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallUniqueness, and: Innocence, and: Alps2026-05-07text/htmlen-USUniqueness, and: Innocence, and: Alps2026-05-072026TWOProject MUSE®102262026-05-13T00:00:00-05:002026-05-07Ocean, Ocean
https://muse.jhu.edu/article/989172
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We found conches at the beach and brought them back to our sleepover. In my room, I said I wanted to tell you something but was afraid, and you raised your iceberg-blue conch to your ear and said, "Say into the seashell." So I said into my sunset-yellow conch, "Ocean, ocean, lend me your ears. I think I like boys." In response, you said into your conch, "Ocean, ocean, lend me your ears. I want to paint the road green, the color my mother last wore before she walked out of my life and never came back." We were ten then. When we were twelve, on another sleepover, we came across our first sex scene in an R21 film. We watched an online pornographic film next, and after that, through the conch, you said you wanted to
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallOcean, Ocean2026-05-07text/htmlen-USOcean, Ocean2026-05-072026TWOProject MUSE®43832026-05-13T00:00:00-05:002026-05-07To Have and to Hold
https://muse.jhu.edu/article/989173
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The door yawns open. A burst of sound behind Enyim makes her straighten. A covey of barefoot and scantily clad children who live in the houses clumped in narrow rows in Iwofe neighborhood smiles back at her. The children run errands in exchange for gifts. Sometimes, they simply want to use the compound space for their play. Not now, Enyim thinks."I want to sleep. Come back later."The bigger children eye her, the smirks bolded on their faces ask for the crackers in her kitchen cabinet, which she rations per sachet for the children. The tallest girl in the group has a coin-sized bump under her left nipple, the areola a robust dark. There is nothing yet under the right one. Enyim makes a mental note to fish the girl's
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallTo Have and to Hold2026-05-07text/htmlen-USTo Have and to Hold2026-05-072026TWOProject MUSE®318562026-05-13T00:00:00-05:002026-05-07Senior Lecturer
https://muse.jhu.edu/article/989177
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… is comparable to a man in a cataleptic fit; he cannot speak; he cannot move; he suffers no pain; he is perfectly conscious of all that goes on but has no part in
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallSenior Lecturer2026-05-07text/htmlen-USSenior Lecturer2026-05-072026TWOProject MUSE®32102026-05-13T00:00:00-05:002026-05-07The Couch
https://muse.jhu.edu/article/989178
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We met at the Polish deli attached to the Jewish mortuary to exchange my deposit for the keys. He ordered pierogi and for me to show him my hands, then studied the lines with an intensity that made me self-conscious. Then he told me about the couch. He explained that I'd have to treat it like my own, that the leather required a deep conditioning every four weeks to maintain its olive hue—though we'd take turns, of course—and when I hesitated, he told me he wouldn't budge, because the couch was something we'd both use. "It's the same one Salma Hayek has," he boasted, "except this one's a copy. Don't tell anyone." He squeezed my hand and whispered, "I mean it."He told me it ran in his family, reading palms. After
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallThe Couch2026-05-07text/htmlen-USThe Couch2026-05-072026TWOProject MUSE®417472026-05-13T00:00:00-05:002026-05-07On Translation and The Great Zoo
https://muse.jhu.edu/article/989179
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Dr. Aaron Coleman is a poet whose books include Threat Come Close and Red Wilderness. He is a scholar of the African diaspora and of comparative literature, a professor at the University of Michigan, and a translator. He translated to English Nicolás Guillén's El gran zoo (The Great Zoo), originally published in Spanish in 1967, which examines colonial racialization and exoticism through a ranging "zooscape" of representative animals, peopled jobs and groups, weapons, weather events, natural features, and more. Nicolás Guillén (1902–89) was an Afro-Cuban poet and activist and was named the national poet of Cuba in 1961.This conversation took place over Zoom. It has been edited for length and clarity.Thank you so
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallOn Translation and The Great Zoo2026-05-07text/htmlen-USOn Translation and The Great Zoo2026-05-072026TWOProject MUSE®208482026-05-13T00:00:00-05:002026-05-07Sean Scully: Recent Paintings
https://muse.jhu.edu/article/989182
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On my first visit to Sean Scully's London studio, in the 1970s, I encountered a series of cool, reticent paintings constructed with narrow horizontal black and gray stripes—responses, I learned, to North African textiles. Scully kept referring to "the blue one," "the green one," and "the red one," initially mystifying me, but as my eyes adjusted to what I recall as rather dim light, I began to see the subtle chromatic variations that animated the austere, cerebral works. Gray was never just gray. Today, austere is the last word that Scully's paintings suggest, but over the intervening five decades, his sensuous, lushly gestural works have always depended, as those early stripes did, on disciplined structure
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallSean Scully: Recent Paintings2026-05-07text/htmlen-USSean Scully: Recent Paintings2026-05-072026TWOProject MUSE®79542026-05-13T00:00:00-05:002026-05-07Plugged In and Pulling the Plug: Some Paradoxes of Theater and Technology from Interpolations 3
https://muse.jhu.edu/article/989183
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The following are reflections on Interpolations 3, a third annual gathering of artists and scholars who work at the intersection of theater and emerging technology. Interpolations 1 was held in 2023 at the University of Toronto's bmo Lab. Since 2024, the gathering has been hosted at Washington University in St. Louis, where it was cosponsored last year by the Performing Arts Department and the Immersive Technology Collective, with funding from the Doris Duke Foundation.In 2025, the daylong gathering featured hands-on experimentation with Gina Bloom's Stay Thy Blade (an interactive game set in the world of Macbeth and fueled by conversational AI), feedback sessions on works in progress (both scholarly and artistic)
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallPlugged In and Pulling the Plug: Some Paradoxes of Theater and Technology from Interpolations 32026-05-07text/htmlen-USPlugged In and Pulling the Plug: Some Paradoxes of Theater and Technology from Interpolations 32026-05-072026TWOProject MUSE®143072026-05-13T00:00:00-05:002026-05-07Orbiting Mina Loy: On Transcendental Factory by Karla Kelsey
https://muse.jhu.edu/article/989184
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Winter Editions, 2024There exists a small canon of texts that use archives to radically shape the imagination: Walter Benjamin's Arcades Project, Charles Olson's Call Me Ishmael, Robert Duncan's H.D. Book, and Susan Howe's My Emily Dickinson and Spontaneous Particulars, to name some of the most prominent. Into this small, vital pool splashes Karla Kelsey's Transcendental Factory: For Mina Loy—fired from a cannon lit with love.Transcendental Factory turns the inevitable lacunae of biography into freedom as Kelsey experiments with different modes of engaging with historical life: recounting her experience with Loy's papers in the Beinecke archive, narrating details from Loy's life, portraying Loy in fictionalized
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallOrbiting Mina Loy: On Transcendental Factory by Karla Kelsey2026-05-07text/htmlen-USOrbiting Mina Loy: On Transcendental Factory by Karla Kelsey2026-05-072026TWOProject MUSE®88822026-05-13T00:00:00-05:002026-05-07On The Concealment of Endless Light by Yehoshua November
https://muse.jhu.edu/article/989185
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Orison Books, 2024Yehoshua November's third book offers a spiritual self-portrait of the poet as questioner, father, husband, teacher, and Jewish member of a living Chassidic faith tradition, all amid the hustle and bustle of everyday New Jersey. November's aplomb in bringing these worlds together—Roy Orbison and Moses, rabbinic devotion and commercial radio, making a living and living a faith—is a major delight of his poetry. November's New Jersey is the same Jersey, one century later, of William Carlos Williams. But November's portraits are more focused on relationships than the good doctor's visual, askance, and modernist observations. November's insights also are in conversation with past Chassidic religious
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallOn The Concealment of Endless Light by Yehoshua November2026-05-07text/htmlen-USOn The Concealment of Endless Light by Yehoshua November2026-05-072026TWOProject MUSE®95972026-05-13T00:00:00-05:002026-05-07The Travesty of Ann Lee
https://muse.jhu.edu/article/989186
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The Testament of Ann Lee is exactly the kind of movie I love: sensorily decadent, erotic, and strange. Throw in some blood, guts, and eighteenth-century skin grime, and I'm the person who laps it up from the second row. Throw in elaborate song and dance involving a range of ages and body types, and I'm the person who pays to see it a second time. I anticipated Mona Fastvold's movie musical to be like Robert Eggers's The Witch (2015), swapping the Puritans for the Shakers, a woodland coven for a row of acolytes at a meticulously constructed wooden table.The Testament of Ann Lee has, at the time of this writing, an 89 percent on Rotten Tomatoes and a flurry of effusive reviews from traditional and freelance critics.
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallThe Travesty of Ann Lee2026-05-07text/htmlen-USThe Travesty of Ann Lee2026-05-072026TWOProject MUSE®101792026-05-13T00:00:00-05:002026-05-07Adorning Every Secret Track: A Memoir of Making and War
https://muse.jhu.edu/article/989187
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One recent Christmas, the younger of my two older half brothers came to visit and brought me two holiday gifts. One was a ready-made plastic model of a US Navy fighter aircraft from World War II, the F6F Hellcat, well detailed and well painted. And the other was a 1:350 scale plastic model kit of the sailing ship Cutty Sark that would require me to assemble it. One vehicle of warfare, therefore, and one of peace and commerce. This gift was accompanied by a tag that said, "Dear Karl: Some things do not go away until you do them."In July 1967, I was eleven years old and living with my family in a commuter suburb outside New York. My parents had known each other as teenagers here during the summers before the Second
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallAdorning Every Secret Track: A Memoir of Making and War2026-05-07text/htmlen-USAdorning Every Secret Track: A Memoir of Making and War2026-05-072026TWOProject MUSE®536392026-05-13T00:00:00-05:002026-05-07Notes on Contributors
https://muse.jhu.edu/article/989188
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alissa m. barr is a writer and registered nurse. Her work has appeared or is forthcoming in New England Review, West Branch, and elsewhere. She is the 2025 runner-up for The Missouri Review's Perkoff Prize. Alissa holds an mfa from Vanderbilt University, where she received the Kathryn Sedberry Poetry Prize.daniel borzutzky's most recent books are The Murmuring Grief of the America and Written After a Massacre in the Year 2018. The Performance of Becoming Human received the 2016 National Book Award. His translations include books by Elvira Hernandez, Cecilia Vicuña, Paula Ilabaca Nuñez, Galo Ghigliotto, and Raúl Zurita.geoffrey brock is the author of three books of poems (most recently After), the editor of The FSG
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/398/image/coversmallNotes on Contributors2026-05-07text/htmlen-USNotes on Contributors2026-05-072026TWOProject MUSE®111302026-05-13T00:00:00-05:002026-05-07