Project MUSE®: Minnesota Review - Latest Articles
https://muse.jhu.edu/journal/520
Project MUSE®: Latest articles in Minnesota Review.daily12026-05-13T00:00:00-05:00text/htmlen-USNo. 1 (1973)-no. 62 (2004), missing nos. 2,3,9,39-44,50-51,55-57,63-74; No. 75 (2010) through current issueLatest Articles: Minnesota ReviewTWOProject MUSE®Minnesota Review2157-41890026-5667Latest articles in Minnesota Review. Feed provided by Project MUSE®Tribute to Fredric Jameson
https://muse.jhu.edu/article/965046
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Fredric Jameson (1934–2024) was a longtime friend of the minnesota review. His contributions reflect his position as a Marxist who cared about style, which left him at odds with many prominent Marxists, and as a cultural theorist who cared about material conditions in a way that left him at odds with many cultural theorists. In 1974, this journal published a review essay by Jameson, “Benjamin as Historian, or How to Write a Marxist Literary History,” in which he discusses newly translated books on Baudelaire and Brecht by Walter Benjamin. The review broaches aesthetic and political themes that Jameson was still discussing in the seminar that I took with him as a graduate student at Duke in the early 1990s, by which
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallTribute to Fredric Jameson2025-07-12text/htmlen-USTribute to Fredric Jameson2025-07-122025TWOProject MUSE®101652026-05-13T00:00:00-05:002025-07-12How do you write the memory of learning to write Arabic letters —
https://muse.jhu.edu/article/965049
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Read from right to left, the Arabic letters spell
, pronounced La ji’, which means “refugee” in Arabic. The “i” at the end of La ji’ is sounded with air halted, held momentarily until it
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallHow do you write the memory of learning to write Arabic letters —2025-07-12text/htmlen-USHow do you write the memory of learning to write Arabic letters —2025-07-122025TWOProject MUSE®55072026-05-13T00:00:00-05:002025-07-12Madonna
https://muse.jhu.edu/article/965051
<p></p>
In the Renaissance art wing Portrait of a Teen Girl Bathing is situated near the entrance across from a statue of the virgin Mary with one breast exposed. There are more breasts on display in this Harvard gallery than the strip club across town. The lesson being: some types of nakedness claim more divinity than others. By turning women into examples, it is permissible to ogle at them. The line between Madonna and whore is so thin that you could walk it on a tightrope directly to the Vatican. Above the gallery there is a sign that reads: choose the wrong door and fall directly to Hell.
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallMadonna2025-07-12text/htmlen-USMadonna2025-07-122025TWOProject MUSE®22952026-05-13T00:00:00-05:002025-07-12Dishes
https://muse.jhu.edu/article/965052
<p></p>
“Ma, don’t I always getthe dishes done?”“Why do you have to leave them sit? Why can’t you just wash them now?”The girl doesn’t answer. She doesn’t want to tell her ma that the whole road seems to glow at this time of evening, that the light itself is different right now, gold and caressing. The girl and her family lives so far north that the summer sun doesn’t set until 9:30 at night, and even at 10 pm, the girl can see a faint glow in the western sky. Until last year their road had been gravel, but the county paved it this spring. Now, skating in the long, late rays on the smooth blacktop makes her feel like she’s weightless.But the girl says none of this. Only, “Ma, you know I’ll do them.”“Oh, go on,” her mother
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallDishes2025-07-12text/htmlen-USDishes2025-07-122025TWOProject MUSE®199692026-05-13T00:00:00-05:002025-07-12we bear
https://muse.jhu.edu/article/965053
<p></p>
I couldn’t really share much with the other girls — just one of the reasons I got out of that town. They saw her and sometimes she flashed her smile, but it was as if she had an invisible shield, a cloak to hide behind or else they were in a trance of their own doing. Lite footed and sorry for all of their lives, they danced at the balls and ate from the silver dining service. They all played on teams together and walked to school with their hair combed out, sleeping in canopy beds at night, sleeping in rollers, talking on phones past sleep — talking to boyfriends — gossiping.Once one of them bit me on the ankle but I pulled my sock high up and shimmied through the Cadillac window where my mother rumbled into the
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallwe bear2025-07-12text/htmlen-USwe bear2025-07-122025TWOProject MUSE®52542026-05-13T00:00:00-05:002025-07-12Untitled
https://muse.jhu.edu/article/965055
<p></p>
after Agha Shahid
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallUntitled2025-07-12text/htmlen-USUntitled2025-07-122025TWOProject MUSE®25712026-05-13T00:00:00-05:002025-07-12Kitchen Jumbee
https://muse.jhu.edu/article/965056
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My name rhymes with my dead sister’s. Her memory used to wash inoutinoutinout of my brain, on my command whenever I felt the need to conjure her. Water receding on a riverbank. Now she’s in my kitchen.I used to think of her. I work as a hospital clerk in Morris Park. I know I can get away with eight but I get bored easily; and what would it say about me if I run home during daylight when all those nurses are tramping back and forth, fighting the onslaught of ER cases we receive? When I wasn’t too tired after twelve hours of being screamed at, I would make a cup of tea, push my sofa to the window and, with the blinds closed, look at the world through cheap red fabric. I say world but the only thing visible outside
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallKitchen Jumbee2025-07-12text/htmlen-USKitchen Jumbee2025-07-122025TWOProject MUSE®191642026-05-13T00:00:00-05:002025-07-12Bloodroot
https://muse.jhu.edu/article/965057
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The fibrous roots leak red, staining everything. The boys make crude comments about how it has its period but they don’t know that blood is salt, flesh, bone. It’s a plant that bleeds like me. The bell rings and I send them back to the smell of the earth, a dusty nothingness. A light spring snow dusts the yellow school buses lining up along the curb. The lights, also red, flash a warning to go slow, to pay attention, to not cross over into the light of early afternoon. I sit in a cold seat up front to avoid the rowdy boys piling into the aisle and tripping over their claws and teeth. They race and stomp and crash into the backseats. The snow is really picking up now, fat flakes blinding the driver, wind-shield
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallBloodroot2025-07-12text/htmlen-USBloodroot2025-07-122025TWOProject MUSE®39092026-05-13T00:00:00-05:002025-07-12Loving you is ordinary heaven
https://muse.jhu.edu/article/965062
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Does it matter that I considered a yoga mat for the folk show? Does it matter whether those bodies inside such a grave were ours? I’m filthy, this is what counts. You meet me at the corner of California and Division. Where do we go? We walk, endlessly, nowhere. We go out searching for shovels. You linger, you’re tired. You sit. I graze down toward my hands (closed). Should you be carried? To carry you (under rocks) built for you (working harder) for you (without greed) is an act of remembering. We reach the crux of location. Dirt is my sound, every stretch is the soil is a bow to your stage: epigraph, love letter, midnight, changes. You are still tired, I am still digging. Kisses are left to unbury devotion (where
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallLoving you is ordinary heaven2025-07-12text/htmlen-USLoving you is ordinary heaven2025-07-122025TWOProject MUSE®24772026-05-13T00:00:00-05:002025-07-12Glass Partita
https://muse.jhu.edu/article/965065
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You grow tired of your kaleidoscope future. If you have to die, you choose this trapeze of three willingly. You will always be caught in the premeditation of cradle to atlas to glass casket. Mickelsen says this is the age of glass, and the latest: glass umbrella. No protection from sunrays, but you can see through rain and wind. You believe in light: favorite scimitar sun slices Angel Peak. You are an irrevocable diagnosis straddling the balance between having a presence and being a presence. Glass is always moving: amorphous state humming at a very slow rate. Last time, your tiny cells sung a diminuendo. In their place, an aria of pear blossoms. You must realize your name is a temporary hymn, but monastic
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallGlass Partita2025-07-12text/htmlen-USGlass Partita2025-07-122025TWOProject MUSE®29022026-05-13T00:00:00-05:002025-07-12Strawberry Fight
https://muse.jhu.edu/article/965066
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They warn against the light — dodge the sun: what else can it do after all but love too much? We go pick strawberries in a May field anyway. In those days, the light was cleaner. Fields brimming with birds fractal over first fruits. She says she loves the happy birds. Why is it so easy to not hear them now? I ask how long, and she says the doctors say 6 months. Every time a measurement is made, the universe splits into two, a universe for each answer. In her many worlds, the myriad body, a panoply of girlhoods, each one day longer than the last. She bends to collect fallen fruit from the earth, and I pitch a strawberry at her small side. Her child body begins to echo. A strawberry fight ensues: the first fruit
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallStrawberry Fight2025-07-12text/htmlen-USStrawberry Fight2025-07-122025TWOProject MUSE®30202026-05-13T00:00:00-05:002025-07-12Greetings From >>>>
https://muse.jhu.edu/article/965067
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In the patio, the dream of a garden century. An elderly woman was interviewed this morning in her garden, where she has tended her impatiens for 100 years. In this life or the next, will you walk past these pink globules and think of our first summer, loading salmon touch-me-nots into box truck sanctums? Sweat and dirt oracles on brief skin. I forgive you for no longer being that man because I am not longer that woman. Since then, much sleeted travel, a car buried in snow, doors ajar. Plucking red berries that remind you of your known fruit yet remind me of a home ripe in pomegranate parks. I have never been there. How do you define homebound? Every night in this city without you, I’ve dreamt of presences: loose
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallGreetings From >>>>2025-07-12text/htmlen-USGreetings From >>>>2025-07-122025TWOProject MUSE®30922026-05-13T00:00:00-05:002025-07-12Cardiologist
https://muse.jhu.edu/article/965068
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I tell the girls to leave me alone and go play with the shaggy dog out in the yard, because somehow, I’m chatting online with the Eloise Gardner. The one who starred in Pig People the classic 1987 horror film about pigs who use human heart valves, and then human kidneys, then human arms and human penises — they get more human than pig. I’ve seen this woman naked on a bale of hay, squeezing her breasts together with one arm (presumably protecting her heart from the Pig Surgeon) while fighting for an anesthetic mask in the other. And I want to tell her I’ve laid down naked in hay before, so I know how much that scene must’ve hurt and how her back must’ve been bloody and scratched up after, but I don’t want to sound
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallCardiologist2025-07-12text/htmlen-USCardiologist2025-07-122025TWOProject MUSE®46772026-05-13T00:00:00-05:002025-07-12Make
https://muse.jhu.edu/article/965069
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While the preceding poetic territory relies on the insistent enigma of the writing process as a source of music, I offer these notes to readers interested in delving further into the minutiae of the text. Generally excluded are identifications of historical figures, place-names, and other entities that might be located via obvious internet keyword searches unless there is a detail to add not readily available to the pub lic and which I deem of importance to understanding what is happening.let us join our howlsAn earnest dinner invitation to the ghost of American poet and politi cal activist Denise Levertov (1923–1997). If she comes over I will make bouillabaisse.conclotion startsWhen a line rushes in two directions
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallMake2025-07-12text/htmlen-USMake2025-07-122025TWOProject MUSE®73502026-05-13T00:00:00-05:002025-07-12Coward
https://muse.jhu.edu/article/965070
<p></p>
Listen, when M. climbed inside a sheep’s hull all the field was silent because of the view, sure there were pieces of slick ruby flesh, and yes she wasn’t yet used to hooves or hands, there were no more omelets but all the desire was the same violin-thin greens, straw then hay, and hey, sometimes we can’t always get it right, but the point is we try, so M. crawled to your bedroom as more ragdoll than sheep, and I could smell her from ages away because that’s the kind of hound I am, and I always bet on owners who hunched over the kitchen sink, men with crumpled cigarettes, all neon hanging from their fingertips, yes there were scars, yes someone took part of my ear and yes I’ll fall in love with anyone who pours me
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallCoward2025-07-12text/htmlen-USCoward2025-07-122025TWOProject MUSE®39052026-05-13T00:00:00-05:002025-07-12Sirens are just mermaids with knives
https://muse.jhu.edu/article/965071
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The sea is full of promises, aquatic foxes, a platform for starfish to feed, the seabed is warm, tinged blue from lack of light but we are bright with our lamps and bulbs, mother pinched us like a lobster might try to hold the hand of an all-consuming rope net, she said we were tidal waves, she said we were boring, she told us stories about how love lives in the groundwater and we believed her, so we’re out with our silence and our feelings, you know how it is, the frazil ice isn’t a bother, sorry about the iris rumor and how we snuffed out the crown, do you know what we are, do you know how to flee, do you see the skeletons of sailors all moldy and green by the base of the tree, nature is a basin of worship, we
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallSirens are just mermaids with knives2025-07-12text/htmlen-USSirens are just mermaids with knives2025-07-122025TWOProject MUSE®46272026-05-13T00:00:00-05:002025-07-12He don’t do Red
https://muse.jhu.edu/article/965075
<p></p>
I make sure that my face is on right and leave the bathroom, stepping into the country kitchen where the man is all legs spread, crotch north- facing, and leaning against the freckled granite countertop. Behind him, hand-painted and spring colored sugar bowls, flour bowls, gingerbread houses, and Christmas dollhouses line the granite walkway — a village in desolation lights.The man doesn’t perk up when he sees me, but his eyes get a little wider and his legs spread easier, all butter, as he opens his mouth and tells me that he’s ready to begin. Don’t be shy, he warns me when my eyes don’t contain themselves and sneak past him to the village, in search of a gingerbread man or a Mrs. Claus, in a linger, too early in
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallHe don’t do Red2025-07-12text/htmlen-USHe don’t do Red2025-07-122025TWOProject MUSE®146282026-05-13T00:00:00-05:002025-07-12Introduction to Fictions of Survival: Pandemic Literatures and Our Present Time
https://muse.jhu.edu/article/965077
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In his seminar entitled “The Relationship between Psychosomatic Symptoms and Latent Psychotic States,” Herbert Rosenfeld (2019: 24) argues that “mental conflict, especially early confusional conditions (which are particularly intolerable for the infantile ego), tend to be split and projected, evacuated into the body or internal organs, in such a fashion as to cause hypochondria or psychosomatic illness, or sometimes a combination of the two.” Rosenfeld proceeds to call these split and projected bits “psychotic islands” that house “uncontrollable destructive impulses, anxieties and associated defenses” (42). Although these islands create distress as they “take root in certain bodily organs — the chest
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallIntroduction to Fictions of Survival: Pandemic Literatures and Our Present Time2025-07-12text/htmlen-USIntroduction to Fictions of Survival: Pandemic Literatures and Our Present Time2025-07-122025TWOProject MUSE®131442026-05-13T00:00:00-05:002025-07-12“They Are Increasing”: The Eclipsed Pandemic and Literature of Antimicrobial Resistance
https://muse.jhu.edu/article/965078
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The dominant variant of pandemic literature is unquestionably viral. The ascendancy of viral pandemic fiction notwithstanding, the “gen(r)e” pool from which pandemic fiction has drawn its pathogenic antagonists has somewhat recently expanded, altered by changing cultural and ecological currents. And yet, while fungal parasites and even prions have shared the representational limelight particularly in the past decade, bacterial pathogens have remained somewhat eclipsed. The occlusion of bacterial pandemic fiction mirrors and is a function of what is often called the “hidden,” “invisible,” or “silent” pandemic of antimicrobial resistance (Steuernagel, Lillehagen, and Seeberg 2024; Laxminarayan 2022; Mendelson et al.
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmall“They Are Increasing”: The Eclipsed Pandemic and Literature of Antimicrobial Resistance2025-07-12text/htmlen-US“They Are Increasing”: The Eclipsed Pandemic and Literature of Antimicrobial Resistance2025-07-122025TWOProject MUSE®1000482026-05-13T00:00:00-05:002025-07-12Unwelcome Currents: A Western Ecocritical Reading of Japanese Pandemic Narratives
https://muse.jhu.edu/article/965079
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The release of the Japanese animated film The Deer King (鹿の王) in the summer of 2021 was narratologically significant: here was a film about a pandemic, made and released during the most widespread pandemic in a century (Patterson et al. 2021). The Deer King was directed by Masashi Ando and Masayuki Miyaji, whose animation work on Studio Ghibli classics Princess Mononoke (もののけ姫, 1997) and Spirited Away (千と千尋の神隠し, 2003) has earned them critical acclaim in Japan and beyond. This made The Deer King’s release highly anticipated (Zahed 2022). However, it failed to live up to expectations: despite some beautiful animation, the convoluted plot and shallow character portrayal were criticized as being hard to follow and
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallUnwelcome Currents: A Western Ecocritical Reading of Japanese Pandemic Narratives2025-07-12text/htmlen-USUnwelcome Currents: A Western Ecocritical Reading of Japanese Pandemic Narratives2025-07-122025TWOProject MUSE®617032026-05-13T00:00:00-05:002025-07-12The End of Days
https://muse.jhu.edu/article/965080
<p></p>
Where can we live but days?The COVID-19 pandemic did not, contrary to some early doom-laden prognostications, herald the biblical end of days. But for those fortunate not to have to travel in to work, the onset of the pandemic marked, for a time, the end of the day as a meaningful unit. Relentless interchange ceased; animals skulked abandoned streets; the skies were noticeably reduced of smoke and smog. This could have been a moment of strange potential: a time for wiping clean and starting over. But any sense of possibility coupled with a stifling awareness of precarity and death. COVID-19 marked, for far too many, the end of the world. “Days are where we live,” Larkin reminds us, until we don’t. “Days” concludes
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallThe End of Days2025-07-12text/htmlen-USThe End of Days2025-07-122025TWOProject MUSE®296822026-05-13T00:00:00-05:002025-07-12Tuberculosis Research and Vaccine Anxiety in L. T. Meade’s The Medicine Lady
https://muse.jhu.edu/article/965081
<p></p>
L. T. Meade’s novel The Medicine Lady (1892) centers on a secret discovery of a treatment for tuberculosis. The action of the novel opens in 1870, twelve years before Robert Koch discovered the tubercle bacillus as the causative organism for the disease, and Meade translates this pivotal event in the history of modern medicine into fiction. The temporal gap between the action of the novel and the date of Koch’s discovery, or a setting that predates the public knowledge of the etiology of the disease, allows Meade to reassess the scandal involving Koch’s premature introduction of tuberculin as a “remedy” for tuberculosis in 1890. (Arthur Conan Doyle, whose fiction influenced Meade’s later medical mysteries, was
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallTuberculosis Research and Vaccine Anxiety in L. T. Meade’s The Medicine Lady2025-07-12text/htmlen-USTuberculosis Research and Vaccine Anxiety in L. T. Meade’s The Medicine Lady2025-07-122025TWOProject MUSE®321732026-05-13T00:00:00-05:002025-07-12Super Spreader: Nineteenth-Century Literature as a Tool for Sustainable Recovery in the Age of Pandemics and Viral Network Growth
https://muse.jhu.edu/article/965082
<p></p>
We live in a world that encourages spread and growth. Even as the world remains in shock after COVID-19, we are urged to “share,” to “retweet,” and to discursively and epistemologically increase our connectivity. Indeed, COVID-19, by its very definition as a pandemic, ought perhaps to have been seen as a warning against such unbridled actor-networks. Instead, having shifted from pandemic outbreak to endemic status quo around 2022, it is now conceptually free from such temporal encumberments. That is, it is no longer a temporary crisis but a norm in perpetuity.In one respect, COVID’s shift from pandemic to endemic speaks to our very yearning for network growth at all costs. Getting “back to normal” was apparently a
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallSuper Spreader: Nineteenth-Century Literature as a Tool for Sustainable Recovery in the Age of Pandemics and Viral Network Growth2025-07-12text/htmlen-USSuper Spreader: Nineteenth-Century Literature as a Tool for Sustainable Recovery in the Age of Pandemics and Viral Network Growth2025-07-122025TWOProject MUSE®315752026-05-13T00:00:00-05:002025-07-12Andrew Holleran, HIV/AIDS, and Queer Narrative Form
https://muse.jhu.edu/article/965083
<p></p>
In a provocative article in PMLA, Teagan Bradway (2021: 711) argues that “antinarrativity is . . . foundational to queer literary studies, a default principle that underwrites much work in the field.” Citing early work by Lee Edelman, Teresa de Lauretis, Leo Bersani, Valerie Rohy, and others, Bradway elaborates that “queer theory understands narrative as a conservative form that contains the unruly energies of sexuality,” “straightens perversity through sequence,” and “structures the social imaginary into a heteronormative teleology that culminates in reproduction” (711). Keen to complicate this “universally antagonistic relationship between queerness and narrative” so that narrative need not always be assumed to
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallAndrew Holleran, HIV/AIDS, and Queer Narrative Form2025-07-12text/htmlen-USAndrew Holleran, HIV/AIDS, and Queer Narrative Form2025-07-122025TWOProject MUSE®366892026-05-13T00:00:00-05:002025-07-12Young Adult Novels, AIDS Pedagogy, and Queer History: Reevaluating Night Kites by M. E. Kerr
https://muse.jhu.edu/article/965084
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Many queer cultural histories of AIDS in the United States are shaped by subversive archives of sex, drugs, and protest (see, e.g., Cvetkovich 2003; Cifor 2022; Schulman 2021). In contrast, young adult literature published during the AIDS crisis can make a rather sedate repository, one that simply reflects the development of well-established tropes and clichés. Andrew Holleran (1988: 16) argued that AIDS seemed to shatter the point of writing for many gay writers as they witnessed staggering loss. But AIDS was a slam dunk for a particular subsection of young adult literature: melodramatic and didactic “problem novels” that provided sentimental, sensational narratives themed around pressing social issues for
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallYoung Adult Novels, AIDS Pedagogy, and Queer History: Reevaluating Night Kites by M. E. Kerr2025-07-12text/htmlen-USYoung Adult Novels, AIDS Pedagogy, and Queer History: Reevaluating Night Kites by M. E. Kerr2025-07-122025TWOProject MUSE®459052026-05-13T00:00:00-05:002025-07-12The Fifth Season: Queer Hosts and the COVID-19 Pandemic in Ali Smith’s Summer and Companion Piece
https://muse.jhu.edu/article/965085
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When an object breaks into you there’s no erasing it, which is what I’ve been long arguing about trauma, instead there’s relating to it, using it, genre flailing around it, making it do things apart from the force of its first effects. There’s staying in proximity and thinking about what else the atmosphere can do.In her prescient review of Ali Smith’s Spring, the third novel in her Seasonal Quartet, Rebecca Makkai argued for reading the books “in order”: “Smith’s seasonal quartet need not be read in order, but it’s increasingly clear that she is crescendoing — that to experience the books backward would be to read them against the way the world spins, against the way we, and she, are hurtling toward something
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallThe Fifth Season: Queer Hosts and the COVID-19 Pandemic in Ali Smith’s Summer and Companion Piece2025-07-12text/htmlen-USThe Fifth Season: Queer Hosts and the COVID-19 Pandemic in Ali Smith’s Summer and Companion Piece2025-07-122025TWOProject MUSE®388602026-05-13T00:00:00-05:002025-07-12Pandemic Posters
https://muse.jhu.edu/article/965086
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This article discusses representations of pandemics in “literature of the street”: mainly posters (and some stencils, stickers, and graffiti) created by autonomous collectives on the antiauthoritarian Left that were posted on public walls in the city of Athens during the COVID-19 pandemic (in particular, during the two lockdowns that took place in spring 2020 and fall 2020 to spring 2021).1 In what follows, I use this corpus of collective writing, which I encountered and photographed during my walks in the city center — mainly during the two lockdowns — as the basis of an analysis of intersecting crises, of which the pandemic is the latest to arrive on the scene of wall-based public discourses in Athens. If “walls
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallPandemic Posters2025-07-12text/htmlen-USPandemic Posters2025-07-122025TWOProject MUSE®342602026-05-13T00:00:00-05:002025-07-12So, You Followed Your Husband to Hadley–Lake Lennucks and He Still Won’t Take You to the Animal Emporium?
https://muse.jhu.edu/article/965091
<p></p>
Listen, girl, Hadley–Lake Lennucks isn’t exactly a place twentysome-things flock to. As your new husband surely knew when he proposed this move, most people your age are moving to the big city, not away from it. But that doesn’t mean you have to feel like you’re stuck living in the old folks’ home.Hadley–Lake Lennucks is one of the Adirondacks’ top tourist towns, which means there’s plenty to get up to. We’ve got hiking, swimming, rafting, tea rooms, arcades, Victorian photo parlors, a spa — even a river cruise. Whatever you want, you can do, including checking out all the amazing animals at our local big cat zoo: Boyd’s Corner’s Exotic Animal Emporium. How many times did your man sell you on a date here, back
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/520/image/coversmallSo, You Followed Your Husband to Hadley–Lake Lennucks and He Still Won’t Take You to the Animal Emporium?2025-07-12text/htmlen-USSo, You Followed Your Husband to Hadley–Lake Lennucks and He Still Won’t Take You to the Animal Emporium?2025-07-122025TWOProject MUSE®225842026-05-13T00:00:00-05:002025-07-12