Project MUSE®: ASAP/Journal - Latest Articles
https://muse.jhu.edu/journal/684
Project MUSE®: Latest articles in ASAP/Journal.daily12026-05-11T00:00:00-05:00text/htmlen-USVol. 1 (2016) through current issueLatest Articles: ASAP/JournalTWOProject MUSE®ASAP/Journal2381-47212381-4705Latest articles in ASAP/Journal. Feed provided by Project MUSE®Kathleen Collins’s “Blue Obstacles”: Scenes from an Unfinished Novel
https://muse.jhu.edu/article/981574
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In lieu of an interview, this general issue, ASAP/Journal features the first four chapters of “Blue Obstacles”, a novel drafted by Black American writer, filmmaker, teacher, and activist kathleen collins (1942–1988) in the mid-1970s. alix beeston located the draft, written in a composition book, held at the Schomburg Center for Research in Black Culture. beeston writes that it is likely that this draft material constitutes the only known trace of collins’s first novel, which was later titled “Treatment for a Colored Movie.” Extending recent efforts to disseminate and properly value collins’s work across mediums and genres, beeston’s article contextualizes and reproduces edited excerpts from the first two chapters
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/684/image/coversmallKathleen Collins’s “Blue Obstacles”: Scenes from an Unfinished Novel2026-02-01text/htmlen-USKathleen Collins’s “Blue Obstacles”: Scenes from an Unfinished Novel2026-02-012026TWOProject MUSE®1295832026-05-11T00:00:00-05:002026-02-01Dossier: Ice Poetics
https://muse.jhu.edu/article/981575
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Ice is a material state—the name for frozen water. Ice is also a time keeper, a planetary archive, preserving records of Earth’s environmental history. In this polarized and polarizing era we see more artists and thinkers turning to ice as a conduit for discussions of climate collapse, global capital, colonialism, and science. The papers in this roundtable were presented in the Fall of 2024 at ASAP 15: / “Not a Luxury,” when we three—katie brewer ball, ohan breiding, and jess arndt—came together with an interest in the refractory aesthetics and politics of ice. It was, as writers sofia samatar and kate zambreno say in their collaborative text Tone, “the zone of our mutual sensitivity.”At ASAP, our multigenre
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/684/image/coversmallDossier: Ice Poetics2026-02-01text/htmlen-USDossier: Ice Poetics2026-02-012026TWOProject MUSE®598222026-05-11T00:00:00-05:002026-02-01To a Severe Burning Grudge or Two: Lyric Strategies of Self-Disclosure in Kay Gabriel’s A Queen in Bucks County
https://muse.jhu.edu/article/981576
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In the epistle “Travel Advisory for Constance Augusta,” a poem appearing halfway through kay gabriel’s A Queen in Bucks County (2022), the epistoler, named Turner, includes the following statement:A QUEEN IN BUCKS COUNTY IS A SERIAL POEM. IT TAKES THE FORM OF AN EPISTOLARY SERIES COMPOSED BY ME, TURNER, A HETERONYM OF THE AUTHOR, A PERSONA IN A BAG. I ADDRESS MYSELF TO SOME RECIPIENTS (THE LETTER), SEVERAL DEDICATEES (THE LYRIC) AND A SEVERE BURNING GRUDGE OR TWO. I, TURNER, WILL MAKE YOU HORNY, MAD OR ENTHUSED. I WILL MAKE YOU SQUAWK OR COME. YOU’LL LEAVE THE LIGHTS ON WHEN YOU CHOKE.1Turner, a self-proclaimed “epistoslut,”2 writes letters to his friends from suburban New Jersey in this epistolary series about
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/684/image/coversmallTo a Severe Burning Grudge or Two: Lyric Strategies of Self-Disclosure in Kay Gabriel’s A Queen in Bucks County2026-02-01text/htmlen-USTo a Severe Burning Grudge or Two: Lyric Strategies of Self-Disclosure in Kay Gabriel’s A Queen in Bucks County2026-02-012026TWOProject MUSE®788552026-05-11T00:00:00-05:002026-02-01I Send Too Many Flowers: Amelia Etlinger and the Art of Correspondence
https://muse.jhu.edu/article/981577
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Afragile bundle. The description reads like an oxymoron. On the one hand, the object is liable to fall apart from how it was made, sensitive to the pressure of touch, the weather, or the ambivalent reception of a critic. On the other hand, the object would seem reinforced, buttressed by constellations of knots, protected against the accidents of people, time, or place. These tensions are echoed, too, by amelia lucille (wanderer) etlinger’s friends and correspondents who received her work. One such correspondent was ellen marie helinka [bissert], the feminist author and publisher of the journal 13th Moon, who was in consistent dialogue with etlinger (1933–1987) throughout her career and worked to preserve her
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/684/image/coversmallI Send Too Many Flowers: Amelia Etlinger and the Art of Correspondence2026-02-01text/htmlen-USI Send Too Many Flowers: Amelia Etlinger and the Art of Correspondence2026-02-012026TWOProject MUSE®886572026-05-11T00:00:00-05:002026-02-01Tourism and Dominican Environmental Anxieties in Rita Indiana’s Tentacle
https://muse.jhu.edu/article/981578
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In rita indiana’s postapocalyptic novel Tentacle (2018), set in the Dominican Republic, a toxic spill has transformed the Caribbean sea from what was once a selling point for the tourist economy, a crystalline body of water brimming with marine life, into a “dark and putrid stew.”1 Although the novel is based on a fictional premise, the accidental or intentional dumping of waste into the ocean is not an uncommon occurrence in the Dominican Republic nor in the broader region, as is evidenced locally by the contamination of Santo Domingo’s Ozama River and more generally by the North Atlantic garbage patch.2 Even protected wildlife reserves and ecotourist attractions, such as the country’s Cotubanamá National Park
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/684/image/coversmallTourism and Dominican Environmental Anxieties in Rita Indiana’s Tentacle2026-02-01text/htmlen-USTourism and Dominican Environmental Anxieties in Rita Indiana’s Tentacle2026-02-012026TWOProject MUSE®977782026-05-11T00:00:00-05:002026-02-01Welcome to the Pandemic: Vibes Discourse and Bo Burnham’s Inside
https://muse.jhu.edu/article/981579
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The year 2021 was the year of vibes. When the vibes weren’t off, they were shifting; and when they weren’t shifting, we were trying to catch them.1 Some people were a whole vibe, while others’ vibes needed to be checked.2 A lot of familiar logics that helped make sense of the world—from gender to genre, from plot to style—seemed to have evaporated: no thoughts, just vibes.3 Vibes were displayed through curated playlists and mood boards and were influencing markets and politics. A 2021 essay titled “Nameless Feeling” captures the amorphous quality of a term that “seem[ed] inescapable at the moment.”4 Vibes were such a part of the zeitgeist that by 2022, as robin james observes in “When Did ‘Vibes’ Become a Thing?,”
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/684/image/coversmallWelcome to the Pandemic: Vibes Discourse and Bo Burnham’s Inside2026-02-01text/htmlen-USWelcome to the Pandemic: Vibes Discourse and Bo Burnham’s Inside2026-02-012026TWOProject MUSE®923262026-05-11T00:00:00-05:002026-02-01