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In this Issue

Table of Contents

  1. Self-Portrait with Dawit
  2. Gioncarlo Valentine
  3. p. i
  4. DOI: https://doi.org/10.1353/thr.2024.a918440
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  1. Notes on Contributors
  2. pp. 1-6
  3. DOI: https://doi.org/10.1353/thr.2024.a918465
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  1. Why did you come here? How?, and: Dear Mothership
  2. Marcus Wicker
  3. pp. 13-15
  4. DOI: https://doi.org/10.1353/thr.2024.a918441
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  1. Midnight Phantasm, and: Fantasma de medianoche, and: Horadeclase, and: Classtime
  2. Cristalina Parra, Julián David Bañuelos
  3. pp. 16-19
  4. DOI: https://doi.org/10.1353/thr.2024.a918442
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  1. Robot Dog
  2. Crystal Favorito
  3. pp. 20-25
  4. DOI: https://doi.org/10.1353/thr.2024.a918443
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  1. Wild Geese after Wild Geese
  2. Tonee Moll
  3. p. 26
  4. DOI: https://doi.org/10.1353/thr.2024.a918444
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  1. Clean Air, and: Real Estate
  2. Nathaniel Rudavsky-Brody
  3. pp. 27-29
  4. DOI: https://doi.org/10.1353/thr.2024.a918445
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  1. The Path, and: Il sentiero
  2. Antonia Pozzi, Amy Newman
  3. pp. 30-31
  4. DOI: https://doi.org/10.1353/thr.2024.a918446
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  1. Introduction: Locating a Collective Lyric "I"
  2. Leila Easa, Jennifer Stager
  3. pp. 35-38
  4. DOI: https://doi.org/10.1353/thr.2024.a918447
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  1. Openings
  2. David Ishaya Osu
  3. p. 39
  4. DOI: https://doi.org/10.1353/thr.2024.a918448
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  1. What Is Poetry?
  2. Virginia Jackson
  3. pp. 40-48
  4. DOI: https://doi.org/10.1353/thr.2024.a918449
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  1. Lyric/Time: Capitalist Ecologies, Timefulness, and the Lyric "I"
  2. Margaret Ronda
  3. pp. 49-63
  4. DOI: https://doi.org/10.1353/thr.2024.a918450
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  1. Positioning First-Person Pluralities in Contemporary American Poetry
  2. Michael Leong
  3. pp. 64-77
  4. DOI: https://doi.org/10.1353/thr.2024.a918451
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  1. Only in Good Company: On Generosity and Pedagogy in Ancient Greek and Roman Studies
  2. Sasha-Mae Eccleston
  3. pp. 78-85
  4. DOI: https://doi.org/10.1353/thr.2024.a918452
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  1. Catasterismi
  2. Bethany Dixon
  3. pp. 86-87
  4. DOI: https://doi.org/10.1353/thr.2024.a918453
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  1. All the Women I Know
  2. Christine Hume, Laura Larson
  3. pp. 88-91
  4. DOI: https://doi.org/10.1353/thr.2024.a918454
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  1. Notes on Ether, or a Critique of a Collective Lyric "I"
  2. Kandis Williams
  3. pp. 92-118
  4. DOI: https://doi.org/10.1353/thr.2024.a918455
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  1. Faulty Copy: A Plurivocal Poetics
  2. Briony Hughes
  3. pp. 119-122
  4. DOI: https://doi.org/10.1353/thr.2024.a918456
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  1. Us Is _____
  2. Related Tactics
  3. pp. 123-136
  4. DOI: https://doi.org/10.1353/thr.2024.a918457
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  1. Fiber, Art, and Feminism
  2. Sarah Beckmann
  3. pp. 137-149
  4. DOI: https://doi.org/10.1353/thr.2024.a918458
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  1. Eight Songs
  2. Mirabai, Chloe Martinez
  3. pp. 150-158
  4. DOI: https://doi.org/10.1353/thr.2024.a918459
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  1. The Life We Lived
  2. N. Jane Kalu
  3. pp. 159-168
  4. DOI: https://doi.org/10.1353/thr.2024.a918460
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  1. Aural Anatomies: Sound, Sex, and Horses in Ann Oren's Piaffe
  2. Eileen G'Sell
  3. pp. 169-172
  4. DOI: https://doi.org/10.1353/thr.2024.a918461
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  1. The Orchard
  2. Kathryn Bratt-Pfotenhauer
  3. pp. 173-174
  4. DOI: https://doi.org/10.1353/thr.2024.a918462
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  1. Black Light
  2. James Miller
  3. p. 175
  4. DOI: https://doi.org/10.1353/thr.2024.a918463
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  1. Bottleneck
  2. Michael Pearce
  3. p. 176
  4. DOI: https://doi.org/10.1353/thr.2024.a918464
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