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Villanueva looks what counterstories can contain. CRT is centered on racism, of course, but to speak of racism is to speak of exclusions more broadly, as the writers here demonstrate. Telling and teaching counterstories open the way to cross lines. Counterstories allow us to lift our terministic screens. Counterstories allow us to break loose--to tell the stories that must be told and told again if ever to be heard and make for the possibility of change.

Our discipline has always been, at its core, concerned with language. At its best, The American Journal of Philology has professed to being a forum for those seeking knowledge of the words and worlds of Greece and Rome. It is unreasonable, however, to disentangle the discipline of philology and its allied fields—art history, philosophy, archaeology, and so forth—from the modern realities of slavery, race, and their impacts well after global abolition, emancipation, and any declaration of a postracial period. That is, we bring a great deal of cultural baggage to what we call the Classics.

[The above from] Ralph Ellison's \"Invisible Man\" When I read \"Invisible Man,\" first in high school and again as an adult, I assumed Ellison had invented the battle royale for literary effect. \"The crowd was by far the largest which has attended any of the popular price bouts and it is safe to say that another battle royal will pack the house.\" After the Civil War they evolved to serve as a \"de facto boot camp for black boxers,\" according to Colleen Aycock and Mark Scott in their biography of \"Joe Gans,\" a famous early Black boxer who, like Jack Johnson, got his start in battle royales. [...]most of the newspaper citations I could find for battle royales take place after 1912. * A 1922 Knights of Columbus event featured \"five husky sons of Ham mixing it up.\"

Published less than fifty years ago, Ralph Ellison's Invisible Man shares with older classic works the odd quality of seeming to have been in place much longer. It is a novel that encompasses much of the American scene and character: though told by a single Afro-American voice and set in the contemporary South and then in modern New York City, its references are to the First World War, to Reconstruction, to the Civil War and slavery, to the founding of the American republic, to Columbus, and to the country's frontier past. In his introduction to this volume Robert O'Meally discusses Ellison's fictional strategies for reaching a wide audience while remaining true to his own artistic vision and voice. Then each of five critical essays explores a different aspect of this capacious novel. One looks at the novel's protagonist as an embattled artist-in-training: another focuses on the novel's political and philosophical backgrounds; a third discusses the style and meaning of the nameless narrator's speeches; a fourth examines the novel's modernism in light of its references to jazz and anthropology: and the final essay considers Invisible Man as a kind of war novel. Written in an accessible style, these essays represent the best of recent scholarship and provide students with a useful introduction to this major novel.

James discusses his proposal to spend the semester writing about his experiences as a Black man serving in faculty leadership in an article to be published in a peer-reviewed academic journal. Before tenure, he had been highly visible on campus by serving as the \"diversity representative\" on more than twenty search committees and engaging in other forms of diversity work while being as nonthreatening as possible. However, soon after becoming the only tenured non-Hispanic Black man on campus, he decided to come out as a \"subversive intellectual.\" He joined the executive committee of their American Association of University Professors (AAUP) chapter and actively advocated for academic freedom, shared governance, and due process. He knew that in the neoliberal university these protections were most needed by and least afforded to subversive intellectuals, especially subversive faculty of color working in the university. He was confident that he would be given an opportunity to defend his project if anyone had reservations about it.

This article draws on Oscar Wilde's collected works to convey new insights about how he is depicted in biofiction, with a focus on Louis Edwards's 2003 novel Oscar Wilde Discovers America . Edwards creates a protagonist who underplays Wilde's marginalization and who struggles to see the interplay between gender, nationality, and race. The distance between character, author, and text facilitates Edwards's interrogation of biofiction itself—its biases, its lapses, and its opportunities. In part one of my analysis, I track the Judas Kiss motif across works by Wilde and within Edwards's reimagining to discuss how biofiction itself hinges on reversal and betrayal. In part two, I examine how Edwards's biofiction corrects for the historical homosociality of life-writing by surfacing the suffering of women.

This essay discusses Eleanor Clark's 1952, Rome and a Villa as a book that, in the immediate postwar years, promoted new interest for Italy in the U.S., successfully reaching out to both intellectual élites and larger reading groups. It shows that, by redirecting modernist narrative techniques and interpretive methodologies from textual to architectural, historical, and cultural analysis, Clark pioneered the transition from literary to cultural criticism. The essay argues that, in examining the deep history of \"the idea of Rome,\" the author claimed as its unifying force a transhistorical poetic principle revealed in the condensation of classicism and modernism displayed in the city's architecture and expressed in its language and social life. Clark mobilized that principle to read the city against the grain of the symbolic uses of the Roman ruins in fascist propaganda and in the postwar media-driven industry of transatlantic tourism.

Recovering Black Performance in Early Modern Iberia aims to fill major gaps in the knowledge of early modern Iberian theater studies. The project brings together an international team of scholars to explore the links between the nascent Atlantic slave trade and Golden Age theater, shedding light on the crucial role of blacks and African-descended populations in shaping vibrant theater traditions. By interrogating and reimagining the theatricality of blackness, this project aims to transform the fields of Africana studies, critical race studies, and theater studies during the early modern period.