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All the known forms are present (plant, flower, tree, insect, critter, animal, fire, water, air, earth) but in surprises hitherto unknown ... in relations not yet perceived . . . not yet divined in full so rich is this new thing. o And what internal energy combusts and churns and implodes and explodes within the gulf of a maker? I daresay that it's why Whitman's \"A Noiseless Patient Spider\" reigns quintessential in understanding poetic being. All that energy, all the sounds and silences, all those spinning electrons whirling and combining within the soul/ abdomen of the poet/spider, waiting to be unleashed as an ever-driving pursuit and expression of being. o Ed Folsom discusses the physicality of Whitman's making his books, highlighting how the 1855 edition of Leaves of Grass \"was self-published.\" Each night before bed, I slathered my hand in sports cream and covered it with a sock, like an aging baseball player.5 Crawford-like Whitman-necessarily slowed down in his reading and response to Song of Myself unlocking a kind of deep-reading that's inspiring not only for its excellence, but also for the sheer physicality of the demand. o SLOWDOWN!!- YOU CANNOT SPEED-READ THIS!- YOU ARE NOT AFTER INFORMATION!- YOU ARE STRIVING to find a way-of-being in relationship to words . . . to images . . . that takes time to unfold!- At least, this is one way to introduce Whitman Illuminated to students. The tortuous path of some spreads requires one to turn the book, round and round, even upside down, in order to read it.

Traditional pseudonyms, such as John and Jane Doe, Richard Roe, Paul and Pauline Poe (or even Francis Foe, Walter Woe, or Xerxes Xoe3), XYZ Co., Anonymous, or the archaic Noakes or Stiles.4 Unsurprisingly, there are other names that are used in other Anglophone legal systems, for instance \"Ashok Kumar\" for unnamed defendants in Indian copyright litigation, and that are likely to make their way into American courts one day5 2. To give just one example, there are six Doe v. Trustees of Indiana University cases just from 2020 to 2022 that have yielded opinions available on Westlaw, all in the same field (higher education law).22 These seem likely to be joined by new cases each year, and they will remain potentially citable for decades to come. \"26 Indeed, even pure initials can be identifying, when coupled with other indications, such as the small school that the party is attending.27 Famous pseudonyms can be distracting, and can also bring political spin that might subtly influence the judge or jury, as with Hester Prynne (the name of the heroine in The Scarlet Letter,28 who was publicly shamed for adultery, used in a challenge to a sex offender registration law). PROCEDURE If I'm right, then it may make sense for courts to adopt something like the following rule - whether for an entire court system, as a local rule, or as a chambers practice:

An essay's journey to publication is privileged information. Because of anonymous review, the editor is the only person who knows the author's identity. The essays in this fortieth-anniversary double issue exemplify a quality of intellectual work that is shareable, a theme Olivia Laing explores in Funny Weather: Art in an Emergency. [...]Joycelyn was the editor of African American Review, and I was the kind of new assistant professor who, upon seeing Sandra Zagarell checking in at the front desk, blurts out, \"A New-England Nunl\" Joycelyn and I talked about the treasures of the archives, the revelations of teaching, the satisfactions of editing, and the time-suck of academic politics.

This introduction teases out the productive tension between female characters in modern fiction and the implied author as modeled by Mary Mc-Carthy's The Group . Fiction writers dramatize both women's intellection and self-expression and the barriers to that public role. Modern and contemporary women writers blur the lines between essay writing and fiction, professional and intellectual personae, and novelistic narration. Feminist theory also adapts fictional modes to speculate about living otherwise. Our special issue contributions feature collaboration, archives, praxis, the corporeal, and the posthuman. We highlight contemporary fictional modes of women thinking in public, particularly the weird and the everyday.

The literary debate involving Hughes, Locke, Wright and Hurston was provocative not only because of the past relations between the authors, but also because of its implications as to what should constitute Black writing, which was making its first serious efforts to establish its Blackness and Americanness as two potentially harmonious entities. This article examines the Hurstonian mission to revitalize the humanity of the Black community in the eyes of both the dominant white culture and the Black community itself. Hurston achieves this by exploiting the rich tapestry of Black folklore and Black dialect – an effort that encapsulates the essence of the Harlem Renaissance. However, her literary detractors misapprehended this rehumanizing project, finding her writing lacking in relation to their ideals of Black expression, Black perfection, and New Negro identity. The article further explores the implications of Hurston’s rehumanizing project for both the Black communities of that time and future generations.

“A professor.” That title made them all proud. Many could say that they were teachers, but this young lady’s family had the privilege of telling their acquaintances that their “little girl” was a professor. Their unusually high stake in the whole matter made their little girl of twenty-nine years uneasy about telling them that she, on that very night, learned that she would also be a new mother. Women of African descent tend to fall into this unprivileged class because one voice and one action is often forced to represent a collective body. These women are conscious of the stereotypes they have inherited as a result of living in the Black female body and are often burdened with negating the stereotypes to save face of the entire race. Thus, when they become pregnant or endure some other unexpected fate as a result of sexual relations, they regularly experience trauma and use silence as a coping mechanism. The young lady in question soon learned that sexuality and silence are dangerous weapons, and when one is used to compensate for or cover up the other, it can yield lethal results. If you haven’t figured it out already, the lady we have been imagining is me.So, as I was deciding on what to discuss for this conference, I honed in on two ideas from the conference theme: 1) the idea that Black women writers have changed the writing landscape; 2) the notion that we must recognize, celebrate, and promote Black women’s writing and, crucially, those who produce it. This is my celebration.Though, in celebrating Ward, I also celebrate those who came before her, as her works follow the tradition of Phillis Wheatley, Margaret Walker, and others, who did indeed change the landscape of writing by making visible the lives and experiences of Black women, particularly those in Mississippi and in the South. This is a Southern song for the people.

The joke also exposes a pattern in Hurston's literary and ethnographic work of offering contrasts and comparisons between Black and Indigenous people, one that I argue shows the influences that Native Americans-particularly their mode of relative separation and disengagement from white culture, had on Hurston's perspectives on Black identity, which themselves reflected a form of modernist southern Black consciousness fostered outside of Harlem. In a 1955 letter to Orlando Sentineľs editor, Hurston weighed in on the 1954 Supreme Court Brown v. Board of Education decision deeming school segregation unconstitutional: [...]this shift also reveals how Hurston uses Indigeneity as a framework against which she shaped her opinions on and relationship to Black identity. With the removal of this immediate white presence, actions gain more discernment. [...]I track Hurston s rhetorical positioning to Indigeneity by examining work leading up to this announced acceptance of the Indian position-with a brief exploration of her early years at Barnard, her short story \"Magnolia Flower,\" her novel Their Eyes Were Watching God, and finally a focus on Hurston 's latter years, including a research trip to Honduras.

This essay argues that temporality becomes inseparable from the intersectionality of race and gender in Zora Neale Hurston’s Their Eyes Were Watching God . By emphasizing the need to negotiate unequal, androcentric conventions, Hurston historicizes the experience of time as predetermined, restricting, and subjugating from the position of a Black female subjectivity. In response, Hurston develops a strange temporality necessitating refusal through successive negations that, paradoxically, advance this subject toward greater autonomy. Hurston combines linearity and non-linearity to capture this dialectical conflict, instantiating in novel form the autonomy and agency that Lindsey Stewart aligns with a “politics of Black joy.” This process defines what I call Hurston’s temporality of refusal , which renders the novel coextensive with a form of becoming that is otherwise unavailable across Hurston’s transnational contexts.