Since his first works came to critical attention, Ernest Hemingway has occupied a space in the critical and cultural imagination as a definitively ‘masculine’ writer. His novels and stories focus on male narrators in difficult or extreme situations involving war, violence, and the natural world, and his critical heritage has focused on these ele…[Read more]

Hinging on the concept of transvestism, this article traces a trajectory that goes from Alfonsina Storni’s re-appropriation of the women’s page in the guise of a male persona, through Alejo Carpentier’s contributions to a fashion column disguised as Jacqueline, to Clarice Lispector’s unsettling use of the page addressed specifically to women i…[Read more]

Situates the composition of Walt Whitman’s Democratic Vistas—from manuscript notes, source material, and pilot essays to its publication as an 84-page pamphlet—within the intellectual tendencies of the Reconstruction-era American social science movement to reveal Whitman’s text as an important case study in the nascent discipline. In his pro…[Read more]

In his 1843 novel, Martin Chuzzlewit, Dickens used the pastoral mode to deliver a strong message about labor. To communicate this message, he employed the mode’s many traits, including its retreat into and return from the rural landscape and its focus on the country worker, traditionally the shepherd. This essay follows the novel’s pastoral ret…[Read more]

In both her epic poem The Spanish Gypsy and her final novel Daniel Deronda, Eliot drew upon kabbalistic concepts of the heavens through the characters of Jewish mystics. In the later novel, Eliot moved the mystic, Mordecai, from the narrative’s periphery to its center. This change, symbolically equated within the novel to a shift from…[Read more]

This paper examines the voluminous “poetry talks” (shihua) written by Southern Society (Nanshe) members and focuses on two tendencies in these discourses: The general cult of sentimentality and the narrative strategy on women’s poetry. These poetic discourses succeeded the language of traditional literary criticism, but also exhibited ideals of th…[Read more]

This paper examines the birth of classicist poetry by paying attention to the Southern Society’s (Nanshe) diachronic succession of the late Qing Poetic Revolution. It provides a careful analysis on the novelty of Huang Zunxian’s poetry and shows how the Southern Society transformed Huang’s Europeanized innovation into something that was roote…[Read more]

Elizabeth Barrett Browning’s Aurora Leigh seeks to redress the divisive work of women’s democratic political representation by way of poetic form to ask whether women must always be regarded as partial citizens. Women are not counted as integral units—ones—politically or culturally. Barrett Browning connects women’s ability to produce writing a…[Read more]

In 1949, Montreal poet Louis Dudek circulated a package of poetry manuscripts through a decentralized network of writers working in the U.S. and Canada that he called the “Poetry Grapevine.” In the manifesto-like instructions for the project, Dudek declares that “THERE IS A LOT MORE HAPPENING IN OUR DAILY LIVING CONSCIOUSNESS (NOT TO SPEAK OF UN…[Read more]

This article focuses on three post-9/11 meta-poems – “My Wife Says Don’t Write About September 11th” by Ryan G. Van Cleave, “How to Write A Poem After September 11th” by Nikki Moustaki and “To the Words” by W. S. Merwin – to demonstrate the point that the current scholarly understanding of post-9/11 aesthetics as something functioning like…[Read more]

Despite their commitment to Ezra Pound’s commandment to “make it new!:” modernist authors like Ernest Hemingway, F. Scott Fitzgerald, Dorothy Parker, Katherine Mansfield, Edith Wharton, and Thornton Wilder referred to Jane Austen surprisingly often in their public and private writings. Although they excoriated her sexual inexperience and limited…[Read more]

This essay identifies four major factors responsible for the use of vernacular in Anglophone Caribbean poetry. Analyses of selected texts by Lorna Goodison, Louise Bennett, Kendel Hippolyte, and DerekWalcott illustrate that these four factors include the representation of working class characters, subversive protests against the imposition of…[Read more]