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Claire G. Davey, Frank G. Karioris, and Craig Owen

Christ Church University, UK Stephan Torre. Red Obsidian: New & Selected Poems (Regina, Canada: University of Regina Press, 2021), 152 pp. ISBN 978-088-977775-0. Paperback, $19.95. Often, too often, we think of masculinity in the act of

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“Something Good Distracts Us from the Bad”

Girls Cultivating Disruption

Crystal Leigh Endsley

, used her poem to inform us that desire and violence co-exist where she comes from because “down here, we will kiss and then kill you” (Fieldnotes, April 2016). Clarsey complicates the controlling narrative with more context in her following spoken line

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Lolita Speaks

Disrupting Nabokov’s “Aesthetic Bliss”

Michele Meek

child incest victim. In this article, I examine several revisionary texts that present Lolita’s voice as a first person narrator, such as Kim Morrissey’s Poems for Men Who Dream of Lolita (1992) ; Pia Pera’s Lo’s Diary (published in Italian in 1995

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In Memory of Dr Jacqueline Kirk (1968-2008)

Charlotte Hussey

Poem by Charlotte Hussey

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“The Rain It Takes to Learn the Limits of the Self”

Wetness, Masculinity, and Neoliberal Erotics in Andrew McMillan's Playtime

Nicholas Hauck

body's curve into awkwardness” and negotiating what he describes as the “rules and the lessons [he would] come to know by heart” (2018: 7). Many of the poems in Playtime are confessional, personal poems, sometimes uncomfortably intimate. The

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The Girl in the GIF

Reading the Self into Girlfriendship

Akane Kanai

( Karolides 1991 ; Pantaleo 2013 ) as well as in creating intersections with the study of New Literacies ( Hammer 2007 ; Sanders 2012 ). If we draw on Rosenblatt’s germinal text, The Reader, the Text, the Poem (1978) the act of reading can be understood

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A Call to Action

Creativity and Black Girlhood

Crystal Leigh Endsley

lyrics, one she calls an “anti-narrative photo poem” because it furthers the experience of discontinuity, resulting in further “blurred boundaries” (101). The structure of the photo poem is jagged, giving one a sense of walking on tiptoe, or spinning; it

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Natalie Clark

. I pierce remembering on my face. You will never enter me again. I have marked my territory this time. You are not welcome. Oppression melted, Reveals stone, sinew, bone. Souls syrup on my tongue I know my map my body Do you? I wrote this poem in my

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The New Girl Loves Chemistry

The Story of a Forgotten Era

Katherine Darvesh

subject. The students formed clubs, delighted in field trips, wrote poems and short stories about their experiences in the lab, and, in some cases, drew charming sketches of laboratory equipment with beakers, test tubes, and clamps that appear to come to

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Claudia Mitchell

, Louisiana” to showcase how these girls take up the challenge against “the powerful discourses that work to constrain them.” She illustrates how the use of what she calls cultivated disruption in the poems of three girls, aged 14, 15, and 16 respectively, to