Submissions from 2024
Sarah Ruhl’s Eurydice, Anaïs Mitchell’s Hadestown, and the Postmodern Underworld, Deborah R. Geis
Writing Alone, Writing Together: Lessons from Self-Styled Retreats, Samuel Autman
Requiem for an Unwritten Memoir: How Grace Bumbry changed opera, Samuel Autman
Finding Meaning in Wine: A US Blend, Michael Sinowitz
Submissions from 2023
“The Cicadas Are Really Loud”, Eugene Gloria
“Scales (Shahad Ameen, 2019) – Middle Eastern Myth” in The Deep: A Companion, Manal Shalaby
“Women”, Victoria Wiet, Kimberly Cox, Shannon Draucker, and Doreen Thierauf
"Excerpt from Before We Became a New People" Daughters of Latin America : An International Anthology of Writing by Latine Women, Ivelisse Rodriguez
"Excerpt from Before We Became a New People" in A Night of Screams : Latino Horror Stories, Ivelisse Rodriguez
"Risk and refuge: The role of the commonplace in navigating crisis" in Recollections from an uncommon time: 4C20 documentarian tales, Lynn Ishikawa
Submissions from 2022
An Unorthodox Trip, Samuel Autman
The Train Rolls On, Samuel Autman
“Black Body Snatchers” in It Came From the Closet: Queer Reflections on Horror, Samuel Autman
"Anthony Ashley Cooper, third Earl of Shaftesbury" in the Digital Encyclopedia of British Sociability in the Long Eighteenth Century, David Alvarez and Patrick Müller
"My Cousin", Wayne Glausser
"Orange Land" and "At the PX", Eugene Gloria
Rizal upon Hearing David Bowie's "The Rise and Fall of Ziggy Stardust and the Spiders from Mars", Eugene Gloria
Angelheaded (Neo-)Hipsters: Two Cultural Re-productions of Ginsberg's 'Howl', Deborah R. Geis
Red Hens and Raymundo, Eugene Gloria
Mutopia: Science Fiction and Fantastic Knowledge, Istvan Csicsery-Ronay
Say Their Names: Drama of the Black Lives Matter Era, Deborah R. Geis
Chief Justice Roberts’ court questions the religious neutrality of secular schools, Wayne Glausser
Opinion: Just like that, my student-loan debt disappeared, Samuel A. Autman
World Literature at the End of the World: The Case of Aaron Zeitlin, Yeshua G.B. Tolle
Submissions from 2021
Immortal voices, Nicole Lobdell
Our Eyes Were Watching Marcia, Samuel A. Autman
An Apology for My Superstitions, Wayne Glausser
The Seven Powers of Laurie Lynn Drummond’s ‘Alive’, Samuel Autman
Entheoceutical Entrepreneurs and the Resistance to Old-School Psychedelia, Wayne Glausser
Psychedelic Drugs and Atheism: Debunking the Myths, Wayne Glausser
Of Saints, Miracles, and Embarrassment in an American Plague Year, Wayne Glausser
“Jose Rizal Walks a Mile to “In-A-Gadda-Da-Vida” and “Galileo”, Eugene Gloria
My Sister's Cult, Wayne Glausser
"Beat Performance Poetry : Ginsberg, Kaufman, and Waldman" in The Beats: A Teaching Companion, Deborah R. Geis
"Wonder Boys" in Sweeter Voices Still: An LGBTQ Anthology from Middle America, Samuel Autman
“Viral Days,” “Time as an Asterisk,” and “Dear Parentheses", Eugene Gloria
“Rizal Walks Along the Foxgloves”, Eugene Gloria
Submissions from 2020
"Mother's Tongue" in The Best of Brevity: Twenty Groundbreaking Years of Flash Nonfiction, Samuel Autman
Response: State-of-the-Field, Deborah R. Geis
Beauvoir in Time, Meryl Altman
Upstairs, Pierre, the Naked Sailor: On Why We List, Eugene Gloria
Never Dead: Mary Shelley’s Frankenstein, Nicole Lobdell
"'Just Do It': Gary Gilmore, Nancy Reagan, and Other Cultural Entanglements of the Nike Slogan", Wayne Glausser
"Elmore Leonard and the Romantic Comedy, or 'Get Some Love into It'” in Critical Essays on Elmore Leonard: If it Sounds Like Writing, Michael Leigh Sinowitz
Submissions from 2019
Read My Plate: The Literature of Food, Deborah R. Geis
Submissions from 2018
Submissions from 2015
An Evening with Emily Dickinson, Meryl Altman
Submissions from 2014
Patrick O'Brian's Bodies at Sea: Sex, Drugs and the Physical Form in the Aubrey-Maturin Novels, Michael Leigh Sinowitz
Submissions from 2010
Submissions from 2009
παρθενοι to Watch Out For? Looking at Female Couples in Vase-Painting and Lyric, Meryl Altman
Submissions from 2008
Seeking a Usable Past: Review of Feeling Backward: Loss and the Politics of Queer History by Heather Love., Meryl Altman
Submissions from 2007
Graham Greene's and Carol Reed's The Third Man: When a Cowboy Comes to Vienna, Michael Sinowitz
"The Benefits of Watching the Circus Animals Desert: Myth, Yeats and Patriarchy in Angela Carter’s Nights at the Circus" in Metafiction and Metahistory in Contemporary Women’s Writing, Michael Leigh Sinowitz
Submissions from 2006
Sappho's Lost Sessions, Meryl Altman
Why I Read: Review of Mother Tongues: Sexuality, Trials, Motherhood, Translation by Barbara Johnson, Meryl Altman
Submissions from 2004
Less Cool, More Light: Review of Cool Men and the Second Sex by Susan Fraiman., Meryl Altman
Submissions from 2002
Submissions from 2001
The Age of Anxiety: Review of Mother Millett by Kate Millett., Meryl Altman
Sexual Politics: Review of My Dangerous Desires: A Queer Girl Dreaming Her Way Home by Amber L. Hollibaugh., Meryl Altman
Submissions from 2000
Reality Check: Review of What is a Woman? And Other Essays by Toril Moi., Meryl Altman
Submissions from 1999
The Complexity of Complicity: Review of Thinking Fascism: Sapphic Modernism and Fascist Modernity by Erin G. Carlston., Meryl Altman
The Western as Postmodern Satiric History: Thomas Berger's" Little Big Man", Michael Leigh Sinowitz
Submissions from 1998
More Nice Jewish Girls: Review of Beyond the Pale by Elana Dykewomon and The Escape Artist by Judith Katz., Meryl Altman
Submissions from 1997
Submissions from 1994
Submissions from 1992
Book Review Of: Making Sex: Body and Gender From the Greeks to Freud by Thomas Laqueur., Meryl Altman and Keith Nightenhelser
Submissions from 1991
The Rage for Disorder: Review of Pink Guitar: Writing as Feminist Practice by Rachel Blau DuPlessis., Meryl Altman
Song of the Skirt, Meryl Altman
