Stanford Humanities Center
How does one tell impossible stories or write impossible histories? Scholars who research histories of chattel slavery–and those of dispossessed, minoritized, marginalized, exploited, and silenced people throughout human history–grapple with these questions.
This essay tells a story about blackness and being, black durational performance, black power and the powers that cohere in the blackness of Now.
A few months ago, I visited Dr. Melissa Guy, the Benson Librarian. I wanted to chat with her about my vision of the Benson’s Centennial (see my letter published in NEP). After listening to me, Dr. Guy recommended I read A Library for the Americas: The Nettie Lee Benson Latin American Collection (University of Texas Press, 2018). There were a few things I might learn from reading the book, she said.
My Shakespeare class finally persuaded me to take a class trip to go see the new Roland Emmerich movie, Anonymous. I went forewarned.
As a space, pop culture is an epicenter for queerness; music, especially, has a history of giving LGBTQ subjects representation, visibility, and an opening to be subversive. In this article, Ghisyawan and Kumar focus on soca and chutney-soca as music genres that engage in the complicated politics of queerness and queer desires.
James Reichert examines twentieth-century Japanese period fiction as a lens to understand contemporary U.S. constructions of the past, political and cultural phenomena, and the rise of the "Make America Great Again" movement.
Sockness presents two playlists around the theme of hope, bringing together both religious and secular music.
Donald Trump's anti-immigrant and anti-Latino posturing is the latest exhumation of a deeply rooted strain of racism.
The poems in Marilyn Chin’s most recent book of poetry, Hard Love Province (2014), explore, among other things, love and grief. Love is hard precisely because, as Chin illustrates, it continually circulates within overlapping registers of longing, desire, grief, absence, and presence.
