Elena Ferrante's new volume, In the Margins: On the Pleasures of Reading and Writing (2022), is the culmination of decades of narrative enterprise. It is comprised of four essays dedicated to Ferrante’s formation as a reader and a writer.

How do we speak and write in a way that is concise and accessible to a wider audience and that can make an impact on social movements and on life in society?

Mixed forms are crucial not only to the understanding of khuntha, mukhannath, and khanith communities, but also to the very scaffolding of Almarri’s paper. 

The Untranslatable refers to how concepts assimilate actually existing ways of speaking and being and how ways of speaking and being interfere with concepts. 

Amichai’s poetry articulates an implicit theory of translation as the intertextual practice of a historical agent, an implicit theory that is poised to provide a new perspective on the critical discourse of contemporary translation studies.

A project of “critical prosody” should re-embed poetic form in the historical politics of meaning. It should show how meter meant different things to different communities in a longer metrical discourse.

Henning Mankell's detective is always uneasy around those alien characters (the typographical kind).

Ce qui est remarquable dans la traduction anglaise du Serment [du Jeu de Paume] c'est que l'organe physique, la paume, disparaît en anglais au profit du geste, du mouvement à venir, de la balle qu'il va falloir attraper, peu après que l'on s'entend dire « tenetz ! » [voir tennis]. J'ai envie de lire dans cette traduction le passage à une poétique du geste dans le livre de John Ashbery : il ne s'agit pas de garder la balle, mais de faire le bon mouvement pour l'attraper et la renvoyer.

On the paradoxical reception—imitations of plot but never of style—of Cervantes's novellas in England.

Charles Bernstein’s main weapon is language — sharp as a sword and piercing as a spear. Yet, he seems to both rely on his weapon and distrust it, trying to reach beyond it.