I aim to explore in what follows the terms khuntha, mukhannath, and khanith, and their associated identities, along with their linguistic characteristics and literary uses.*

I do not at all see why we must make an either-or choice between reading Beckett or reading Aimé Césaire, between calling out and into question “cultural desires, drives, anxieties, or prejudices” or analyzing metonymy, chiasmus, sprung rhythm, lineation, anaphora, parataxis, trochees, and so forth.

I've been following developments in Filipino rap culture over the past few years, in part because I enjoy listening to rap, but also because there's this fascinating way that the rap battle format has certain similarities to the Filipino tradition of poetic debate called Balagtasan, so that battles in the Philippines incorporate certain elements of that tradition.

The glaze in their eyes gives it away, the slight tightening of their lips, and the nervous breath. When colleagues learn about my new project, they begin to feel sorry for me. “Why friendship of all subjects?” It’s seems quaint to them or just light; in any case, not a legitimate object of inquiry.