The Marsh

marsh

The Marsh

Edited and Curated by Brandon Menke and Sarah Dimick

Past clusters

1990 at 30

Abortion Now, Abortion Forever

African American Satire in the Twenty-First Century

Ali Smith Now

American Bimbo

Anti-Work Aesthetics

Asian/American (Anti-)Bodies

Bernadette Mayer

Bored As Hell

Contemporary Literature from the Classroom

Critique in the Trump Era

Cultural Analytics Now

Dark Academia

David Berman

Decolonize X?

Ecologies of Neoliberal Publishing

Extraordinary Renditions

Feel Your Fantasy: The Drag Race Cluster

For Speed and Creed: The Fast and Furious Franchise

Forms of the Global Anglophone

Gestures of Refusal

Get in the Cage

Global Horror

Heteropessimism

How We Write (Well)

Interpretive Difficulty

Interviews

John Keene

Leaving Hollywoo: Essays After BoJack Horseman

Legacies — 9/11 and the War On Terror at Twenty

Little Magazines

Locating Lorine Niedecker

Lydia Davis

marsh

midwinter

Mike Davis Forever

Minimalisms Now: Race, Affect, Aesthetics

New Filmic Geographies

New Literary Television

Poetry's Social Forms

Public Humanities as/and Comparatist Practice

Reading Disco Elysium

Reading Sally Rooney

Reading with Algorithms

Roth’s Yahrzeit

Severance

Slow Burn

Slow Burn: Quarantine Edition

Someone Else's Object

Stranger Things and Nostalgia Now

Stuckness

The 7 Neoliberal Arts

The After Archive

The Bachelor

The Body of Contemporary Latina/o/x Poetry

The Hallyu Project

The Pain Cluster

The Stuff of Figure, Now

Tis the Damn Season: Taylor Swift's evermore

W(h)ither the Christian Right?

Web 2.0 and Literary Criticism

What's Contemporary About the Academy Awards?