R.M. Berry on the recuperation of politicized language, in (and through) the fiction of Marianne Hauser and Lidia Yuknavitch.
Mike Barrett evaluates Steve Tomasula's The Book of Portraiture in terms of its place between tradition and artistic innovation in the 21st century.
Richard Kalich's latest protagonist is Richard Kalich, but one critic views this postmodern occupation of the novel as an opportunity - even an encouragement - to forget about him.
Jussi Parikka interviews artist Zoe Beloff about her relationship to the emerging set of interdisciplinary theories and methodologies known as media archaeology. In way of response, Beloff discusses some past works, including: Lost (1995), Shadow Land (2000), Claire and Don in Slumberland (2002), Charming Augustine (2005), The Somnambulists (2008), and The Dream Films (2009).
David Zauhar reads Marjorie Perloff the way she reads poetry and philosophy: as ways of doing, rather than saying
Joseph Tabbi identifies a shift in U.S. criticism that has taken place in the eight years separating Susan Strehle's Fiction in the Quantum Universe and John Johnston's Information Multiplicity.
Linda Brigham reads How We Became Posthuman the way Katherine Hayles reads novels: as a story that resists both linearity and the analytical ardor of attempts at humanist ordering.