Puerto Rico’s seven hundred miles of coastline are the most dynamic, biodiverse, heavily populated, and hotly contested part of the archipelago. Hurricanes beat the island from the ocean side while luxury tourist developments encroach from the land. These forces converge in the zona marítimo terrestre (ZMT), which includes littoral areas and navigable portions of waterways in which, according to Puerto Rican law, tides and the biggest waves from storms can be felt. This clunky legal term, notable for its shifting and affective dimension, has become part of everyday conversations and creative practices in contemporary Puerto Rico, but no academic study has considered its cultural significance. This article brings together insights from the fields of environmental justice and environmental humanities to propose that works of art and literature in the ZMT are autogestiones acuáticas, or independently imagined and managed shoreline activities that contest coastal displacement and articulate a decolonial sense of place within nonsovereign dynamics.

President Theodore Roosevelt once called the Chautauqua movement “typical of America at its best.” Arguably, no public humanities effort in the United States has been as popular or influential as the Chautauqua movement. Those seeking educational, religious, and cultural fulfillment have flocked to the lakeside retreat in western New York since 1874. From lectures and book clubs to theater and debates, Chautauqua has provided visitors with endless opportunities to engage with the arts, humanities, and cultural studies to help them better understand their world, themselves, and each other. Efforts to expand the experience beyond the summer include the adult education movement the Chautauqua Literary and Scientific Circle, one of the nation’s longest-running book clubs. Shrewd businessmen, and communities who did not see themselves represented in the Mother Chautauqua, also opened their own copycat offshoots across the country. As the pillar of “edutainment” and tourist destination wraps its 150th season, are the utopian visions of the founders enough to sustain it for another 150 or is a new model needed for a nationwide public humanities movement?

The insular Indian oceanic space is distinguished by a long history of migrations, encounters, conflicts, exchanges, interbreeding, and interculturality. Violence and negotiation lie at the heart of their historical, anthropological, and linguistic processes. The literatures of the Indian Ocean islands, in particular, articulate their representations, their fictional universes and speeches, as well as their modes of writing, with a perpetual interrogation about travels, meetings, frontiers, which constitute the ways of living in places and telling about them. Composed on the basis of dialogue and intertextuality in order to account for complex worlds, they also house ghosts which make them labyrinthine. Experiences peculiar to each society also connect them with the global history of colonial predation and disobedience, migrations, and exchanges, as well as intercultural relationships. From this point of view, such literatures allow one to read the labyrinthine and spectral insertion of the colonial world into European literatures. This paper is based on a French-language Indian oceanic corpus and aims to put forward a political reading (in the sense of Jacques Rancière) of the aesthetics of intercultural meetings and of its unplanned effects.

Wild pedagogies invites educators to engage with more-than-humans as co-teachers and co-researchers. In collaborating with city grass, this paper blends rhizomatic thinking, literary ecocriticism, and the rewilding of pedagogy within severely constrained circumstances. Citing cognitive, emotional, and physical benefits of engaging with free and flourishing nature, this research asks: How can the severe constraints of particular sociopolitical circumstances and disciplines, such as postsecondary literature courses, be creatively encountered to support engagement with flourishing more-than-human kin? It also asks: What would grass do? This paper walks readers through many barriers faced by city college humanities courses and suggests practical, creative work-arounds that, while focused on college literature classes, can be adapted to educators in diverse disciplines and contexts. Because we need playful thinking to think creatively — even on the brink of catastrophes — this paper is written as a choose-your-own adventure game. Educators will be invited to consider the institutional, geographic, academic, political, personal, and social barriers impacting their pedagogical choices. Ecologically concerned educators need pragmatic, creative, and compassionate support to envision how wild pedagogies pathways can be applied to their course loads. Here, these explorations are designed to be experiential and experimental, open-ended, and ultimately mutually liberating.

Contemporary readers are most familiar with George Orwell's later works of political satire, such as Animal Farm (1945) and Nineteen Eighty-Four (1949). Less known is the fact that the writer, who is often considered the epitome of ‘Englishness’, was born in India and as a young man served for five years in the Imperial Police in Burma—an experience that reverberated throughout his oeuvre. In Orwell and Empire (Oxford University Press, 2022), Douglas Kerr offers the first comprehensive study of Orwell's writing about the East and of the East in his writing

“The Dog with Vanishing Spots” is a 1939 work of detective fiction by Miyano Murako. One of only a few women writers of detective fiction in the prewar period, Miyano presents a work in tune with the state of the genre during its Golden Age, while also displaying the interest in character psychology that figured prominently into her writings. The result is a mystery of lost dogs, stolen jewels and murder in the continental city of Dairen, all centered on a character that just might be the lone instance of a teenage female sleuth in Japan's prewar detective fiction canon.

The reconstruction efforts following the 2011 Tōhoku earthquake and tsunami (3/11) have sparked a rediscovery of the concept of kizuna (literally, “bonds between people”). Some Japanese authors, however, are contesting and expanding on this notion as a way of coming to terms with the disaster. Through the analysis of two literary works, I argue that 3/11 literature provides a model for Japan's emotional and physical reconstruction through its resourcefulness and alternative vision of kizuna.

Slavery persisted in Morocco well into the twentieth century and throughout the French Protectorate (1912–56), long after it was abolished in other French-occupied territories (1848). While work by historians has illuminated a previously shadowy history of race and slavery in Morocco, less attention has been paid to the growing corpus of literary texts representing enslaved subjectivities under the Protectorate. Through their literary excavations of the slave past, such works retell the history of Moroccan slavery from the perspective of those most affected. This essay takes translator Nouzha Fassi Fihri’s Dada l’Yakout (2010) as a case in point. Although marketed as a novel, the text is also a dense oral history that channels the voice of an enslaved woman who really existed: Jmia, who was abducted as a child at the beginning of the twentieth century and died in 1975. Considered as “Moroccan other-archive” (El Guabli 2023) and imaginative archeology, literary works chart a way forward for reckoning with the enduring legacies of slavery and the slave trade in Morocco.

Kim Dong-ri and Seo Jeong-ju were prodigious personalities of Korean literature in the 20th century. The friendship of these prominent writers began in the 1930s and lasted their entire lives. Together they contributed to the reconstruction of the literary world in Korea after the end of the Japanese Occupation. This paper examines their biographies, auto-biographies, and different testimonies in an attempt to understand and appreciate not only the development and depth of their friendship, but also their legacy to Korean literature that was based on the literary and humanistic values they shared.