Anne E. Fernald is Co-editor of Modernism/modernity and Professor of English and Women's, Gender, and Sexuality Studies at Fordham University. She has published and edited on Virginia Woolf with special attention to feminism and intertextuality, as well as on modernism more generally.
Twitter @fernham
This editor’s note brings with it the belated January 2023 issue to your mailbox, library shelves, and databases. With it, I write my last note to you as co-editor of this journal. The January 2023 issue is an exciting one. Our gorgeous cover offers a hint of the pleasures of Jack Quin’s article inside. Beyond Quin’s piece on Edward McKnight Kaufer’s work illustrating T. S.
In More Tales of the City (1980), Armistead Maupin introduced us to Mona’s law: “you can have a hot job, a hot lover and a hot apartment, but you can't have all three at the same time.” In this long, brutal covid spring, I have been living a sad version of Mona’s law.
A Tik-Toker I like posts short videos of himself walking and talking. They’re silly and soothing in that strange way of the form. He lives in Minnesota, and recently he posted to say that he does not play any winter sports, but that what he likes to do in winter is just to trudge. That word arrested me. Trudge. That’s what this long, deep winter has been: a trudge.
Greetings from the Fordham office of Modernism/modernity!
We are pleased to be able to share here a selection of articles on race and modernism from past print issues of Modernism/modernity. Reflecting the history of the journal, many of these focus on the Harlem Renaissance, but we’ve also included articles on the Caribbean and Brazil as well as a more broadly comparative treatment of race...
There is a lag between the advent of a major social change—the right to vote, the availability of education, working for pay outside the home—and the moment when any one individual avails herself of the opportunities arising from such a change. Activists and visionaries fight for the change long before it comes; pioneers are the first in line to participate; others hesitate and face resistance. Each woman changes her mind at a different rate from the legal and policy changes of the culture at large, and writing by women dramatizes the sometimes liberating, sometimes uneasy responses to those cultural changes.