Writing from the forefront of American poetry criticism, contributors to this special issue address topics such as the poetics of disability and the work of clairvoyant poet Hannah Weiner, ambience and the work of Tan Lin, the continuing influence of Wallace Stevens, and the use of found text in Susan Howe’s “The Midnight.” Two younger critics address their generation’s poetics, one by considering the social relevance of the lyric and the other by examining resistance to innovative poetry practice. The intersection of poetry and technology is explored in articles about digital spaces and radical poetry’s relationship with the digital archive. One contributor applies the work of philosopher J. L. Austin to the language of hip-hop and the work of rapper Rakim. Also included are four short poems, a panegyric for the poetics of sophism in critical discourse, and essays that address the aesthetics of sentimental poetry and the poetics of place.

The central figure of the issue is John Heartfield, a Dadaist who influenced much of the art world in Europe after World War I. The collection investigates Heartfield’s lesser-known early work with cinema in the service of the German High Command. Believing that photographic cinema was akin to war propaganda, Heartfield rejected live-action war footage in favor of American cinematic animation to promote an honest discussion about the horror and realities of war. One essay explores Heartfield’s photomontages while turning to film theory as a way of interpreting the politics of his work, demonstrating how his photomontages retain the organic and traditional nature of photography even as they produce cognitive dissonance and satire. Another essay on Heartfield’s role in Soviet discussions of the 1930s offers fascinating insights based on new archival research. The issue also looks at the relationship between Heartfield and the illustrated German magazine Arbeiter-Illustrierte-Zeitung and how that magazine influenced photomontage across Europe.

Elfriede Jelinek and The Princess Plays includes an article on Jelinek’s changing position in the world of letters by Gitta Honegger, a leading Jelinek scholar and translator. Accompanying this major article is Honegger’s extended interview with the author; they discuss Jelinek’s aesthetic influences and ideas, what it’s like to win the Nobel Prize, and its implications for the writer. In addition to the first English-language publication of three short plays from Elfriede Jelinek’s Princess Plays, this issue of Theater includes Gitta Honegger’s extended and deeply personal interview with Jelinek, as well as Honegger’s article on her changing position in the world of letters since winning the 2004 Nobel Prize. The issue, which also includes articles on France’s Théâtre du Soleil, offers a compelling portrait of Jelinek and a rare introduction to her provocative theater.

Contributors. Duccio Bellugi, Gitta Honegger, Elfriede Jelinek, Robert Kluyver, Marina Kotzamani, Judith Miller, Ariane Mnouchkine, Béatrice Picon-Vallin, Anthony Richter, Gordon Rogoff, René Solis, Emmanuel Wallon, Philippa Wehle

In the first English-language collection to examine twenty-first-century Russian theater, this special issue of Theater also includes the complete texts of two new Russian plays, published for the first time in English. Ivan Vyrypaev’s Oxygen is a poetic panorama of new Russian identity set to techno music, and Danila Privalov’s 5-25 explores traditional Dostoyevskian existential themes in the language of a new generation. One contributor chronicles the sweeping cultural and institutional changes in the Russian theater since 2000, while another provides an overview of the regional theater system in the world’s most geographically vast country. Another essay explores the development of the new playwriting movement, identifying its key writers and producers. This special issue also includes interviews with the movement’s directors and producers. Additionally, it contains letters, previously unpublished in English, from the Moscow Art Theater’s Olga Bokshanskaya to the Russian theatrical titan Vladimir Nemirovich-Danchenko, reporting on the Moscow Art Theater’s legendary U.S. tour in 1920–22, which was recorded in theater history as a turning point for American acting.

Contributors. AKHE, Dmitri Chernikov, Nina Chusova, Marina Dmitrievskaya, Sasha Dugdale, John Freedman, Elena Gremina, Nina Karpova, Mindaugus Korbauskis, Ryan McKittrick, Arkady Ostrovsky, Danila Privalov, Victor Rizhakov, Yana Ross, Tom Sellar, Kirill Serebrennikov, Anatoly Smeliansky, Julia Smeliansky, Ivan Vyrypaev

Contributors to this issue represent a wide range of disciplines, from Latin American studies and sociology to political theory and literary criticism. They bring a global perspective to the social and political legacy of the 1960s, touching on the Caribbean, Latin America, the former USSR, China, and France, as well as the United States. One contributor presents a reexamination of Latin American armed struggles in the 1960s that foregrounds the relatively positive influence of these struggles on present-day Latin American society and politics. Another contributor translates a seminal essay on José Martí written by one of Cuba’s foremost intellectuals in the mid-1960s, when the course of the Cuban revolution was still uncertain. Yet another contributor considers the forces that have sought to neutralize the struggles and negate the gains of the African American liberation movement in the 1960s American South.

Contributors. John Beverley, Anthony Bogues, Christopher Connery, Roberto Fernández Retamar, Wlad Godzich, Boris Kagarlitsky, Nina Power, Hortense Spillers, Silvia D. Spitta, Alberto Toscano