This article offers an analysis of the embodied speaking voice of Audre Lorde over the span of nearly two decades publicly performing her poems aloud. Drawing from interdisciplinary methodologies to analyze archival recordings from across Lorde's performance history, I argue that Lorde developed a series of vocal techniques—shifting vocal registers, demanding silence from her audience, singing with vibrato, and performing with a communal timbre—that distinguish her from her contemporaries in the Black Arts movement. Lorde's vocal practice was anchored in the aesthetics of the black church but also deeply fashioned by her queerness, a combination that challenged the default heterosexuality within normative genealogies of black sound. Though Lorde's essays are central to affect theory and her poetic voice is often described as polyvocal, I argue that the material aspects of Lorde's poetic performance practice situate her as a prescient theorist of sound and affect.

This essay reads the poet Eileen Myles's recent turn to climate activism as an extension of their queer critique of predatory urban change on Manhattan's Lower East Side, where they have lived since the 1970s. Myles's climate activism opposes the demolition of Manhattan's East River Park to facilitate one of New York City's first large-scale climate resiliency projects. Myles argues that residents’ desires should shape climate resiliency planning priorities. I read Myles's earlier poems and essays to describe how the queer persistence and the attention to the “now” of urban change that they develop in response to New York's housing crisis in the 1980s during the early era of AIDS inform their climate activism. I argue that the environmental humanities tools needed to represent climate change on an urbanizing planet are inextricable from a queer theory approach to sustaining desire and loss amid precarity, as becomes apparent through Myles's writing.

Whereas previous criticism of Shakespeare's Sonnets has shown how the early sonnets associate the fairness of an elite young man with the dynastic legitimacy and aesthetic refinement that would come to signify the superiority of racial whiteness, this essay considers certain later sonnets that compromise and threaten to revoke whiteness as a mark of racial privilege. Darkening the friend's complexion, these poems—numbers 27–28, 33–35, 43, 58, 93, and 119–20—materialize him as a nocturnal shadow; stain his lovely face with black clouds, smoke, mud, wrinkles, and ink; and associate his sexual estrangement from the speaker with the torments of blackest hell. By darkening the promiscuous aristocratic friend, these later sonnets suggest that racial fairness is not simply an ontological fact—a stable epidermal sign of aristocratic lineage—but a fluctuating sign contingent on interpersonal value judgments, or an “affective epistemology.”

This article revisits André Gide's emblematically modernist novel, Les faux-monnayeurs (1925; The Counterfeiters), by reevaluating the importance and significance of the setting at the center of the narrative: the “pension Azaïs-Vedel,” a Protestant educational institution around which all the novel's characters—mostly adolescents—gravitate and all the subplots converge. It shows how Gide's choice of setting responded to the “quarrel of classicism,” which reconfigured the French literary field at the turn of the twentieth century, superimposing the political, the aesthetic, and the religious and connecting the question of literary form with that of the formation of French youth. The article also reassesses the survival of religion in twentieth-century French literature, and in particular the enduring religiosity inflecting both political modernity and modernist aesthetics.

The entanglement of colonial power's cultural and material manifestations has been an important topic in anticolonial thinking. I tentatively term this the problem of relating the imperial imaginary and imperial reality. This essay focuses on the imaginary and real geographies of the eighteenth-century British maritime empire, using digital methods (custom named entity recognition and mapping) to compare place-names mentioned in maritime fiction and nonfiction with the movements of British ships. In Edward Said's terms, structures of reference are used to see the structures of attitude underpinning the material power of an increasingly global empire. I present four theses on the convergences and divergences between the imaginary empire of texts and real empire of ships: on the centrality of England in both, a shared colonial geography of fungibility, the imaginary's erasure of environmental and bodily restraints, and the imaginary empire's anticipation of, and even preparation for, real imperial domination.