This essay examines the shadowy brokerage of literary and anthropological value during the era of decolonization and its connection to the institutionalizing of African literature. Drawing on original archival research, it recovers the conversation between the Ugandan poet Okot p'Bitek's major long poem Song of Lawino and the Oxford Library of African Literature, a series of oral-literature anthologies edited by Okot's and Talal Asad's advisers at the Oxford Institute of Social Anthropology. Instead of reciprocating the series's temporal and hierarchical assumptions, which appropriate late modernist literary criticism's nostalgic veneration of the British past, Song of Lawino reconfigures the protocols for the textual production of oral poetry by revising social anthropology's theories of time and matter. If accounts of the departmentalization of African literature portray it as a transfer of colonial paradigms to postcolonial contexts, this interfield account of the making of Song of Lawino calls for an alternative history.

This essay examines Ezra Pound's behind-the-scenes control of the little review Four Pages, which ran for fifteen issues from 1948 to 1951. After his return to the United States in 1945 to face charges of treason, Pound was declared mentally incompetent and institutionalized in a mental hospital in the nation's capital. With his publishers attempting to rehabilitate Pound's public standing by spotlighting his purely “literary” efforts, Pound had to resort to anonymous publication to continue to have a say on contemporary matters. This essay shows how Pound essentially created and edited a little review to have a venue that pushed his social and political ideas at a time when doing so openly was problematic for legal and political reasons. The use of anonymity as a writer and editor was part of the wider “literary camouflage” that Four Pages engaged in to advance Pound's wider cultural and political agenda.

The birth of the modern refugee is nearly always told as a story of territory, in which the changing character of the European nation-state radicalized processes of exclusion. Yet changes to the nation-state in the twentieth century transformed not only how territory was inhabited but also how time was inhabited and experienced. The powers of national sovereignty thus operate not only through lines on maps or militarized borders but also through policing the borders of the past, present, and future. In this essay, then, I offer a broad reframing of modern refugee writing, focusing on the ways that it has emerged with and challenged national sovereignty's power over time rather than over territory. To do so, I examine a recurring figure: a refugee, real or imagined, who refuses to progress forward into citizenship, taking up a posture in time that is queer, backward, and antiteleological.

An Afrisc meowle (“African woman”) appears at the end of the Old English Exodus, a poem ostensibly celebrating religious freedom, migration, and divine justice. Amid the Hebrews’ final celebration, the explicit inclusion of the Afrisc meowle's racial difference from the Israelites exposes the horror and violence of the aftermath of war; a focus on her also invites questions about the poem's early medieval audience and how that audience could have understood her, especially since she does not appear in the source text of the Hebrew Bible. The scant critical analysis of this remarkable figure tends to provide a brief exegetical explanation before moving into more secure critical territory. My analysis of the Afrisc meowle reveals the limitations of source study and exegetical criticism for Exodus and for the field of medieval studies; she thus serves as a case study for this deeper theoretical problem in the field.

This essay examines the ceremonies surrounding the 1877 alleged finding of Christopher Columbus's remains in the cathedral of Santo Domingo. The act of exhuming a body believed to be in Spain's possession posed a challenge for the former colonial power, which was in the process of turning Columbus into a national symbol. The Spanish government forcefully denied the legitimacy of the Dominican claim, calling it a “spectacle” contrived by the nation's religious and civil authorities. Building on Diana Taylor's theoretical framework, the essay looks at the 1877 ceremonies as social performances that facilitated the transmission of deeply rooted cultural memories. Whereas the procession of the remains from the cathedral to the church repeated the ritualized gestures prescribed for the discovery and transfer of relics, the performance enacted in the cathedral upended a different “scenario of discovery”—the one enacted by Spanish conquerors when they took possession of a new territory.