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The Channel Posts

Toni Collette: Character as Craft

by Rilla Kingston CREATING CHARACTER There are seemingly infinite methods for building character in a performance or dramatic role. The popularity of a given method changes…

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Visuality, Reflection and Love in “Little Expressionless Animals”

by Deanna Duxbury Julie and Faye’s relationship, in David Foster Wallace’s “Little Expressionless Animals,” is surrounded by images of glass, mirrors, and reflection. David Foster Wallace…

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Discursive and Formal Violence in Monique Mojica’s Princess Pocahontas and the Blue Spots

by Thomas Macdonald In “Stories from the Body: Blood Memory and Organic Texts,” Monique Mojica writes: “Our bodies are our libraries…Each injury, physical or emotional…

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“The Halting and Rudimentary Art of Reading”: A Reader’s Agency in Borges

by Julien Gagnon In his essay “Kafka and His Precursors,” Jorge Luis Borges writes that “each writer creates his precursors. His work modifies our conception of…

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On Language and Embodiment in Eileen Myles’ “The End of New England”

by Steven Hu The night of 2014’s first-year orientation, Rui Yang and I leave our group and walk the Montreal streets, talking about homesickness. We are…

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Under house ar(rest): Domestic surveillance in Jordan Peele’s Get Out and Charlotte Gilman’s The Yellow Wallpaper

by Taylor Mitchell The 2017 blockbuster horror film Get Out, directed by Jordan Peele, and the 1892 Gothic short story “The Yellow Wallpaper” by Charlotte…

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