for Shakespeare Bulletin: the Indian votaress’s presence in the play, as well as Taymor’s staging of her, provides audiences with what performance theorist José Esteban Muñoz, in Cruising Utopia, calls a utopian “then and there” space in a crushing “here and now.”

For The Tennessee Williams Annual Review: The concept of a queer aesthetic allows Laura—and the play itself—to be read as actively resisting heteronormative narratives of the good life and as conjuring alternative options for female desire and agency.

for Shakespeare Studies: I join the scholarly conversation on Titania's monologue and the larger themes in A Midsummer Night's Dream by centering the Indian votaress's pregnancy as an object of study—she is the alternative "rose distilled" upon which a queer futurity, a better world for reproductive bodies, is conjured.

for Shakespeare Bulletin: What can Gary—or any play—accomplish when “bloody sequels” and spectacles of vengeance choke our past and present? Does the theater impact our ability to grapple with “all that’s passed”—or what will? What cuts through the gore?

for Synapsis: I quote Middleton alongside the anonymous voice of a transmasculine person who has experienced pregnancy to conjure bodies across time that trouble how reproduction is culturally organized.

for Synapsis: Taking the abortive properties of Ophelia’s rue seriously, “as trace, the remains” of the lived experience of women in the early modern period is a step towards breaking the silence and shame that surround abortion today.

for Synapsis: Superfetation takes the threat of pregnancy a step further—to be pregnant with two men’s children at once is an act of bodily defiance, to be even more engorged, desirous, and “hot.”

for Synapsis: In one of my monthly visits to the Folger Shakespeare Library this year, I called up Pierre Boaistuau’s Certaine secrete wonders (1569). I was looking for a particular image, but found another. An image of a woman, Margreta, that opens the section, “A wonderfull historie of cetaine women which have brought forth a great number of children: And another whiche bare hir first fruite five years dead within hir belly.”

for Synapsis: That connection—the transfer of fluids that brought my daughter into being, created limbs and legs and second chances while the world watched suspiciously—is gone.

for Synapsis: We, postpartum bodies, are exhausted. Like Hermione, people who have just given birth in our era endure institutional violence, working to preserve themselves in whatever ways they can.

for The Rush Literary Magazine: a flash nonfiction piece on the onslaught of expectations, as well as joy, I experience as a mother.

for Tropics of Meta, Gonsalez reminds us that the journey to know ourselves and others, a kind of knowing that is always on the horizon, is its own kind of promised land.

for Visible Pedagogy: Our own perceptions of how we interact with and show up for our students aside, how do final grades shape and twist what students take away from our classes?

for Fellow’s Corner: If we stand up in front of our students and read the syllabus to them, are we really teaching them how to refer to important documents for information? That we expect them to do so?

for Visible Pedagogy: Teaching while pregnant poses a particular set of challenges for women in academia—from daily commutes on public transportation; to adapting past pedagogy to accommodate emotional and physical exhaustion; to communicating with students about a private life that is no longer private.