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Columbia Journal of Literary Criticism

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Annelie Hyatt

The Ripest Fruit

Annelie Hyatt, Reviews

The Reserved Intimacy of Tatsuhiko Ishii’s Tanka

Annelie Hyatt, Reviews

“Wombs of Empire” by Sujin Lee

Annelie Hyatt, Reviews

The “Indebted Woman” in South Arcot

Annelie Hyatt, Reviews

“Pig”: Sam Sax’s Penetrative Collection About the Absurdity of Human Civilization

Annelie Hyatt, Reviews

This is Where the Sadness Lies: A Review of Mary Jo Bang’s “A Film in Which I Play Everyone”

Annelie Hyatt, Reviews

The Radical Mundanity of Yu Xiuhua’s “Moonlight Rests on My Left Palm”

Annelie Hyatt, Reviews

The Trappings of Fan Behavior: A Review of Esther Yi’s “Y/N”

Annelie Hyatt, Reviews

The Shell of Another Empire: A Review of Sally Wen Mao’s “The Kingdom of Surfaces”

Annelie Hyatt, Reviews

The Pirate Philosopher: A Review of David Graeber’s Pirate Enlightenment, or the Real Libertalia

Annelie Hyatt, Reviews

“The World Keeps Ending, and the World Goes On” by Franny Choi

Annelie Hyatt, Reviews

“Stay True” by Hua Hsu

Annelie Hyatt, Reviews

Eileen J. Cheng’s Translation of Lu Xun’s “Wild Grass & Morning Blossoms Gathered at Dusk”

Annelie Hyatt, Reviews

“Iguana, Iguana” by Caylin Capra-Thomas

Annelie Hyatt, Reviews

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