ASAP/J welcomes born-digital content such as brief interviews, reviews, essays, working papers, and photographic, audio, and video works, among other forms. If you would like to contribute a feature to ASAP/J—typically 2,000 to 4,000 words for an essay—please send a brief pitch of 200 to 300 words to email@example.com. You’re also welcome to pitch ideas for edited clusters on topics of special interest. You would be the primary editor for such a cluster, with support from ASAP/J’s editor, Alexandra Kingston-Reese. If you would like to pitch an edited cluster, please include the names of your potential collaborators.
If you have an inquiry regarding the peer-reviewed ASAP/Journal, please contact the editors at firstname.lastname@example.org.
Reviewing for ASAP/J
ASAP/J publishes single-book reviews as well as review essays on several recent titles. Single-book reviews should be 1,000 to 1,500 words in length; review essays should not exceed 4,000 words. While we primarily review academic titles, we are also eager to publish review essays on clusters of books of fiction, poetry, essays, arts writing, etc. Michael Dowdy’s essay on “Poetry from a Year of Precarity” is a good example of this genre. We do not publish single-book reviews of fiction, poetry, memoir, etc.
ASAP/J also publishes reviews of art exhibitions, film festivals, symposia, and other authored or curated content.
Please contact the Reviews Editor Irenae Aigbedion at email@example.com to inquire about reviewing a book, exhibition, or other event. In your email, please include a brief bio, including prior publications, and let us know why you would like to review this particular subject.
Visual Arts, Architecture, Art History
Jaroslav Anděl, ed., Back to the Sandbox: Art and Radical Pedagogy. Minneapolis: University of Minnesota Press, 2019.
Jennifer Loureide Biddle, Remote Avant-Garde: Aboriginal Art under Occupation. Durham, NC: Duke University Press, 2017.
Amanda Boetzkes, Plastic Capitalism: Contemporary Art and the Drive to Waste. Cambridge: MIT Press, 2019.
Eva Branscome, Hans Hollein and Postmodernism: Art and Architecture in Austria, 1958–1985. New York: Routledge, 2018.
Julia Bryan-Wilson, Fray: Art and Textile Politics. Chicago: University of Chicago Press, 2017.
Amy Sara Carroll, Remex: Toward an Art History of the NAFTA Era. Austin: University of Texas Press, 2017.
Mark Cheetham, Landscape Into Eco Art: Articulations of Nature Since the ’60s. University Park: Penn State UP, 2019.
Lynne Cooke, Outliers and American Vanguard Art. Chicago: University of Chicago Press and the National Gallery of Art, 2018.
Karen Mary Davalos, Chicana/o Remix: Art and Errata since the Sixties. New York: NYU Press, 2017.
Marilyn DeLaure and Moritz Fink, Culture Jamming: Activism and the Art of Cultural Resistance. New York: NYU Press, 2017.
Ella Maria Diaz, Flying Under the Radar with the Royal Chicano Air Force: Mapping a Chicano/a Art History. Austin: University of Texas Press, 2017.
Christine Filiponne, Science, Technology, Utopias: Women Artists and Cold War America. New York: Routledge, 2017.
Esther Gabara, ed., Pop América, 1965-1975. Durham: Duke UP, 2018.
Macarena Gómez-Barris, Beyond the Pink Tide: Art and Political Undercurrents in the Americas. Berkeley: University of California Press, 2018.
Gayatri Gopinath, Unruly Visions: The Aesthetic Practices of Queer Diaspora. Durham: Duke UP, 2019.
Aimi Hamraie, Building Access: Universal Design and the Politics of Disability. Minneapolis: University of Minnesota Press, 2017.
Hanna B. Holling, Paik’s Virtual Archive: Time, Change, and Materiality in Media Art. Berkeley: University of California Press, 2017.
Jessica L. Horton, Art for an Undivided Earth: The American Indian Movement Generation. Durham, NC: Duke UP, 2017.
Kellie Jones, South of Pico: African American Artists in Los Angeles in the 1960s and 1970s. Durham, NC: Duke UP, 2017.
Loraine Leeson, Art : Process : Change: Inside a Socially Situated Practice. New York: Routledge, 2018.
Leora Maltz-Leca, William Kentridge: Process as Metaphor and Other Doubtful Enterprises. Berkeley: University of California Press, 2018.
Melissa Mednicov, Pop Art and Popular Music: Jukebox Modernism. New York: Routledge: 2018.
Rachel Middleman, Radical Eroticism: Women, Art, and Sex in the 1960s. Berkeley: University of California Press, 2018.
Arnauld Pierre, ed., Nicolas Schöffer: Space, Light, Time. New Haven and London: Yale UP, 2018.
Lara Shalson, Performing Endurance: Art and Politics Since 1960. Cambridge: Cambridge UP, 2018.
Marcy Schwartz, Public Pages: Reading Along the Latin American Streetscape. Austin: University of Texas Press, 2018.
Luke Syson and Sheena Wagstaff, Like Life: Sculpture, Color, and the Body. New York: The Metropolitan Museum of Art (dist. Yale UP), 2018.
Leon Wainwright, Phenomenal Difference: A Philosophy of Black British Art. Liverpool: Liverpool University Press, 2017.
Sasha Su-Ling Welland, Experimental Beijing: Gender and Globalization in Chinese Contemporary Art. Durham, NC: Duke UP, 2018.
Media, Film, Digital Arts
Nora M. Alter, The Essay Film After Fact and Fiction. New York: Columbia UP, 2018.
Edward Branigan, Tracking Color in Cinema and Art: Philosophy and Aesthetics. New York: Routledge, 2018.
Charlotte Brundson, Television Cities. Durham, NC: Duke UP, 2018.
Thomas J. Connelly, Cinema of Confinement. Evanston: Northwestern UP, 2019.
Elizabeth Ellcessor and Bill Kirkpatrick, eds., Disability Media Studies. New York: NYU Press, 2017.
Matthew Holtmeier, Contemporary Political Cinema. Edinburgh: Edinburgh UP, 2019.
Alan Liu, Friending the Past: The Sense of History in the Digital Age. Chicago: The University of Chicago Press, 2019.
Jennifer Malkowski, Dying in Full Detail: Mortality and Digital Documentary. Durham, NC: Duke UP, 2017.
James Naremore, Charles Burnett: A Cinema of Symbolic Knowledge. Berkeley: University of California Press, 2017.
Des O’Rawe, Regarding the Real: Cinema, Documentary, and the Visual Arts. Manchester: Manchester UP, 2018.
Kris Paulsen, Here/There: Telepresence, Touch, and Art at the Interface. Cambridge, MA: MIT Press, 2017.
Andrew Pilsch, Transhumanism: Evolutionary Futurism and the Human Technologies of Utopia. Minneapolis: University of Minnesota Press, 2017.
Brigitte Peucker, Aesthetic Spaces: The Place of Art in Film. Evanston: Northwestern University Press, 2019.
Amit S. Rai, Juggad Time: Ecologies of Everyday Hacking in India. Durham: Duke UP, 2019.
Roopika Risam, New Digital Worlds: Postcolonial Digital Humanities in Theory, Praxis, and Pedagogy. Evanston: Northwestern UP, 2018.
Garrett Stewart, Transmedium: Conceptualism 2.0 and the New Object Art. Chicago: University of Chicago Press, 2017.
Harrod J. Suarez, The Work of Mothering: Globalization and the Filipino Diaspora. Urbana, IL: University of Illinois Press, 2017.
Dennis Tenen, Plain Text: The Poetics of Computation. Stanford: Stanford University Press, 2017.
Dolores Tierney, New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh: Edinburgh UP, 2018.
Elaine Treharne and Claude Willan, Text Technologies: A History. Stanford: Stanford UP, 2018.
Ted Underwood, Distant Horizons: Digital Evidence and Literary Change. Chicago: University of Chicago Press, 2019.
Deepika Bahri, Postcolonial Biology: Psyche and Flesh after Empire. Minneapolis: University of Minnesota Press, 2017.
Chad Bennett, Word of Mouth: Gossip and American Poetry. Baltimore: Johns Hopkins UP, 2018.
Bénédicte Boisseron, Afro Dog: Blackness and the Animal Question. New York: Columbia University Press, 2018.
Paul Buchholz, Private Anarchy: Impossible Community and the Outsider’s Monologue in German Experimental Fiction. Evanston, IL: Northwestern UP, 2018.
David Farrier, Anthropocene Poetics: Deep Time, Sacrifice Zones, and Extinction. Minneapolis: University of Minnesota Press, 2019.
Gloria Fisk, Orhan Pamuk and the Good of World Literature. New York: Columbia UP, 2018.
Laura Furlan, Indigenous Cities: Urban Indian Fiction and the Histories of Relocation. Lincoln: University of Nebraska Press, 2017.
Loren Glass, ed., After the Program Era: The Past, Present, and Future of Creative Writing in the University. Iowa City: University of Iowa Press, 2017.
Christopher González, Permissible Narratives: The Promise of Latino/a Literature. Columbus: Ohio State UP, 2017.
Walt Hunter, Forms of a World: Contemporary Poetry and the Making of Globalization. New York: Fordham UP, 2019.
Cajetan Nwabueza Iheka, Naturalizing Africa: Ecological Violence, Agency, and Postcolonial Resistance in African Literature. Cambridge: Cambridge UP, 2018.
Jinah Kim, Postcolonial Grief: The Afterlives of the Pacific Wars in America. Durham: Duke UP, 2019.
Ilana Dann Luna, Adapting Gender: Mexican Feminisms from Literature to Film. Albany: SUNY Press, 2018.
Simone Murray, The Digital Literary Sphere: Reading, Writing, and Selling Books in the Internet Era. Baltimore, Johns Hopkins UP, 2018.
Peter O’Leary, Thick and Dazzling Darkness: Religious Poetry in a Secular Age. New York: Columbia UP, 2017.
Seth Perlow, The Poem Electric: Technology and the American Lyric. Minneapolis: University of Minnesota Press, 2018.
Kate Polak, Ethics in the Gutter: Empathy and Historical Fiction in Comics. Columbus: Ohio State UP, 2017.
Claudia Rankine and Michael Dowdy, American Poets in the 21st Century: Poetics of Social Engagement. Middletown: Wesleyan UP, 2018.
Elda María Román, Race and Upward Mobility: Seeking, Gatekeeping, and Other Class Strategies in Postwar America. Stanford: Stanford UP, 2017.
Lily Saint, Black Cultural Life in South Africa: Reception, Apartheid, and Ethics. Ann Arbor: University of Michigan Press, 2018.
John Steen, Affect, Psychoanalysis, and Contemporary American Poetry. London: Bloomsbury, 2018.
Brian Kim Stefans, Word Toys: Poetry and Technics. University of Alabama Press, 2017
Harrod J. Suarez, The Work of Mothering: Globalization and the Filipino Diaspora. Urbana, IL: University of Illinois Press, 2017
Edwige Tamalet Talbayev, The Transcontinental Maghreb: Francophone Literature across the Mediterranean. New York: Fordham UP, 2017.
Dawson Varughese, Genre Fiction of New India: Post-millennial Receptions of “Weird” Narratives. New York: Routledge, 2017.
Magdalena J. Zaborowska, Me and My Houses: James Baldwin’s Last Decade in France. Durham, NC: Duke UP, 2018.
Music, Musicology, Sound
Alejandro Nava, In Search of Soul: Hip-Hop, Literature, and Religion. Berkeley: University of California Press, 2017.
Jeffrey T. Nealon, I’m Not Like Everybody Else: Biopolitics, Neoliberalism, and American Popular Music. Lincoln: University of Nebraska Press, 2018.
Griffith Rollefson, Flip the Script: European Hip Hop and the Politics of Postcoloniality. Chicago: University of Chicago Press, 2017.
James A. Steintrager and Rey Chow, eds. Sound Objects. Durham: Duke UP, 2019.
Drama, Dance, Performance
Kate Bredeson, Occupying the Stage: The Theater of May ’68. Evanston: Northwestern UP, 2019.
Emine Fişek, Aesthetic Citizenship: Immigration and Theater in Twenty-First-Century Paris. Evanston, IL: Northwestern UP, 2017.
Dorinne Kondo. Worldmaking: Race, Performance, and the Work of Creativity. Durham: Duke UP, 2019.
Critical Theory, Intellectual History, Philosophy
Mark Foster Gage, ed. Aesthetics Equals Politics: New Discourses Across Art, Architecture, and Philosophy. Cambridge: MIT Press, 2019.
Fred Moten, consent not to be a single being. Durham, NC: Duke UP, 2018. (trilogy)
Bruce Robbins, The Beneficiary. Durham, NC: Duke UP, 2017.
Marc Steinberg and Alexander Zahlten, eds., Media Theory in Japan. Durham, NC: Duke UP, 2017.
Sarah Tyson, Where Are the Women? Why Expanding the Archives Makes Philosophy Better. New York: Columbia UP, 2018.