Paul Menzer

An Hare

Once is a freak. Twice is a pattern (and three times is just possibly a habit, but we’re getting ahead of ourselves).  This issue of the Hare marks the launch of Volume 2, the second attempt to provoke and record the critical conversations that hover in the eddies of our more formal scholarly venues.  It is our hope that you, our readers, will continue to hover with us, to send us comments, questions, essays, and – most of all – untimely reviews of books rendered obscure by time, fashion, or a dilatory press.

This issue of the Hare returns to the stage with twin essays that position the actor’s body in extremis.  Sometimes ridiculous – Falstaff – and occasionally sublime – Desdemona – the body of the actor that constitutes character continues to insist itself on stage, even when dead or muffled in a fat suit.  In this issue, Robert Hornback and Paige Reynolds essay inventive ways in to the perpetual riddle of performance: the body both is and is not the character.

Volume 1

The publication of this third issue of The Hare marks the completion of our inaugural Volume. Many thanks to our contributors and our editorial board for making it all possible. We look forward to another year of receiving and publishing challenging, imaginative interpretations of early modern literature.

Our main goal for The Hare's second year is to raise its profile and broaden its reach. Details of various forthcoming projects to increase submissions and readership will be posted here as well as on the usual online forums for early modern studies. If you have enjoyed reading the articles in this volume, please share information about the journal with colleagues and students by way of social (and even non-social) media.

Another Hare

We are pleased to bring out this second issue of The Hare, containing two fine essays whose diverse subjects--Thomas Dekker's "The Whore of Babylon" and Shakespeare's "Venus and Adonis"--turn out to be surprisingly and productively related through the authors' similar concerns with multi-media performance, startling changes of idiom, and complex audience response.

We are pleased, as well to thank the Department of English at the University of Toronto for joining the Graduate Program in Shakespeare and Performance at Mary Baldwin College in providing financial support for the journal.

The Hare continues to seek short, sharply written, imaginative critical engagements with topics in early modern literary studies. We are particularly eager to receive, as well, reviews of--or requests to review--old books.

Another journal?

There is no need for this journal. It is the product of desire: perhaps most particularly the desire to foster, in print, something like the collegial dialogue that occurs on the margins of—just before and just after (or long after)—the work in other academic journals, scholarly monographs, conferences.

At its most ambitious, The Hare seeks to bend the horizon of possibilities for what kinds of writing we use to engage our discipline and what kinds of materials we deem appropriate for our consideration. We hope to make available short, sharp, stylish, creative engagements with and through all topics of interest to scholars of early modern literature.

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