From The Editors

Ed. Note - 4.1

Our inaugural issue as coeditors of The Hare represents a new direction towards something old. Under the guidance of the journal’s co-founders, Jeremy Lopez and Paul Menzer, The Hare was created to feature brief, provocative essays and reviews of older scholarship, seeking to incite dialogue in that liminal space between copy-room conversation and thirty-five-page peer-reviewed publication. As incoming co-editors, we are reshaping The Hare’s mission to feature exclusively untimely reviews of “old” scholarship and performances–though we will now foster the untimely within the artistic community, as well, publishing future-looking pieces calling for unheard-of productions in early modern drama. We would like to express our deepest appreciation to Jeremy and Paul for creating such an outstanding forum for scholarly exchange.

Ed. Note

This new issue of The Hare represents both a first and a last. It’s the first issue in quite some time and the last under its founding editors. Jeremy Lopez is assuming the editorship of Shakespeare Quarterly – a lateral move from The Hare – and the event seemed a good moment to transfer the editorship to two early career scholars who will bring to it both the energy and urgency it needs to reflect emerging issues in the literature of the English Renaissance. Those two editors are Casey Caldwell (PhD candidate in the Department of English at Northwestern University) and Amy Kenny (Visiting Assistant Professor at UC Riverside). At the end of this note appears their reimagined vision for The Hare, an inspired evolution of the founders’ initial conception for the journal. Their first jointly-edited issue will appear in fall 2018, and already promises as stellar line up of essays.

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.