This essay recovers the newspaper writings of the Omaha journalist Susette Bright Eyes La Flesche as the first Indigenous woman to publish about the 1890 Wounded Knee Massacre. Her eyewitness accounts challenge mainstream histories of the massacre that focus largely on frontier violence and Indigenous death by rewriting Wounded Knee as a place of Indigenous resilience and of an Indigenous community bound together by the rights and responsibilities of kinship. By prioritizing the stories of surviving Indigenous women and girls, Bright Eyes's reporting speaks to and becomes a precedent for ongoing acts and discourses of Indigenous activism, feminism, resurgence, and self-determination.

New Woman literature is typically regarded as an Anglo-American invention, but this assessment ignores the contributions of global authors who shaped the genre's rise in the decades before its more familiar Western emergence. This essay demonstrates that in the late nineteenth century, Indian women authors crafted both fictional and nonfictional writings that anticipate, expand, and complicate standard narratives of the New Woman. These understudied texts—by authors like Toru Dutt, Krupa Satthianadhan, Shèvantibāi Nikambé, and Rokeya Sakhawat Hossain—also centrally shaped mainstream Indian feminism while occluding alternative counterstrains. New Woman literature and the wider feminist movement cannot be understood without analyzing these transnational incarnations; indeed, I argue, both had transimperial origins. The works analyzed here reframe early feminism as an international enterprise—one more diverse and global in scope than most existing scholarship recognizes.

We created a relational database that captures every author and work ever selected for The Norton Anthology of American Literature. Given this anthology's influence, our database reveals changes in the literary canon over the past half century. We find that the common story of increased diversity is true, albeit truer with respect to race than gender. However, the biggest structural change has been a substantial growth in the number of anthologized authors. We argue that, while that strategy has produced real gains, it also creates a canon that less effectively manages reader attention, affords women and people of color a less valuable position than many white male authors once enjoyed, and tacitly accepts the notion that the new additions do not have greater literary merit than authors on the original roster, whom we show editors too rarely cut.

The typewriter—the machine and the human operator at the nadir of the white-collar hierarchy—became associated with white female workers in the American racial imaginary. Although the color line deterred Black applicants from that side of the collar line, the Black typewriter as a literary type came to salience between 1886 and 1930, disrupting what I call the “bureaucratization of the racial imaginary”: the process whereby the exclusionary white middle-class tenets underpinning the bureaucratized office both regulated and were also informed by the imaginative possibilities of race, gender, and labor. Tracing the Black typewriter from Pauline Elizabeth Hopkins and Charles W. Chesnutt to Jean Toomer and Dorothy West, I reveal how these authors construed white-collar identity as a form of racial passing, requiring the worker's acceptance of racial and sexual segregation. Their innovative narratives about passing as white collar foregrounded the Black typewriter's unsettling experiences inside that system, challenging the theory that economic uplift would inherently promote racial and sexual equality.

Stieg Larsson's Millennium trilogy is part of a global hypercanon of popular fiction and thus a major commercial enterprise. In the translation of these works, the author and translator are joined by a host of shadowy figures—the source language publisher, scouts, literary agents, target language publishers, editors, and proofreaders—who transform the texts for a particular readership. This essay connects the market-oriented metamorphosis of paratext with substantial alterations to literary content itself. It is based on a computational study of the novels in Swedish and English that singled out major alterations to paragraph meaning and length across the three novels. The study showed that about 6.3% of the paragraphs have been cut or shortened by at least 30%. These extensive changes reveal a process of creative remaking, in which published works become raw content to be reshaped by commercial expectations and the demands of high production speed.