Patrick Thomas Henry – Michigan Quarterly Review

Patrick Thomas Henry

Patrick Thomas Henry is the Associate Editor for Fiction and Poetry at Modern Language Studies. His fiction and essays have recently appeared in publications including Lake Effect, LandLocked, and Passages North, amongst others, and his work was also included in Best Microfiction 2020. He teaches creative writing at the University of North Dakota. You can find him online at patrickthomashenry.com or on Twitter @Patrick_T_Henry

The Lonely Voice and the Public Art of Criticism: A Reflection in Fragments

adapted from The Work of the Living: Modernism, the Artist-Critic, and the Public Craft of Criticism When E.M. Forster took to the lectern to deliver the Clark Lectures at Trinity College, Cambridge, from January to March of 1927, he was a novelist dispirited. Writing and drawing from the deep wells of his youthful experiences had […]

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adapted from The Work of the Living: Modernism, the Artist-Critic, and the Public Craft of Criticism When E.M. Forster took to the lectern to deliver the Clark Lectures at Trinity College, Cambridge, from January to March of 1927, he was a novelist dispirited. Writing and drawing from the deep wells of his youthful experiences had

Cover of the book featuring a purple figure against a red-orange background laid over a simple abstract background.

Hong Kong and the Hope of Cosmopolitanism: Reading Xu Xi’s Monkey in Residence & Other Speculations

On or about the second year of the COVID-19 pandemic, writing Twitter began to buzz with jokes about “the long 2020”—a riff on the convention in literary studies to speak of historical epochs like “the long eighteenth century.” (I can’t recall where I first saw the term, though it may well have been in a

Hong Kong and the Hope of Cosmopolitanism: Reading Xu Xi’s Monkey in Residence & Other Speculations Read More »

On or about the second year of the COVID-19 pandemic, writing Twitter began to buzz with jokes about “the long 2020”—a riff on the convention in literary studies to speak of historical epochs like “the long eighteenth century.” (I can’t recall where I first saw the term, though it may well have been in a

Candor and Critique: On Greg Gerke’s See What I See

In Studies in the History of the Renaissance, Walter Pater notes that criticism is never impartial: “in aesthetic criticism the first step to seeing one’s object as it really is, is to know one’s impression as it really is, to discriminate it, to realise it distinctly.” The work of art is never detached from an

Candor and Critique: On Greg Gerke’s See What I See Read More »

In Studies in the History of the Renaissance, Walter Pater notes that criticism is never impartial: “in aesthetic criticism the first step to seeing one’s object as it really is, is to know one’s impression as it really is, to discriminate it, to realise it distinctly.” The work of art is never detached from an

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