The new year started wonderfully for Modernism/modernity when the Council of Editors of Learned Journals (CELJ) announced on 9 January that we had won their annual Best Digital Feature Award for the Print Plus cluster on Hope Mirrlees’s Paris. The CELJ's announcement celebrates the cluster's use of the affordances of the journal’s digital platform to present a multimedia, multiperspectival dossier on the poem and its relation to the city. As Melanie Micir and Anna Preus write in their contribution, "Paris has always challenged the media available to convey it." This experimental poem, they say, "is not only visually complex, it also asks us to see and hear as we read—to call up particular details of a world that exists beyond the page." Paris, then, is an ideal subject for presentation and analysis on Print Plus, and the poem's visual and audial dimensions emerge in new ways through the materials included in the collaborative digital feature. Thanks and congratulations to cluster editors Nell Wasserstrom and Rio Matchett, to all the contributors, to Anne Fernald and Stephen Ross who oversaw the cluster at the peer review stage, and to Anjali Nerlekar, Paisley Conrad, and Harrington Weihl who took the essays through the production process.

Visuality is likewise at the heart of two of our latest publications on Print Plus. For the "Visualities" blog, Michael Allan writes on "A Prayer for Mimesis? Reframing Islam in Cinema," taking as his starting point an 1897 Lumière Brothers film of a praying figure on an Algiers rooftop.  

In the newest peer-reviewed article, "Suffrage Journalism against State Brutality: Surveillance Art in Votes for Women and The Suffragette, 1910–1914," Stephanie J. Brown shows us fifteen images—each designed to shock. She argues that the images of forcible feeding circulated by the Women's Social and Political Union "relied on the visual techniques of surveillance art to make state actions available for critique." Forcible feeding has been prohibited for fifty years by the World Medical Association, and can be classified as torture, yet we still hear of it happening. More frequently, there is news of hunger strikes as political prisoners or their supporters use the only power they possess to draw attention to brutal forms of incarceration. This lends fresh urgency to the historical study of these practices and their representation in public discourse.

Meanwhile, climate change and extractivism come to the fore in two more recent blog posts on Print Plus. "Field Reports," our blog about modernisms as local responses to capitalist and colonialist modernity, has a contribution by Amit Baishya, "Northeast Indian Literature in Planetary Time: Creation Myths, Zones of Extraction and Anthropocene Heterotemporality in Kynpham Sing Nongkynrih’s Poetics". It examines "a borderland region that has been subject to militarization and treated as a resource frontier by the colonial and post-colonial dispensations," and shows how Nongkynrih contrasts "the syncopated timescales of immediacy" that extractivist practices such as deforestation and mining inhabit with "the larger and longer horizons of planetary temporality." The "Modernism, Energy, and Environment" blog also has a new post, Saba Pakdel's "Black Migrants and Climate Change Vulnerability Amid the Great Smog of London in Sam Selvon’s The Lonely Londoners (1956)." This reminds me of the pedagogical value of the open access materials on Print Plus, since Selvon's novel is on our syllabus this semester and I am highly recommending Pakdel's close reading of the "running analogy between black smoke and Black migrants" to our students.

The new issue of the print journal, 32.4, is now on its way to subscribers. We have chosen as our teaser article Emilie Morin's "The Lyrical Literature of Distant Listening," which explores literary responses to the practice of listening to faraway radio stations. This will be on Print Plus shortly, along with our teaser book review: Allan Hepburn on Twentieth-Century Literature and the Aftermath of War by Rachel Bryan. Among the other contributions to issue 32.4 are a powerful reading of sexual politics and antifascism in Winifred Holtby and an article on the modernist fiction of colonised Shanghai. We are ranging widely across genres, with essays and reviews focusing on theatre, on photography and on film.

Finally I'd like to introduce two new members of the Modernism/modernity team. Joanna Holisz and Emily Borst started as joint Managing Editors at the Glasgow office on 1 October, and are already inspiring us all with their fresh ideas and highly organised approach. Welcome!

—Faye Hammill