Hidden in Plain Sight (Cover Image): By freezing a film frame at the precise moment when two actresses kiss hello, Hidden in Plain Sight allows the images to take on a far more erotic meaning than ever intended. Queerness, which was traditionally marginalized in early film, is suddenly brought to the forefront. Films include: Queen Christina (1934), The Smiling Lieutenant (1931), Male and Female (1919), Broadway Melody of 1929, One Hour with You (1932), Orphans of the Storm (1921), Maedchen in Uniform (1931), Holiday (1931), Our Dancing Daughters (1929).
As the first queer editor of the New Orleans Review, it is so exciting, if not completely overdue, to publish an issue of poetry and prose entirely by queer writers, as well as interviews with four extraordinary artists from the LGBTQAI2+ community. To be clear, just because we devoted this issue entirely to queer voices, that doesn’t mean all of our forthcoming issues won’t be highly queer. As editor, I will continue to seek out the work of queer writers, and to hold intersectionality and advocacy at the center of our journal. Full stop.–Lindsay Sproul, Editor
“False Offerings” & “First Day As A Ghost” by Rita Mookerjee
“All Hands Chantey” by Kathleen Balma
“A Test of My Womanhood” by Ava Dadvand
“First Date” & “Weights” by Steven Cordova
“To Tiffany from Intro to Philosophy or Was It Step Team” by Zach Linge
“Turtle, Breathe” by Danley Romero