medium,” Bloom begs the question: what will be criticism’s preferred medium after podcasts become unfashionable? It is necessary to leave part 2 for any closing statements because, despite the editors ’ valiant efforts throughout to reveal and contextualize the intricacies of peripheral practitioners’ backgrounds in their access to cosmopolitan media (particularly in the New York hub), the fact is that there is no deliberation about other outliers. Accordingly , Christopher Hilliard’s “Leavis, Richards , and the Duplicators” is this part’s mother lode. Nevertheless, as Lutz points out in relaying his road to professionalization , “There were national boundaries, and they mattered. There were original languages , and that mattered” (emphasis mine). Attention to translation would have greatly enhanced this compilation, since as it stands, translated English literariness is the public paradigm for criticism of world literature. The contributors represent a diverse, youngish group, with particular devotion to south central Asia and its diaspora (greatly represented by Rabindranath Tagore). Still, factoring in Latin America— where there has been wide concern and writings about the divide in media access since the Good Neighbor Policy in the 1930s, and where the Argentine doyenne of letters read Tagore’s Gitanjali in 1914— would have greatly enriched the positionings centered on peripheral contributions to areas where print culture does not have the visibility that abounds in the first world. Since amateurism and making criticism “scientific” continue to disambiguate each other, Majumdar and Vadde duly query: “Is such interdisciplinary study the privilege of a rarefied professionalism or an ambitious form of amateurism?” Will H. Corral San Francisco Sara Mesa Four by Four Trans. Katie Whittemore. Rochester, New York. Open Letter. 2020. 230 pages. THE SETTING OF SARA MESA’s Four by Four is as intriguing as its premise. Wybrany College is a boarding school for the elite, but it opens its arms to a few special blood splashes and pools, but the figures of the executed refuse to dissolve. Restless, she shudders and trembles, this youth Look, her tongue still hangs from her mouth, She has a lot more to say to her executioner, this youth “Watch me dance on the gallows,” she says “Recognize my courage, my joyousness.” In a Voices from a Massacre essay, it is living bodies that Shokoufeh Sakhi honors, specific and vital, beneath the would-be obliteration of the mandatory chadors the women wore at Evin, just as life’s apparency stands full, fairly humming, behind their poker faces and their “averted eyes.” For Forough Lotfi, whose son perished, it is the physicality of her response that shows how visceral motherly love builds and fuels political praxis. That vitality also takes the form of mordant humor, making possible the bonds of mutual aid and shared sacrifice we see both inside and amongst the families who brought their protests to the world. The defiant survival-wit in Voices resonates with the raw sarcasm that animates Saeed Yousef’s poem and characterizes its solidarity. Voices shows that solidarity extended beyond political affiliations, which determined not only the ward you were confined to but how, when, and whether you would be moved toward execution. Indeed, Iraj Mesdaghi describes Afghani foreign workers on prison grounds calling out to alert prisoners through the windows of the executions taking place. The contributors to Voices of a Massacre raise large questions about how to look at the past, engaging the topics of memory and justice in crucial ways. If many accumulate a catalog of facts as a battle against absence, Chowra Makaremi, eight when her mother was executed, confronts what are “impressionistic ” “heart-memories.” Former political prisoner Shokoufeh Sakhi refuses to “pick apart” the rush of memories or to “line them up one after another like soldiers.” There must be many ways to memorialize, and as a companion to Voices, Lives Lost shows how art can catalyze these partial, colliding images, facts, gaps, and voices. To archive the history of those with lived experience is fundamental to the search for justice at the heart of both projects. The “justice-seeking movement,” particularly as exemplified in the Iran People’s Tribunal of 2012, is explored in chapter 6 of Mohajer ’s volume. What is “justice”? Rather than revenge, payback, so-called...