Text Matters-A Journal of Literature Theory and Culture

“You’ll never meet someone like me again”: Patty Jenkins’s Monster as Rogue Cinema

Liminal Space in J. G. Ballard’s Concrete Island

“But what a place / to put a piano”: Nostalgic Objects in Robert Minhinnick’s Diary of the Last Man

Roguish Self-Fashioning and Questing in Aleksandar Hemon’s “Everything”

On Unruly Text, or Text-Trickster: Leslie Marmon Silko’s Ceremony as Healing

Heresy and Orthodoxy Now: The Zigzagging Paths of the Lawful

Aussies, Rogues and Slackers: Simon Hanselmann’s Megg, Mogg and Owl Comics as Contemporary Instances of Rogue Literature

The Outlaw Machine, the Monstrous Outsider and Motorcycle Fetishists: Challenging Rebellion, Mobility and Masculinity in Kenneth Anger’s Scorpio Rising and Steven Spielberg’s Duel

“A right kind of rogue”: Lisa McInerney’s The Glorious Heresies (2015) and The Blood Miracles (2017)

“Let me hear Thy voice”: Michèle Roberts’s Refiguring of Mary Magdalene in the Light of The Song of Songs

Joe Brainard’s I Remember, Fragmentary Life Writing and the Resistance to Narrative and Identity

Men Without Fingers, Men Without Toes

The Lynching and Rebirth of Ned Buntline: Rogue Authorship during the American Literary Renaissance

Of Grim Witches and Showy Lady-Devils: Wealthy Women in Literature and Film

The Rogue as an Artist in Patrick deWitt’s The Sisters Brothers

Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States

Three Layers of Metaphors in Ross Macdonald’s Black Money

Spaces of (Re)Connections: Performing Experiences of Disabling Gender Violence

“Same Old Ed, ... Uncommitted”: BMW Socialism and Post-Roguery in Guy Vanderhaeghe’s Early Fiction