XCP: Cross Cultural Poetics began in the mid-1990s as a journal of social utterance and social inscription that sought to open and engage a dialogue between writers, researchers, and theorists in the creative arts, social sciences, political economy, and cultural studies. Its first issues included an expansive array of new works from emerging and established writers such as Amiri Baraka, Diane Glancy, U Sam Oeur, and Edwin Torres as well as translations of writings from the Spanish, Chinese, Khmer, and Tohono O’odham. Issues during the late 1990s focused on central concerns in social documentation and ethnographic praxis, including features on “Fieldnotes & Notebooks” (XCP no 3), Dialogical Anthropology (XCP no 5), “Documentary” (XCP no 6), and “Everyday Life” (XCP no 7).  In response to the perceived retreat of social movements in post-9/11 America, XCP expanded its concerns to include more creative and scholarly work addressing the articulation of literature and social movements: Bruce Campbell’s essay “Assembly Poetics in the Global Economy: Nicaragua” (XCP no 10, early 2002), reviews of books like Nancy Chang’s Silencing Political Dissent: How Post-September 11 Anti-Terrorism Measures Threaten Our Civil Liberties, and a special “Third Millennium Red” issue in late 2004 serve as examples. During the second half of the twentieth century’s first decade, we continued to expand our issues (and double issues) with features on “Word” (an XCP-style remake of Raymond Williams’ classic Keywords), a special 20th issue comprised of micro-essays on the theme “Cross Cultural Poetics,” and a final issue of the decade on “South Africa: Literature and Social Movements.” And as we near our fifteenth year of continuous publication under founding editor Mark Nowak, XCP plans to continue to broaden the scope of our issues from our new home at Manhattanville College in Purchase, NY, with forthcoming issues dedicated to pedagogy and “China: Literature and Social Movements.” As Juan Felipe Hererra wrote more than an decade ago when reviewing our inaugural issue, “Welcome to a Writer’s Manual on how to detonate the Master Axis of Big Brother Narratives.”

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