A letter from the editors.

In her essay about image description and "disability ekphrasis," Kate Nesin reconsiders the idea that our primary encounter with an artwork is visual, leading instead with the texture and detail of words.

Emily Singeisen contextualizes AI, a technologically novel way of exploiting language, within some very old fantasies.

Prompted by a rhetorical study guide question, “Is the urn's slenderness and round opening attractive?”, Andrew McInnes has his own question about lyric voice and unfulfilled desire: "Does Keats want to fuck the urn?"

Julia Alekseyeva conceptualizes filmic ekphrasis, a metacommentary that encourages self-reflective, critical viewing, through Isaac Julien's Once Again… (Statues Never Die) and Mati Diop’s Dahomey.

Lauren Camp's poem trains a long gaze on physiographic mapmaker Marie Tharp, whose research, in 1953, identified what became known as "continental drift."

Krushna Dande describes the pathological limits of ekphrasis, investigating paranoiac over-reading in white supremacists' digital circulation of memes and videos.

Louis Shankar looks at David Wojnarowicz’s textual comments about his own work, which frame his art for an anticipated viewer.

In a thorough examination of the essayistic potential of the photobook, Robby Bishop slowly turns pages with Alec Soth's guided readings on YouTube.

Bruce M. King addresses ekphrasis's mythic origins with the Shield of Achilles, which illustrates a world beyond the war in which the heroes who populate the Iliad will be obsolete, a confusion summed up in Achilles’s wordless scream on the battlefield after the loss of Patroklos.