This chapter focuses on ekphrastic writing in the work of the American artist Raymond Pettibon – mostly pen-and-ink drawings with varying amounts of written texts – in order to explore and question the implicit opposition between the verbal and the visual that underlies many critical definitions of ekphrasis. It demonstrates how Pettibon introduces textual fragmentation and nonlinearity through his complex responses to and paraphrasing of ekphrastic authors, which opens up writing to the contingencies usually associated with drawing. Similarly, Pettibon’s texts are surveyed for typographic, orthographic, and chirographic characteristics, which emphasize writing’s status as simultaneously visual and verbal. The artist’s texts thus appear as though they have been written twice – graphically and verbally – marking them both inside and outside language. This transgressive power of the graphic in writing is traced via Jacques Derrida’s notion of the trait, that stroke or feature crucially linked to the gaze, which marks the space between the visible and invisible. The chapter proposes that this quality makes Pettibon’s work reducible to neither the discourse of language nor that of the image.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.