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James Baldwin, Teju Cole, and Glenn Ligon
Monika Gehlawat

This essay uses Edward Said’s theory of affiliation to consider the relationship between James Baldwin and contemporary artists Teju Cole and Glenn Ligon, both of whom explicitly engage with their predecessor’s writing in their own work. Specifically, Baldwin’s essay “Stranger in the Village” (1953) serves a through-line for this discussion, as it is invoked in Cole’s essay “Black Body” and Ligon’s visual series, also titled Stranger in the Village. In juxtaposing these three artists, I argue that they express the dialectical energy of affiliation by articulating ongoing concerns of race relations in America while distinguishing themselves from Baldwin in terms of periodization, medium-specificity, and their broader relationship to Western art practice. In their adoption of Baldwin, Cole and Ligon also imagine a way beyond his historical anxieties and writing-based practice, even as they continue to reinscribe their own work with his arguments about the African-American experience. This essay is an intermedial study that reads fiction, nonfiction, language-based conceptual art and mixed media, as well as contemporary politics and social media in order consider the nuances of the African-American experience from the postwar period to our contemporary moment. Concerns about visuality/visibility in the public sphere, narrative voice, and self-representation, as well as access to cultural artifacts and aesthetic engagement, all emerge in my discussion of this constellation of artists. As a result, this essay identifies an emblematic, though not exclusive, strand of African-American intellectual thinking that has never before been brought together. It also demonstrates the ongoing relevance of Baldwin’s thinking for the contemporary political scene in this country.

James Baldwin Review
Open Access (free)
Photography and Social Change in James Baldwin’s America
Makeda Best

This essay explores an exhibition at the Harvard Art Museums, installed in the fall of 2018, entitled Time is Now: Photography and Social Change in James Baldwin’s America.

James Baldwin Review
Jenny M. James

This review article charts the general direction of scholarship in James Baldwin studies between the years 2015 and 2016, reflecting on important scholarly events and publications of the period and identifying notable trends in criticism. While these years witnessed a continuing interest in the relationship of Baldwin’s work to other authors and art forms as well as his transnational literary imagination, noted in previous scholarly reviews, three newly emergent trends are notable: an increased attention to Baldwin in journals primarily devoted to the study of literatures in English, a new wave of multidisciplinary studies of Baldwin, and a burgeoning archival turn in Baldwin criticism.

James Baldwin Review
Collaborating with James Baldwin on a Screenplay of Giovanni’s Room
Michael Raeburn

The author discusses his personal relationship with James Baldwin, recounting their collaboration on a film script for an adaptation of Giovanni’s Room.

James Baldwin Review
Ordinary Intimacies in Emerson, Du Bois, and Baldwin
Prentiss Clark

This essay reads James Baldwin in conversation with two unexpected interlocutors from the American nineteenth and twentieth centuries: Ralph Waldo Emerson and W. E. B. Du Bois. What draws these historically distant and intellectually different thinkers together, their differences making their convergences all the more resonant and provocative, is a shared mode of attention they bring to the social crises of their eras. It is a mode of attention foregrounding how the often unobserved particulars and emotional registers of human life vitally shape civic existence; more specifically, a mode of attention provoking us to see how “a larger, juster, and fuller future,” in Du Bois’s words, is a matter of the ordinary intimacies and estrangements in which we exist, human connections in all their expressions and suppressions. Emerson names them “facts [. . .] harder to read.” They are “the finer manifestations,” in Du Bois’s terms, “of social life, which history can but mention and which statistics can not count”; “All these things,” Baldwin says, “[. . .] which no chart can tell us.” In effect, from the 1830s to the 1980s these thinkers bear witness to what politics, legislation, and even all our knowledges can address only partially, and to the potentially transformative compensations we might realize in the way we conduct our daily lives. The immediate relevance and urgency this essay finds in their work exists not in proposed political actions, programs for reform, or systematic theories of social justice but in the way their words revitalize the ethical question “How shall I live?” Accumulative and suggestive rather than systematically comparative or polemical, this essay attempts to engage with Emerson, Du Bois, and Baldwin intimately, to proceed in the spirit of their commitment to questioning received disciplines, languages, and ways of inhabiting the world.

James Baldwin Review
Open Access (free)
Lillian Leitzel’s celebrity, agency and her performed femininity
Kate Holmes

Lillian Leitzel was one of the highest-profile circus celebrities of the 1920s in an industry where women occupied a prominent position, performing in virtually every discipline either as soloists or in mixed troupes. Leitzel became famous for performing an extraordinary feat of aerial endurance in an act that was witnessed by audiences in their millions throughout America and Europe. Not only did she perform as part of a circus, she also used her celebrity status to secure engagements in vaudeville/variety venues. Leitzel’s celebrity was unusual, and this chapter explores the ways in which her performance of femininity reflected concerns regarding the role of women in the interwar period as key to her pre-eminent celebrity status.

in Stage women, 1900–50
Open Access (free)
Actresses, female performers, autobiography and the scripting of professional practice
Maggie B. Gale

There are an extraordinary number of autobiographies written by British female theatre professionals working during the period. This generation of actresses and female performers were concerned, in part, with locating themselves in a public culture of self-affirmation and reflection. Their autobiographic writing evidences an awareness of the growing interest in their activities as public figures and practitioners, in a labour market where women were now becoming firmly professionalised. The chapter explores how their ‘autobiographic confessional histories’ can be read as a body of work, as cultural interventions that make an explicit contribution to our understandings of the development of professional theatre practice more generally, during the era.

in Stage women, 1900–50
Women performers and the law in the ‘long’ Edwardian period
Viv Gardner

In the period leading up to the First World War, British women increasingly used the courts as a platform to challenge their lower legal, social and political status in Edwardian society, most notably in the defences mounted by militant suffragists at the Old Bailey in May 1912. In a different way, women performers – frequently backed by their commercial managers and publicists – were using the courts to argue for self-determination and control, particularly of their public image. This chapter explores the social, legal and commercial context of a range of libel cases – some successful, others not – brought by women performers.

in Stage women, 1900–50
Open Access (free)
The art of performance and her work in film
Katharine Cockin

Film created new opportunities for work and posed a challenge for some established stage actors: the performer’s relationship with the audience was fundamentally changed and new professional interactions were required, with those in entrepreneurial roles emerging from the production and marketing of film. This chapter examines the film work of the iconic actor Ellen Terry (1847–1928), known internationally for her Shakespearean and other performances on stage. The circumstances of Terry’s involvement in the new medium of film are considered as well as her descriptions of the new experiences of performing and viewing performance in film.

in Stage women, 1900–50
Open Access (free)
The Australian and New Zealand repertoires and fortunes of North American performers Margaret Anglin, Katherine Grey and Muriel Starr
Veronica Kelly

In the early twentieth century the careers of female professional actors generated complex webs of international activity, with prolonged touring mixed with occasional sustained residence in national regions. The performers explored in this chapter were all significant Australian theatre stars for varied periods. Most of their careers were played out working with major commercial managements and venues, in vehicles which typically placed at the centre of the spectacle the charismatic, socially transformative or suffering feminine. Their varied careers exhibit the typical early-century generic syncretism wherein probing explorations of contemporary life and social change effortlessly spanned modernism and social or costume melodrama.

in Stage women, 1900–50