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Power, presentation and history in Gravity’s Rainbow
Simon Malpas
Andrew Taylor

at the end of the war, have hijacked a German U-boat and sailed it back across the Atlantic to ‘seek political asylum in Germany’, the Zone promises the potential of ‘openness’ and a space for resistance to the ‘System’. Squalidozzi, their leader, puts it in the following terms: In ordinary times … the centre always wins. Its power grows with time, and that can’t be reversed, not by ordinary means. Decentralising, back towards anarchism, needs extraordinary times … this War – this incredible War – just for the moment has wiped out the proliferation of little states

in Thomas Pynchon
Paul Auster’s fiction and film

the Reagan era’, Dustin Iler notes, that ‘emerges as the mystery at the heart of Leviathan ’: In attempting to imagine the future of the U.S. after the Cold War […] the novel fixates on a fear of relentless conservatism while yearning for the production of an alternative politics, one encompassing the spectrum from nostalgia for the New Left to radical anarchism. 67 When the narrator of The Locked Room is tasked with writing Fanshawe’s biography, Sophie wonders whether he might write something ‘more personal […] The story of your friendship. It could be

in The politics of male friendship in contemporary American fiction
Abstract only
John Kinsella

feature of landscape, a village, a town, a network of tracks or roads, etc.) become in this contiguous, whatever physical distance separates them. It is essentially a communal anarchism. (b) About six months ago, when we were in Cambridge and I was walking up to 30 km a day through the countryside around the city-town, I wrote in a letter to a poet friend, ‘I am particularly interested in disturbance of soil and place, and the comparisons of the rural world I come from in Australia and differences with the rural world here. I am working on clod level – the chalky clay

in Polysituatedness
Abstract only
John Kinsella

before drawing. And all the hundreds of hotel rooms I have been in. I look through them to see here out of here, closed. I gradate. The northern view from the back-room study is the narrow small room at the end of the storeroom concentrated behind a door whose opening is half its width, vertical blinds there too opening out to segment the highest peak in the eroded, ancient Dyott Range. Angst and trauma at always seeing its abuse. I have even contacted the environmental protection agency, resorted to pragmatics within my umbrella anarchism. Anything to stop the damage

in Disclosed poetics
Abstract only
John Kinsella

be a peculiar kind of collaboration, even a one-sided one, but it is an act of sharing without the expectation of reward. To me, in such contexts, it becomes the ultimate expression of umbrella anarchism, of co-existing with the survey to disrupt the survey in the longer run. Eventually, even by state declarations, texts escape copyright (the Emily Dickinson dash vs. regularised punctuation issue and a university’s copyright renewal is an interesting attempt at some form of ‘exemption’ for control of profit in ‘idea’ and

in Beyond Ambiguity
Abstract only
John Kinsella

environment, the anxiety of influence. The Oedipal farm. All broken up around here, sold off to split up between sons and daughters. They say: see the implication of your feminist sympathies. Fragmentation, decentralisation, anarchism. Here is that Anglo-Celt hay-baling in the early morning: neighbours, but not well known: Hay-baling in the early morning: late spring Between the mountain and the house tractors drag hay-balers clockwise around the paddock, guzzling windrows, coils of twine roping out in the belly, knots tied rapidly as hay is ram-packed, metropolis movements

in Disclosed poetics
John Kinsella

, sketched lines) no doubt started a revolution in the illustration of children’s literature. I have wondered how much Keeping drew on the early advertising work (especially for women’s shoes) by Andy Warhol. I could Google it, but I can’t be bothered: I don’t want to find out that way. It’s just a personal impression for a book I wish to remain personal, and yet to share. In this book, I see that social contradiction at the core of anarchism: mutual aid. This story of urban development, class (struggle), high-rise and the old city, friendship, loneliness, alienation

in Polysituatedness
Frederick H. White

whatever she would like after her performance and, on Herodias’ recommendation, she asks for the head of the prophet, John the Baptist, who had called the marriage of Herodias to Herod adulterous. In the late nineteenth century, European authority was under assault on political, social and metaphysical fronts, as represented in, among others, the figure of the femme fatale.140 A patriarchal culture associated a rise in female self-awareness as a sign of cultural anarchism and social decay. Salomé became a particularly productive symbol representing the perversity of

in Degeneration, decadence and disease in the Russian fin de siècle
The compilation and reception of the prison prose of George Fox’s Journal (1694)
Catie Gill

most recent biographer that Fox's relationship to the authorities fits the description of ‘anarchism’. 40 ‘That all may know the Dealings of the Lord with me’  41 Near the end of Fox's life, before delivering a speech in London, he reflected: Since I came abroad to declare the everlasting truth, I have been a sufferer very

in People and piety
Detection, deviance and disability in Richard Marsh’s Judith Lee stories
Minna Vuohelainen

references to this story are given in the text. ‘The Finchley puzzle’, in The Adventures of Judith Lee (London: Methuen, 1916), pp. 108–43 (p. 113).  2 Of Lee’s twenty-two cases, eleven deal with property crime and eleven with violent crime. Of the property-crime cases, five are to do with theft and burglary and the remaining six with fraud and swindling. Three murder cases are centred on Lee’s scrapes with international crime – anarchism, spies and mafia – and the remaining eight stories feature various types of murder or attempted murder. Lee also featured in two short

in Richard Marsh, popular fiction and literary culture, 1890–1915