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October 17, 1961, a case in point
Michel Laronde

8 Narrativizing foreclosed history in ‘postmemorial’ fiction of the Algerian War in France: October 17, 1961, a case in point Michel Laronde The larger question of institutional violence and its erasure from public consciousness by the manipulation of the representation of violent events in collective memory has been brought to the forefront of postcolonial studies for some time now. More precisely, in the specific domain of immigration studies in France, understanding how camouflaged acts of State violence surface naturally or forcibly in, and through, cultural

in Reimagining North African Immigration
Open Access (free)
James Baldwin on My Shoulder, Part Two
Karen Thorsen

Filmmaker Karen Thorsen gave us James Baldwin: The Price of the Ticket, the award-winning documentary that is now considered a classic. First broadcast on PBS/American Masters in August, 1989—just days after what would have been Baldwin’s sixty-fifth birthday—the film premiered at the Sundance Film Festival in 1990. It was not the film Thorsen intended to make. Beginning in 1986, Baldwin and Thorsen had been collaborating on a very different film project: a “nonfiction feature” about the history, research, and writing of Baldwin’s next book, “Remember This House.” It was also going to be a film about progress: about how far we had come, how far we still have to go, before we learn to trust our common humanity. But that project ended abruptly. On 1 December 1987, James Baldwin died—and “Remember This House,” book and film died with him. Suddenly, Thorsen’s mission changed: the world needed to know what they had lost. Her alliance with Baldwin took on new meaning. The following memoir—the second of two serialized parts—explores how and why their collaboration began. The first installment appeared in the sixth volume of James Baldwin Review, in the fall of 2020; the next stage of their journey starts here.

James Baldwin Review
Open Access (free)
An Excerpt from Bill V. Mullen’s New Biography, James Baldwin: Living in Fire, and an Interview with the Author
Bill V. Mullen

This excerpt from James Baldwin: Living in Fire details a key juncture in Baldwin’s life, 1957–59, when he was transformed by a visit to the South to write about the civil rights movement while grappling with the meaning of the Algerian Revolution. The excerpt shows Baldwin understanding black and Arab liberation struggles as simultaneous and parallel moments in the rise of Third World, anti-colonial and anti-racist U.S. politics. It also shows Baldwin’s emotional and psychological vulnerability to repressive state violence experienced by black and Arab citizens in the U.S., France, and Algiers.

James Baldwin Review
Susan Ireland

10 Representations of the harkis in contemporary French-language films Susan Ireland After the signing of the Evian Accords on March 19, 1962, which officially ended the Algerian War of Independence, thousands of harkis, the Algerians who had worked for the French Army during the conflict, were killed by angry compatriots who viewed them as traitors. Many of those who managed to flee to France found themselves isolated in temporary housing camps, felt abandoned by the French, and were often rejected by Algerian immigrants who had supported the Front de

in Reimagining North African Immigration
Postmemory and identity in harki and pied noir narratives
Véronique Machelidon

of French society’ still rejects Algerian immigrants (Stora, 2005: 65). In the first decade of the twentieth century, however, a memorial reawakening occurred. In the wake of the 2003 celebration of the Year of Algeria in France and following the production of postcolonial studies in the AngloSaxon world, there has been a recent blooming of critical works on both sides of the Atlantic, dedicated to the study of the “harki experience” from the point of view of history or literature.2 Yet Stora’s appeal for building bridges 154 Reimagining North African immigration

in Reimagining North African Immigration
The battle of The Screens
Carl Lavery

, Blin’s production, although intentionally constructed as the antithesis of orthodox models of committed theatre, marked an important political turning point in French history. 1 In my reading, the riots provoked by the play’s treatment of the Algerian War called the Gaullist consensus on Algeria into question, and helped to prepare the ground for May 1968. In this way, I intend to provide empirical evidence for what I have been until now merely arguing for: that Genet’s desire to wound his audience possessed real revolutionary potential. The battle of The

in The politics of Jean Genet’s late theatre
Samuel Zaoui’s Saint Denis bout du monde
Mireille Le Breton

Until recently, the literature portraying the chibanis’ lives in France told a story of marginalization, quasi-citizenship, exclusion, and of their identity slowly being erased over time (Ireland, 2011: 78).5 Nasser Djemaï refers to these people as ‘les Invisibles.’ They are voiceless, powerless, and isolated, dispossessed of their rightful belonging to a homeland, whether in Algeria or in France: ‘ces Chibanis qui ne sont plus d’aucun monde – Invisibles – ici en France, et dans leur pays d’origine’ (Djemaï, 2015) (chibanis no longer belong to either world – Invisible

in Reimagining North African Immigration
Shérazade and other women in the work of Leïla Sebbar
Margaret A. Majumdar

  .   The subversion of the gaze: Shérazade and other women in the work of Leïla Sebbar Of mixed Franco-Algerian parentage, Leïla Sebbar spans a variety of genres in her writing,including short stories,journalism,essays,children’s writing and contributions to collaborative works, including collections of visual material. She also has a number of major novels to her credit. In its thematic content, Sebbar’s work straddles the Mediterranean, focusing attention on the dynamics between the generations. She is not engaged in any mission of

in Women’s writing in contemporary France
Abstract only
Véronique Machelidon and Patrick Saveau

the foreclosures of French memory through the reading of multiple fictional representations of a significant event of Algerian decolonization. Laronde’s methodology opens promising avenues for film studies also and finds its counterpart in Jimia Boutouba’s chapter on the film La Marche, where she demonstrates cinema’s potential to rewrite, complement, and fill in the epistemological gaps of Introduction  5 the official historical discourse. In turn, both contributions share Christiane Taubira’s faith in the corrective and inclusive hermeneutic powers of (post

in Reimagining North African Immigration
Abstract only
John Kinsella

of realpolitik and pragmatics as costly as a chill caught up in the rare snow on Bluff Knoll 4 in the Southwest Australian Stirling Ranges – a photo op for some, for others ‘nature’s fridge’ for a beer, and for others a ghost to hide behind as Africa records its highest temperature in Algeria. Each peak we pond hop – such voyages of exploration! And the birds we follow no longer able to drag our weight

in Beyond Ambiguity