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6 Arrested development: sexuality, trauma and history in Edna O’Brien and John McGahern Writing in Studies in 1965, Augustine Martin described Ireland as a country ‘in a ferment of change and development’.1 In his view, Irish writers were not keeping pace imaginatively with this rapidly evolving society because they were too heavily invested in a redundant conception of the Irish writer as an embattled critic of a moribund culture. Though Martin includes John McGahern and Edna O’Brien in his critique, their most famous novels of the 1960s actually complicate his
The books of the New Testament reveal little about the Ascension beyond establishing it as a Christological event: Christ assembles his disciples and somehow disappears from before their eyes. This reticence can make the richness of later developments seem surprising. The sparse biblical sources nonetheless provide basic themes for the Ascension that invite the creativity of the early Christian theologians who interpreted them. In their post-Resurrection accounts, the New Testament books focus most on the physical manifestations of
“Interventions” was the organizing term for the presentations of three Baldwin scholars at the Modern Language Association Convention in Chicago in January of 2019. Baldwin’s travels and activities in spaces not traditionally associated with him, including the U.S. South and West, represent interventions of a quite literal type, while his aesthetic and critical encounters with these and other cultures, including twenty-first-century contexts of racial, and racist, affect—as in the case of Raoul Peck’s 2016 film I Am Not Your Negro—provide opportunities to reconsider his work as it contributes to new thinking about race, space, property, citizenship, and aesthetics.
This essay reads James Baldwin’s first novel, Go Tell It on the Mountain, through the lenses of European existentialism and Black existential thought to arrive at a new understanding of the novel itself as well as essential stages of its development. Archival sources and close reading reveal Baldwin’s historically and existentially informed artistic vision, summed up in the terms hindsight and insight. His thoughtful, uncomfortable engagement with the past leads to a recuperated relationship to the community and constitutes existential hindsight, which informs his inward understanding of himself—his insight. This investigation draws on various works from Baldwin’s fiction, essays, interviews, and correspondence to arrive at a better understanding of the writer’s intellectual and artistic development, focusing especially on the professed objectives behind, and major revisions of, the novel. I conclude the essay through a close reading of the conversion scene that constitutes Part Three of Go Tell It on the Mountain.
In the 1980s, James Baldwin recognized that a major transformation had occurred in the socio-political functions of religion. His critique adapted accordingly, focusing on the ways in which religion—particularly white evangelical Christianity—had morphed into a movement deeply enmeshed with mass media, conservativepolitics, and late capitalism. Religion in the Reagan era was leveraged, sold, and consumed in ways never before seen, from charismatic televangelists, to Christian-themed amusement parks, to mega-churches. The new movement was often characterized as the “religious right” or the “Moral Majority” and was central to both Reagan’s political coalition as well as the broader culture wars. For Baldwin, this development had wide-ranging ramifications for society and the individual. This article draws on Baldwin’s final major essay, “To Crush the Serpent” (1987), to examine the author’s evolving thoughts on religion, salvation, and transgression in the context of the Reagan era.
For several years now, James Baldwin’s life, portrait, and work have enjoyed a central place in the public eye. Although social and audiovisual media have made significant contributions to Baldwin’s return to the cultural and political limelight, the circulation of his published writings remains a vital part of the author’s ubiquity. Moreover, since Baldwin’s omnipresence in bookstores transcends an American or even Anglophone context, this international and multilingual circulation contributes to Baldwin’s world literary standing, as befits the self-described “transatlantic commuter.” This article moves beyond the customary approach to Baldwin’s published success by tracing presently circulating European translations of his work. The article examines the historical developments in Baldwin’s European circulation-through-translation from the time of his death (1987) up until the present, including brief discussions of the French, Italian, and West German translations from the 1960s onward. Of special interest are the pioneering and dominant roles that French and Italian publishers have played since the late 1990s, and the acceleration in circulation that took place across the continent in the wake of the films I Am Not Your Negro and If Beale Street Could Talk. The article concludes with a few remarks on the translation strategies of several key publishers in France, Italy, Germany, and Romania.
James Baldwin might be imagined as reaching his greatest level of popularity within this current decade. With the growth of social media activist movements like Black Lives Matter, which captures and catalyzes off a Baldwinian rage, and the publishing of works directly evoking Baldwin, his voice appears more pronounced between the years of 2013 and 2015. Scholars in Baldwin studies, along with strangers who were turned into witnesses of his literary oeuvre, have contributed to this renewed interest in Baldwin, or at least have been able to sharpen the significance of the phenomenon. Publications and performances highlight Baldwin’s work and how it prefigured developments in critical race and queer theories, while also demonstrating Baldwin’s critique as both prophetic and “disturbingly” contemporary. Emerging largely from Baldwin’s timelessness in social and political discourse, and from the need to conjure a figure to demystify the absurd American landscape, these interventions in Baldwin studies follow distinct trends. This essay examines the 2013–15 trends from four vantages: an examination of a return, with revision, to popular work by Baldwin; identifying Baldwin’s work as a contributor to theoretical and critical methodology; Baldwin and intertextuality or intervocality; and a new frontier in Baldwin studies.
5 Futurist canons and the development of avant-garde historiography (Futurism– Expressionism–Dadaism) Maria Elena Versari Maria Elena Versari Futurist canons In 1921, Marc Bloch published an essay entitled ‘Reflections of an historian on the fake news under the war’, in which he justified his interest in that somewhat unusual subject: ‘Our ancestors did not quibble over these sorts of things, they rejected error, when they recognised it as such, and they were not concerned about its repercussions. That’s why the information they left us doesn’t allow us to
This book studies the twentieth-century Irish Catholic Bildungsroman. This comparative examination of six Irish novelists tracks the historical evolution of a literary genre and its significant role in Irish culture. With chapters on James Joyce and Kate O'Brien, along with studies of Maura Laverty, Patrick Kavanagh, Edna O'Brien and John McGahern, this book offers a fresh new approach to the study of twentieth-century Irish writing and of the twentieth-century novel. Combining the study of literature and of archival material, the book also develops a new interpretive framework for studying the history of sexuality in twentieth-century Ireland. The book addresses itself to a wide set of interdisciplinary questions about Irish sexuality, modernity and post-colonial development, as well as Irish literature.
The study of the medieval English peasantry began in the nineteenth century as an adjunct to the study of other themes. Medievalists have tended to assume that modern working definitions of peasant, as proposed by Thorner et al., are sufficiently accommodating as to make room for a medieval English peasantry and conceive of a peasant society operating in medieval England. The book describes the ways in which historians have discussed change within the village community, notably in the pre- and post-Black Death village communities. It examines the ways in which debates or particular avenues of research have emerged from three main strands of research: population movement and its determining; the demands and constraints of the seigneurial economy and of resistance to the same; and the development of commerce and the market. The book analyzes the peasant family and household in demographic terms and by looking at household formation, age at marriage and the size and structure of the peasant household, as well as the evolution of the peasant household in the high and late middle ages. It suggests that the study of the medieval peasantry is not a plaything of historical fashion, subject only to the whims and musings of historians the views of whom are rooted only in the present; it reflects a nuancing and refining of questions that will lead to a fuller understanding of a topic and period of great and enduring interest.