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Justin A Joyce
Douglas Field
, and
Dwight A McBride
James Baldwin Review
Paolo Pitari

, arguing (in words resembling Wallace's) that we are all ‘worshippers at the temple’ (108), that ‘our attachments are our temple’ (108), and that you must ‘choose your attachments carefully … with great care’ (108). These words undeniably anticipate This Is Water , and yet Steeply is right when he accuses Marathe of totalitarianism. Marathe's terrorism seeks ‘moral eugenics’ (Wallace, 1997b : 320), ‘the National Socialist Neofascist State of Separate Quebec’ (320) – a kind of ‘Cuba with snow’ (320), where you will ‘ski immediately to your nearest reeducation camp, for

in Reading David Foster Wallace between philosophy and literature
Abstract only
Lee Spinks

envisaging it as merely one episode in a universal – or certainly pan-national – conflict between terrorism and civil society. The full consequences of this mode of narrative presentation emerge in a key paragraph early in the novel: There had been continual emergency from 1983 onwards, racial attacks and political killings. The terrorism of the separatist guerrilla groups, who were fighting for a homeland in the north. The insurrection of the insurgents in the south, against the government. The counterterrorism of the

in Michael Ondaatje
Susan Watkins

her authorial and narrative voice when she returns to realism? How might it impact on her attempt to write about a subject like terrorism? In the Canopus in Argos: Archives series and in The Diaries of Jane Somers (1984) and The Good Terrorist (1985) questions of voice are central. When discussing her own voice, or style, in an interview with Eve Bertelsen, Lessing was asked about something she had once said about ‘deliberately “roughening” your style or avoiding perfecting a particular style’. 1 She replied

in Doris Lessing
An ethical reading
Ciaran Ross

reinterpretation’.7 And McGahern’s reinterpretation of the past might be viewed as stressing the need for an ethical leap out of politics and history, the ethical displacing the political, and providing a critical frame for the novel’s various political ‘discussions’. These focus essentially on the ‘new’ modern-day republican activist, represented by the character of Jimmy Joe McKiernan, McGahern thereby placing into question Irish nationalism’s negative legacy of sectarian violence and terrorism. critique of irish republicanism  51 Centring his last novel on the life of a

in John McGahern
Hakim Abderrezak

views of the global South into a ­Western-dominated epistemology. The films Harragas and Io, l’altro were directed by Merzak Allouache and Mohsen Melliti respectively. My choice of these two productions is motivated by my intention to examine clandestinity from wide-ranging angles, including diverse spoken languages in the region (Arabic, French, and Italian). Here, I will focus on ethnicity, gender, class, media, and terrorism. One may legitimately wonder why a film in Italian should find a place in a volume focusing on Maghrebi-French works. I am including Io, l

in Reimagining North African Immigration
Johnno, An Imaginary Life, Child’s Play and 12 Edmondstone Street
Don Randall

orientations and concerns. Woods, in a fairly representative reading, finds that the work is a ‘metafictional’ examination of ‘the novel form’; its ‘gaps’ are intended to undermine ‘the self-contained, complete world of the realist novel’.21 In these reflections one can clearly discern the possibility of considering the novel as a kind of allegory in the postmodern manner. Given the prominence of politically motivated violence, what is called ‘terrorism’, in the Italy of the 1970s (that is, in the years immediately preceding Child’s Play’s first publication in 1981), it is

in David Malouf
Abstract only
Maria Holmgren Troy
Elizabeth Kella
, and
Helena Wahlström

kinship and home. We propose that in these times of perceived crisis and urgency – marked by the new social movements of the 1980s and 1990s as well as the US response to international terrorism after 2001 – the orphan has become an increasingly significant literary figure, particularly useful for explorations of what it takes to make home in the USA. Orphans are mobilized anew by contemporary writers to explore a time of change, social upheaval, and crises in national identity. Our study builds on scholarship that explores the connection between national crisis and the

in Making home
The Dark Knight and Balder’s descent to Hel
Dustin Geeraert

Christopher Nolan and David S. Goyer, ‘ Batman begins ’, unpublished screenplay, 2005, p. 149. Available online at , last accessed 23 February 2019. 31 Joy Division, ‘Shadowplay’, Unknown Pleasures (Manchester: Factory Records, 1979). 32 Lindow, Murder and Vengeance , p. 143; see also p. 93. 33 John Ip, ‘ The Dark Knight’s war on terrorism ’, Ohio State Journal of Criminal Law , 9:1 (2011), 209–29 (228). 34 Nolan, Nolan, and Goyer, ‘Script: The Dark Knight ’, p. 87. 35 Nolan, Nolan, and Goyer, ‘Script: The Dark

in From Iceland to the Americas
Political and aesthetic disruption in Against the Day
Simon Malpas
Andrew Taylor

-definition. Appearing after 9/11, Against the Day’s apparent advocacy – or at least tolerance – of political violence is inevitably cast in the shadow of that day’s terrorist attacks. This poses a challenge to readers asked to adjudicate for themselves between discussion in the novel on the morality of political action: when, how or if principled violence slips over into acts of terrorism. (The ease with which political anarchism might become corrupted and co-opted by the forces of reaction is made clear when Kit Traverse, having discovered the 200 Thomas Pynchon thrill of dive

in Thomas Pynchon