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Author: Rachael Gilmour

At a time when monolingualist claims for the importance of ‘speaking English’ to the national order continue louder than ever, even as language diversity is increasingly part of contemporary British life, literature becomes a space to consider the terms of linguistic belonging. Bad English examines writers including Tom Leonard, James Kelman, Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila Aboulela, Brian Chikwava, and Caroline Bergvall, who engage multilingually, experimentally, playfully, and ambivalently with English’s power. Considering their invented vernaculars and mixed idioms, their dramatised scenes of languaging – languages learned or lost, acts of translation, scenes of speaking, the exposure and racialised visibility of accent – it argues for a growing field of contemporary literature in Britain pre-eminently concerned with language’s power dynamics, its aesthetic potentialities, and its prosthetic strangeness. Drawing on insights from applied linguistics and translation studies as well as literary scholarship, Bad English explores contemporary arguments about language in Britain – in debates about citizenship or education, in the media or on Twitter, in Home Office policy and asylum legislation – as well as the ways they are taken up in literature. It uncovers both an antagonistic and a productive interplay between language politics and literary form, tracing writers’ articulation of linguistic alienation and ambivalence, as well as the productivity and making-new of radical language practices. Doing so, it refutes the view that language difference and language politics are somehow irrelevant to contemporary Britain and instead argues for their constitutive centrality to the work of novelists and poets whose inside/outside relationship to English in its institutionalised forms is the generative force of their writing.

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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

Open Access (free)
White male vulnerability as heterosexual fantasy
Susanna Paasonen

 stand on the stool. On. Off. On. Off. On. Off. Light. Dark. Light. Dark. Light. I’m hungry. I eat the cheese. There is cheese in the fridge. Cheese with blue fur. When is Mommy coming home? Sometimes she comes home with him. I hate him. I hide when he comes. My favorite place is in my mommy’s closet. It smells of Mommy. It smells of Mommy when she’s happy. When is Mommy coming home? My bed is cold. And I am hungry. I have my blankie and my cars but not my mommy. When is Mommy coming home? (James, 2015: 216) Unlike the sad blue-​collar men of contemporary American film

in The power of vulnerability
Gender adaptations in modern war films
Jeffrey Walsh

fire, anxiety about castration, or the fetishising of weapons may also be illuminated by psychoanalytic interpretation. Michael Selig’s essay ‘Boys Will be Men: Oedipal Drama in Coming Home’ (1978) and Antony Easthope’s critique of The Deer Hunter are examples of psychoanalytic commentary on war films. 14 Gender analysis of American war films has been largely written by

in Gender and warfare in the twentieth century
Gavin Edwards

living being and then revert to its previous condition as an abstraction. ‘Night Walks’, one of the essays collected as The Uncommercial Traveller in 1861, describes Dickens’s attempt to deal with insomnia ‘by the brisk treatment of getting up directly after lying down, and going out, and coming home tired at sunrise’. 2 In the course of these night walks he encounters the ‘houseless’ and temporarily shares the condition of ‘houselessness’. The words ‘houseless’ and ‘houselessness’ are no longer current (we would now say ‘homeless’ and ‘homelessness’), 3 a fact

in The Case of the Initial Letter
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Jana Funke

from Corsica was very near at hand. My portmanteaux and bags lay strewn all over my rooms, and Johnson, up to his eyes in packing, was inclined to be irritable. “I can’t think what’s come to that dog, Sir,” he remarked one morning, “a-whining and a-whimpering he is – fit to drive mad.” I also had noticed that Bonaparte seemed restless, and had surprised him more than once staring miserably at the luggage. “Come here, Bonaparte,” I said, “what’s the matter with you today? You surely can’t imagine that I’m going to leave you behind? Don’t you know that you’re coming

in ‘The World’ and other unpublished works of Radclyffe Hall
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The narratives of gift in Lydgate’s Troy Book
Nicholas Perkins

-seth [recompense , restitution] by oblacioun / For þe þefte of Palladioun’ (IV.6177–8). In this sense, its narrative trajectory is both fitting and all the more subversive, piling a false oath on top of the theft. Like an insincere speech act in Austinian terms, the Horse is still a gift, but an unhappy one, which both symbolizes and exemplifies the darker cycles of vengeance that characterize the Trojan story. The coming home of these long-laid-down exchanges gives direction to the final sections of Book IV of the Troy Book , pointed especially through the

in The gift of narrative in medieval England
The poetry of Sinéad Morrissey, Leontia Flynn, Mary O’Malley, and Michael Hayes
Katarzyna Poloczek

with astonishment: It’s a startling new Ireland, but why shouldn’t it be? I myself left the best part of twenty years ago and the finest thing about coming home is the rawness and the newness. I dislike what has been lost, but why whine about it? Why hold tight to the past when we have this sort of future? (McCann, 2007: viii) Commenting upon the recent wave of immigration to Ireland, John Brannigan (2009: 3) outlines its distinctive features. Among these, he enumerates its extensive scope (‘the scale of contemporary migratory movement’), the creation of diverse

in Literary visions of multicultural Ireland
Encounters with the Other in Dermot Bolger’s The Ballymun Trilogy
Paula Murphy

ease in their adopted country. Eileen describes the emigrants who returned to Ireland on the ‘builder’s holiday’, the first two weeks in August, as follows: ‘Every year, you sensed that this place felt a little less like home for them. People looked forward to them coming home but felt an unspoken relief when they left again’ (Bolger, 2010: 124). Oscar in Act Two is also caught between two countries, at home in neither. He has left behind two 155 Paula Murphy wives in Turkey, ‘[t]he one I left behind the first time I went away and the one I married when I tried to

in Literary visions of multicultural Ireland
The representations of non-Irish immigrants in recent Irish crime fiction
David Clark

Irish emigrants forced to leave their homes in past times. As Coyne ponders, the new immigrants were ‘the Blasket Islanders coming home’ (59). Hamilton thus employs two motifs which will be used with some consistency in subsequent novels, with the immigrants as victims and the heirs to the Irish of past periods. Another recurring motif is that of the ‘unsympathetic Garda’. This model takes the figure of the police officer who is openly hostile to the presence of immigrants in the country and who is generally challenged by another officer or person of authority whose

in Literary visions of multicultural Ireland