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Chinua Achebe and James Baldwin
Bill Schwarz

The escalation of systematic, if random, violence in the contemporary world frames the concerns of the article, which seeks to read Baldwin for the present. It works by a measure of indirection, arriving at Baldwin after a detour which introduces Chinua Achebe. The Baldwin–Achebe relationship is familiar fare. However, here I explore not the shared congruence between their first novels, but rather focus on their later works, in which the reflexes of terror lie close to the surface. I use Achebe’s final novel, Anthills of the Savanah, as a way into Baldwin’s “difficult” last book, The Evidence of Things Not Seen, suggesting that both these works can speak directly to our own historical present. Both Baldwin and Achebe, I argue, chose to assume the role of witness to the evolving manifestations of catastrophe, which they came to believe enveloped the final years of their lives. In order to seek redemption they each determined to craft a prose—the product of a very particular historical conjuncture—which could bring out into the open the prevailing undercurrents of violence and terror.

James Baldwin Review
Spaces of revolution
Author: Carl Lavery

Jean Genet has long been regarded as one of the most influential artists of the twentieth century. Since the publication of Jean-Paul Sartre's existential biography Saint Genet: Actor and Martyr in 1952, his writing has attracted the attention of leading French thinkers and philosophers. In the UK and US, his work has played a major role in the development of queer and feminist studies, where his representation of sexuality and gender continues to provoke controversy. This book aims to argue for Genet's influence once again, but it does so by focusing uniquely on the politics of his late theatre. The first part of the book explores the relationship between politics and aesthetics in Genet's theatre and political writing in the period 1955 to 1986. The second part focuses on the spatial politics of The Balcony, The Blacks and The Screens by historicising them within the processes of modernisation and decolonisation in France of the 1950s and 1960s. The third part of the book analyses how Genet's radical spatiality works in practice by interviewing key contemporary practitioners, Lluís Pasqual, JoAnne Akalaitis, and Ultz and Excalibah. The rationale behind these interviews is to find a way of merging past and present. The rationale so explores why Genet's late theatre, although firmly rooted within its own political and historical landscape, retains its relevance for practitioners working within different geographical and historical contexts today.

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Véronique Machelidon and Patrick Saveau

interpellate the dominant group and inflect the discussion of a contemporary event (the issue of the marriage for all) through the citation of a foreclosed political or historical narrative (colonization, colonial resistance, and decolonization), embedded in literature. At the same time, Taubira was enlisting the power of literature2 to redress present and past injustices, refresh repressed memories, denounce the hierarchy between the postcolonial margin and the hegemonic metropolis, and undermine the hegemonic narrative of French politics and history. Taubira’s faith in the

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

reconstruction and exceed comprehension. These events happened in the past, but their effects continue in the present. (2012: 5) Yet, as both Kerchouche and Galdeano suggest, reticence, the fathers’ repression of the trauma of war and decolonization, produces equally devastating effects and urges the postgeneration to repair the violence of the past and the (self-)enforced silence through telling and writing. The pied noir son’s family narrative in Harkis, pieds-noirs, nos cœurs orphelins and the harki daughter’s imaginative reconstruction of her parents’ past are both love

in Reimagining North African Immigration
October 17, 1961, a case in point
Michel Laronde

French culture. Different facets of the history of the colonial empire have been a frequent source of inspiration for francophone literature in general, which took hold during the period of decolonization sixty years ago. Colonial history is indeed present in the postcolonial discourse of immigration fiction, but the writers’ focus is more often on questions of silence, forgetting, remembrance and memory, all of which are symptoms of a postmemorial attitude and frame of mind that can be traced back to some of the earlier beur novels of the 1980s and seems to be

in Reimagining North African Immigration
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Mariko Hori Tanaka, Yoshiki Tajiri, and Michiko Tshushima

). Boulter reads Texts for Nothing with an emphasis on the absence of the subject, therefore denying the existence of a specified subject and its historical meaning, whereas Smith warns that such an interpretation is dangerous because it ignores ‘the ethical capacity to confront historical loss’ (113). Michael Rothberg, the author of Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization, also quoting LaCapra, comments that ‘LaCapra’s distinction between absence and loss and historical and structural trauma allow us to ask what it means to write

in Samuel Beckett and trauma
New configurations of Frenchness in contemporary urban fiction
Steve Puig

their descendants on French soil. In that regard, the Musée de l’immigration, which opened in 2007, was an important move toward decolonizing France’s history. Unfortunately, the museum has failed 24 Reimagining North African immigration to attract a lot of visitors, maybe another symptom of French people’s disinterest in the history of immigration in France. Many urban writers tend to include France’s colonial (or post-colonial) history in their works in order to create awareness among a new (post-beur) generation of readers. For instance, in her most popular novel

in Reimagining North African Immigration
Matthew Scribner

Geographies of Exploration (Minneapolis: University of Minnesota Press, 2017), p. viii. 6 Baron Pineda, ‘ Indigenous Pan-Americanism: contesting settler colonialism and the doctrine of discovery at the UN permanent forum on indigenous issues ’, American Quarterly , 69:4 (2017), 823–32 (823). 7 Linda Tuhiwai Smith, Decolonizing Methodologies: Research and Indigenous Peoples , 2nd edn (London: Zed Books, 2012), p. 1. Smith herself cites Said and Foucault in her work, but she is also inspired by personal experience (pp. 1–2). 8 Smith, Decolonizing

in From Iceland to the Americas
The battle of The Screens
Carl Lavery

of its colonial past. The historian Todd Shepard notes: With the advent of the notion that decolonization was a tide of History, however, French élites came to see Algerian independence as necessitated by the logic of history itself. No longer the exception among European overseas possessions, Algeria now became the emblematic example […] The lessons these French officials drew were not limited to France. Just months after Algerian independence, de Gaulle pointed to the United Kingdom’s failure to decolonize fully as a sign of its lack of commitment to

in The politics of Jean Genet’s late theatre
Siobhán McIlvanney

-s when seeking to establish common narrative tendencies.  While literary criticism of beur works tends to focus on issues relating to race or gender, the role of class, or the interface between class and race in beur writing, has received relatively little critical attention, in spite of – or perhaps because of – its ubiquity in the texts.  Ketu H. Katrak, ‘Decolonizing culture: toward a theory for postcolonial women’s texts’, Modern Fiction Studies, () (), – ().  One example of this inventiveness is the works’ repeated references to the protagonists

in Women’s writing in contemporary France