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Ordinary Intimacies in Emerson, Du Bois, and Baldwin
Prentiss Clark

This essay reads James Baldwin in conversation with two unexpected interlocutors from the American nineteenth and twentieth centuries: Ralph Waldo Emerson and W. E. B. Du Bois. What draws these historically distant and intellectually different thinkers together, their differences making their convergences all the more resonant and provocative, is a shared mode of attention they bring to the social crises of their eras. It is a mode of attention foregrounding how the often unobserved particulars and emotional registers of human life vitally shape civic existence; more specifically, a mode of attention provoking us to see how “a larger, juster, and fuller future,” in Du Bois’s words, is a matter of the ordinary intimacies and estrangements in which we exist, human connections in all their expressions and suppressions. Emerson names them “facts [. . .] harder to read.” They are “the finer manifestations,” in Du Bois’s terms, “of social life, which history can but mention and which statistics can not count”; “All these things,” Baldwin says, “[. . .] which no chart can tell us.” In effect, from the 1830s to the 1980s these thinkers bear witness to what politics, legislation, and even all our knowledges can address only partially, and to the potentially transformative compensations we might realize in the way we conduct our daily lives. The immediate relevance and urgency this essay finds in their work exists not in proposed political actions, programs for reform, or systematic theories of social justice but in the way their words revitalize the ethical question “How shall I live?” Accumulative and suggestive rather than systematically comparative or polemical, this essay attempts to engage with Emerson, Du Bois, and Baldwin intimately, to proceed in the spirit of their commitment to questioning received disciplines, languages, and ways of inhabiting the world.

James Baldwin Review
Open Access (free)
Black Women as Surrogates of Liberation in James Baldwin’s If Beale Street Could Talk
Marquita R. Smith

This essay analyzes how James Baldwin’s late novel If Beale Street Could Talk represents Black women’s care work in the face of social death as an example of how Black women act as surrogates for Black liberation giving birth to a new world and possibilities of freedom for Black (male) people. Within the politics of Black nationalism, Black women were affective workers playing a vital role in the (re)creation of heteronormative family structures that formed the basis of Black liberation cohered by a belief in the power of patriarchy to make way for communal freedom. This essay demonstrates how Beale Street’s imagining of freedom centers not on what Black women do to support themselves or each other, but on the needs of the community at large, with embodied sacrifice as a presumed condition of such liberation.

James Baldwin Review
Open Access (free)
James Baldwin’s Poethics of Love
Emanuela Maltese

Often overlooked by James Baldwin criticism or addressed according to its unique relationship to sex and gender, love plays a central role in the writer’s oeuvre. This article, conceived as a contrapuntal reading between A Dialogue (1972)—the transcript of a four-hour conversation between James Baldwin and poet Nikki Giovanni in November 1971—and If Beale Street Could Talk (1974), Baldwin’s fifth novel, will shed light on Baldwin’s “poethics” of love in the 1970s, after Martin Luther King Jr.’s assassination and the author’s engagement with Black Power and feminism. This revision takes its cues from intersectionality and extends them via Hortense Spillers’s bold critique of Baldwin’s politics of intimacy, his writing style, and the American family grammar. His vision of love as moral “energy” not only anticipates what Denise Ferreira da Silva terms a “Black Feminist Poethics,” but is also a potential “key” to end “the racial nightmare” and “save the children,” thereby becoming a poethics of love for the infancy of the world.

James Baldwin Review
Black Queer Feminism and the Sexual Politics of Another Country
Matty Hemming

This essay explores Black queer feminist readings of the sexual politics of James Baldwin’s Another Country. Recent work at the intersection of queer of color critique and Black feminism allows us to newly appreciate Baldwin’s prescient theorization of the workings of racialized and gendered power within the erotic. Previous interpretations of Another Country have focused on what is perceived as a liberal idealization of white gay male intimacy. I argue that this approach requires a selective reading of the novel that occludes its more complex portrayal of a web of racially fraught, power-stricken, and often violent sexual relationships. When we de-prioritize white gay male eroticism and pursue analyses of a broader range of erotic scenes, a different vision of Baldwin’s sexual imaginary emerges. I argue that far from idealizing, Another Country presents sex within a racist, homophobic, and sexist world to be a messy terrain of pleasure, pain, and political urgency. An unsettling vision, to be sure, but one that, if we as readers are to seek more equitable erotic imaginaries, must be reckoned with.

James Baldwin Review
Jonathan Bignell

theatre forms, and the presence of theatre personnel behind and in front of the camera. The producer and writer Troy Kennedy Martin (1964: 25), for example, who came to prominence in the mid-1960s with his work on the contemporary police drama Z Cars , argued that the emphasis on close-ups of ‘faces talking and faces reacting’ displayed ‘a deep rooted belief that the close-up of an actor’s face somehow reacts subjectively on the viewer’. Rejecting the claims of intimacy and connection with the viewer that this supposedly theatrical and naturalist studio drama of the

in Beckett on screen
Abstract only
Jonathan Bignell

the tradition of classical painting as well as contemporary art. In the paintings of the Dutch masters that Beckett admired, such as Jan Vermeer, the setting of relatively still figures within rooms is connected to the rise of the bourgeois home and the intimacy of domestic private life. These political and social developments were the preconditions for the novel and for naturalism in theatre. The relationships between the domestic and the public were emphasised in Dutch painting by the frequency and significance of doorways and windows, marking the boundaries

in Beckett on screen
Peter Barry

, 2013: 3) The holloway on this path is only waist-deep, but that is sufficient to create an intimacy with those poems set on this section of the path. The poems are discreetly placed within their settings, so that they might conceivably be missed in certain conditions of light, season or weather, and in any case will provoke different reactions (or ‘interpretive experiences’), depending on which are being viewed ‘in-season’ and which not. The April poem, for instance, is positioned at ground level and set within a drystone wall, not concealed in any sense, since the

in Extending ecocriticism
Clive Cazeaux

we think melting ice is, and draws upon Aesthetics as ecology 161 qualities in the sound (creaks, cracks, roars, trickles and other effects that are not so easily described) and the setting in which the sound is performed, in this case at the end of a phone, a situation in which one is accustomed to talking to a friend, a lover or a colleague. The icebergas-sound is now heard through the intimacy and other emotions that surround human contact. What other forms might a melting iceberg adopt as eco-art? One of the arenas of possibility opened by conceptual art

in Extending ecocriticism
William Welstead

focus is on the three dragonflies clinging to the vertical stems. Ecologists know that, when they get up this close, they will begin to perceive the potential of ditches as hiding places for secretive birds and habitat for a rich invertebrate community. It was this intimacy that Ennion celebrated in Adventurers Fen and it represents what Harriet Mead regards as important, which is ‘that the artist understands their subject’ (SWLA 2013: 8). All the art works discussed here show artists with an intimate experiential knowledge of wild nature and an understanding of where

in Extending ecocriticism
An ecocritical consideration of collaborative, cross-disciplinary practices of walking, writing, drawing and exhibiting
Harriet Tarlo
and
Judith Tucker

drawing but also what ecocriticism might learn from practice. As the opening suggests, the writing of poetry might be close to the drawing of place within such a context. In situating the word ‘drawing’ next to the word ‘closer’, we highlight the intensity and intimacy of our joint practice and point to perhaps the most important aspect of our work together, our attempts to ‘draw closer’ to place through parallel explorations, not just for ourselves but for our audiences. As Petherbridge (2010) suggests, ‘drawing is a site of inquiry, response, and invention, and in

in Extending ecocriticism