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Ruvani Ranasinha

. Intimacy 47 In the autumn of 1996, now living with Monique, Kureishi began work on a new novel alternately called ‘Wife-watching’, ‘Animosity’, ‘Broken Heart’ and eventually Intimacy . Its stimulus was how connection and estrangement can coincide. His title and desire to evoke ‘the violence of loss, waking up and looking at someone and knowing that you hate them and how certain stages of relationships can make you monstrous’ were inspired by Sartre's brilliant study of the corruption of love in his collection of short stories

in Hanif Kureishi
Open Access (free)
Beowulf translations by Seamus Heaney and Thomas Meyer
David Hadbawnik

A reader sits down with a book. The book contains a translation of an old poem, a poem written – or composed, passed down orally, pieced together over time, eventually copied into a manuscript, edited and printed – in a dead language, Old English. The act of reading this poem in translation is a kind of intimacy. But what kind? The reader wishes to come close to, forge a connection with, the original poem in some way. Perhaps they want to hear echoes of the sound of the dead language, its rhythms and patterns; perhaps they want to get a sense

in Dating Beowulf
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Ruvani Ranasinha

his recent middle-period writings. Chéreau offered to buy the rights to use Intimacy plus four stories from Love in a Blue Time – ‘Lately’, ‘In a Blue Time’, ‘Nightlight’ and ‘D’accord, Baby’ – for £100,000. This hefty sum framed Kureishi's pragmatic approach to their collaboration. Very early on in the process, he was prepared to relinquish his stories to Chéreau's loose adaption and conflation. The two met in Chéreau's London hotel without an interpreter, despite Chéreau's limited English ‘breaking down when he is tired’ and Kureishi's much worse French (Diary

in Hanif Kureishi
Open Access (free)
Agency in the Finnsburg episode
Mary Kate Hurley

reorienting the presumed subject of analysis and granting that objects can, in certain senses and situations, have agency, ANT breaks down artificial bifurcations between the ‘social’ world and the ‘natural’ world. By deploying ANT analyses, the attentive reader can therefore better understand how non-human agents might have clear effects on the world formerly understood to include only human agents. In the case of the Finnsburg episode, ANT allows us to reconceptualize the types of groups that the poem describes. By paying special attention to the elemental intimacies of

in Dating Beowulf
Benjamin A. Saltzman

Benjamin 2 Intimacy is etymologically bound to the medieval Latin word intimare , which denotes primarily a movement inwards, but also a mode of verbal communication, of making known, of announcing, of explanation. Today, these two senses are divided between, for instance, the adjective (‘intimate’) and the verb (‘to intimate’), and when juxtaposed they seem to represent two radically antithetical phenomena. The one tends to imply internalized private

in Dating Beowulf
Sarah Brophy

9 Queer histories and postcolonial intimacies in Alan Hollinghurst’s The Line of Beauty Sarah Brophy Funny how mere living in a house like this could have the look of a burglary.  (Alan Hollinghurst, The Line of Beauty, 2004) Heritage, home and spatial infiltration Alan Hollinghurst’s The Line of Beauty (2004) de-familiarises a decade which, from the rise of neo-liberalism to the politicisation of gay identity in the context of AIDS, ‘seems to have determined so many things about the way we live now’.1 That the novel’s retrospective account of the 1980s

in End of empire and the English novel since 1945
Roberta Frank

I like large parties. They're so intimate. At small parties there isn't any privacy. F. Scott Fitzgerald, The Great Gatsby 1 Intimacy sells. So, apparently, does Beowulf : feature films, a TV series, operas, graphic novels, translations, and a pride of

in Dating Beowulf
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