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Temporal origami in the Towneley Herod the Great
Daisy Black

year, which together brought distant moments into close proximity. 15 With its propensity to bring different moments together, Serres’ topology is particularly suited to the discussion of intermediary spaces, or what Kathleen Biddick calls ‘unhistorical temporalities’. 16 The Nativity plays partake of such an intermediary space because Christ has come, but has not yet died. As the following examination of the gospel shows, this is a moment which falls awkwardly between Passover and Passion, Hebrew and Christian law, Incarnation and Crucifixion, and prophecy and

in Play time
The Devil’s Larder (2001) and Six [Genesis] (2003)
Philip Tew

chap 5 27/7/06 8:19 am Page 155 5 Excess, passion and the uncanny: The Devil’s Larder (2001) and Six [Genesis] (2003) The Devil’s Larder As Crace explains, the choice of food as the interlinking theme and subject matter for The Devil’s Larder is not simply gastronomic, but reflects a series of cultural and personal changes, often quite radical ones, which have taken place during his lifetime. He recalls the dreariness of the food in the immediate postwar period and the significance of the transitions that followed: During my lifetime, this is one of the

in Jim Crace
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Food and Identity in His Life and Fiction
Emily Na

This article traces how the queer Black writer James Baldwin’s transnational palate and experiences influenced the ways he wrote about Black domestic spaces in the late twentieth century. In the 1960s and 1970s, while Black feminist cooks and writers like Edna Lewis, Jessica B. Harris, and Vertamae Smart-Grosvenor developed new theories of soul food in relation to the Black American community and broader American cuisine, Baldwin incorporated these philosophies and transnational tastes into his lifestyle and works. He traveled and worked around Europe, settling in places like Paris, Istanbul, and Saint-Paul de Vence for years at a time. In Saint-Paul de Vence, where he spent his last years, he set up his own welcome table, at which he hosted internationally renowned guests and shared his love of cuisine. Inevitably, Baldwin’s passion for cooking and hosting meals became a large, though scholarly neglected, component of his novels and essays. In his novels Another Country, which he finished in Istanbul and published in 1962, and Just Above My Head, which he finished in Saint-Paul de Vence and published in 1979, Baldwin’s depictions of food and Black kitchens take a queer turn. Instead of lingering on traditional Black family structures, these texts specifically present new formulations of intimate home life and reimagine relationships between food, kitchens, race, and sex in the late twentieth century.

James Baldwin Review
Swooning in late medieval literature
Naomi Booth

’ (51)) and lies with rich men for great reward (‘gret mede’ (54)): she becomes known to all as ‘Sunfole wumman’. The decisive change from sinner to saint occurs after Marie's first encounter with ‘Jhesu’. Marie approaches Jesus unbidden, kisses his feet, bathes them in her tears and dries them with her hair. She is absolved of her sins and becomes a bold and devoted evangelist of Christ. After the Passion, the Legendary tells us, Christians were forced to flee from persecution. Marie boards a ship, which is blown to Marseilles. Here Marie sets

in Swoon
Susana Onega

thing it is that Oranges was a success, otherwise you would have had me setting up a studio in Covent Garden, and training the stars – yes, that was my plan.’1 The following year the young writer published her third novel, The Passion. This book won the 1987 John Llewellyn Rhys Prize for fiction, thus confirming the opinion of most reviewers that it was the work of an innovative writer already at the height of her powers. This general opinion was summarised by Anne Duchêne when she said that The Passion is ‘a book of great imaginative audacity and assurance [with

in Jeanette Winterson
Jeffrey Hopes

that much time on Mandeville’, 5 not only does he refer explicitly to the Fable of the Bees, he engages with some of the central tenets of 61 EARLY MODERN SELVES AND THE REASON V. PASSION DEBATE Mandeville’s work, in particular with the additions to the 1723 edition. Mandeville’s paradox of private vices and public benefits is well known, but the Fable of the Bees is also a treatise on the passions. The question of the passions was one which had troubled theologians and philosophers throughout the seventeenth century. Even before Descartes’s Les Passions de l

in Writing and constructing the self in Great Britain in the long eighteenth century
Eliza Haywood’s Love in Excess
Orla Smyth

they were no doubt influenced in doing so by the prominence within that corpus of a considerable number of women writers. Ballaster complained about the way English historians of literature were casting this amatory fiction within an indigenous tradition of English popular culture and she emphasised the importance of recognising the French provenance of this fiction and the 73 EARLY MODERN SELVES AND THE REASON V. PASSION DEBATE way it popularised, while also reworking, the ‘almost exclusively aristocratic forms of French love fiction’. 2 Thanks to important

in Writing and constructing the self in Great Britain in the long eighteenth century
The portrait of Man in late seventeenth-century sermons
Regina Maria Dal Santo

2  Charitable though passionate creature: the portrait of Man in late seventeenth-century sermons Regina Maria Dal Santo In preaching before King Charles II at Whitehall on 2 April 1680, John Tillotson, the future Archbishop of Canterbury, gave the portrayal of the passionate individual thus: if a man ‘be subject … to his own lusts and passions … the tyrant is at home, and always ready at hand to domineer over him; he is got within him, and so much the harder to be vanquished and overcome’.1 Tillotson was playing on recent memories of the Civil War and on the

in Writing and constructing the self in Great Britain in the long eighteenth century
Liz Herbert McAvoy and Naoë Kukita Yoshikawa

resonances emerge in the ways in which both women toy with the possibility of universal salvation and establish themselves as direct mediators for the release of souls suffering in purgatory via their tears, prayers, and intercessions. Margery recounts, for example, how, on her pilgrimage to Jerusalem begun in 1313, she undertakes a twenty-four-hour vigil in the Church of the Holy Sepulchre and a tour along the Via Dolorosa, episodes which sharpen her perception of the living and the ubiquitous presence of the Passion. During the procession Margery desires to identify

in Encountering The Book of Margery Kempe
Dorothy Kim

suggest that her tears, as well as her white clothing, marked her out as foreign upon her return to England. 16 Salih argues that Margery Kempe ‘was the blank sheet which was imprinted by her experiences at the pilgrimage sites, so that ever after she was liable to function as an image of a woman witnessing and mourning the Passion’. 17 Margery Kempe knows she will shed tears in Jerusalem because it is part of the standard practice

in Encountering The Book of Margery Kempe