moved to Vegas in order to forget his past. Sunil turns out to be a central character in the book: he is the point of connection between the Lake Mead murders and the novel’s subplot, that is, Eskia’s attempt to kill Dr Singh for his past involvement in the activities of the death camp of Vlakplaas during Apartheid. These two different storylines intertwine in the five days Detective Salazar has to solve the case, during which we come to know Sunil’s and the twins’ past, their connection with manifestations of state
's own ideas regarding adaptations, this chapter will use the GSLI productions as case studies to analyse the specific challenges of adapting his prose for the stage. It will argue that, as in the original text of How It Is , there is no ‘last state last version’ (Beckett, 2009 : 3), no ‘resting place’ ( 2009 : 36) that can or should be achieved in adaptation. Adaptation, performance and intermediality As Corinne Lhermitte notes in her historical overview of adaptation, it was originally seen as a creative act. The term ‘was
This review of the James Baldwin symposium at Virginia State University weighs the insights presented by a number of Black and white scholars, only a few of whom might be considered deeply informed about his life and legacy. Even so, the emerging thinkers provide a wealth of new and interesting perspectives on Baldwin, and the event was highlighted by Molefi Kete Asante’s critical lecture. His comments are a veritable call to arms, an invitation to Baldwin devotees to contend with his conclusions, a process which this article will begin.
he appears to feel a certain amount of guilt about or, at least, does not wish openly to acknowledge. His status as a ‘schoolmaster’ places him in a liminal state akin to that of a female governess in a respectable or middle-class family, intimate to and dependant upon the family but not of the family. Similarly, Headstone occupies his position by reason of education rather than birthright. It should be remembered that even ‘public-school masters were often of lower social status than their pupils’ in the nineteenth century. 8 For Headstone, this immediately
This excerpt from James Baldwin: Living in Fire details a key juncture in Baldwin’s life, 1957–59, when he was transformed by a visit to the South to write about the civil rights movement while grappling with the meaning of the Algerian Revolution. The excerpt shows Baldwin understanding black and Arab liberation struggles as simultaneous and parallel moments in the rise of Third World, anti-colonial and anti-racist U.S. politics. It also shows Baldwin’s emotional and psychological vulnerability to repressive state violence experienced by black and Arab citizens in the U.S., France, and Algiers.
Recent killings of unarmed black citizens are a fresh reminder of the troubled state of racial integration in the United States. At the same time, the unfolding Black Lives Matter protest movements and the responses by federal agencies each testify to a not insignificant capacity for addressing social pathologies surrounding the color line. In order to respond to this ambivalent situation, this article suggests a pairing between the work of James Baldwin and that of the psychoanalyst Melanie Klein. I will argue that we cannot fully appreciate the depths of what Baldwin called the “savage paradox” of race without the insights provided by Klein and object relations psychoanalysis. Conversely, Baldwin helps us to sound out the political significance of object relations approaches, including the work of Klein and those influenced by her such as Hanna Segal and Wilfred Bion. In conversation with the work of Baldwin, object relations theory can help to identify particular social settings and institutions that might allow concrete efforts toward racial justice to take root.
I Am Not Your Negro (2016) takes its direction from the notes for a book entitled “Remember this House” that James Baldwin left unfinished, a book about his three friends—Medgar Evers, Malcolm X, and Martin Luther King Jr.— their murders, and their intertwining legacies. The film examines the prophetic shadow Baldwin’s work casts on twentieth- and twenty-first-century American politics and culture. Peck compiles archival material from Baldwin’s interviews on The Dick Cavett Show, his 1965 Cambridge lecture, and a series of banal images indexing the American dream. Juxtaposed against this mythology is footage of Dorothy Counts walking to school, the assassination of black leaders and activists, KKK rallies, and the different formations of the contemporary carceral state. Our conversation examines Peck’s role as a filmmaker and his relationship with the Baldwin estate. Additionally, we discussed a series of aesthetic choices he fought to include in the film’s final cut, directing Samuel L. Jackson as the voice for the film, the similarities and shifts he wanted to document in American culture since the 1960s, and some of the criticism he has received for not emphasizing more Baldwin’s sexuality.
For women writers, the decades of the English Civil War were of special importance. This book presents a complex and rewarding poetic culture that is both uniquely women-centred and integrally connected to the male canonical poetry. It brings together extensive selections of poetry by the five most prolific and prominent women poets of the English Civil War: Anne Bradstreet, Hester Pulter, Margaret Cavendish, Katherine Philips, and Lucy Hutchinson. All these five women were attracting new and concerted attention as poets by seventeenth-century women. Bradstreet's poems first appeared in The Tenth Muse Lately Sprung up in America, and the later volume of Several Poemsincluded revised texts of those poems and several new ones. Each version of the poems spoke more directly on the context of the English Civil War. Pulter's poems construe Broadfield as a place of unwelcome isolation: she describes herself as 'shut up in a country grange', 'tied to one habitation', and 'buried, thus, alive'. Philips's poetry was first printed in 1664, her state-political poems, on members of the royal family and events of the Civil War, Interregnum, and Restoration, suggest Philips as a poet writing on matters of political significance. Cavendish's two major editions of Poems and Fancies in 1653 and 1664 each have strongly competing claims both to textual authority and to the more resonant political moment. Across poetry and prose, print and manuscript, Hutchinson's writing bears the marks of her fervent hostility to corrupt rulers and her remarkably broad education, adventurous reading habits, and energetic intellect.
This book explores the place of memory in post-apartheid South Africa by analysing state sanctioned-performances of the nation. It first explores how the Truth and Reconciliation Commission (TRC) archive was created, and what it means to contemporary South Africa. The book then explores creative responses to the TRC. It examines individual narratives that have become iconic; asking why these have been chosen to represent the experiences of the broader majority. It analyses how contemporary cultural practitioners are particularly exploring various non-realistic, highly performative forms in conjunction with verbatim narratives to reflect on diverse lived realities in South Africa. The inherited apartheid archives embody particular narratives of South Africa, especially those that defined separate cultural identities, with their relative worth and histories. The way these archives of memory were constructed and controlled is important, especially insofar as they affected the social structure of the nation, beyond apartheid legislation. The book looks at how at moments of political crisis or transition, specific narratives of history, from particular cultural perspectives, have been performed in public spaces to define national identities. It also explores how Mbeki used the South Africa-Mali project, within the context of the New Partnership for Africa's Development (NEPAD) to extend the imagined boundaries of the nation. Finally, the book explores contemporary popular performance and theatrical engagements with history and memory.
, highlighting the exclusionary ways in which history is written and remembered and retelling similar stories from different perspectives to address issues as diverse as abolitionism and segregation, the relationship between science and faith, and predestination and grace, sex work and gender politics, and the state of political thought in the contemporary United States. Robinson is similarly unconventional in her approach to a writing career. In a 2016 lecture published as “Our Public Conversation: How America Talks About Itself” (2018), Robinson makes the