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Rape and Marriage in Go Tell It on the Mountain
Porter Nenon

To consider how James Baldwin resisted racialized notions of sexuality in his first novel, Go Tell It on the Mountain, I employ a number of black feminist critics—including Saidiya Hartman, Patricia Williams, Hortense Spillers, and Patricia Hill Collins—to analyze three under-studied minor characters: Deborah, Esther, and Richard. Those three characters are best understood as figures of heterosexual nonconformity who articulate sophisticated and important critiques of rape and marriage in America at the turn of the twentieth century. Baldwin thus wrote subversive theories of race and sexuality into the margins of the novel, making its style inextricable from its politics. Baldwin’s use of marginal voices was a deft and intentional artistic choice that was emancipatory for his characters and that remains enduringly relevant to American sexual politics. In this particularly polarizing transition from the Obama era to the Donald J. Trump presidency, I revisit Baldwin’s ability to subtly translate political ideas across fault lines like race, nationality, and sex.

James Baldwin Review
Jay Garcia

The intellectual connection between James Baldwin and Lionel Trilling, and the resonances across their criticism, are more substantial than scholarly and biographical treatments have disclosed. For Trilling, Baldwin’s writings were notable for their deviation from most humanistic inquiry, which he considered insufficiently alert to the harms and depredations of culture. Baldwin’s work became for Trilling a promising indication that American criticism could be remade along the lines of a tragic conception of culture deriving from Freud. This essay concentrates on a relevant but neglected dynamic in American letters—the mid-twentieth-century tension between Freudian thought and American humanistic inquiry evident in fields like American Studies—to explain the intellectual coordinates within which Trilling developed an affinity for Baldwin’s work. The essay concludes by suggesting that the twilight of Freud’s tragic conception of culture, which figured centrally in the modernist critical environment in which Baldwin and Trilling encountered one another, contributed to an estrangement whereby the two came to be seen as unrelated and different kinds of critics, despite the consonance of their critical idioms during the 1940s and 1950s.

James Baldwin Review
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)
Maggie B. Gale and Kate Dorney

Stage women Introduction Maggie B. Gale and Kate Dorney Stage Women, 1900–50: Female Theatre Workers and Professional Practice brings together recent research exploring women’s participation in the theatre and entertainment industries during the first half of the twentieth century. Its chapters variously explore their professional practice and partnerships, their careers, celebrity and cultural status, and the intersections between the social, the historical and the professional that shaped their working lives. The decades covered in this collection are more

in Stage women, 1900–50
Wharton,Woolf and the nature of Modernism
Katherine Joslin

them as novelists and the literary world they both inhabited. Their indirect dialogue about the nature of the novel typifies the often loud and sometimes angry cacophony of literary opinion that clashed early in the twentieth century and has reverberated ever since. ‘Down with Henry James! Down with Edith Wharton!’ was the rallying cry of Left-Bank literary radicals in the early years of the twentieth century, according to Kay Boyle, herself a younger member of the group of American expatriate writers living in Paris. In the 1980s Boyle remarked that her

in Special relationships
Open Access (free)
Winifred Dolan beyond the West End
Lucie Sutherland

theatre is positioned as a constructive contribution to subsequent work in education; ‘experience’ and ‘testing’ imply the formative significance of time spent working in the West End. That time is not the epitome of a professional life; rather, it informs theatre production by Dolan in a ­different professional realm, later in the twentieth century. Dolan did not achieve any form of celebrity status as a professional actress. Born in Leeds in 1867, she was a student and then a student teacher at Leeds Girls’ High School by the late 1880s, where as an amateur actor and

in Stage women, 1900–50
Open Access (free)
Janet Beer and Bridget Bennett

twentieth century and the United States, seemingly, has been out of kilter with the international mood. For a period it seemed as if the special relationship had foundered. The events of 11 September 2001 have changed all that. At the time of writing, the revived and newly strengthened Anglo-American relationship is being redrawn as the Blair government continues to play an active 2 Janet Beer and Bridget Bennett role in support of President Bush’s call for an international response to terrorism. The special relationship appears to have re-emerged with a new agenda

in Special relationships
Open Access (free)
British masculinities, pomophobia, and the post-nation
Berthold Schoene

5 The Union and Jack: British masculinities, pomophobia, and the post-nation BERTHOLD SCHOENE Starting with a general theoretical investigation into nationalist imageries of masculine and feminine embodiment, this essay offers a tentative outline of some of the most problematic shifts in the conceptualisation and literary representation of man, self and nation in Britain throughout the twentieth century. The second part of the essay comprises a close reading of John Osborne’s Look Back in Anger (1993 [1956]), which is to illustrate the syndromic inextricability

in Across the margins
Open Access (free)
The Australian and New Zealand repertoires and fortunes of North American performers Margaret Anglin, Katherine Grey and Muriel Starr
Veronica Kelly

7 Emotional and natural The Australian and New Zealand repertoires and fortunes of North American performers Margaret Anglin, Katherine Grey and Muriel Starr Veronica Kelly It is difficult to assess the international careers of touring stage performers in the early twentieth century without considering the related categories of the transnational and technological biographies. Deacon, Russell and Woollacott state that situated and regional readings of global mobility have their value: ‘we must abandon the search for the “whole subject” and allow that fragments

in Stage women, 1900–50
Open Access (free)
Between Adorno and Heidegger
Joanna Hodge

experience relatively immune from the impact of the banalisation of evil, indicated by Hannah Arendt to be distinctive of the latter part of the twentieth century.2 Heidegger conversely seeks to build the movement of presentation and withdrawal of art in artworks into a central place in his dangerous affirmations of a fatal twentieth-century and specifically German destiny.3 With his mythologising hope for a distinctively German word for holiness, spoken by that distinctively German poet Hoelderlin, Heidegger displaces aesthetics as analysis of sensibility and judgement

in The new aestheticism