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Gregory Vargo

4 St John’s Eve (1848)­– ­Ernest Jones Editor’s introduction In certain respects, Ernest Jones’s gothic melodrama St John’s Eve is atypical of Chartist drama. It is not explicitly political and neither concerns a historical event nor depicts a popular uprising. Furthermore, its use of stage technology and special effects evidence Jones’s intention of having the play performed at commercial venues rather than by amateurs (in the event, however, it was never staged). At the same time, the play, published in 1848 in the 6d. Chartist journal the Labourer, speaks to

in Chartist drama
C. R. Cheney
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Open Access (free)
James Baldwin and the "Closeted-ness" of American Power
David Jones

This article reads the work of James Baldwin in dialogue with that of Eve Kosofsky Sedgwick. Taking its cue from Baldwin’s claim that Americans “live […] with something in [their] closet” that they “pretend […] is not there,” it explores his depiction of a United States characterized by the “closeted-ness” of its racial discourse. In doing so, the article draws on Sedgwick’s work concerning how the containment of discourses pertaining to sexuality hinges on the closeting of non-heteronormative sexual practices. Reconceptualizing Sedgwick’s ideas in the context of a black, queer writer like Baldwin, however, problematizes her own insistence on the “historical gay specificity” of the epistemology she traces. To this end, this article does not simply posit a racial counterpart to the homosexual closet. Rather, reflecting Baldwin’s insistence that “the sexual question and the racial question have always been entwined,” I highlight here the interpretive possibilities opened up by intersectional analyses that view race, sexuality, and national identity as coextensive, reciprocal epistemologies.  

James Baldwin Review

This book considers how biblical women were read, appropriated and debated in a wide range of early modern texts. It traverses a range of genres and examines literature written by a variety of confessionally diverse writers. By considering literature intended for assorted audiences, the book showcases the diverse contexts in which the Bible's women were deployed, and illuminates the transferability of biblical appreciation across apparent religious divisions. The book has been split into two sections. Part One considers women and feminine archetypes of the Old Testament, and the chapters gathered in Part Two address the New Testament. This structure reflects the division of Scripture in early modern Bibles and speaks to the contemporary method of reading the Bible from the Old Testament to the New Testament. In spite of this division, the chapters regularly make cross references between the two Testaments highlighting how, in line with the conventions of early modern exegesis, they were understood to exist in a reciprocal relationship. Within each section, the chapters are broadly organised according to the sequential appearance of the women/feminine archetypes in the Bible. The biblical women studied extend from Eve in Genesis to the Whore of Babylon in Revelation. The chapters vary between those that examine dominant trends in appropriation to those that consider appropriations of a particular interest group or individual.

Open Access (free)
Intimacy, Shame, and the Closet in James Baldwin’s Giovanni’s Room
Monica B. Pearl

This essay’s close interrogation of James Baldwin’s 1956 novel Giovanni’s Room allows us to see one aspect of how sexual shame functions: it shows how shame exposes anxiety not only about the feminizing force of homosexuality, but about how being the object of the gaze is feminizing—and therefore shameful. It also shows that the paradigm of the closet is not the metaphor of privacy and enclosure on one hand and openness and liberation on the other that it is commonly thought to be, but instead is a site of illusory control over whether one is available to be seen and therefore humiliated by being feminized. Further, the essay reveals the paradox of denial, where one must first know the thing that is at the same time being disavowed or denied. The narrative requirements of fictions such as Giovanni’s Room demonstrate this, as it requires that the narrator both know, in order to narrate, and not know something at the same time.

James Baldwin Review
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Beatrice Grimshaw and the commercial woman writer
Jane Mahony and Eve Patten

5 ‘Breaking away’: Beatrice Grimshaw and the commercial woman writer Jane Mahony and Eve Patten I wanted a life of adventure – you can’t tell how the longing for it used to pull at my very heartstrings! I wanted to live for myself and work out my own life; to be – well, what you would call a New Woman, I suppose. You don’t need to know how the passion for absolute freedom sometimes takes hold of a girl.1 T hese words are voiced by the character of Eva Rivington, the young wife of ‘Ireland’s greatest novelist’, in Beatrice Grimshaw’s 1897 romantic literary

in Irish women’s writing, 1878–1922
Making Sense of Hogg‘s Body of Evidence
Joel Faflak

This paper explores the occult relationship between modern psychoanalysis and the pre-Freudian psychoanalysis of James Hogg‘s 1824 Gothic novel, The Private Memoirs and Confessions of a Justified Sinner. Haunted by the ghosts of Mesmerism and of Calvinisms rabidly contagious religious fervour, Hogg‘s novel explodes post-Lockean paradigms of the subject for a post-Romantic British culture on the eve of the Empire. Turning back to Scotland‘s turbulent political and religious history, the novel looks forward to the problems of Empire by turning Locke‘s sense-making and sensible subject into the subject of an unconscious ripe for ideological exploitation, a subject mesmerized by the process of making sense of himself.

Gothic Studies
Eve and her unsuspecting garden in seventeenth-century literature
Elizabeth Hodgson

In the early seventeenth century in England a flurry of texts emerged formally debating the moral and ethical value of womankind. In these debates both misogynist and anti-misogynist arguments claim that the Bible’s first woman, Eve, exemplifies the status and value of all women after her. 1 Eve, the first human to fall, was regularly used to define and malign woman, and

in Biblical women in early modern literary culture 1550–1700
Carter’s ambivalent cinematic fiction and the problem of proximity
Marie Mulvey-Roberts

of New Eve ([1977] 2008),9 texts whose protagonists are obsessed with images because of the way they provide erotic pleasure without threatening their sense of mastery. They therefore embody what Adam Phillips refers to as ‘the self-protective modern individual’, whose dilemma is that he ‘doesn’t (and does) want to get too close to the things and people that excite him’ (2010: 59).10 Cinema seemingly solves this dilemma because it offers spectators pleasure held at a safe distance. As McGowan usefully explains, Hollywood cinema creates what he calls ‘proximity from

in The arts of Angela Carter