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Author: Sara Mills

This book is an analysis of the complex links between social relations—including notions of class, nationality and gender—and spatial relations, landscape, architecture and topography—in post-colonial contexts. Arguing against the psychoanalytic focus of much current post-colonial theory, it aims to set out in a new direction, drawing on a wide range of literary and non-literary texts to develop a more materialist approach. The book foregrounds gender in this field where it has often been marginalised by the critical orthodoxies, demonstrating its importance not only in spatial theorising in general, but in the post-colonial theorising of space in particular. Concentrating on the period of ‘high’ British colonialism at the close of the nineteenth century, it examines a range of colonial contexts, such as India, Africa, America, Canada, Australia and Britain, illustrating how relations must be analysed for the way in which different colonial contexts define and constitute each other.

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
Simon Kővesi

whether conscious or not, from which the actual appropriation of language can take place. 10 While Kelman attempts to resist the reductive marginalisation and othering of a language and a culture, he also abrogates standard bearers on another front: nationality. In his last two novels, he questions the validity of national definition, and looks at the violence and oppressions carried out through establishment state politics in the name of national ‘integrity’ and cultural tribalism. Kelman worries at nationality because, as a libertarian

in James Kelman
The poetics of suffrage in the work of Eva Gore-Booth and Constance Markievicz
Lauren Arrington

attention on improving the lives of working-class women including barmaids and female factory workers. Both sisters wrote poetry and plays that articulated their individual attitudes to Irish nationality and their shared battle for sexual equality. The suffrage meeting in Drumcliffe gives a foretaste of the poetics that Constance and Eva developed over the following three decades. The meeting hall was ‘packed to the doors’ with an audience that consisted primarily of men – most of whom had come to object to women’s right to vote. However, the suffragists had prepared to

in Irish women’s writing, 1878–1922
Open Access (free)
The ‘outside’ in poetry in the 1980s and 1990s
Linden Peach

of resisting received notions of nationality, as well as unified concepts of gender, have become increasingly recognised in poetry criticism. But one of the problems is that the geographical groupings that have been used to indicate the heterogeneity of race and region in women’s writing have tended to enforce a homogeneity of particular races and regions. In the recent study of poetry in the Atlantic archipelago from non-metropolitan perspectives which I cited at the beginning of this essay, Christopher Harvie warns that ‘one cannot see the periphery whole, or

in Across the margins
Open Access (free)
Elleke Boehmer

the national family drama and establish alternative patterns of political affiliation. The final five chapters connect through the medium of their concern with the re-imagining of community, nationality, subjectivity, sexuality or the native body, especially as a response to the agon of disillusionment of the neocolonised nation – or the postcolony in Achille Mbembe’s now widely accepted phrase, discussed in chapter 7. Whereas the focus at the centre-point of the book was on postcolonial women as the ‘spoken-for’ of national traditions, chapters 7 and 8 act on the idea

in Stories of women
Theorising the en-gendered nation
Elleke Boehmer

paradigms of new nationality and the postcolonial nation founded on the imagery of national sons. To open the discussion with these two novels is in itself an anticipatory and symbolic gesture, in that Africa and India will comprise the two postcolonial ‘constituencies’ predominantly represented by this book. Ranging across the wide terrain of African literature of the 1950s, 1960s and 1970s, the nationalist hero, often exiled or alienated from home (mother and heart(h)land), is cast as resilient and courageous (the soldier, the leader); idealistic or visionary (the poet

in Stories of women
Johanna Gondouin, Suruchi Thapar-Björkert, and Ingrid Ryberg

affective and biological labour and situating the notion of motherhood in a larger context of issues of reproductive work, the series offers a rich and complex reflection on the current debate about the global division of reproductive work across axes of gender, race, nationality, migration status, and class (Colen, 1995; Ginsburg and Rapp, 1995; Parreñas, 2000; Shanley, 2001; Vora, 2008; Yngvesson, 2010). However, while critics have recognised motherhood, misogyny, sexism, and gendered violence as central themes in China Girl, surprisingly few comments address the racial

in The power of vulnerability
Arthur & George
Peter Childs

When is a door not a door? When it’s ajar. Anon Arthur & George is a book about unlikely pairings and questionable divisions. It is a fiction about truth and relativity, perception and rationality, fear and authority. Drawing on the real-life investigation by Arthur Conan Doyle of a miscarriage of justice, it explores the borderlines of nationality and ethnicity, evidence and imagination, doubt and faith, fact and fiction, endings and beginnings. Above all, it underlines the power of

in Julian Barnes
Doris Lessing’s late-twentieth-century fiction
Susan Watkins

analysing Lessing’s late-twentieth-century ‘fabular’ fictions in relation to ideas about genre and ‘race’, Gilles Deleuze and Felix Guattari’s discussion of ‘minor’ literature proves instructive. Deleuze and Guattari define minor literature as exhibiting three main characteristics: ‘the deterritorialization of language, the connection of the individual to a political immediacy, and the collective assemblage of enunciation’. 2 Thus, minor literature has a partial relation to nationality both linguistically and, I will argue, generically. The ‘social milieu’ 3 is not

in Doris Lessing