Open Access (free)
The no-thing that knows no name and the Beckett envelope, blissfully reconsidered
Enoch Brater

Coda: The no-thing that knows no name and the Beckett envelope, blissfully reconsidered Enoch Brater I love talking about nothing. It is the only thing I know anything about. (Oscar Wilde, An Ideal Husband) In July 1974, when Maurice Beebe planned to edit a special number of the Journal of Modern Literature to interrogate (as we didn’t say at the time) a sea change that was taking place in the cultural landscape all around us, he already knew that such a consideration was long overdue. ‘From modernism to post-modernism’, as the 200page issue of JML was called

in Beckett and nothing
Rowland Wymer

). 19 Letter dated 18 February 1918, Wilfred Owen: Collected Letters , ed. Harold Owen and John Bell (1967), p. 533. 20 Jarman, Modern Nature , p. 234. 21 Oscar Wilde, Plays, Prose Writings and Poems , introduction by Isobel Murray (London: Everyman, 1975, reissued

in Derek Jarman
Andrew Smith

conclusion seemingly literalised in Oscar Wilde’s marginalisation when, in 1895, he was imprisoned for ‘gross indecency’, and by his subsequent exile to mainland Europe. If at one level Nordau had in mind the apparently corrosive aspects of art, at another level he had tied this to an idea of masculinity. For Nordau, Wilde’s art was simply perverse because it was the product of

in Victorian demons
Easter 1916 and the advent of post-Catholic Ireland
Matthew Schultz

invoke the prospect of a queer nation, especially since during this period green is not only the national color of Ireland MUP_Schultz_Haunted.indd 105 03/04/2014 12:23 106 Revolution but also, thanks to Oscar Wilde’s notorious green carnation, the color most closely associated with a queer subculture.36 Furthermore, the temporal proximity of the swim and the Rising suggests that the rebellion is as much a sexual revolution as a political one. Therefore, O’Neill establishes early on the importance of viewing images in his text with a double vision. By

in Haunted historiographies
The spectacle of boxing and the geometry of tennis
Bernard Vere

, etc.) as a means to subvert 19th-century Wilhelminian culture’.9 In America itself, the journal The Soil devoted as much time to boxing matches as it did to Oscar Wilde or Paul Cézanne, and Robert Alden Sanborn concluded his account of the atmosphere at a boxing match there with the claim: ‘We are making pictures, we are making art history, and we don’t know it and don’t want to know it because we are too full of life.’10 That The Soil displayed a lively interest in boxing and that it was American was not a coincidence. More than any other sport in Europe, boxing

in Sport and modernism in the visual arts in Europe, c. 1909–39
Brian Sudlow

’s experience also correlates with that of John Gray who is said to be the subject of Oscar Wilde’s The Portrait of Dorian Gray , itself a portrayal of the hidden disorder of sin. Gray’s biographer, Jerusha Hull McCormack, has remarked that redemption for Gray was part of a drama begun and punctuated with sin. 14 This was a pattern which Gray had discovered in the life and work of Paul Verlaine whose poem ‘Mon Dieu m’a dit’ from Sagesse Gray translated for his early collection of poems Silverpoints . 15 While Edward Dowson, another decadent Catholic poet, attended Oscar

in Catholic literature and secularisation in France and England, 1880–1914
Barcelona 1916
Dafydd W. Jones

of a gesture, not even a feint, a sham to make it look as if he was at least playing the part, but contented himself with marking time, dancing on the spot, trembling visibly while the big negro circled around the vain white boy like a large black rat around a Dutch cheese. Three times Johnson was called to order, because three times Big Jack kicked the poet-boxer in the ass to try and unfreeze the nephew of Oscar Wilde, then the black man pummeled his ribs, punched him, laughed at him, egged him on, insulted him, and, losing his temper all of a sudden, laid him

in The fictions of Arthur Cravan
Open Access (free)
The use of character evidence in Victorian sodomy trials
H. G. Cocks

demonstration of this fact in the 1871 case of Ernest Boulton and Frederick Park, see Jeffrey Weeks, Sex, Politics and Society: the Regulation of Sexuality in Britain Since 1800 (London: Longmans, 1989); Alan Sinfield, The Wilde Century: Oscar Wilde, Effeminacy and the Queer Moment (New York: Cassell, 1994); Neil Bartlett, Who Was That Man: a Present for Mr Oscar Wilde (London: Penguin, 1987). 5 Morning Chronicle (1 August 1854). Campbell was conducting his own defence. He was neither sent for trial nor fined, his respectability and status having been adequately proved. 6 See

in Domestic and international trials, 1700–2000
Abstract only
Jan Montefiore

successor to Tennyson as Poet Laureate,4 and whose near-death from pneumonia in 1899 was headline news in three continents. Praise was never undiluted: his ‘vulgarity’ was mocked by Oscar Wilde and attacked by Robert Buchanan and, more devastatingly, Max Beerbohm;5 and as Kipling’s imperialist opinions became more strident after the Boer War he lost the 2 In Time’s eye esteem of British literary intellectuals, whom he in turn despised (his close friends included no fellow writer except Rider Haggard, author of thrillingly mythopoeic imperialist fantasy novels). Though

in In Time’s eye
Abstract only
Anna Pilz and Whitney Standlee

of Irish literature. There is, for instance, a well-known poster of Irish writers that showcases, against a sepia background, the names, brief biographies, and photographs of twelve authors who are seen to stand as testament to the quality of Irish literature:  J.  M. Synge, Flann O’Brien, Oliver Goldsmith, Jonathan Swift, Samuel Beckett, W. B. Yeats, Brendan Behan, Oscar Wilde, Patrick Kavanagh, James Joyce, Sean O’Casey, and George Bernard Shaw. This specifically gendered accumulation of the country’s literati is not altogether surprising: Irish writing has often

in Irish women’s writing, 1878–1922