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A Review of The Amen Corner, 2021
Ijeoma N. Njaka

The author reviews the 2021 production of James Baldwin’s play, The Amen Corner, as directed by Whitney White at Shakespeare Theatre Company in Washington, DC. After situating the experience of engaging with Baldwin’s art through a constructivist approach to art-based education and learning design, the piece turns to considering the impact of various interpretive materials and the director’s artistic vision in the production. White’s decision to include an epigraph in the production leaves a notable impact, particularly in conversation with Baldwin’s essays, “Why I Stopped Hating Shakespeare” and “The Artist’s Struggle for Integrity.”

James Baldwin Review
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Moving from trauma to witness in the nightmares of Bronx Gothic
Carolyn Chernoff
Kristen Shahverdian

work enables the performer and the audience to reimagine Black futures (Phillips, 2016 : 48–54). 5 Memory alone is not enough, however; to do defiant memory work demands praxis – and imagination. As author Sadiya Hartman remarks in a conversation with Kimberlé Crenshaw, ‘So much of the work of oppression is about policing the imagination’ (Crenshaw, 2020 ). Bronx Gothic is a work of

in Dreams and atrocity