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His Fake Book (1989)
Helena Grice

; writing in The Nation , John Leonard described Kingston’s ‘Novel of the Sixties’ as ‘an encyclopedic postmodern narrative that references, embraces, and absorbs a dizzying variety of sources from all cultures and eras’; 6 and fellow writer Bharati Mukherjee praised the text’s ‘remarkable display of wit and rage’ (despite also finding the novel somewhat ‘bloated’). 7 In evaluating these responses, E.D. Huntley muses that the aspects of Kingston’s novel that flummoxed readers were Wittman’s disorganized, unpunctuated, uneven, unstoppable free

in Maxine Hong Kingston
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Maps of the London Underground
Brian Baker

explicit in either Ballard or Sinclair’s work, the ongoing legacy of the equation between ‘madness’ and ‘vision’ can be traced in both. Sinclair uses the Laingian word ‘breakthrough’ to describe his trajectory from the ‘scepticism’ of the Kodak Mantra Diaries period, the late 1960s, to that of Lud Heat and the early 1970s: ‘That was the real breakthrough. It required this cataclysmic thing of the sixties, a sudden charge coming from every direction, a real battery […] I pulled back, got into my own territory, created my own space, and took

in Iain Sinclair
Helena Grice

are two writers who are less between worlds than of two separate ones. In terms of age, they are a generation apart: at 60-something, Maxine Hong Kingston could almost have literally as well as figuratively mothered the just-50 Amy Tan; whereas Kingston grew up in the post-war environment of Stockton, California, Tan was just a child in the sixties. Kingston’s academic life at Berkeley spanned the early to mid 1960s, and so her involvement and interest in ethnic, pacifist and feminist activism occurred at the same time as a period of especially vigorous political

in Maxine Hong Kingston
Helena Grice

understand Vietnam as though it were a story.’ 6 As the forgoing quotation attests, Kingston’s initial motivation for writing The Fifth Book of Peace was precisely to narrativise the Vietnam War and make the case for an on-going peace. She has always adopted the perspective of the so-called ‘dove critique’ to the war in Vietnam. This view, popularised by the sixties’ antiwar movement, recognised the illegitimacy and corruption of Diem’s South Vietnamese government, and even acknowledged the strategic importance of Vietnam in the cold war political landscape of Southeast

in Maxine Hong Kingston
Helena Grice

’s stories and teachings. On the one hand, she is inured to hearing Chinese sayings such as ‘Feeding girls is feeding cow-birds’, whilst on the other hand, she listens to her mother ‘talking-story’ about Fa Mu Lan ( WW , p. 48). On the one hand, she busies herself turning ‘American-feminine, or no dates’, whilst on the other, she ‘went away to college – Berkeley in the sixties – and I studied, and I marched to save the world’ ( WW , p. 49). On the one hand, she tells us that there ‘is a Chinese word for the female I – which is “slave”. Break the women with their own

in Maxine Hong Kingston
Bilingual manoeuvres in the work of Somerville and Ross
Margaret Kelleher

accompanying letters of reference, indicate varying standards of literacy in English and a variety of declared competences in Irish: the sixty-year old Patrick Hughes declaring, ‘I have a thorough knowledge of the Irish language and can write it down with facility as well as knowing it conversationally’; another (Luke Loftus) ‘I can speak Irish since I was fourteen years of age I can also read Irish and stand an examination if required.’ Writing of another applicant, twenty-five-year old John Kane, a butler’s son, his referee J. F. Rutledge noted that it was ‘very unusual to

in Irish women’s writing, 1878–1922
Andrew Teverson

now is the way in which social criticism has more or less stopped … in the sixties, people believed there were always alternatives. It was a creative way of thought. Now people accept loss of energy and loss of faith in their ability to change their lives. They call this realism. 1 Carter is in agreement. ‘[S]omething happened during the seventies’, she observes: It showed in literature, too. Culture lost its nerve. Everything became more insular. People started to want to read about the fluff in their navel

in Salman Rushdie
Morality, mortality and masculinity in Sabbath’s Theater
David Brauner

(1998), a novel by the Anglo-Jewish writer, Howard Jacobson. As Roth’s novel opens, Mickey Sabbath is an old man whose powers are on the wane. Having enjoyed a brief moment of notoriety as a young street artist in the sixties (when he is prosecuted for obscenity after complaints about the sexual content of one of his shows), Sabbath, now in his sixties, is a ‘forgotten puppeteer’, unable to practise his art because of the arthritis that has deformed his fingers (Roth 1995: 3). His two alternative careers – as an avant-garde theatre director and a teacher of puppetry

in Philip Roth
‘The Ballroom of Romance’
Tina O’Toole

changing the social hinterland to reflect the sixty-year gap between the publication of the two stories, Trevor nonetheless retains key traces of the earlier narrative. While Eveline, initially, seems to have accepted her lover Frank’s promise of a new life together in Argentina and to have made up her mind to emigrate, she is ultimately prevented from this new life by the promise to her mother ‘to keep the home together as long as she could’.26 Like Eveline, Bridie is the good daughter who keeps the house following her mother’s death, and who denies herself the chance

in William Trevor
October 17, 1961, a case in point
Michel Laronde

mending process that is ongoing during the post-colonial period. With the passing of time, the turn of the twenty-first century sees the publication of several novels that take the need for healing one step further, suggesting that the state of amnesia may be coming to an end and that new steps toward anamnesis continue to take place, moving ­progressively toward reconciliation through dialogue and recognition.5 The sixty-year span that corresponds to the post-colonial period between France and its former colonies constitutes a historical continuum that starts

in Reimagining North African Immigration