James Baldwin, William F. Buckley,
Jr., and the 1965 Cambridge Debate
Daniel Robert McClure
The 1965 debate at Cambridge University between James Baldwin and William F. Buckley,
Jr., posed the question: “Has the American Dream been achieved at the Expense of the
American Negro?” Within the contours of the debate, Baldwin and Buckley wrestled with the
ghosts of settler colonialism and slavery in a nation founded on freedom and equality.
Framing the debate within the longue durée, this essay examines the deep cultural currents
related to the American racial paradox at the height of the Civil Rights movement.
Underscoring the changing language of white resistance against black civil rights, the
essay argues that the Baldwin and Buckley debate anticipated the ways the U.S. would
address racial inequality in the aftermath of the civil rights era and the dawn of
neoliberalism in the 1970s.
Exclusions and Exchanges in the History of European Horror Cinema
British horror cinema is often excluded from critical work dealing with European
horror cinema or, as it is frequently referred to, Eurohorror. This article argues
that such exclusion is unwarranted. From the 1950s onwards there have been many
exchanges between British and continental European-based horror production. These
have involved not just international co-production deals but also creative per-
sonnel moving from country to country. In addition, British horror films have exerted
influence on European horror cinema and vice versa. At the same time, the exclusion
of British horror from the Eurohorror category reveals limitations in that category,
particularly its idealisation of continental European horror production.
Money, Commerce, Language, and the Horror of Modernity in ‘The Isle of Voices’
Money, not merely as subject in literature but also in its very form and function, exhibits qualities of spectral evanescence, fetishised power over the imagination, and the uncontrollable transgression of boundaries and limits, which closely parallel the concerns and anxieties of Gothic literature. Yet it is in the writings of economic theorists and commentators on market society like Adam Smith and Karl Marx that these Gothic anxieties about money are most clearly articulated. Stevensons short story ‘The Isle of Voices’, read in the context of his comments on money in his other writings, is one of the few fictional texts which uses these properties of money to create what might be called a ‘financial Gothic’ narrative, which nevertheless has insights and implications for the narratives of capitalist modernity in general.
The papers in this volume consider Gothic Ex/Changes, a concept at the heart of the essentially hybrid mode of Gothic, which constantly challenges prevailing orthodoxies. Papers foreground the confusion of boundaries and definitions of the human. A number take this examination of the hybrid into the realm of form and genre, including music and historiography. The analysis of Gothic in the collection demonstrates the way in which Gothic criticism has extended the subversive role of Gothic texts into the academy. It might be that as part of the ongoing process of change and exchange with a range of theoretical approaches, we are entering the period of ‘postGothic studies.’
There is danger in a prolonged gaze, for it projects you into what you see. Julio Cortázar‘s story ‘Axolotl’ describes the narrators fascination with a species of salamander notable particularly for their eyes, that he discovers in the aquarium of the Jardin des Plantes. Near the story‘s end the narrator loses himself in those eyes and suddenly sees his own face pressed against the aquarium glass: he has become an axolotl. The exchange depicted here is akin to the trajectories of the gaze as depicted in Lacans Seminar XI. Together these two works suggest a gothic optics of uncanny power.
In this introduction, we consider the intersection of two much debated and controversial concepts: postfeminism and Gothic, and we designate a new analytical category of ‘Postfeminist Gothic’. We suggest that postfeminism and Gothic are linked by their eschewal of a binary logic and their ‘anxiety about meaning’. As we contend, ‘Postfeminist Gothic’ moves beyond the Female Gothic with its historical associations with second wave feminism and female/feminine victimisation and it circumscribes a new space for critical exchange that re-examines notions of gender, agency and oppression.
Interviewing can be a vampiric act especially when it involves leeching from its subject
the fluidic exchange which exists between life and art. The vampire novelist Anne Rice had
agreed to let me interview her at Waterstones Bookshop in Bristol, England, on 26 January
1993 about the fourth book in her Vampire Chronicles, The Tale of the Body
Thief (1992). In the interview she describes the novel as dealing with the
differences between art and life and mortality and immortality. Specifically, the story
examines the paradox of choosing to be Undead for the sake of life, and the way in which
art opens up a locus for a redemption that is outside of life. In my view, the text is as
much about the process of interviewing as about authorship. A more obvious example is
Rice‘s well-known novel Interview with the Vampire (1976) in which the
hapless interviewer eventually enters into the very narrative he is recording by becoming
another Ricean revenant.
When James Baldwin in No Name in the Street discusses the case of Tony Maynard, who had
been imprisoned in Hamburg in 1967, he emphasizes that his efforts to aid his unjustly
imprisoned friend were greatly supported by his German publishing house Rowohlt and, in
particular, by his then-editor Fritz Raddatz (1931–2015). While the passages on Maynard
remain the only instance in Baldwin’s published writings in which Raddatz—praised as a
courageous “anti-Nazi German” and a kindred ally who “knows what it means to be beaten in
prison”—is mentioned directly, the relation between Baldwin and Raddatz has left traces
that cover over fifty years. The African-American writer and Rowohlt’s chief editor got to
know each other around 1963, when Baldwin was first published in Germany. They exchanged
letters between 1965 and 1984, and many of Raddatz’s critical writings from different
periods—the first piece from 1965, the last from 2014—focus of Baldwin’s books. They also
collaborated on various projects—among them a long interview and Baldwin’s review of
Roots—which were all published in the German weekly newspaper Die Zeit, where Raddatz
served as head of the literary and arts sections from 1977 to 1985. Drawing on published
and unpublished writings of both men, this article provides a discussion of the most
significant facets of this under-explored relationship and its literary achievements.
Thereby, it sheds new light on two central questions of recent Baldwin scholarship: first,
the circumstances of production and formation crucial to Baldwin’s writings of the 1970s
and 1980s, and secondly, Baldwin’s international activities, his transcultural
reception and influence.
this and the following chapters will be to explore the ways that films are
structured and the theories that inform those structures in terms of what is
recognised as traditional film-editing practice.
Any considerations of the way that dialogue is edited must
begin by acknowledging that the structuring methods that editors use to
reveal the essential meanings within a set of dialogue exchanges have
important events. Its outset saw
the start of the reciprocal exchanges with American artists, the passing of the
Copyright Act and the start of the Union’s redistribution of the PPL income.
Outside the Union – but equally important – was the weakening of the BBC’s
broadcasting monopoly with the expansion of the ITV network beyond
London and developments in popular music.1
By 1970, the musical landscape had changed somewhat, but the Union’s
preoccupations remained largely the same. A feature in Melody Maker (4 July
1970: 22) focused on the age-old issues of needletime and