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A Hollywood Love Story (as Written by James Baldwin)
D. Quentin Miller

Baldwin’s The Devil Finds Work (1976) has proven challenging since its publication because readers and critics have trouble classifying it. The challenge may be related to a common feature of Baldwin criticism, namely a tendency to compare late career works to early ones and to find them lacking: the experimental nature of later works of nonfiction like No Name in the Street (1972), The Devil Finds Work, and The Evidence of Things Not Seen (1985) does not square easily with the more conventional essays that made Baldwin famous in his early years. I attempt to reframe The Devil Finds Work not through a comparison to other Baldwin essays, but rather through a comparison to his fiction, specifically the novel Giovanni’s Room. I posit that a greater appreciation for Devil can result from thinking of it as a story, specifically the story of a failed love affair.

James Baldwin Review
D. Quentin Miller

The author travels to St.-Paul-de-Vence, the site of Baldwin’s final decades, with the intention of understanding expatriation and/or exile more deeply. The intention of this visit is to fill in some of the gaps in Baldwin’s official biographies, which do not tend to dwell on his time spent in Provence as much as his time in Paris, Turkey, New York, and elsewhere. By interviewing a woman who knew Baldwin well during those years, the author manages to add new layers to his understanding of Baldwin’s late years, but finally arrives at the understanding that writing (rather than analyzing) is the main goal of the expatriate writer. Inspired by Baldwin’s muse, he stops contemplating his subject and gets to work, finally connecting the act of writing to expatriation by doing it.

James Baldwin Review
Open Access (free)
The adolescent girl and the nation
Elleke Boehmer

microcosm. They have dramatised her negotiated bid for selfhood and status within what might be called the national house, that is, within the inherited and correlated structures of both family and nation-state. This chapter will address how three very different postcolonial women writers, each one a ‘daughter’, if lost or prodigal, to one or other nation, have written themselves into the national family script, or redrafted the daughter’s relationship to the national father. The novels in question are: the expatriate Australian Christina Stead’s The Man Who Loved Children

in Stories of women
Clara Tuite

Our story starts not in the southern colonies but with a canonical scene of literary expatriation and scandalous celebrity: Lord Byron in Genoa, spending the spring of 1823 with the so-called ‘Blessington circus’, a tight little entourage of idler-adventurers who cast their web across Ireland, England, and continental Europe. The ‘circus’ was named for the Irish author and literary hostess Marguerite Gardiner, Countess of Blessington, and her second husband, Charles John Gardiner, the Earl of Blessington. It also included Blessington’s daughter, Lady Harriet

in Worlding the south
Russell J. A. Kilbourn

, post-Holocaust literature.51 The bilingual collection W. G. Sebald: Schreiben ex patria/Expatriate Writing (Fischer ed. 2009), explores the premise of Sebald as writer of Heimat literature even as it extends the investigation of his work within the context of ‘cultural memory’52 and of the author as ideological construct. ‘On the one hand’, according to Gerhard Fischer’s Introduction: 256 4003 Baxter-A literature:Layout 1 9/9/13 13:03 Page 257 The question of genre in W. G. Sebald’s ‘prose’ Sebald is not unlike the post-modern, uprooted expatriate in the age of

in A literature of restitution
Jago Morrison

2 Things Fall Apart and No Longer at Ease At the time that Things Fall Apart appeared in 1958, Achebe was already a major figure in the Nigerian media. The organisation he worked for, the Nigerian Broadcasting Corporation, was a highly political one, focused on promoting a particular model of independence – the One-Nigeria model – that favoured the interests of its British expatriate management. Rapidly elevated to a senior executive position, Achebe’s assigned role was to produce programming that would represent Nigeria in an attractive and harmonious way to

in Chinua Achebe
Travel fiction and travelling fiction from D.H. Lawrence to Tim Parks
Suzanne Hobson

various forms of expatriation ‘chosen’ by modernist writers – than his imagined repatriation of Lawrence: the manner in which Lawrence comes to stand for an indigenous working-class culture which is opposed to the kinds of romantic and post-romantic cultures for which aimless wandering (facilitated, though Williams does not say this, by colonial networks and infrastructures) was both a privilege and a rite of passage.9 Lawrence experiences a similar fate in novels from the 1950s and 1960s, which name him as a predecessor, both to establish their own cultural authority

in End of empire and the English novel since 1945
Susan Stanford Friedman

rebirth, a pattern at odds with the exilic modernism represented by so many expatriates like Joyce, Pound, Tzara and Picasso. 14 Question 2: Will the literary history methods of French Modernist Studies be ‘old’ or ‘new’? Transnationalizing Modernist Studies is but one of the newer methods that have transformed the field. As the ‘new’ French Modernist Studies continues to develop, I would urge even more broadly that it avoid reproducing the older methodologies of literary history that have come under such critique in the past thirty years. I refer especially to the

in 1913: The year of French modernism
Contexts and intertexts
Jago Morrison

autobiographical writings make clear, the cultural dialectic that structured his upbringing was between the world of the Christian mission, on the one hand, and Igbo traditional culture, on the other. In an interview with Dennis Duerden in 1965, the author described some of the typical evangelising activities in which he was expected to participate Morrison_Achebe.indd 4 26/05/2014 12:03 Speaking from the middle ground  5 as a child (evidently pursued with less vigour than expatriate missionaries would have liked): When I was growing up it was not very common to see people

in Chinua Achebe
Bruce Woodcock

: villains and heroes, tribalism and the conflict of comic-strip creatures […] Carey’s novel, on the other hand, is far less schematic. Evidence of that may be found in the carefully modulated variations of tone and diction Carey slips into Ned’s artless narrative.’ The result is an ironic narrative effect which both engages us with Ned as a character and distances us from him, a double perspective which suits a contemporary Australian expatriate’s re-telling of this national myth. Riemer argues that ‘[a]s a political ideal, of the kind commemorated by bombastic monuments

in Peter Carey