The Enduring Rage of Baldwin and the Education of a
White Southern Baptist Queer
Delivered in Paris at the 2016 International James Baldwin Conference just two weeks
before the killing of 49 individuals at a LGBT nightclub in Orlando, Florida on 26 June
2016, “Relatively Conscious” explores, through the eyes of an LGBT American and the words
of James Baldwin, how separate and unequal life remains for so many within the United
States. Written in the tradition of memoir, it recounts how, just as Paris saved Baldwin
from himself, the writer’s life was transformedupon the discovery of Baldwin.
James Baldwin has frequently been written about in terms of his relationship to geographical locations such as Harlem, Paris, St. Paul-de-Vence, Istanbul, and “the transatlantic,” but his longstanding connection to the American South, a region that served as a vexed and ambiguous spiritual battleground for him throughout his life and career, has been little discussed, even though Baldwin referred to himself as “in all but no technical legal fact, a Southerner.” This article argues that the South has been seriously underconsidered as a major factor in Baldwin’s psyche and career and that were it not for the challenge to witness the Southern Civil Rights movement made to Baldwin in the late 1950s, he might never have left Paris and become the writer and thinker into which he developed. It closely examines Baldwin’s fictional and nonfictional engagements with the American South during two distinct periods of his career, from his first visit to the region in 1957 through the watershed year of 1963, and from 1963 through the publication of Baldwin’s retrospective memoir No Name in the Street in 1972, and it charts Baldwin’s complex and often contradictory negotiations with the construction of identity in white and black Southerners and the South’s tendency to deny and censor its historical legacy of racial violence. A few years before his death, Baldwin wrote that “[t]he spirit of the South is the spirit of America,” and this essay investigates how the essential question he asked about the region—whether it’s a bellwether for America’s moral redemption or moral decline—remains a dangerous and open one.
its author’s status as
editor of the respected magazine Art Press . The success of this work
undoubtedly has much to do with its status as the erotic confession of a
notably intellectual woman; but this does not by itself account for the
book’s popularity. For Millet’s text also owes its success to
the highly contemporary aesthetic drama it plays out – a drama all
about contact and distance. An erotic memoir can hardly fail
Documentary form and audience response to Touching the Void
Touching the Void, and its story of
disaster and survival against the odds carried huge emotional clout
for some commentators and audiences. But the film is also significantly different from the format of Rescue 911 and its imitators.
Firstly, Simpson and Yates do not constitute the family unit preferred by such shows. (Despite Simpson devoting his memoir to
Yates for saving his life, their friendship has in fact waned in the
years since the climb, as noted in numerous press articles about
the film.) Secondly, Simpson’s story is largely one of self-rescue, of
Sean Connery , Manchester : Manchester University Press .
Babington , Bruce ( 2002 ), Launder and Gilliat: British Film Makers , Manchester : Manchester University Press .
Baker , Peter ( 1959 ), ‘ Carlton-Browne of the F.O. ’, Films and Filming , April, 21 – 2 .
Baker , Peter ( 1961 ), ‘ Very Important Person ’, Films and Filming , June, 23 .
Baker , Roy ( 2000 ), The Director’s Cut: A Memoir of 60 Years in Film and Television , London : Reynolds & Hearn .
Barr , Charles ( 1998 ), Ealing
between people’s experiences. The monstrousness of a
collapse into sameness, where everyone would experience things and remember
them in exactly the same way, was touched on in Marker’s
Mémoires pour Simone . It is by acknowledging, rather than
denying, these necessary distinctions and specificities that the drive
towards connectedness is established. Fur and scales come to matter as much
as human flesh in Marker’s various
in different ways in Sans Soleil (1982),
2084 (1984), and L’Héritage de la chouette (1989).
Additionally, the latter, a television series, constitutes Marker’s
first sustained use of video in his filmmaking. Yet these, and especially
the other films of this period ( Junkopia (1981), AK (1985),
and Mémoires pour Simone (1986)), retain their connection to
earlier media technologies. Marker’s work of the 1980s is
direction. While it is adapted from a literary work, this time the precursor
is not a classic novel but Mariane Pearl’s heartfelt memoir of her
husband’s life and hideous death. Whereas with the adaptation of a
novel the filmmaker can feel as free as he likes in which elements of the
antecedent text he chooses to emphasise, in relation to the filming of a
real-life story, and a tragic one at that, one is reminded of David
movies, Saturday Night and Sunday Morning , Isadora , The
Gambler and Dog Soldiers/Who’ll Stop the Rain ). It also
accounts for a private mystery. In her vivid and engaging memoir, The
Memory of All That , Betsy Blair writes she fell in love with Karel not
just on account of his charm and wit and intelligence, but because “I
know I’ll always be interested in him, intrigued by
him.”’ 5 For Lambert
public spaces reinhabited by the moving body and the singular bodies
composing this process and intervening in public spaces. The ruptured
body contracts into itself and releases into a new public sphere, in which
Dance and politics
it is treated with dignity and respect, regardless of the intention of the
founder of this movement.
One Billion Rising: dance against violence in ethos and practice
I invite the founder of One Billion Rising, Eve Ensler, to take centre
stage. She discusses the ethos for the movement in her 2013 memoir, In
the Body of the World: A Memoir