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Lachlan McIver, Maria Guevara, and Gabriel Alcoba

medication to treat visceral leishmaniasis, an NTD that is among the top three parasitic diseases (after malaria and schistosomiasis) in terms of global morbidity and mortality ( WHO, 2021c ) – was declared. Its main manufacturer, Gilead, had agreed with the Indian Ministry of Health to reorient supplies to treat mucormycosis, a rare fungal infection appearing in COVID-19 patients being treated with immunosuppressive drugs such as steroids ( Singh et al. , 2021 ). That same month

Journal of Humanitarian Affairs
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A little different every time' - Accumulation and repetition in Jack
Rachel Sykes

Epilogue ‘A little different every time’: accumulation and repetition in Jack Rachel Sykes The world of Marilynne Robinson's fiction is intellectually capacious but temporally small. 1 As authors throughout this collection have noted, the action of Housekeeping (1980) , Gilead (2004) , Home (2008), and Lila (2014) takes place sometime around 1956, reaching back to the 1850s

in Marilynne Robinson
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Best known for a trilogy of historical novels set in the fictional town of Gilead, Iowa, Marilynne Robinson is a prolific essayist, teacher, and public speaker, routinely celebrated as a singular author of contemporary American fiction. This collection intervenes in the author’s growing critical reputation, pointing to new and exciting links between the author, the historical settings of her novels, and the contemporary themes of her fictional, educational, and theoretical work. Touching on ongoing debates in race, gender, and environmental politics, as well as education, democracy, and the state of critical theory, New Perspectives on Marilynne Robinson demonstrates the wider secular and popular impact of the author’s work, building on the largely theological focus of previous criticism to suggest new and innovative interpretations of her oeuvre.

The collection’s four sections are dedicated to: Robinson’s use of form and style; her exploration of the relationship between gender and the environment; her use of history and the intersection of race, rights, and religion in her work; and a discussion of Robinson and her contemporaries. As such, the collection argues for a reconsideration of Robinson within the field of American and English Studies, by bringing together 16 new, vibrant, and undoubtedly contemporary analyses of her work. Authors include: Bridget Bennett, Richard King, Sarah Churchwell, Jack Baker, Maria Elena Carpintero Torres-Quevedo, Daniel King, Anna Maguire Elliott, Makayla Steiner, Lucy Clarke, Christopher Lloyd, Tessa Roynon, Alexander Engebretson, Emily Hammerton-Barry, Steve Gronert Ellerhoff, Kathryn E. Engebretson, Paul Jenner, and Rachel Sykes."

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The Handmaid’s Tale and the significance of unexpected choice
Trisha Dunleavy

extends the diegetic world of the novel, THT 's most discussed distinction as multi-season TV drama is its visualisation of Atwood's nightmarish Gilead, the post-apocalyptic, faux-theocratic and totalitarian society that has replaced contemporary America. 2 An important feature of this dystopian world is the epidemic of infertility that has helped to form it, a problem that Gilead's male oligarchy addresses via the enslavement of the few still fertile women as ‘Handmaids’. Whilst every Gilead resident is held to a

in Complexity / simplicity
Rachel Sykes

3 Quiet in time and narrative In 2005, Marilynne Robinson’s epistolary novel, Gilead (2004), won the Pulitzer Prize for fiction. Five years later, Robinson’s former student Paul Harding received the same prize for his debut novel, Tinkers (2009). According to Harding, many publishers rejected Tinkers before Bellevue Literary Press finally distributed it in 2009. Perceived as ‘just another graduate of the Iowa Writers’ Workshop with a quiet little novel’, publishers informed Harding that there was no readership for what they described as ‘a slow, contemplative

in The quiet contemporary American novel
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The spectre of race in Gilead and Home
Emily Hammerton-Barry

In the narratives of Gilead (2004) and Home (2008), companion pieces both set in the fictive town of Gilead in 1956, the spectre of race haunts America. In Gilead , generational tensions in Reverend John Ames's paternal line are shown to be interlinked with historic, racial contexts: through evasive retelling of his past, Ames unwittingly exposes his own racial blindness in the build up to the American civil rights movement of the 1950s and 1960s, which contrasts with his grandfather's active role opposing the racist institution of

in Marilynne Robinson
Archive fever and the Gilead novels of Marilynne Robinson
Daniel Robert King

of Robinson's houses as both sites of the construction and enforcement of female subjectivity and of the means and modes of resistance to, and rejection of, this construction. A second section discusses John Ames and his struggles with an anxiety, in Gilead (2004), that stems from an inability to do away with his faith in the truth-telling and self-preserving nature of the written words of the archive of sermons that is stored in his home, combined with a fear of the flattening and disambiguating nature of the ‘eternal verity’ of this very archive

in Marilynne Robinson
Civil rights, civil war, and radical transformation in Home and Gilead
Tessa Roynon

any overt concern with America's racial politics, it is arguable that these homeless, hungry, distraught, and furious Black children haunt and prowl both Gilead (2004) and Home (2008). This essay argues that Home and Gilead are much more radical and much less compromised on the subject of race and civil rights in America than prevailing scholarly readings suggest. In focusing exclusively on Robinson's intervention in racial dynamics, my discussion differs from extant criticism that treats the subject of race in Robinson's work

in Marilynne Robinson
Christopher Lloyd

's relationship to the home; that it is a tabernacle underscores the role of religion in the novel too. Glory's dreamed dwelling is forever out of reach: ‘She knew […] that she would never open a door on that home, never cross that threshold […] Ah well’ (107). This impossible home – which Glory here imagines in purely physical terms – haunts the reality of her father's abode for the rest of the novel. Her final sigh of resignation – ‘Ah well’ – also illustrates the dominant tone of sadness that inflects the book. Home shifts in idiom from Gilead (2004), infused by greater

in Marilynne Robinson
Disturbance of the epistemological conventions of the marriage plot in Lila
Maria Elena Carpintero Torres-Quevedo

Bildungsroman written through the perspective of a female protagonist most likely in her mid-30s, who lives most of her life on the margins – comments on that society. I argue that Robinson draws on the pillars of America's cultural, intellectual, and spiritual inheritance – including transcendentalism and biblical mythology – in ways that create space for the articulation of women's experience in the American literary and philosophical landscape. As part of the Gilead trilogy, critics tend to read Lila as both secondary and inferior to Gilead (2004

in Marilynne Robinson