This book explores the author's contemporary poetics and pedagogy as it emerges from his reflections on his own writing and teaching, and on the work of other poets, particularly contemporary writers with whom he feels some affinity. At its heart is the author's attempt to elaborate his vision of a species of pastoral that is adequate to a globalised world (the author himself writes and teaches in the United States, the UK and his native Australia), and an environmentally and politically just poetry. The book has an autobiographical element, as the author explores the pulse of his poetic imagination through significant moments and passages of his life.
The journey North is a recurrent motif throughout the Gothic literary tradition, often representing a journey back in time to a more primitive location where conventional rules do not apply. Within the context of contemporary Scottish Gothic this journey continues to involve a temporal regression. The North of Scotland, and specifically the Highlands, is still a Gothic location, allowing for an interrogation of the homogenising notion of ‘national identity’. In this article the journey North is explored in the work of contemporary writers and film directors including Iain Banks, Alan Warner, David Mackenzie, and Neil Marshall.
Working in collaboration with others, Agostino Veneziano produced three
remarkable prints representing nude women seated or standing beside spectacular
allantica vases and set before ruinous landscapes. This article investigates the
authorship and origin of these unusual images. It suggests that the vases are
presented as a metaphor for female beauty, and relates the visual rhetoric of
these three prints to the writings of contemporary writers, including Agnolo
Firenzuola (1493–1543), who described the beauty of women in relation to the
elegant proportions of such vases.
A Review of Hilton Als’ God Made My Face: A Collective
Portrait of James Baldwin
This essay reviews Hilton Als’ 2019 exhibition God Made My Face: A
Collective Portrait of James Baldwin at the David Zwirner Gallery.
The show visually displays Baldwin in two parts: “A Walker in the
City” examines his biography and “Colonialism” examines
“what Baldwin himself was unable to do” by displaying the work of
contemporary artists and filmmakers whose works resonate with Baldwin’s
critiques of masculinity, race, and American empire. Mirakhor explores how
Als’ quest to restore Baldwin is part of a long and deep literary and
personal conversation that Als has been having since he was in his teens, and in
this instance, exploring why and how it has culminated via the visual, instead
of the literary. As Mirakhor observes, to be in the exhibit is not to just
observe how Als has formed and figured Baldwin, but to see how Baldwin has
informed and made Als, one of our most lyrical and impassioned contemporary
writers and thinkers.
the margins – from
Ireland to Scotland and back again – which threatens to ‘short-circuit
the colonial divide’ (1996: 180). This concept of unapproved roads is one
to which we shall return as we examine the ways in which contemporarywriters also cross and map a terrain that does not require polarisation
with a ‘core’ to give it significance.
At the same time, however, Scott’s understanding of the peculiar
merits of Edgeworth’s art is cast in terms which were to encumber much
subsequent Irish and Scottish fiction. The merit of Castle Rackrent, it
appears, is that it
Reformation: reformulation, reiteration and reflection
studying the Reformation debate in the
sixteenth and early seventeenth centuries is essentially examining
the attempts of some contemporarywriters to use historical interpretation to shape the nature of the Reformation itself. John Bale,
William Tyndale and John Foxe were themselves agents of
Protestant reformation. Foxe used a version of history itself to
make his point that England and its monarch were elected by God
to complete the Reformation. This enormously popular work,
supported by other Protestant polemicists in print and pulpit, gave
the Reformation ‘form’ and
produced by Zochrot (Hever 2010), proving that Israeli poets did deal, albeit
often in veiled terms, with the Palestinian catastrophe as it was taking place.
As my focus is Nakba commemoration, rather than an extensive analysis of
Israeli Hebrew literary representations of ‘the Arab’, I discuss briefly some
accounts of the Nakba in Israeli literary narratives, from the early 1948
generation melancholic writings to works by contemporarywriters who, I
argue, in giving their Palestinian protagonists a voice, appropriate that very
voice. Based on my observations
the crusade and its ideology was
solipsistically western, tapping into ubiquitous communal
imprints of shared historical myths and legends, sustained by a
vigorous liturgical tradition that maintained Jerusalem, the Holy
Land and even a demonised Turk in an extended metaphor for
godliness and the Christian life.65
The use of the crusade and its history, by humanists and other
contemporarywriters, occupied a world of polemic, serving
parochial religious, cultural and political functions. By affecting to
address actual immediate temporal issues, the logistical work
to the nest, specifically as
it figures in the work of the Romantic poet John Clare and is refigured
in the ecopoetic experimentation of the contemporarywriter (and erstwhile
conservation biologist) David Morley.
The interpretive frame that I bring to this discussion is informed by
several further lines of theorisation which enrich Plumwood’s proposal
for a ‘radical green writing project’: ecophilosopher Freya Mathews’s
transpecies ethic of ‘bioproportionality’ (2014), which I relate to Derrida
and Dufourmantelle’s notion of ‘radical hospitality’ (2000), and
Rohinton Mistry is the only author whose every novel has been shortlisted for the Man Booker Prize. Such a Long Journey (1991), A Fine Balance (1995) and Family Matters (2002) are all set in India's Parsee community. Recognised as one of the most important contemporary writers of postcolonial literature, Mistry's subtle yet powerful narratives engross general readers, excite critical acclaim and form staple elements of literature courses across the world. This study provides an insight into the key features of Mistry's work. It suggests how the author's writing can be read in terms of recent Indian political history, his native Zoroastrian culture and ethos, and the experience of migration, which now sees him living in Canada. The texts are viewed through the lens of diaspora and minority discourse theories to show how Mistry's writing is illustrative of marginal positions in relation to sanctioned national identities. In addition, Mistry utilises and blends the conventions of oral storytelling common to the Persian and South Asian traditions, with nods in the direction of the canonical figures of modern European literature, sometimes reworking and reinflecting their registers and preoccupations to create a distinctive voice redolent of the hybrid inheritance of Parsee culture and of the postcolonial predicament more generally.