Open Access (free)
Reading Beckett’s negativity
Peter Boxall

horrors of disinterested endeavour’, Arsene reflects, ‘he finds himself at last in a situation where to Nothing of value 29 do nothing exclusively would be an act of the highest value and significance’.2 This moment in Beckett’s writing, at which the prospect of doing nothing is accorded both value and significance, might be thought of as a turning point. Beckett’s earlier protagonists Belacqua and Murphy were fond of indolence, and enjoyed after their own fashion the delights of inactivity, but this moment in Watt is arguably one in which Beckett’s work for the

in Beckett and nothing
Open Access (free)
James Schuyler
David Herd

own right and in a very rich sense a continuation of his poetry. In presenting his enthusiasm I want to show how, in the process and experience of composing, Schuyler opened his writing up: to other voices, but also, as he was able confidently to put it in ‘Slowly’ (a poem which originated in The Diary) to ‘the what of which you are a part’; where ‘the what’ was, as Schuyler called it, ‘life’ – as distinct from a Romantic ‘nature’, or, say, from a Heideggerean sense of ‘being’ – and with which he understood himself to be continuous. What an enthusiastic reading of

in Enthusiast!
Open Access (free)
Actresses, female performers, autobiography and the scripting of professional practice
Maggie B. Gale

autobiographical writing. Fifteen years her senior, Ada Reeve (1874–1966), who had also spent a substantial proportion of her career working as a Gaiety Girl and in musical comedy, titled her late autobiography Take It for a Fact (Reeve, 1954), with a similar pointed reference to her sense of agency and ­18 The social and theatrical realm authority in the writing of her own professional life story. Reeve, with a characteristic lack of charm, orders us to read her reminiscences as a ‘record’ of fact, even though they were written in a moment of almost desperate nostalgia

in Stage women, 1900–50
Open Access (free)
Sue Thomas

Vidiadhur Surajprasad Naipaul’s narratives of arrival in England return repeatedly to his father Seepersad’s nurturing of his artistic ambition in Trinidad, and his early prescience that the ‘idea of the writing vocation’ given him by a colonial acculturation could be realised and practised in England. 1 In making himself a writer, 2 he has abjured being categorised as

in West Indian intellectuals in Britain
Open Access (free)
A short essay on enthusia
David Herd

floods of life stream around and through us, and invite us by the powers they supply, to action proportioned to nature, why should we grope among the dry bones of the past, or put the living generation into masquerade out of its faded wardrobe? The sun shines to-day also. There is more wool and flax in the fields. There are new lands, new men, new thoughts. Let us demand our own works and laws and worship.1 Emerson’s intention in writing Nature, and in writing its introductory section in particular – with its unanswered questions and its heightened demands – was to

in Enthusiast!
Open Access (free)
The ‘outside’ in poetry in the 1980s and 1990s
Linden Peach

inadequately given the space available, the variety of work that became available in these decades. It hardly needs pointing out that the poetry scene has changed since the publication of British Poetry Since 1970, in which Blake Morrison stereotyped the published poet as writing from a ‘nostalgic liberal humanism’ with ‘strong respect for “traditional” forms, even strict metre and rhyme’ (Jones and Schmidt 1980: 142). Morrison said as much two years later in the introduction to The Penguin Book of Contemporary British Poetry (1982: 11). But, as Robert Hampson and Peter

in Across the margins
The inflection of desire in Yvonne Vera and Tsitsi Dangarembga
Elleke Boehmer

’s sexuality, especially in so far as sexuality remains the dark secret of the Third World nation. Queer sexuality, in point of fact, probably still constitutes what could best be termed a virtual nonpresence, or at least a covert silencing, an ‘unsaying’, in postcolonial discourses generally and in African writing in particular.3 It is a surprising omission or occlusion considering that, since the 1960s, postcolonial theory and criticism have grown up in tandem with the emergence of a politics of identity and cultural difference, and are deeply informed by discourses of

in Stories of women
Open Access (free)
Entanglements and ambiguities
Saurabh Dube

ruptures of functionalist and structural-functionalist anthropology with evolutionist (and diffusionist) principles on the grounds of their speculative procedures had wider consequences. They entailed a wider suspicion toward, the placing of a question mark on, history as such within the discipline. 1 Now the practice of anthropology could proceed in contradistinction to the writing of history. Second

in Subjects of modernity
Birgit Lang

4 Erich Wulffen and the case of the criminal Birgit Lang In 1927, the leading illustrated weekly Berliner Illustrirte Zeitung (BIZ) introduced its readers to the twenty-one most influential German criminologists of the day. Each was represented by a portrait photograph and a caption. The result was an iconography of experts in the burgeoning fields of studying, solving and writing about crime and criminals. Among the select group was Dr Erich Wulffen (1862–1936), Head of Department in the Saxon Ministry of Justice.1 The photo essay describes Wulffen as the

in A history of the case study
The structures of migration in Tales from Firozsha Baag
Peter Morey

to receive a more extended treatment in his subsequent novels, they can all be seen at work in the lives of the characters who inhabit the eponymous Bombay apartment block. Indicative of Mistry’s style is a subtle, but increasingly sophisticated and insistent, temporal weaving of past and present, enabling an exploration of characters and their motivations, and of the intricate tangle of cause and effect which directs events on both personal and national levels. Likewise, symbols are never static in Mistry’s writing. Places, water, music, the weather, cooking

in Rohinton Mistry