This is the first English language publication of an interview with James Baldwin
(1924–87) conducted by Nazar Büyüm in 1969, Istanbul, Turkey. Deemed too long for
conventional publication at the time, the interview re-emerged last year and reveals
Baldwin’s attitudes about his literary antecedents and influences such as Richard Wright,
Langston Hughes, and Countee Cullen; his views concerning the “roles” and “duties” of a
writer; his assessment of his critics; his analysis of the power and message of the Nation
of Islam; his lament about the corpses that are much of the history and fact of American
life; an honest examination of the relationship of poor whites to American blacks; an
interrogation of the “sickness” that characterizes Americans’ commitment to the fiction
and mythology of “race,” as well as the perils and seductive nature of American power.
, the exact reason for the flight from
Iran to India has itself become something of a contentious issue
among twentieth-century Parsi scholars. The traditional view
was that the Persian Zoroastrians who migrated found Muslim
rule intolerable and set out to find a place where they could
practise their religion undisturbed. However, it has also been
suggested that ‘“the migration of the Parsis to the west coast of
India was not so much a flight as a readjustment of commercial
patterns which had arisen prior to Islam” wherein Parsi
dominance of trade with India had been
Shérazade and other women in the work of Leïla Sebbar
Margaret A. Majumdar
gaze is compounded by the complication that
the other is not simply the absolute negation or enemy, but can be also,
and often at the same time, the object of desire. Furthermore, there are
problematics deriving from the Maghrebian cultural context, which also
come into play. These relate to the gaze as it speciﬁcally aﬀects women
Subversion of the gaze in Sebbar’s ﬁction
and popular beliefs attached to the evil eye and measures to avert it, for
instance, the use of Fatima’s hand and other types of amulet.4 It also
relates to the role of the visual in Islam
Don’t Ever Wipe Tears Without Gloves as a reparative fantasy
seeking shelter. In September
2014, however, the right-centre government lost the election and Sweden
Democrats, with their anti-immigration and anti-Islam agenda, changed
the Swedish political landscape.
In 2012, Gardell was active in articulating the limits of the narrative of
the caring, compassionate nation. Together with another LGTBQ activist
and two high-profile politicians, Gardell published an appeal to grant a residence permit to an HIV-positive gay man from Uganda (Gardell et al., 2012).
With ‘Let us wipe Karim’s tears’, Gardell and his companions
De-scribing Imperial identity from alien to migrant
with Midnight’s Children and
the urban riots in 1981. Syed Manzu Islam writes: ‘If “15 August 1947” is
the name of the event in the historical time of the Indian postcolonial
nation state, then it is equivalent to the time of “London, 1981” – the
historical time of the migrant as subject of the British national state’
(1999: 129). If Partition was the final colonial act of alienation enforced
by the English in India, then its legacy, so evident in 1960s writing,
began to be extirpated by the migrant’s assertion of new British ethnicities on the streets and in the
of mapping the globe. There is a play of the sublime and the empirical here.
You might no more think it possible to track down a given whale in all the
waters of the globe than to track down a given, elusive Islamic fundamentalist
– though actually, as it turns out, sometimes it is. But the point is,
epistemologically speaking, that what Ahab knows is how to hunt down and
catch whales. He doesn’t, in the novel at least — perhaps he did before – know
whales the way Thoreau knows beans.
Ishmael does; or at least, he means to. Like Thoreau, Ishmael is an
contamination that may linger in him as a result of the temptations he
faced, and only partly overcame, in Constantinople.
The blackness of Guy’s hair and skin, moreover, demonstrate
visually for the Duke, as they will for the audience later, another identity marker he assumes in his disguise: Guy implicitly marks himself as
a Saracen, or Muslim, by emphasising that the Saracen who raised his
234 Rebecca Wilcox
steed is his cousin. Thus Guy prepares the reader to associate blackness
with Islam and with infiltration. After all
parenthetically in the
Childress, ‘Between romance and legend’, p. 316.
Siege of Melayne 41
14 Shepherd, ‘Journee’, pp. 128, 129.
15 Suzanne Conklin Akbari, ‘Imagining Islam: the role of images in medieval depictions of Muslims’, Scripta Mediterranea, 19–20 (1998–99), 9–27.
16 Six Middle English Romances, ed. Mills, p. xiii.
17 Patrick Geary, ‘Humiliation of saints’, in Stephen Wilson (ed.), Saints and
their Cults: Studies in Religious Sociology, Folklore, and History (Cambridge,
1983), pp. 123–40. Hardman similarly notes the
turban’, in D. Blanks
(ed.), Images of the Other: Europe and the Muslim World Before 1700 (Cairo,
1997), pp. 39–54 for an informative account of the politics of turbans and
Turks’ heads in Renaissance England; Matar’s argument has clear implications for medieval representations of Islam and the Arab world.
14 Quoted during the 2001 Israeli election campaign in Independent on
Sunday, 28 January 2001; Jean Marie Le Pen, leader of France’s ultra
rightwing Front National, makes a similar claim: ‘Je mange du musulman