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A New Spatiotemporal Logic in James Baldwin’s The Evidence of Things Not Seen
Özge Özbek Akıman

This article examines James Baldwin’s late text The Evidence of Things Not Seen (1985) as one of his substantial attempts at “forging a new language,” which he tentatively mentions in his late essays and interviews. As an unpopular and difficult text in Baldwin’s oeuvre, Evidence carries the imprint of a new economy of time, casting the past into the present, and a new economy of space, navigating across other geographies in appraising the serial killings of children in one of Atlanta’s poorest Black neighborhoods. This article suggests that a new economy of time emerges earlier in No Name in the Street (1972), as a result of Baldwin’s self-imposed exile in Europe. The article then analyzes his spatiotemporal logic in the specifics of Evidence with reference to a Black middle class, urbanization, the ghetto, gentrification, and other colonized spaces.

James Baldwin Review
James Baldwin and Ray Charles in “The Hallelujah Chorus”
Ed Pavlić

Based on a recent, archival discovery of the script, “But Amen is the Price” is the first substantive writing about James Baldwin’s collaboration with Ray Charles, Cicely Tyson, and others in a performance of musical and dramatic pieces. Titled by Baldwin, “The Hallelujah Chorus” was performed in two shows at Carnegie Hall in New York City on 1 July 1973. The essay explores how the script and presentation of the material, at least in Baldwin’s mind, represented a call for people to more fully involve themselves in their own and in each other’s lives. In lyrical interludes and dramatic excerpts from his classic work, “Sonny’s Blues,” Baldwin addressed divisions between neighbors, brothers, and strangers, as well as people’s dissociations from themselves in contemporary American life. In solo and ensemble songs, both instrumental and vocal, Ray Charles’s music evinced an alternative to the tradition of Americans’ evasion of each other. Charles’s sound meant to signify the history and possibility of people’s attainment of presence in intimate, social, and political venues of experience. After situating the performance in Baldwin’s personal life and public worldview at the time and detailing the structure and content of the performance itself, “But Amen is the Price” discusses the largely negative critical response as a symptom faced by much of Baldwin’s other work during the era, responses that attempted to guard “aesthetics” generally—be they literary, dramatic, or musical—as class-blind, race-neutral, and apolitical. The essay presents “The Hallelujah Chorus” as a key moment in Baldwin’s search for a musical/literary form, a way to address, as he put it, “the person and the people,” in open contention with the social and political pressures of the time.

James Baldwin Review
Essays in popular romance

This collection and the romances it investigates are crucial to our understanding of the aesthetics of medieval narrative and to the ideologies of gender and sexuality, race, religion, political formations, social class, ethics, morality and national identity with which those narratives emerge.

Thinking, feeling, making
James Paz

? One of the challenges of this collection is to read Beowulf in a more personal way. Although I had not given it much thought before, this challenge made me wonder whether my own working-class background might lie behind my love for the artefactual. I am a first-generation scholar, the first in my family to attend university, let alone pursue postgraduate studies. The norm was for men to leave school at sixteen (or younger) and find a trade, which they would remain in for the rest of their lives. My entry into middle-class academia might be viewed as a ‘success

in Dating Beowulf
Open Access (free)
Race, class, and poetry in a South American colony
Jason Rudy
Aaron Bartlett
Lindsey O'Neil
, and
Justin Thompson

situate the colony in relation to Australia, the United States, and Great Britain, specifically in racialised terms. Our chapter begins with an overview of Australia’s late-century labour crisis, which precipitated Lane’s migration scheme. We turn then to the Cosme Monthly and its complex negotiations of race and class via poetry and song. Australian labour and the vision of Paraguay William Lane was an English-born immigrant to Australia, arriving in Brisbane in 1885. Among the few possessions he brought with him to the southern hemisphere were copies of Marx

in Worlding the south
Open Access (free)
What lovers want
Arlyn Diamond

actual concerns of the landowning class of the time – property, fences, hunting rights, being just to one’s tenants, seeking proper legal redress for wrongs, and eventually, after much harm done, compromise and reconciliation’.2 MUP_McDonald_05_Ch4 82 11/20/03, 13:57 Sir Degrevant 83 While agreeing with Davenport’s desire to place the narrative in a knowable historical context, I think he defines the audience and its ‘actual concerns’ too narrowly. Without disputing the justice of his formulation, I would argue that the very term landowning class, however accurate

in Pulp fictions of medieval England
Johanna Gondouin
Suruchi Thapar-Björkert
, and
Ingrid Ryberg

affective and biological labour and situating the notion of motherhood in a larger context of issues of reproductive work, the series offers a rich and complex reflection on the current debate about the global division of reproductive work across axes of gender, race, nationality, migration status, and class (Colen, 1995; Ginsburg and Rapp, 1995; Parreñas, 2000; Shanley, 2001; Vora, 2008; Yngvesson, 2010). However, while critics have recognised motherhood, misogyny, sexism, and gendered violence as central themes in China Girl, surprisingly few comments address the racial

in The power of vulnerability
The return of the repressed in Roddy Doyle’s Paula Spencer
Jennifer M. Jeffers

this work. Only Paula. . . . Ten years ago there wouldn’t have been one black woman on this bus – less than ten years. It would have been Paula and women like Paula. Same age, from the same area, same kids. Where are those women now? Carmel used to do cleaning and now she’s buying flats in Bulgaria. (p. 56) Paula answers our question ‘What does it mean to be Irish?’ by stating that she is not Irish: she is a subordinate just like the Africans, Romanians and Latvians in Ireland. The immigrants and Paula are tethered to bottom of the economic class system in Ireland

in Irish literature since 1990
Clara Tuite

gypsies, also known as ‘St. Giles’ Greek’ after the London district associated with vagrancy. 7 During the Regency, the flash language of the London criminal class was made over into a fashionable language and sociable style that linked it with the ‘ton’ and ‘the world’. It took on new and intriguing infusions when it travelled to an antipodean setting from the late 1780s. As the colonial surgeon Peter Miller Cunningham wrote in Two Years in New South Wales (1827): A number of the slang phrases current in St Giles’s Greek bid fair to become legitimised in

in Worlding the south
Gender and nationalism in the early fiction of Flora Nwapa
Elleke Boehmer

resist the compounded oppressions of colonialism, gender, race, class, sexuality, etc., and find at the same time that tactics of self-representation are often usefully adopted from the more established and yet compromising nationalist politics of their male counterparts. Indeed, as Kumari Jayawardena has shown, antiimperial, nationalist struggles in many parts of the world historically gave birth to (usually middle-class) feminist movements.14 Yet, even so, the exclusions imposed on women by the independent nation, especially by those nationalist brothers concerned to

in Stories of women