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A Bibliographic Essay
Conseula Francis

Readers and critics alike, for the past sixty years, generally agree that Baldwin is a major African-American writer. What they do not agree on is why. Because of his artistic and intellectual complexity, Baldwin’s work resists easy categorization and Baldwin scholarship, consequently, spans the critical horizon. This essay provides an overview of the three major periods of Baldwin scholarship. 1963–73 is a period that begins with the publication of The Fire Next Time and sees Baldwin grace the cover of Time magazine. This period ends with Time declaring Baldwin too passé to publish an interview with him and with critics questioning his relevance. The second period, 1974–87, finds critics attempting to rehabilitate Baldwin’s reputation and work, especially as scholars begin to codify the African-American literary canon in anthologies and American universities. Finally, scholarship in the period after Baldwin’s death takes the opportunity to challenge common assumptions and silences surrounding Baldwin’s work. Armed with the methodologies of cultural studies and the critical insights of queer theory, critics set the stage for the current Baldwin renaissance.

James Baldwin Review
Martha Graham, dance and politics
Dana Mills

it held the audience spellbound. (Denby 1986: 109) Graham knew very well how to present and perform a sic-​sensuous, a presentation of an aesthetic not always considered beautiful experienced between two sensing bodies. Slightly more light-​hearted but no less critical receptions of Graham are quoted in Copeland’s book on Merce Cunningham, Graham dancer turned into revolutionary in his own right. In reference to titles in characters in her Dark Meadow, such as One who Seeks, He who Summons, The One who Speaks, Copeland terms Graham herself: ‘she whose head ached

in Dance and politics