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Black Women as Surrogates of Liberation in James Baldwin’s If Beale Street Could Talk
Marquita R. Smith

This essay analyzes how James Baldwin’s late novel If Beale Street Could Talk represents Black women’s care work in the face of social death as an example of how Black women act as surrogates for Black liberation giving birth to a new world and possibilities of freedom for Black (male) people. Within the politics of Black nationalism, Black women were affective workers playing a vital role in the (re)creation of heteronormative family structures that formed the basis of Black liberation cohered by a belief in the power of patriarchy to make way for communal freedom. This essay demonstrates how Beale Street’s imagining of freedom centers not on what Black women do to support themselves or each other, but on the needs of the community at large, with embodied sacrifice as a presumed condition of such liberation.

James Baldwin Review
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A practical politics of care
Caoimhe McAvinchey

women are deemed, individually and collectively, beyond care. Beyond care? Women, criminal justice and criminalisation The prison population continues to soar. At the time of writing, more than eleven million people are incarcerated across the globe. There is a considerable body of research detailing the political and economic imperatives for this phenomenon (Coyle et al ., 2016 ; Mauer, 2016 ). The rise in crime and sentencing reflects an expansion in the number of human behaviours identified as unlawful (particularly in relation to technology and immigration

in Performing care
Translatina world-making in The Salt Mines and Wildness
Laura Horak

capitalism, make trans and gender-​nonconforming people who are of colour, poor, immigrants, and/​or sex workers particularly vulnerable to violence, murder, incarceration, and deportation. Alongside black and indigenous trans women, translatina women are particularly vulnerable.1 A 2011 report conducted by the National Center for Trans Equality indicated that ‘Latino/​a Trans people often live in extreme poverty with 25% reporting a household income of less than $10,000/​year’, which is ‘nearly double the rate for Trans people of all races’, ‘five times the general Latino

in The power of vulnerability
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The male leader’s autobiography and the syntax of postcolonial nationalism
Elleke Boehmer

within individual texts (such as in the rhythm of periods of incarceration, or trips to Europe, which governs Nehru’s autobiography). The autobiographical syntax can therefore entail the configuration as part of an interconnected, flexibly repeating sequence of patterns (syntagmatic units) of individual/national development, in which key metaphors (paradigms) of the nation and the nationalist are then embedded. To illustrate, almost without exception the autobiographies examined here begin with a genealogy setting out the leader’s origins and socio-historical context

in Stories of women
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Ezra Pound
David Herd

into the shade’. Wherever the heat emanates from – whether it is the heat of cultural hell or the warmth of the sun – the call is clear; the poet in the present age must retreat into the shade. It was a call that would eventually mean marginality, exile, martyrdom, arrest and incarceration. Distributing Pound reviewed C. H. Douglas’s Economic Democracy in 1920. How he came to be reading economic theory at this time, he explained in another of his retrospectives, ‘Murder by Capital’, published in The Criterion in July 1933. Once again tracking the twists and turns of

in Enthusiast!
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Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
Christina Morin

. 252). Once arrived in London, O’Neil meets with a series of disappointments that convince him of the ‘gross’ and ‘immoral’ tendency of popular literary tastes, demanding, as he sees it, nothing short of authorial ‘prostitution’ ( The castle chapel , vol. 1, p. 258). O’Neil eventually abandons his literary aspirations, not least because they prove the tool by which his secret enemy, Mr Mordaunt, manages to have him imprisoned for treason and subsequently incarcerated in a private asylum for the insane. 4 While O’Neil's literary career, like his travels themselves

in The gothic novel in Ireland, c. 1760–1829
Derval Tubridy

the twentieth century. She describes it as ‘a kind of sitelessness, or homelessness, an absolute loss of place.’66 For Gabriele Schwab, Beckett’s politics are ‘an issue of territory, interpellation, and otherness’.67 Reread in the context of Salcedo’s art, Beckett’s neither gains particular relevance in the context of incarceration, asylum and immigration, as a text which explores the loss of identity, the refusal of sanctuary, the lack of another with whom to connect: of people ‘unheard’ and ‘unheeded’, silenced in this ‘unspeakable home’. Morton Feldman’s Neither

in Beckett and nothing
Revolutionary nationalism and women’s representation in Ngugi wa Thiong’o
Elleke Boehmer

nationalist programme for a new Kenya. Beginning with the writing of the epic-length Petals of Blood (1977), a project that extended across the early and mid-1970s, the time of his incarceration by the Kenyan state for alleged subversive practices, Ngugi came unequivocally to identify with the plight of the neocolonially betrayed Kenyan peasantry. His nationalism of the 1960s thus turned increasingly revolutionary and openly Marxist – an ideological trajectory to which Matigari still provides the high point. (A novel in Gikuyu, Murogi wa Kigoogo, slated for publication in

in Stories of women
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Margaret Rutherford
John Stokes

member of a long-standing theatrical dynasty; Joyce Carey (1898–1952) was the daughter of the actors Gerald Lawrence and Lilian Braithwaite. Rutherford, by contrast, was born into a quite untheatrical family with a troubled The odd woman ­287 35  Margaret Rutherford as Aunt Dolly in I’m All Right Jack, 1959. history – her father William, who worked as a journalist, suffered from a severely depressive illness that erupted at times into extreme violence. In 1883 he was found guilty of the murder of his father and incarcerated in an insane asylum until 1890. Two or

in Stage women, 1900–50
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Reading Beckett’s negativity
Peter Boxall

the glaring clarity of his logical thinking.52 This extraordinarily delicate play of likeness and singularity, of an intelligence whose locked imprisonment is woven into his freedom from enclosure, whose apprehension of solitude is also a kind of company, is central to the ways in which Sebald negotiates the boundaries that hem us in, that position us in bodies, in time and in space. Sebald develops a poetics which allows the experience of incarceration, in all its horror and its unwavering certainty, to produce a kind of almost unthinkable freedom, as if he has

in Beckett and nothing