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Biographical Dispatches on a Freedom Writer
Phillip Luke Sinitiere

This essay presents the idea of James Baldwin as a freedom writer, the organizing idea of my biography in progress. As a freedom writer, Baldwin was a revolutionary intellectual, an essayist and novelist committed unfailingly to the realization of racial justice, interracial political equality, and economic democracy. While the book is still in process, this short essay narrates autobiographically how I came to meet and know Baldwin’s work, explains in critical fashion my work in relation to existing biographies, and reflects interpretively my thoughts-in- progress on this fascinating and captivating figure of immense historical and social consequence.

James Baldwin Review
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James Baldwin and the Broken Silences of Black Queer Men
McKinley E Melton

James Baldwin writes within and against the testimonial tradition emerging from the Black Church, challenging the institution’s refusal to acknowledge the voices and experiences of black queer men. Baldwin’s autobiographical novel, Go Tell It on the Mountain, creates a space for Baldwin’s testimony to be expressed, and also lays the foundation for a tradition of black queer artists to follow. In the contemporary moment, poet Danez Smith inhabits Baldwin’s legacy, offering continuing critiques of the rigidity of conservative Christian ideologies, while publishing and performing poetry that gives voice to their own experiences, and those of the black queer community at large. These testimonies ultimately function as a means of rhetorical resistance, which not only articulates black queer lives and identities, but affirms them.  

James Baldwin Review
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James Baldwin and the Ethics of Trauma
Mikko Tuhkanen

This essay proposes that we turn to James Baldwin’s work to assess the cost of, and think alternatives to, the cultures of traumatization whose proliferation one witnesses in contemporary U.S. academia. Beginning with some recent examples, the essay briefly places these cultures into a genealogy of onto-ethics whose contemporary forms arose with the reconfiguration of diasporic histories in the idioms of psychoanalysis and deconstructive philosophy in 1990s trauma theory. Baldwin speaks to the contemporary moment as he considers the outcome of trauma’s perpetuation in an autobiographical scene from “Notes of a Native Son.” In this scene—which restages Bigger Thomas’s murderous compulsion in Native Son—he warns us against embracing one’s traumatization as a mode of negotiating the world. In foregoing what Sarah Schulman has recently called the “duty of repair,” such traumatized engagement prevents all search for the kind of “commonness” whose early articulation can be found in Aristotle’s query after “the common good” (to koinon agathon). With Baldwin, the present essay suggests the urgency of returning to the question of “the common good”: while mindful of past critiques, which have observed in this concept’s deployment a sleight-of-hand by which hegemonic positions universalize their interests, we should work to actualize the unfinished potential of Aristotle’s idea. Baldwin’s work on diasporic modernity provides an indispensable archive for this effort.

James Baldwin Review
New writers, new literatures in the 1990s
Editors: Gill Rye and Michael Worton

The 1990s witnessed an explosion in women's writing in France, with a particularly exciting new generation of writer's coming to the fore, such as Christine Angot, Marie Darrieussecq and Regine Detambel. This book introduces an analysis of new women's writing in contemporary France, including both new writers of the 1990s and their more established counter-parts. The 1990s was an exciting period for women's writing in France. The novels of Louise Lambrichs are brilliant but troubling psychological dramas focusing on the traumas that inhabit the family romance: incest, sterility, the death those we love and the terrible legacy of mourning. The body of writing produced by Marie Redonnet between 1985 and 2000 is an unusually coherent one. The book explores the possibility of writing 'de la mélancolie' through focusing on the work of Chantal Chawaf, whose writing may be described as 'melancholic autofiction', melancholic autobiographical fiction. It places Confidence pour confidence within Constant's oeuvre as a whole, and argues for a more positive reading of the novel, a reading that throws light on the trajectory of mother-daughter relations in her fiction. Christiane Baroche was acclaimed in France first as a short-story writer. Unable to experience the freedom of their brothers and fathers, beur female protagonists are shown to experience it vicariously through the reading, and the writing of, narratives. Clotilde Escalle's private worlds of sex and violence, whose transgressions are part of real lives, shock precisely because they are brought into the public sphere, expressed in and through writing.

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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
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Christopher Morgan

the Aberdaron period contribute increasingly toward a sustained project in autobiography. My suggestion here is not that Thomas begins a project in poetic autobiography after moving to Aberdaron, but more that, for Thomas, poetry, by its very definition, is autobiography. The poems written after the move to Aberdaron illustrate a significant acceleration and intensification of that autobiographical instinct. In this first chapter my technique will be to explore the idea of poetry as autobiography using Thomas’s poem ‘This To Do’, but also introducing the work of a

in R. S. Thomas
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Chantal Chawaf ’s melancholic autofiction
Kathryn Robson

described as ‘melancholic autofiction’, melancholic autobiographical fiction. We know from interviews and publicity notices accompanying Chawaf ’s texts that she was born during a bomb explosion in Paris in  in which her parents were killed and she was extracted from her dying mother’s womb by Caesarian section.2 Since Chawaf ’s first novel Retable/La Rêverie (), which features a melancholic orphan whose parents were killed in a bomb explosion in the Second World War, her novels have repeatedly returned to fictionalised scenes of parental death.3 This chapter deals

in Women’s writing in contemporary France
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Gender and a new politics in Achebe
Elleke Boehmer

BOEHMER Makeup 3/22/05 2:55 PM Page 54 John's G5:Users:john:Public:John's Mac: John's Jobs 3 Of goddesses and stories: gender and a new politics in Achebe The Almighty looking at his creation through the round undying eye of the Sun, saw and pondered and finally decided to send his daughter, Idemili, to bear witness to the moral nature of authority by wrapping around Power’s rude waist a loincloth of peace and modesty. (Chinua Achebe, Anthills of the Savannah)1 Although he published the autobiographical meditation Home and Exile in 2002, Chinua Achebe

in Stories of women
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Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

Literature and/or reality?
Marion Sadoux

contrast to the convoluted and complex formal structures of the texts themselves. Indicative of this tendency is the way in which Pierre Marcelle concludes his review of Sujet Angot in Libération:2 S’il y a quelque chose qui trouble, dans Sujet Angot, c’est la complexité de l’élaboration formelle au service d’une ‘histoire’ si autobiographique. Tant d’imagination au service de si peu d’imagination en quelque sorte.3 (If there is something puzzling about Sujet Angot, it is the complexity of the formal elaboration employed for such an autobiographical ‘story’. So much

in Women’s writing in contemporary France