James Baldwin’s Voice in “Notes of a Native Son”
Beth Tillman

This article is a close analysis of Baldwin’s voice in the essay “Notes of a Native Son.” Much has been written about Baldwin’s themes, but without his singular voice, the power of his works would not endure. Through his use of diction, repetition, alliteration and assonance, scene selection, and even punctuation, Baldwin provides the reader with a transformative experience by rendering his own experience accessible. The political and the personal are inextricable, a truth made unavoidable by the way Baldwin writes as much as by the subject he chooses. Examining how he crafts his voice allows us to understand more deeply the power of “Notes of a Native Son.”

James Baldwin Review
Open Access (free)
Daniel Humphrey

-protagonist’s vow of silence. However, through Bergman’s deconstructive authorial voice, we witness the collapse of meaning precisely through the ‘inadequate and lying language’ of the cinema. Many critics have, of course, sensed these essential paradoxes within Bergman’s film. Robin Wood, in his second, more radical assessment of the film, blames Bergman for the failure of nerve represented by a film that seemed to him, in its first scenes between Elisabet and Alma in the beach house, to be moving towards a radical

in Ingmar Bergman
Towards a digital Complete Works Edition
Dirk Van Hulle

form to convey the content. This constant search on the micro-level of enunciation has consequences for the macro-level as it determines the author's ‘voice’ and the identity of the oeuvre. As a result, there are conscious or unconscious idiosyncrasies that connect the individual works within an oeuvre. Beckett emphasises these interconnections by means of intratextual references, such as his novels referring to the protagonists of the earlier novels. Beckett's literary quest is not straightforward or linear, nor does it necessarily imply ‘progress’, which would

in Beckett and media
Open Access (free)
Sue Thomas

shop. Naipaul’s authorial voice in ‘Tell me who to kill’ is compassionate towards the narrator and his dilemma that he cannot identify a clear-cut enemy responsible for his despair; the sympathy is also grounded in a protective rescue of the narrator from Frank’s kind of simplicities. The narrator’s stylised patois enriches his humanity; elsewhere, as in The Middle Passage and

in West Indian intellectuals in Britain
Open Access (free)
Actresses, female performers, autobiography and the scripting of professional practice
Maggie B. Gale

star and society celebrity – with an uncanny onscreen resemblance to the film ‘vamp’ Pola Negri (Darewski [Miller], 1933: 178; Miller, 1962: 111–12). Miller’s intense authorial voice shifts in register between a woman concerned to assert her professional achievements and one still grieving for a love lost too soon. Her second autobiography, Champagne from My Slipper (Miller, 1962), repeats numerous anecdotes from the 1933 autobiography, but covers an additional thirty years of professional activity: it speaks to an altered market and an ageing, differently nuanced

in Stage women, 1900–50
Wharton,Woolf and the nature of Modernism
Katherine Joslin

encoded values, and are perhaps at their best when recording the layers of individual voices and thoughts during social gatherings – dinner parties and chats over tea. Wharton’s configurations foreground the narrative voice, often entwining it with a thinly disguised version of her own voice; she illustrates the significant points of the narrative with dramatic dialogue interspersed with soliloquy. Woolf ’s more episodic design foregrounds the half-conscious musings of individual characters and their often fragmented conversations, moving the narrative/authorial voice to

in Special relationships
Open Access (free)
Gill Rye
and
Michael Worton

representation (of male desire, fantasy or fear). This is a major achievement, particularly in the intellectual climate of the late twentieth century and early twenty-first century, in which the very notion of the subject has been radically called into question. What characteristics enable woman writers to assert their authorial voice in the shadow of the dominant literary conceit of the s, the Barthesian dissolution of the authority of the writing subject over the interpretation of the texts she or he writes? Furthermore, what is the nature of these new female (and

in Women’s writing in contemporary France
Affiliation, allusion, allegory
Rachel E. Hile

Clout as simply a pseudonym for the poet” in the 1579 Shepheardes Calender, she errs, I think, in seeming at times to transfer that role to Immerito, repeatedly referring to the authorial voice in the work by the name of “Immerito” (Johnson, Shepheardes, 8). Following in Johnson’s path, Jennifer Richards continues the conflation of Immerito with Spenser but with a more pointed analytical perspective, building an argument based on the contrast between the voice of “its supposed author ‘Immerito’ (Spenser’s persona)” with those of the other characters, including “Colin

in Spenserian satire
The Show from street to print
Tracey Hill

in the present tense of the firing of ordnance after a speech, but in the same sentence tells his reader ‘now I come to the fift and last’. The writers occasionally add interventions in their own voices, so to speak. Towards the very end of The triumphs of truth the present tense used to describe the pageantry is mixed with an interpellation of authorial voice, when Middleton, in the middle of his account of the day’s spectacle, thanks Nichols, Grinkin and Munday and then returns to his account as if the interruption had never happened (sigs D2v–D3r). Heywood also at

in Pageantry and power