James Baldwin’s Just Above My Head
Jenny M. James

This article considers James Baldwin’s last published novel, Just Above My Head (1979), as the culmination of his exploration of kinship, reflecting on the ways distance and loss characterize African-American familial relations. By analyzing Baldwin’s representation of Hall Montana’s relationship to, and mourning of, his younger brother Arthur, this article argues that JAMH revises the terms of the black family to imagine an alternative, errant kinship that is adoptive, migratory, and sustained through songs of joy and grief. My approach to the novel’s portrayal of kinship is indebted to Édouard Glissant’s Poetics of Relation (1990), in which he defines “errantry” as a fundamental characteristic of diaspora that resists the claustrophobic, filial violence and territorial dispossession that are slavery’s legacies. Baldwin represents errant kinship in JAMH through his inclusion of music and formal experimentation. Departing from previous scholarship that reads JAMH as emblematic of the author’s artistic decline, I interpret the novel’s numerous syntactic and figurative experiments as offering new formal insight into his portrait of brotherly love. Baldwin’s integration of two distinctive leitmotifs, blood and song, is therefore read as a formal gesture toward a more capacious and migratory kinship.

James Baldwin Review
Sam Barrett

7 Kinship, poor relief and the welfare process in early modern England Sam Barrett The poor in England Kinship, poor relief and the welfare process Overview – the ‘problem’ of kinship Historiographical writing on the depth and functionality of kinship in early modern England is limited. It is also contradictory. On the extent and depth of kinship networks, for instance, early commentators such as Peter Laslett were clear that English households tended to be relatively small and simple and that, because of demographic constraint (migration, ‘background

in The poor in England 1700–1850
Ernesto Schwartz-Marin and Arely Cruz-Santiago

The article will present the findings of ethnographic research into the Colombian and Mexican forensic systems, introducing the first citizen-led exhumation project made possible through the cooperation of scholars, forensic specialists and interested citizens in Mexico. The coupling evolution and mutual re-constitution of forensic science will be explored, including new forms of citizenship and nation building projects – all approached as lived experience – in two of Latin America‘s most complex contexts: organised crime and mass death.

Human Remains and Violence: An Interdisciplinary Journal
James Baldwin’s American South
Jeff Fallis

James Baldwin has frequently been written about in terms of his relationship to geographical locations such as Harlem, Paris, St. Paul-de-Vence, Istanbul, and “the transatlantic,” but his longstanding connection to the American South, a region that served as a vexed and ambiguous spiritual battleground for him throughout his life and career, has been little discussed, even though Baldwin referred to himself as “in all but no technical legal fact, a Southerner.” This article argues that the South has been seriously underconsidered as a major factor in Baldwin’s psyche and career and that were it not for the challenge to witness the Southern Civil Rights movement made to Baldwin in the late 1950s, he might never have left Paris and become the writer and thinker into which he developed. It closely examines Baldwin’s fictional and nonfictional engagements with the American South during two distinct periods of his career, from his first visit to the region in 1957 through the watershed year of 1963, and from 1963 through the publication of Baldwin’s retrospective memoir No Name in the Street in 1972, and it charts Baldwin’s complex and often contradictory negotiations with the construction of identity in white and black Southerners and the South’s tendency to deny and censor its historical legacy of racial violence. A few years before his death, Baldwin wrote that “[t]he spirit of the South is the spirit of America,” and this essay investigates how the essential question he asked about the region—whether it’s a bellwether for America’s moral redemption or moral decline—remains a dangerous and open one.

James Baldwin Review
Lindsey R. Swindall

Last year, in the dispatch “There Is No Texting at James Baldwin’s Table,” I began to assess the ways in which audiences were engaging with Baldwin’s writing at several public discussions that I co-facilitated with NYC actor/comedian Grant Cooper. Based on the initial reaction to two five-part Baldwin conversations at a high school and middle school in Manhattan, I posited that a need for meaningful communion is drawing people to discuss the writer. As I wrote that article, I was busy scheduling seven new Baldwin discussions in communities across New Jersey and another five-part series in Manhattan. Having completed those sessions, I am pleased to report that Baldwin’s welcome table is indeed a powerful vehicle for engaging in impactful dialogue. This dispatch will demonstrate that discussing Baldwin not only opened an avenue for productive sharing but went further by inspiring people to ask how they could contribute to hastening positive social and personal transformation. Three questions will frame this analysis of putting the welcome table into practice: How many people want to sit at James Baldwin’s table? Can conversations about James Baldwin sustain more “welcome table moments”? Can these interactions create a sense of kinship that deepens personal interaction in the digital age?

James Baldwin Review
Open Access (free)
Jazzing the Blues Spirit and the Gospel Truth in James Baldwin’s “Sonny’s Blues”
Steven C. Tracy

The webs of musical connection are essential to the harmony and cohesion of James Baldwin’s “Sonny’s Blues.” As a result, we must explore the spectrum of musical references Baldwin makes to unveil their delicate conjunctions. It is vital to probe the traditions of African-American music—Spirituals, Blues, Jazz, and Pop—to get a more comprehensive sense of how Baldwin makes use of music from the sacred and secular continuum in the African-American community. Looking more closely at the variety of African-American musical genres to which Baldwin refers in the story, we can discern even more the nuances of unity that Baldwin creates in his story through musical allusions, and shed greater light on Baldwin’s exploration of the complexities of African-American life and music, all of which have as their core elements of human isolation, loneliness, and despair ameliorated by artistic expression, hope, and the search for familial ties. Through musical intertextuality, Baldwin demonstrates not only how closely related seemingly disparate (in the Western tradition) musical genres are, but also shows that the elements of the community that these genres flow from and represent are much more in synchronization than they sometimes seem or are allowed to be. To realize kinship across familial (Creole), socio-economic (the brother), and most importantly for this paper appreciation and meanings of musical genres advances to Sonny the communal cup of trembling that is both a mode and an instance of envisioning and treating music in its unifying terms, seeing how they coalesce through a holistic vision.

James Baldwin Review
Open Access (free)
Tracing relatedness and diversity in the Albanian–Montenegrin borderland
Jelena Tošić

. I will show how the narrative and biographical movement through, and the shared knowledge of, the border region within different time-spaces is constitutive of the openness to diversity that characterises this northern Montenegrin–Albanian borderland in the Sarapa case. Furthermore, I will show how in the case of a particular inclusive kinship practice and genealogical representation, ethno-national and religious diversity – although prominently featured – are but two aspects of diversity understood in a multidimensional (Vertovec 2007, 2009) and intersectional (e

in Migrating borders and moving times
Open Access (free)
Alannah Tomkins and Steven King

of these epochs in different places;23 widows and the elderly have tended to attract most attention of late.24 Thane’s work has explored the expedients of the aged poor in relation to those listed in the Report of the 1832 Poor Law Commission. She found that poor relief was often a component expedient for survival but was usually ‘residual and complementary’, utilised along with friendly society payments, small-scale savings or bequests, kinship support and crops from allotments. She does not, however, attempt to prioritise the significance of these alternative

in The poor in England 1700–1850
Alex J. Bellamy

of progress. Hence, ‘the old presuppositions of modernism are losing their hold; but no one is quite sure what new ones will replace them’.3 The ‘great debate’ in nationalism studies, captured at Warwick, is one between so-called ‘primordialists’ and ‘modernists’. Put simply, primordialists argue that the nation derives directly from a priori ethnic groups and is based on kinship ties and ancient heritage. For their part, modernists insist that the nation is an entirely novel form of identity and political organisation, which owes nothing to ethnic heritage and

in The formation of Croatian national identity
The Rotuli de Dominabus et Pueris et Puellis de XII Comitatibus of 1185
Susan M. Johns

identity, depending on specific contexts. Thus five women’s secondary designation was described in broader kinship terms through the use of the terms consanguinea, cognata or de parentela.24 The nature of land tenure also defined both men and women. Albreda de Harcourt, for example, as a widow kept her maiden name, which was also a name derived from a place name, because the lands with which she was identified in that context were her inheritance.25 Eight women have a recognisable surname based on their father’s name as their primary designation.26 Ten women were further

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm