Rape and Marriage in Go Tell It on the Mountain
Porter Nenon

To consider how James Baldwin resisted racialized notions of sexuality in his first novel, Go Tell It on the Mountain, I employ a number of black feminist critics—including Saidiya Hartman, Patricia Williams, Hortense Spillers, and Patricia Hill Collins—to analyze three under-studied minor characters: Deborah, Esther, and Richard. Those three characters are best understood as figures of heterosexual nonconformity who articulate sophisticated and important critiques of rape and marriage in America at the turn of the twentieth century. Baldwin thus wrote subversive theories of race and sexuality into the margins of the novel, making its style inextricable from its politics. Baldwin’s use of marginal voices was a deft and intentional artistic choice that was emancipatory for his characters and that remains enduringly relevant to American sexual politics. In this particularly polarizing transition from the Obama era to the Donald J. Trump presidency, I revisit Baldwin’s ability to subtly translate political ideas across fault lines like race, nationality, and sex.

James Baldwin Review
Black Queer Feminism and the Sexual Politics of Another Country
Matty Hemming

This essay explores Black queer feminist readings of the sexual politics of James Baldwin’s Another Country. Recent work at the intersection of queer of color critique and Black feminism allows us to newly appreciate Baldwin’s prescient theorization of the workings of racialized and gendered power within the erotic. Previous interpretations of Another Country have focused on what is perceived as a liberal idealization of white gay male intimacy. I argue that this approach requires a selective reading of the novel that occludes its more complex portrayal of a web of racially fraught, power-stricken, and often violent sexual relationships. When we de-prioritize white gay male eroticism and pursue analyses of a broader range of erotic scenes, a different vision of Baldwin’s sexual imaginary emerges. I argue that far from idealizing, Another Country presents sex within a racist, homophobic, and sexist world to be a messy terrain of pleasure, pain, and political urgency. An unsettling vision, to be sure, but one that, if we as readers are to seek more equitable erotic imaginaries, must be reckoned with.

James Baldwin Review
Between “Stranger in the Village” and I Am Not Your Negro
Jovita dos Santos Pinto, Noémi Michel, Patricia Purtschert, Paola Bacchetta, and Vanessa Naef

James Baldwin’s writing, his persona, as well as his public speeches, interviews, and discussions are undergoing a renewed reception in the arts, in queer and critical race studies, and in queer of color movements. Directed by Raoul Peck, the film I Am Not Your Negro decisively contributed to the rekindled circulation of Baldwin across the Atlantic. Since 2017, screenings and commentaries on the highly acclaimed film have prompted discussions about the persistent yet variously racialized temporospatial formations of Europe and the U.S. Stemming from a roundtable that followed a screening in Zurich in February 2018, this collective essay wanders between the audio-visual and textual matter of the film and Baldwin’s essay “Stranger in the Village,” which was also adapted into a film-essay directed by Pierre Koralnik, staging Baldwin in the Swiss village of Leukerbad. Privileging Black feminist, postcolonial, and queer of color perspectives, we identify three sites of Baldwin’s transatlantic reverberations: situated knowledge, controlling images, and everyday sexual racism. In conclusion, we reflect on the implications of racialized, sexualized politics for today’s Black feminist, queer, and trans of color movements located in continental Europe—especially in Switzerland and France.

James Baldwin Review
Peter Dorey

Dorey over general policy direction, and shifts and U-turns concerning a number of specific polices. This chapter will examine Conservative policies in seven main areas: the economy, ‘tax and spend’ (including public services), law and order, the family and sexual politics, welfare reform and pensions, asylum seekers, and rural affairs. The vital and vexatious issue of Europe is addressed in Chapter 8. The economy Throughout most of the 1980s successful stewardship of the economy had been the Conservative Party’s trump card, and one which was played with devastating

in The Conservatives in Crisis
Open Access (free)
Postcolonial governance and the policing of family
Author: Joe Turner

Bordering intimacy is a study of how borders and dominant forms of intimacy, such as family, are central to the governance of postcolonial states such as Britain. The book explores the connected history between contemporary border regimes and the policing of family with the role of borders under European and British empires. Building upon postcolonial, decolonial and black feminist theory, the investigation centres on how colonial bordering is remade in contemporary Britain through appeals to protect, sustain and make family life. Not only was family central to the making of colonial racism but claims to family continue to remake, shore up but also hide the organisation of racialised violence in liberal states. Drawing on historical investigations, the book investigates the continuity of colonial rule in numerous areas of contemporary government – family visa regimes, the policing of sham marriages, counterterror strategies, deprivation of citizenship, policing tactics, integration policy. In doing this, the book re-theorises how we think of the connection between liberal government, race, family, borders and empire. In using Britain as a case, this opens up further insights into the international/global circulations of liberal empire and its relationship to violence.

Gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche
Gill Rye

and sexual politics.6 Three moments highlight the importance of the mirror in L’Hiver de beauté: J’ai levé les yeux vers le grand miroir de Venise qui renvoie mille lumières pour une, qui m’a renvoyé dix mille morts pour la ruine de mes traits. A vingt-cinq ans, j’entrais dans l’hiver de beauté. (p. ) (I raised my eyes to the large Venetian mirror, which reflects back a thousand images instead of one. My ruined face stared back at me and I died a thousand deaths. Twenty-five years old, and I had already entered the winter of my beauty.)  Writing the dynamics of

in Women’s writing in contemporary France
Open Access (free)
Gill Rye and Michael Worton

, Agnès Desarthe’s protagonists are of particular interest, caught as they are in a web of misunderstanding and exemplifying the gap between self and others even as they reach out and strive to breach that gap. The hybrid  Conclusion bi-cultural selves of the beur narrators and protagonists in the novels by Farida Belghoul, Ferrudja Kessas and Soraya Nini testify to the complexities of racial and sexual politics in the lives of the children of Algerian immigrants, while Leïla Sebbar’s Shérazade struggles against and flees from the images that others produce of her

in Women’s writing in contemporary France
Mads Qvortrup

… primarily means the mother – the place of repair and consolation, of feeding, of reassurance, that which resist separation(s).’ Nicole Fermon, Domesticating Passions. Rousseau, Woman, and Nation (Hanover and London: Wesleyan University Press, 1997), p. 4. For a more thorough treatment of the subject the reader may wish to consult: Paul Hoffman, ‘Le mythe de la femme dans la pensée de Jean-Jacques Rousseau’, in La femme dans la pensée des Lumières (Paris: Ophrys, 1977), pp. 359–446; Joel Schwartz, The sexual politics of JeanJacques Rousseau (Chicago: University of Chicago

in The political philosophy of Jean-Jacques Rousseau
Ian Mackillop and Neil Sinyard

Pat Jackson; Brian McFarlane’s heartening tribute to that staple diet of the double bill, the British B-movie; Stephen Lacey’s analysis of the close interaction between theatre and film in the British cinema of this decade; Kerry Kidd’s reading of Women of Twilight that fascinatingly reconstructs the sexual politics of the time. As well as revaluing large areas of British cinema, the book offers surveys of other cinematic

in British cinema of the 1950s
Open Access (free)
Daniel Humphrey

: ‘Sinthomosexuality’, pp. 33–66. 25 See Edelman, No Future , p. 29. 26 Hamish Ford, Post-War Modernist Cinema and Philosophy: Confronting Negativity and Time (New York: Palgrave Macmillan, 2012), pp. 36, 37. 27 See Lisa Duggan, ‘The New Homonormativity: The Sexual Politics of Neoliberalism’, in Russ Castronovo and Dana D. Nelson (eds), Materializing Democracy: Toward a Revitalized Cultural Politics (Durham, NC: Duke

in Ingmar Bergman