Open Access (free)
Recorded memories and diasporic identity in the archive of Giuseppe Chiaffitella
Nicola Scaldaferri

In this chapter, the topics explored in the book are approached from a new perspective, deriving from the analysis of a private archive, dating from the twentieth century, which includes written texts, photos, films and, above all, sound recordings. Thanks to these media we can retrace the story of an immigrant who, especially through his recordings of songs and voices of distant relatives, was able to reinforce the sense of community among emigrants in the USA. In this case, the community is no longer a local one, confined to a single village or a small

in Sonic ethnography
Author: James Paz

Anglo-Saxon ‘things’ could talk. Nonhuman voices leap out from the Exeter Book Riddles, telling us how they were made or how they behave. In The Husband’s Message, runic letters are borne and a first-person speech is delivered by some kind of wooden artefact. Readers of The Dream of the Rood will come across a tree possessing the voice of a dreaming human in order to talk about its own history as a gallows and a rood. The Franks Casket is a box of bone that alludes to its former fate as a whale that swam aground onto the shingle, and the Ruthwell monument is a stone column that speaks as if it were living wood, or a wounded body.

This book uncovers the voice and agency that these nonhuman things have across Anglo-Saxon literature and material culture. It makes a new contribution to ‘thing theory’ and rethinks conventional divisions between animate human subjects and inanimate nonhuman objects in the early Middle Ages. Anglo-Saxon writers and craftsmen describe artefacts and animals through riddling forms or enigmatic language, balancing an attempt to speak and listen to things with an understanding that these nonhumans often elude, defy and withdraw from us. The active role that things have in the early medieval world is also linked to the Germanic origins of the word, where a þing is a kind of assembly, with the ability to draw together other elements, creating assemblages in which human and nonhuman forces combine. Anglo-Saxon things teach us to rethink the concept of voice as a quality that is not simply imposed upon nonhumans but which inheres in their ways of existing and being in the world; they teach us to rethink the concept of agency as arising from within groupings of diverse elements, rather than always emerging from human actors alone.

Open Access (free)
The complexities of collaborative authorship
Paul Henley

provides a commentary on practical aspects of lontar palm exploitation in the form of an intermittent subtitled interview, the other relates the mythical origins of the palm in the form of a voice-over dubbed into Dutch-accented English. 2 A similar technique is used in A Celebration of Origins , the film that the Asches made with Lewis on Flores, shot in 1980, though not released until 1993. This film concerns an elaborate ritual in

in Beyond observation
Mick Marchington and Tony Dundon

Challenges for fair voice in liberal market economies 5 The challenges for fair voice in liberal market economies Mick Marchington and Tony Dundon Introduction The notion of fair voice sits centre stage in arguments about the relative importance of employee, organisational and societal goals because it connects directly with questions of managerial prerogative and social legitimacy. This creates tensions which are particularly apparent in liberal market economies (LMEs) – such as the UK, Australia, Ireland and New Zealand – where the law plays a relatively

in Making work more equal
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
An Imaginary for Urban Mapuche Jewellery / Warian Rütran
Cynthia Niko Salgado Silva

The sounds beneath the concrete must speak, breathe and manifest themselves in order to hear their song with a voice of their own. F ROM INSIDE OUT, FROM SOUTH TO NORTH, FROM THE COUNTRYSIDE TO THE CITY My parents were always travelling, due to my father Julio’s restlessness and work in the mines, my mother Lucía being a hardened trader, and their great capacity to adapt to all the

in Performing the jumbled city
Revolutionary nationalism and women’s representation in Ngugi wa Thiong’o
Elleke Boehmer

BOEHMER Makeup 3/22/05 2:55 PM Page 42 John's G5:Users:john:Public:John's Mac: John's Jobs 2 ‘The master’s dance to the master’s voice’: revolutionary nationalism and women’s representation in Ngugi wa Thiong’o A writer needs people around him. . . . For me, in writing a novel, I love to hear the voices of the people . . . I need the vibrant voices of beautiful women: their touch, their sighs, their tears, their laughter. (Ngugi wa Thiong’o, Detained)1 With these affirmative words, the Kenyan writer Ngugi wa Thiong’o points to the strong position that women

in Stories of women
Open Access (free)
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
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
Christopher Z. Hobson

Written in the aftermath of the civil rights era’s expansive hopes, James Baldwin’s last novel, Just Above My Head (1979), examines a fundamental issue, the choice between hope and skepticism, or prophecy and doubt. Baldwin approaches this issue by questioning two cornerstone ideas of his fiction, the need for prophetic art and this art’s focus on anticipating a renovated society, often pictured in terms adapted from apocalyptic biblical texts and Gospel music lyrics. Just Above My Head is Baldwin’s fullest presentation of this kind of art and its linkage to apocalyptic hopes. He dramatizes these ideas in the art of his Gospel singer protagonist, particularly in a climactic scene of artistic dedication whose Gospel lyric envisions “tearing down the kingdom of this world.” Yet Baldwin also unsparingly questions these same ideas through plot and the blues-inflected skeptical-tragic consciousness of his narrator. Responding to a 1970s moment when hopes for transcendent justice seemed passé, Just Above My Head’s unique contribution is not to try to resolve the ideas it counterposes, but to face both the possible falseness of prophetic hope and our continuing need for it, and to present the necessity for choice in a final dream that holds the key to the novel’s meaning. In presenting this issue through a sustained double-voiced narrative that reexamines its author’s artistic practice and raises fundamental choices in outlook and conduct, Just Above My Head evidences the continuing artistic vitality of Baldwin’s late fiction.

James Baldwin Review