This book analyses black Atlantic studies, colonial discourse analysis and postcolonial theory, providing paradigms for understanding imperial literature, Englishness and black transnationalism. Its concerns range from the metropolitan centre of Conrad's Heart of Darkness to fatherhood in Du Bois's The Souls of Black Folk; from the marketing of South African literature to cosmopolitanism in Achebe; and from utopian discourse in Parry to Jameson's theorisation of empire.
, 2016 ). Whatever you do, you cannot suggest
that the train has stopped moving or people will lose heart, and faith, and will look around for
other things to do with their time and money. Keep on believing it will work if we only try
harder, spend more, revolutionise our thinking, learn lessons from past failures.
Humanitarianism is the recognition, even in the midst of great suffering, that there is hope, a
light in the darkness ( Hopgood, 2006 ). This hope is
often fleeting for specific victims of conflict, famine and natural disasters, but
Staff Security and Civilian Protection in the Humanitarian
(MSF), the agency with témoignage at the heartof its
mandate, the role of public statements has been contested among the senior
management, and MSF mostly undertakes its medical work without making public
statements about abuses in its zones of operations ( Weissman, 2011 ). Both the ICRC and MSF have also run
global campaigns concerned with attacks on medical missions and healthcare
facilities. 2 While framed
M. ( 2017 ),
‘ Social Media and Fake News in the 2016 Election ’,
Journal of Economic Perspectives , 31 : 2 ,
211 – 36 . Aly ,
H. ( 2017 ),
‘ Media Perspectives: A Means to an End? Creating a Market for
Humanitarian News from Africa ’, in Bunce ,
M. , Franks ,
S. and Paterson ,
C. (eds), Africa’s Media
Image in the 21st Century: From the ‘HeartofDarkness’ to ‘Africa
Rising’ ( London :
Routledge ), pp.
129 – 31 . Barthes ,
R. ( 1977 ),
Image/Music/Text ( New York
Tale of the city: the imperial metropolis
Many decades ago, in Discourse on Colonialism, Aimé Césaire drew attention to the ‘boomerang effect’ of imperialism. His account suggests that
the boomerang operates at two speeds. The fast boomerang returns as
soon as it is dispatched: the brutal dehumanisation to which the
colonised are subjected is immediately visited upon the coloniser, leading Césaire to the conclusion that ‘colonization … dehumanizes even
the most civilized man: that the colonizer, who
’ as well as his
detachment. The narrator is able to call the foetus by name, but that he
is calling at all is indication of their separation. The poem becomes not
merely the expression of a search for contact with the lost self but a map,
a path ‘endlessly back’ to where the child lies ‘stifling in the mind’s
gloom’. Here again is the straining of poetic sight in the mind’s dark on
a journey toward the lost self.3
‘The Letter’, from Thomas’s Poetry for Supper (1958) is also a poem
about the process of poetic composition. The letter of the title may as
readily be a
Science and nature
I, though I am
not blind, feel my way
about God, exploring him
in darkness. Sometimes he is
a wind, carrying me off;
sometimes a fire devouring
me. Rarely, too rarely
he is as the scent
at the heartof a great flower
I lean over and fall
The imagery here suddenly shifts from the tangible and finite elephant
of the opening lines to the more abstruse imagery of spiritual experience.
Corresponding to that shift, the whole tone of the poem modulates from
the comic to the mystical. Deity becomes, in
, upon a willing reception of those advances by
the other. One finds in the final line that the lovers have previously known
failure in their repeated attempts to cross the treacherous ‘fathoms’ of
the heart. Thomas highlights by this image of dangerous depths the delicacy of the love relationship, but also, and most importantly here, the
poignancy and power of its success:
Were there currents between them?
Why, when he thought darkly,
would the nerves play
at her lips’ brim? What was the heart’s depth?
There were fathoms in her,
too, and sometimes he crossed
). ‘Exploring grey zones and blind spots in the
binaries and boundaries of E. L. James’ Fifty Shades trilogy’, Feminist Media
Studies, 13:3, pp. 558–662.
Hochschild, A. (2003 ). The Managed Heart: Commercialization of Human
Feeling. Berkeley: University of California Press.
Illouz, E. (2014). Hard-Core Romance: ‘Fifty Shades of Grey’, Best-Sellers, and Society.
Chicago: University of Chicago Press.
James, E. L. (2012a). Fifty Shades of Grey. New York: Vintage.
James, E. L. (2012b). Fifty Shades Darker. New York: Vintage.
James, E. L. (2012c). Fifty Shades Freed
Writing home in recent Irish memoirs and autobiographies (John McGahern’s Memoir, Hugo Hamilton’s The Speckled People, Seamus Deane’s Reading in the Dark and John Walsh’s The Falling Angels)
‘Sacred spaces’: writing home in
recent Irish memoirs and
autobiographies (John McGahern’s
Memoir, Hugo Hamilton’s The
Speckled People, Seamus Deane’s
Reading in the Dark and John Walsh’s
The Falling Angels)
One of the familiar conventions of autobiography is its revelation
of an individual life through a compelling first-person narrative voice.
To work upon its readers most effectively, autobiography needs to present the life in question as both unique and typical; it must offer an