James Baldwin Review (JBR) is an annual journal that brings together a wide array of peer‐reviewed critical and creative non-fiction on the life, writings, and legacy of James Baldwin. In addition to these cutting-edge contributions, each issue contains a review of recent Baldwin scholarship and an award-winning graduate student essay. James Baldwin Review publishes essays that invigorate scholarship on James Baldwin; catalyze explorations of the literary, political, and cultural influence of Baldwin’s writing and political activism; and deepen our understanding and appreciation of this complex and luminary figure.
Jules B. Farber
Rather than write a classic biography of James Baldwin in the last cycle of his life—from his arrival in 1970 as a black stranger in the all-white medieval village of Saint-Paul, until his death there in 1987—I sought to discover the author through the eyes of people who knew him in this period. With this optic, I sought a wide variety of people who were in some way part of his life there: friends, lovers, barmen, writers, artists, taxi drivers, his doctors and others who retained memories of their encounters with Baldwin on all levels. Besides the many locals, contact was made with a number of Baldwin’s further afield cultural figures including Maya Angelou, Harry Belafonte, Sidney Poitier, Angela Davis, Bill Wyman, and others. There were more than seventy interviews in person in places as distant as Paris, New York or Istanbul and by telephone spread over four years during the preparatory research and writing of the manuscript. Many of the recollections centred on “at home with Jimmy” or dining at his “Welcome Table.”
James Baldwin and Ray Charles in “The Hallelujah Chorus”
Based on a recent, archival discovery of the script, “But Amen is the Price” is the first substantive writing about James Baldwin’s collaboration with Ray Charles, Cicely Tyson, and others in a performance of musical and dramatic pieces. Titled by Baldwin, “The Hallelujah Chorus” was performed in two shows at Carnegie Hall in New York City on 1 July 1973. The essay explores how the script and presentation of the material, at least in Baldwin’s mind, represented a call for people to more fully involve themselves in their own and in each other’s lives. In lyrical interludes and dramatic excerpts from his classic work, “Sonny’s Blues,” Baldwin addressed divisions between neighbors, brothers, and strangers, as well as people’s dissociations from themselves in contemporary American life. In solo and ensemble songs, both instrumental and vocal, Ray Charles’s music evinced an alternative to the tradition of Americans’ evasion of each other. Charles’s sound meant to signify the history and possibility of people’s attainment of presence in intimate, social, and political venues of experience. After situating the performance in Baldwin’s personal life and public worldview at the time and detailing the structure and content of the performance itself, “But Amen is the Price” discusses the largely negative critical response as a symptom faced by much of Baldwin’s other work during the era, responses that attempted to guard “aesthetics” generally—be they literary, dramatic, or musical—as class-blind, race-neutral, and apolitical. The essay presents “The Hallelujah Chorus” as a key moment in Baldwin’s search for a musical/literary form, a way to address, as he put it, “the person and the people,” in open contention with the social and political pressures of the time.
The Tyranny of the Cityscape in James Baldwin’s Intimate Cartographies
The skyline of New York projects a dominant presence in the works of James Baldwin—even those set elsewhere. This essay analyzes the socio-spatial relationships and cognitive maps delineated in Baldwin’s writing, and suggests that some of the most compelling and intense portrayals of New York’s psychogeographic landscape vibrate Baldwin’s text. In The Price of the Ticket (1985), Baldwin’s highly personalized accounts of growing up in Harlem and living in New York map the socio-spatial relationships at play in domestic, street, and blended urban spaces, particularly in the title essay, “Dark Days,” and “Here Be Dragons.” Baldwin’s third novel, Another Country (1962), outlines a multistriated vision of New York City; its occupants traverse the cold urban territory and struggle beneath the jagged silhouette of skyscrapers. This essay examines the ways in which Baldwin composes the urban scene in these works through complex image schemas and intricate geometries, the city’s levels, planes, and perspectives directing the movements of its citizens. Further, I argue that Baldwin’s dynamic use of visual rhythms, light, and sound in his depiction of black life in the city, creates a vivid cartography of New York’s psychogeographic terrain. This essay connects Baldwin’s mappings of Harlem to an imbricated visual and sonic conception of urban subjectivity, that is, how the subject is constructed through a simultaneous and synaesthetic visual/scopic and aural/sonic relation to the city, with a focus on the movement of the body through city space.
From the Global to the Local
deliver relief and services would create such abject living conditions (akin to Agamben’s ‘bare life’: Gordon, 2018 ) that Palestinians would be forced to accept what Trump and his administration have denominated the ‘deal of the century’ ( Gordon, 2018 ; Wong, 2018 ). Far from being motivated by an ‘ethics of care’ to protect displaced and dispossessed people, or a quest to secure a democratically grounded ‘liberal peace’, this ‘great deal’ can be identified as a quintessentially neoliberal project. Driven neither by ethics nor humanitarian
Christine E. Hallett
The First World War was the first ‘total war’. Its industrial weaponry damaged millions of men, and drove whole armies underground into dangerously unhealthy trenches. Many were killed. Others suffered from massive, life-threatening injuries; wound infections such as gas gangrene and tetanus; exposure to extremes of temperature; emotional trauma; and systemic disease. Tens of thousands of women volunteered to serve as nurses to alleviate their suffering. Some were fully-trained professionals; others had minimal preparation, and served as volunteer-nurses. Their motivations were a combination of compassion, patriotism, professional pride and a desire for engagement in the ‘great enterprise’ of war. The war led to an outpouring of war-memoirs, produced mostly by soldier-writers whose works came to be seen as a ‘literary canon’ of war-writing. But nurses had offered immediate and long-term care, life-saving expertise, and comfort to the war’s wounded, and their experiences had given them a perspective on industrial warfare which was unique. Until recently, their contributions, both to the saving of lives and to our understanding of warfare have remained largely hidden from view. ‘Nurse Writers of the Great War’ examines these nurses’ memoirs and explores the insights they offer into the nature of nursing and the impact of warfare. The book combines close biographical research with textual analysis, in order to offer an understanding of both nurses’ wartime experiences and the ways in which their lives and backgrounds contributed to the style and content of their writing.
of America did not signal a resolution of the anxiety of inﬂuence in Twain’s writing. The ‘wreck’ surfaces as outright indictment in Life on the Mississippi (1883): He did measureless harm; more real and lasting harm, perhaps, than any other individual that ever wrote. Most of the world has now outlived good part of these harms, though by no means all of them; but in our South they ﬂourish pretty forcefully still. . . . Sir Walter had so large a hand in making Southern character, as it existed before the war, that he is in great measure responsible for the war. It
Revolutionary nationalism and women’s representation in Ngugi wa Thiong’o
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
Pacifist feminism in Britain, 1870–1902
This book explores the pervasive influence of pacifism on Victorian feminism. It provides an account of Victorian women who campaigned for peace, and of the many feminists who incorporated pacifist ideas into their writing on women and gender. The book explores feminists' ideas about the role of women within the empire, their eligibility for citizenship, and their ability to act as moral guardians in public life. It shows that such ideas made use – in varying ways – of gendered understandings of the role of force and the relevance of arbitration and other pacifist strategies. The book examines the work of a wide range of individuals and organisations, from well-known feminists such as Lydia Becker, Josephine Butler and Millicent Garrett Fawcett to lesser-known figures such as the Quaker pacifists Ellen Robinson and Priscilla Peckover.
Joshua Foa Dienstag in dialogue
Edited by: Joshua Foa Dienstag
This book engages in a critical encounter with the work of Stanley Cavell on cinema, focusing skeptical attention on the claims made for the contribution of cinema to the ethical character of democratic life. In much of Cavell's writing on film he seeks to show us that the protagonists of the films he terms "remarriage comedies" live a form of perfectionism that he upholds as desirable for contemporary democratic society: moral perfectionism. Films are often viewed on television, and television shows can have "filmlike" qualities. The book addresses the nature of viewing cinematic film as a mode of experience, arguing against Cavell that it is akin to dreaming rather than lived consciousness and, crucially, cannot be shared. It mirrors the celebrated dialogue between Jean-Jacques Rousseau and Jean D'Alembert on theatre. The book articulates the implications of philosophical pessimism for addressing contemporary culture in its relationship to political life. It clarifies how The Americans resembles the remarriage films and can illuminate the issues they raise. The tragedy of remarriage, would be a better instructor of a democratic community, if such a community were prepared to listen. The book suggests that dreaming, both with and without films, is not merely a pleasurable distraction but a valuable pastime for democratic citizens. Finally, it concludes with a robust response from Dienstag to his critics.