Clearly there is a unique hunger for Baldwin’s wisdom in this historical moment, as illustrated by Raoul Peck’s film, reprints of several Baldwin books, exhibits, and other events. This essay describes the genesis of two five-part public discussions on the works of James Baldwin that were co-facilitated by African-American Studies scholar Dr. Lindsey R. Swindall and actor Grant Cooper at two schools in New York City in the 2016–17 academic year. These discussion series led to numerous Baldwin discussion events being scheduled for the winter and spring of 2018. The surprising popularity of these programs prompted Swindall to wonder: Why do people want to discuss Baldwin now? The first of two parts, this essay speculates that many people in the digital age long for a conversational space like the one Baldwin created at the “welcome table” in his last home in France. The second essay—which is forthcoming—will confirm whether discussion events held in 2018 harmonize with the welcome table thesis.

James Baldwin Review

James Baldwin might be imagined as reaching his greatest level of popularity within this current decade. With the growth of social media activist movements like Black Lives Matter, which captures and catalyzes off a Baldwinian rage, and the publishing of works directly evoking Baldwin, his voice appears more pronounced between the years of 2013 and 2015. Scholars in Baldwin studies, along with strangers who were turned into witnesses of his literary oeuvre, have contributed to this renewed interest in Baldwin, or at least have been able to sharpen the significance of the phenomenon. Publications and performances highlight Baldwin’s work and how it prefigured developments in critical race and queer theories, while also demonstrating Baldwin’s critique as both prophetic and “disturbingly” contemporary. Emerging largely from Baldwin’s timelessness in social and political discourse, and from the need to conjure a figure to demystify the absurd American landscape, these interventions in Baldwin studies follow distinct trends. This essay examines the 2013–15 trends from four vantages: an examination of a return, with revision, to popular work by Baldwin; identifying Baldwin’s work as a contributor to theoretical and critical methodology; Baldwin and intertextuality or intervocality; and a new frontier in Baldwin studies.

James Baldwin Review

This study is about the central place of the emotional world in Beckett's writing. Stating that Beckett is ‘primarily about love’, it makes a re-assessment of his influence and immense popularity. The book examines numerous Beckettian texts, arguing that they embody a struggle to remain in contact with a primal sense of internal goodness, one founded on early experience with the mother. Writing itself becomes an internal dialogue, in which the reader is engaged, between a ‘narrative-self’ and a mother.

8 Story line and story shape in Sir Percyvell of Gales and Chrétien de Troyes’s Conte du Graal Ad Putter Introduction The romance of Sir Percyvell of Gales (henceforth Percyvell) was probably composed in the north of England early in the fourteenth century but obviously enjoyed widespread popularity in medieval England.1 Geoffrey Chaucer, who quoted two lines of it in his parody of popular romance Sir Thopas, evidently knew it well, and the anonymous poet of the Laud Troy Book (c. 1400) included Percyvell in a catalogue of famous heroes celebrated by ‘gestoures

in Pulp fictions of medieval England

technologies of memory, such as film, enable individuals to experience, as if they were memories, events through which they themselves did not live. She cites the growing popularity of experiential museums, such as the Holocaust Museum in Washington DC, of historical re-enactments, including the relatively recent D-Day celebrations, and of historical films such as Schindler’s List as evidence of a widespread

in Memory and popular film

, determine who we are. It has everything to do with who’s cooking. MUP_McDonald_07_Ch6 127 11/18/03, 17:02 128 Nicola McDonald II Richard Cœur de Lion, a romance whose medieval popularity is well attested, arrests modern readers with the spectacle of its man-eating king. Duped into mistaking a cooked Saracen for pork, the ailing Richard devours a dish of boiled flesh, faster than his steward can carve, and gnaws on the bones. Once revived, he demands a second meal and, when confronted with a detached and grinning black head, he laughs. Richard then invites a party of

in Pulp fictions of medieval England

-telling publications, in particular the Weissagungen der Sibyllen.29 Thanks to publishers like Endter, by the end of the eighteenth century literature on fortune-telling and the reading of planets had become more widely available than ever before.30 Around 1780 it was observed that in many German cities, professional fortune-tellers were making good use of such publications, much to the chagrin of some.31 Efforts made by public enlighteners to encourage people away from such publications were in vain, despite censorship laws. Their popularity remained strong well into the twentieth

in Beyond the witch trials
The ends of incompletion

’. At the same time, ‘compleat’ in these titles also indicates the perfection in conduct which readers may achieve. Thomas De Grey’s The Compleat Horseman and Expert Ferrier ( 1639 ), for example, aims to instruct the reader so that he may ‘be known to be exquisite in Horsemanship’, and consequently ‘have more eyes upon him as he passeth along, than are commonly cast upon a Comet or the Sun eclipsed’. 15 The popularity of

in Making and unmaking in early modern English drama

-gamblers’ arguments Between the wars gambling was growing in popularity, while anti-gambling and anti-betting feeling was losing some of its power. The peak in negative feeling amongst a vociferous section of middle-class and respectable working-class society was the later nineteenth century. The keynote of their anti-gambling strategy was the state prohibition of working-class cash betting via the 1853 Betting Houses Act and the Street Betting Act of 1906, alongside the preservation of legal on-course betting and bookmakers in the interests of horseracing and upper-class gamblers

in Horseracing and the British 1919–39

… celebrities’ – at which point Sylvia Sims’s Queen Mother echoes ‘celebrities’ with an expression of incredulous distaste worthy of Edith Evans. But Sims is, of course, an actor of stage and screen. Notwithstanding her portrayal of royal disdain, the film is preoccupied by the same vulgar popularity that drives the narrative of its melodramatic ancestor, Mary Stuart . In Schiller

in The British monarchy on screen