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Under the Sign of the Gun

Welcome to the Postmodern Melancholy of Gordimer's Post-Apartheid World

Simon Lewis

Raymond Chandler used to say that whenever he got stuck writing a novel he would get going again by having a character come through the door with a gun in hand. Reading the opening pages of Nadine Gordimer’s new novel with its account of a sensational murder, one might wonder whether South Africa’s 1991 Nobel laureate, faced with the end of apartheid and the consequent lack of a subject, was operating according to Chandler’s principle. The House Gun, however, indicates not so much the lack of a subject as a new way of looking at an old subject facing new circumstances – the old subject being the psychological and material effects of white racism on whites, the new circumstances being those of post-apartheid South Africa. Moreover, the apparent narrowing of focus from the macropolitics of Gordimer’s three most recent preceding novels, None to Accompany Me (1994), My Son’s Story (1990), and A Sport of Nature (1987), to the micro-politics of The House Gun suggests that we can read South Africa’s transition to full democracy as a paradigmatic change from a modern to a postmodern condition. Gordimer’s post- 1994 publications, and The House Gun in particular, lend themselves to being read as illustrative of two of Michel Foucault’s central insights: the ubiquity of power, and the consequent idea that given that ubiquity, care of one’s self (‘souci de soi’) becomes a new kind of political obligation.

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Katherine Hennessey and Margaret Litvin

Digital Theatre project, have functioned as a coded condemnation of racism, sectarianism and autocracy within the Gulf – one that reproduces some aspects of the sultanate’s official ideology while subverting others. Moving from stage to (small) screen

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Othello, Original Practices

A Photographic Essay

Rob Conkie

, Paul Menzer, Anecdotal Shakespeare: A New Performance History (London: Bloomsbury Arden, 2015). 5 S.E. Ogude, ‘Literature and Racism: The Example of Othello’, in Othello , New Essays from Black Writers , ed. Mythili Kaul (Washington DC: Howard

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Among Cannibals and Headhunters

Jack London in Melanesia

Keith Newlin

to its satire of racism,” for it is “deliberate in its racial transgressions” (2009: 146). In that story, Mauki, an exploited and viciously treated Solomon Islander, takes his revenge against a cruel overseer by torturing him before taking his head

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Beyond Colonial Tropes

Two Productions of A Midsummer Night’s Dream in Palestine

Samer Al-Saber

themes was being a refugee in Switzerland. Migration, racism, loss of cultural identity, and living in multicultural societies are also themes that have become the signature of this company. MARALAM theatre has become a model for artists coming together

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Stepping through the Silver Screen

Austro-German Filmmaker, Bestselling Author, and Journalist Colin Ross Discovers Australia

Anne Rees

tenements, widespread unemployment, and virulent racism. Fink later confessed that this poverty was completely unexpected, because “in Australia our perceptions of America were colored by Hollywood films.” She had anticipated an America that was “spotless

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Brian Yothers, Gillian Dooley, Guy Galazka, Peter Weisensel, Jackie Coon, Magdalena Banaszkiewicz, and David Cashman

lynching, suggesting, as Totten notes, both the extended mobility of African Americans during the early twentieth century and the substantial encroachments on that mobility created by institutional racism (3). Totten examines the ways in which African

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Making Friends of the Nations

Australian Interwar Magazines and Middlebrow Orientalism in the Pacific

Victoria Kuttainen and Sarah Galletly

predominantly criticized its role in fomenting racism and perpetuating colonialist myths of exoticism and fantasy. Though this is undoubtedly so, retrospective analyses yield the colonialist and racist investments of this material all too easily. David Walker

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David Drake, John Ireland, and Stuart Z. Charme

Jean-Francois Sirinelli, Deux intellectuels dans le siècle, Sartre et Aron, Fayard, 1995, 395 pp. ISBN 2-213-59200-4. 140 FF. Review by David Drake

Jean-Paul Sartre and Benny Levy, Hope Now. The 1980 Interviews, translated by Adrian van den Hoven with an Introduction by Ronald Aronson, Chicago, University of Chicago Press, 1996, 135 pp. ISBN 0-226-47630-8 $19.95 Review by John Ireland

Lewis R. Gordon, Bad Faith and Antiblack Racism, Atlantic Highlands, New Jersey, Humanities Press, 1995, 240 pp. ISBN 0-391- 03872-9 $17.50 Review by Stuart Z. Charme

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Linda A. Bell

Jean-Paul Sartre’s Anti-Semite and Jew was published shortly after the end of the Nazi occupation of France. Written in France, by a Frenchman, it is about French anti-Semites and French Jews. While this may seem to restrict the application of what Sartre has to say, I felt from my first encounter with the book that his observations and analyses have enormous potential in helping us to understand sexism and even heterosexism as well as racism, including possibly different forms of anti-Semitism.