Tag: james-baldwin

It is the kind of ‘moment’ that might be used as an answer to the title of James’ Baldwin’s novel ‘Tell Me How Long The Train’s Been Gone’, wherein moments have duration and measure in so many domains including measures of time and the quality, rather than quantity, of our attention to a phenomenon: the time scales, for instance, of narrative, history and self-awareness wherein ‘reality’ is at a premium.

May 25, 2026

In the loosest of uses of the word ‘moment’, I want to identify a ‘moment’ as that period of time over which I realised that reality is constantly reshaped by the means of its description. It is the kind of ‘moment’ that might be used as an answer to the title of James’ Baldwin’s novel … More It is the kind of ‘moment’ that might be used as an answer to the title of James’ Baldwin’s novel ‘Tell Me How Long The Train’s Been Gone’, wherein moments have duration and measure in so many domains including measures of time and the quality, rather than quantity, of our attention to a phenomenon: the time scales, for instance, of narrative, history and self-awareness wherein ‘reality’ is at a premium.

Making you the man of nerve or nerves you are: from hard resilience to soft and fearful retreat. A case study based on Nicholas Boggs (2026) ‘Baldwin: A  Love Story’ and the import he detects in Baldwin’s role as director of ‘Düşenin Dostu’ (‘Friend of the Fallen’ in English), the Turkish version of John Herbert’s ‘Fortune and Men’s Eyes’ in Istanbul.

April 21, 2026

Making you the man of nerve you are: from hard resilience to soft retreat. A case study based on Nicholas Boggs (2026) Baldwin: A  Love Story and the import he detects in Baldwin’s role as director of Düşenin Dostu (Friend of the Fallen in English), the Turkish version with its tellingly moralistic new Turkish title, of … More Making you the man of nerve or nerves you are: from hard resilience to soft and fearful retreat. A case study based on Nicholas Boggs (2026) ‘Baldwin: A  Love Story’ and the import he detects in Baldwin’s role as director of ‘Düşenin Dostu’ (‘Friend of the Fallen’ in English), the Turkish version of John Herbert’s ‘Fortune and Men’s Eyes’ in Istanbul.

‘… but that was in another country; / And besides the wench is dead.’ Let’s make our diversity our common unity and not ‘other’ those of ‘another country’, if that was ever possible. An answer based on a case study reading of the novel by James Baldwin, ‘Another Country’.

April 3, 2026

… but that was in another country; / And besides the wench is dead.’ Let’s make our diversity our common unity and not ‘other’ those of ‘another country’, if that was ever possible. An answer based on a case study reading of the novel by James Baldwin, Another Country. This will turn into an answer … More ‘… but that was in another country; / And besides the wench is dead.’ Let’s make our diversity our common unity and not ‘other’ those of ‘another country’, if that was ever possible. An answer based on a case study reading of the novel by James Baldwin, ‘Another Country’.

Despite the literary establishment, biography can be done differently. Reflections on James Campbell (1991) ‘Talking at the Gates: A Life of James Baldwin’.

January 6, 2026

The white literary establishment once considered itself to be colour-blind, dealing equally with all writing free of categories such as ‘Black writing’, as distinguished from ‘White writing’, neither of which this establishment considered valid categorisations of the written literary text. For a literary biographer however it may be possible to tell the story of black … More Despite the literary establishment, biography can be done differently. Reflections on James Campbell (1991) ‘Talking at the Gates: A Life of James Baldwin’.