‘The <Emphasis Type="Italic">Purdahnashin</Emphasis> in Her Setting’: Colonial Modernity and the <Emphasis Type="Italic">Zenana</Emphasis> in Cornelia Sorabji's Memoirs

This article focuses on two memoirs written by Cornelia Sorabji in the 1930s – India Calling (1934), and a subsequent book, India Recalled (1936) – in order to explore how discourses of space and place shaped the representations of femininity which structure these texts. Specifically, I will examine Sorabji's apprehensions of femininity in relation to the Muslim and Hindu women she viewed as her legal ‘clients.’ I am equally interested in these texts as evidence of how memory works as a practice of history – how events as they were recalled and recorded in the volatile 1930s and, especially in the wake of the Katherine Mayo controversy, how they helped shape the versions of the respectable feminine produced in her public writing of the period.     

‘these things not marked on paper’: creolisation,affect and tomboyism in Joan Anim-Addo's <Emphasis Type="Italic">Janie,Cricketing Lady</Emphasis> and Margaret Cezair-Thompson's <Emphasis Type="Italic">The Pirate's Daughter</Emphasis>

This article will look closely at the performance of tomboy identity in Joan Anim-Addo's collection of poetry Janie, Cricketing Lady, written as a tribute to her mother Jane Joseph, and Margaret Cezair-Thompson's novel The Pirate's Daughter, a fiction about Errol Flynn's ‘outside’ Jamaican daughter, May. It will argue that the ongoing affects of colonialism and patriarchy in the islands of Grenada and Jamaica, respectively, shape the life narratives of Janie and May who express their anger, shame, fear, frustration and desire through their ambiguous gender identity and through their determination to intervene in masculinist traditions, such as cricket, piracy and adventure, traditions that underpin Caribbean his/tories. To understand the way in which affect can be expressed through tomboyism in Caribbean societies, it is necessary to look at colour and class alongside gender in the context of Caribbean creolisation.     

feminist disavowal or return to immanence? the problem of poststructuralism and the naked female form in Nic Green’s <Emphasis Type="Italic">Trilogy</Emphasis> and Ursula Martinez’ <Emphasis Type="Italic">My Stories,Your Emails</Emphasis>

This essay discusses the work of two female theatre-makers, and their strategic use of nudity on stage. The author appropriates signs of indignation in this work in order to re-visit the ‘problem’ of the female form being traditionally associated with bodily immanence rather than transcendence. Both Nic Green’s Trilogy (2009–2010) and Ursula Martinez’ My Stories, Your Emails (2010) use the naked female form to proffer statements about the experience of being a woman in the 2000s. Their use of nudity breaks with feminist theories popular in the 1990s, which argued that because the female form could never escape the symbolic logic of phallocentrism, it could never escape sexual objectification, and thus should operate on the margins of mainstream culture, cultivate agency by appropriating the means of production and be removed from view (radical negativity). By identifying as ‘artists’ and by insisting on their right to put their experience centre stage, Green and Martinez break with the anti-humanist theories of the 1990s and proffer a more individualistic strain of feminist performance. The author celebrates this work as a break away from the deadlock offered by theories of radical negativity.     

‘Precari su Marte’: an experiment in activism against <Emphasis Type="Italic">precarity</Emphasis>

Published to coincide with the quincentennial celebrations of Columbus's ‘discovery’ of the New World, the Native American writer Leslie Marmon Silko's apocalyptic 1991 novel, Almanac of the Dead, is a harsh indictment of five hundred years of colonialism, racism and genocide in the New World. Silko clearly links this inhuman(e) history to the contemporary social policies of a range of nation states within the Americas, to present a variety of political issues that are of crucial significance to contemporary tribal communities and other multi-national disenfranchised groups. Among others, this includes the significance of gender to constructions of American settlement and Federal-Indian relations, and to Silko's own status, and choice of literary topics, as a female (and Native) writer. This essay analyses Silko's disruption of authorized and sanitized state narratives, and of accepted (and acceptable) narratives of settlement; and considers Silko's use of the almanac form – the codex – of the pre-contact Aztec and Mayan libraries as a means to assert indigenous literacy, and to challenge the Euro-American claims to ‘civilization’ that are the basis for New World settlement. Most significantly, as its title suggests, Almanac of the Dead emphasizes the presence of the dead, both indigenous peoples and African slaves, to expose the real costs of settlement, and to actively un-settle the Euro-American reader. Consequently, Almanac of the Dead presents the powerful alternative histories of a range of dispossessed social and ethnic groups throughout the Americas, while relocating and reconsidering the US within the context of the Americas as a continental and historical whole, and emphasizing the positive potential of political activism.     

‘Wrongful’ Inheritance: Race,Disability and Sexuality in <Emphasis Type="Italic">Cramblett v. Midwest Sperm Bank</Emphasis>

In 2014 Jennifer Cramblett, a white lesbian, filed a Complaint for Wrongful Birth alleging that the Midwest Sperm Bank mistakenly provided sperm from an African–American donor. In this article, we trace the complex and overlapping lines of legal and social inheritance that have conditioned not only the possibility of such a lawsuit, but also the legal language and arguments within the Complaint itself. First, we trace the racial politics of homonormativity, which set the conditions of possibility for an out, white lesbian to bring this case forward. Second, we trace the inheritance of wrongful birth tort law, reviewing its prior race and disability-related uses, and its basis in feminist reproductive rights. Third, we trace how disability, race and sexuality interlock within the eugenic inheritance of both ‘wrongful birth’ and reproductive technologies. Finally, we follow traces of racial inheritance, namely, the loss of white property and proximity to whiteness.     

Recognising Family Diversity: the ‘Boundaries’ of <Emphasis Type="Italic">RE G</Emphasis>

In Re G, the Court of Appeal awarded a joint residence order to the appellant, who was the lesbian ex-partner of the child’s full biological mother. The award also indirectly vested the appellant, a social parent, with parental responsibility and extended a body of case law to same-sex couples, which had until now only been applied to heterosexual couples. The initial purpose of this note is to outline the legal issues of the case in the context of the framework of parental responsibility set out in the Children Act 1989, putting forward a test of ‘parental fitness’ (which focuses on active ‘care’ as its central consideration) for social parents who must appeal to the court’s discretion to obtain parental responsibility. Secondly, the note offers at once a positive reading of Re G while highlighting a number of reservations centring upon continued legal preference for the ‘sexual family’. It is argued that while the legal recognition of ‘family diversity’ and parenthood remains modelled on this ‘sexual family’, the relaxation of family ‘boundaries’ (despite legal victories such as Re G) will remain limited. Re G (Children) [2005] E.W.C.A. (Civ.) 462     

what’s cooking,man? masculinity in European cooking shows after <Emphasis Type="Italic">The Naked Chef</Emphasis>

The cooking show The Naked Chef (1999, 2000, 2001) with Jamie Oliver has often been highlighted as an example of the cooking show genre’s potential for reformulating masculine identity through cooking. Through a series of close readings of a selection of cooking shows from France, the UK and Denmark post-The Naked Chef and through a dialogue with other works on the subject, this article will attempt to identify the tendencies in the constructions and negotiations of masculinity in the cooking show genre following The Naked Chef and to understand these in relation to a revision of masculine identity in contemporary culture. The article is informed by poststructural gender theory and understands ‘doing food’ and ‘doing masculinity’ as two mutually constituting practices. The analyses identify four new tendencies in the construction of masculinity in cooking shows at the beginning of the twenty-first century: 1) rechefisation, 2) the TV chef as a moral entrepreneur, 3) the TV chef and the revitalisation of the national myth and 4) cooking as masculine escapism. The article concludes that the innovation of the masculine identity that was launched in The Naked Chef has not continued; rather, the genre has become a platform for the revitalisation of traditional masculinity discourses.     

feminism and futurity: revisiting Marge Piercy’s <Emphasis Type="Italic">Woman on the Edge of Time</Emphasis>

This article considers the question of feminist futurity through Marge Piercy’s Woman on the Edge of Time (1976). While dominant readings of this novel have focused on its relationship to the feminist utopian genre and feminist theory from the 1970s, this essay aims to critically reframe the novel through contemporary feminist theorising on time and futurity. Drawing on recent feminist and queer theory that suggests that the future might most productively be figured through more nuanced and renewed engagements with the past, I argue that readings of Piercy’s novel that frame it only through its contemporary moment obscure the novel’s critique of singular, linear models of time. The novel represents the future through the themes of loss, mourning and haunting, which I argue resist a model of time that moves linearly from past to future and instead bring the past and future into complex relation with each other. In this regard, Piercy’s novel is read as representing a form of feminist futurity that engages with progress in time as necessarily uneven, discontinuous and fractured, speaking to contemporary demands for a feminist futurity that might require more nuanced accounts of the past.     

‘Women are trouble,did you know that Fergus?’: Neil Jordan's <Emphasis Type="Italic">The Crying Game</Emphasis>

The subject of this article is Neil Jordan's film The Crying Game. Released in 1992, it was widely received as a film that challenged stereotypes in relation to both the IRA and questions of race, sexuality and desire. This article calls into question such a radical reading by analysing the way in which Jude the IRA woman is represented. Through a feminist deconstruction, the article proposes that the character of Jude can be seen to represent both national and international anxieties concerning contemporary masculine and feminine subject positions. The article plots this by investigating how the film deals with the specifics of gender and Irish nationalism. It then moves on to consider how these specifics can be seen to articulate international postmodern concerns about contemporary gender identities.     

feminist publishing in a cold climate?: <Emphasis Type="Italic">Australian Feminist Studies</Emphasis> and the new ERA of research

This article explores the implications for feminist research and publishing in Australia in the new ‘ERA’ of research excellence. Excellence in Research for Australia (ERA) is an initiative of the Australian Federal government to assess research quality within Australia's higher education institutions using a combination of indicators and expert review by committees comprising experienced, internationally recognised experts (Australian Research Council, 2008).