Illegitimate Freedom: Informality in Modernist Literature, 1900 - 1940 is the first study of informality in modernist literature. Differentiating informality from intimacy in its introduction, the book discusses the informal in relation with sensory experience, aesthetic presentation, ethical deliberation or action, and social attitudes within modernist works. It examines these works for particular nuances of the word "informality" in each of its chapters in the following thematic sequence: informality that offers humour, interpretive freedom, and promiscuity as counters to self-absorption in works by Virginia Woolf; rebuttals to male priorities in liberalism through "feminine informality" in several short stories by Katherine Mansfield; contempt for colloquialism and intimacy, tinged with class-anxieties and crises of attitude, in T. S. Eliot’s poetry; resistance to disgust in James Joyce’s novels; and the fusion of irreverence, protest, and praise in W. H. Auden’s writings before 1940. The book’s conclusion considers the risks of informality through a discussion of what it calls "inverted dignity." The theoretical aspects of the book offer insights into Lockean liberalism, the ethical dimensions of what Hélène Cixous termed "feminine writing," relations of sublimity and domesticity, Sigmund Freud’s arguments on humour and melancholia, and recent affect theory’s—as well as Immanuel Kant’s and Friedrich Nietzsche’s—views on disgust, linking these with modernism. This wide range of engagement makes this study relevant for those interested in literary studies, critical theory, and philosophy.

Contains forty-five selections of her short stories and sketches presented chronologically.

Illegitimate Freedom: Informality in Modernist Literature, 1900 - 1940 is the first study of informality in modernist literature. Differentiating informality from intimacy in its introduction, the book discusses the informal in relation with sensory experience, aesthetic presentation, ethical deliberation or action, and social attitudes within modernist works. It examines these works for particular nuances of the word "informality" in each of its chapters in the following thematic sequence: informality that offers humour, interpretive freedom, and promiscuity as counters to self-absorption in works by Virginia Woolf; rebuttals to male priorities in liberalism through "feminine informality" in several short stories by Katherine Mansfield; contempt for colloquialism and intimacy, tinged with class-anxieties and crises of attitude, in T. S. Eliot's poetry; resistance to disgust in James Joyce's novels; and the fusion of irreverence, protest, and praise in W. H. Auden's writings before 1940. The book's conclusion considers the risks of informality through a discussion of what it calls "inverted dignity." The theoretical aspects of the book offer insights into Lockean liberalism, the ethical dimensions of what Hélène Cixous termed "feminine writing," relations of sublimity and domesticity, Sigmund Freud's arguments on humour and melancholia, and recent affect theory's--as well as Immanuel Kant's and Friedrich Nietzsche's--views on disgust, linking these with modernism. This wide range of engagement makes this study relevant for those interested in literary studies, critical theory, and philosophy.

When Carrie Allen McCray was a child, she was afraid to ask about the framed photograph of a white man on her mother's dresser. Years later she learned that he was her grandfather, a Confederate general, and that her grandmother was a former slave. In her late seventies, Carrie McCray went searching for her history and found the remarkable story of her mother, Mary, the illegitimate daughter of General J. R. Jones, of Lynchburg, Virginia. Jones would later be cast out of Lynchburg society for publicly recognizing his daughter. FREEDOM'S CHILD is a loving remembrance of how Mary spent her life beating down the kind of thinking that ostracized her father. She was a leader in the founding of the NAACP and hosted the likes of Langston Hughes and W.E.B. Du Bois as they plotted the war against discrimination at her kitchen table. Carrie McCray's memories reward us with an extraordinarily vivid and intimate portrait of a remarkable woman. "Highly recommended for all readers."--Library Journal, hot pick; "I defy anyone to finish FREEDOM'S CHILD without a tear in their eye, a sense of meeting a great spirit, and an inspiration to act with generosity and justice."--Gloria Steinem; A BOOK-OF-THE-MONTH CLUB and QUALITY PAPERBACK BOOK CLUB SELECTION.

The capacity to comply with abusive authority is humanity’s fatal flaw. Fortunately, within the human family there are anti-authoritarians—people comfortable questioning the legitimacy of authority and challenging and resisting its illegitimate forms. However, asResisting Illegitimate Authority reveals, authoritarians attempt to marginalize anti-authoritarians, who are scorned, shunned, financially punished, psychopathologized, criminalized, and even assassinated. Profiling a diverse group of U.S. anti-authoritarians—including Thomas Paine, Ralph Nader, Malcolm X, and Lenny Bruce—in order to glean useful lessons from their lives, No Badges is the first self-help manual for anti-authoritarians. Discussing anti-authoritarian approaches to depression, relationships, and parenting, it provides political, spiritual, philosophical, and psychological tools to help those suffering violence and marginalization in a society whose most ardent cheerleaders for “freedom” are often its most obedient and docile citizens. Resisting Illegitimate Authority is about bigotry, but not bigotry directed at race, religion, gender, or sexual preference. It is about bigotry directed at rebellious personalities and temperaments.

Thomas Johnson and Charles Spurgeon lived worlds apart. Johnson, an American slave, born into captivity and longing for freedom--- Spurgeon, an Englishman born into relative ease and comfort, but, longing too for a freedom of his own. Their respective journeys led to an unlikely meeting and an even more unlikely friendship, forged by fate and mutual love for the mission of Christ. Steal Away Home is a new kind of book based on historical research, which tells a previously untold story set in the 1800s of the relationship between an African-American missionary and one of the greatest preachers to ever live.

In Renaissance Drama, the bastard is an extraordinarily powerful and disruptive figure. We have only to think of Caliban or of Edmund to realise the challenge presented by the illegitimate child. Drawing on a wide rage of play texts, Alison Findlay shows how illegitimacy encoded and threatened to deconstruct some of the basic tenets of patriarchal rule. She considers bastards as indicators and instigators of crises in early modern England, reading them in relation to witch craft, spiritual insecurities and social unrest in family and State. The characters discussed range from demi-devils, unnatural villains and clowns to outstanding heroic or virtuous types who challenge officially sanctioned ideas of illegitimacy. The final chapter of the book considers bastards in performance; their relationship with theatre spaces and audiences. Illegitimate voices, Findlay argues, can bring about the death of the author/father and open the text as a piece of theatre, challenging accepted notions of authority.

A sweeping argument that from the mid-seventeenth century until the mid-twentieth, the English-language novel encoded ideas equating race with liberty.

A powerful and original argument that the practice of scholarship is grounded in the concept of radical freedom, beginning with the freedoms of inquiry, thought, and expression. Why are scholars and scholarship invariably distrusted and attacked by authoritarian regimes? Geoffrey Galt Harpham argues that at its core, scholarship is informed by an emancipatory agenda based on a permanent openness to the new, an unlimited responsiveness to evidence, and a commitment to conversion. At the same time, however, scholarship involves its own forms of authority. As a worldly practice, it is a struggle for dominance without end as scholars try to disprove the claims of others, establish new versions of the truth, and seek disciples. Scholarship and Freedom threads its general arguments through examinations of the careers of three scholars: W. E. B. Du Bois, who serves as an example of scholarly character formation; South African Bernard Lategan, whose New Testament studies became entangled on both sides of his country’s battles over apartheid; and Linda Nochlin, whose essay “Why Have There Been No Great Women Artists?” virtually created the field of feminist art history.

Alice to the Lighthouse is the first and only full-length study of the relation between children's literature and writing for adults. Lewis Carroll's Alice books created a revolution in writing for and about children which had repercussions not only for subsequent children's writers - such as Stevenson, Kipling, Nesbit, Frances Hodgson Burnett and Mark Twain - but for Virginia Woolf and her generation. Virginia Woolf's celebration of writing as play rather than preaching is the twin of the Post-Impressionist art championed by Roger Fry. Dusinberre connects books for children in the late nineteenth century with developments in education and psychology, all of which feed into the modernism of the early twentieth century.