The English Miscellany

If you have been reading Valerie Martin's Property which is an optional exam set text in Britain for many 16+ A-level students, you will be familiar with the horrors of slavery, and the problems of voice, representation and point of view in black literature. I'm always surprised that so many teachers recoil from teaching texts that may be harrowing. After all, the postmodern ennui that pervades so much of contemporary society does far more harm by turning away from our violent heritage and the continuation of hatred, exploitation and abuse across all societies today. If you have not come across it, I'd also strongly recommend reading Langston Hughes' How to be a Bad Writer (In Ten Easy Lesson) 1. Use all the clichés possible, such as “He had a gleam in his eye,” or ‘Her teeth were white as pearls.” 2. If you are a Negro, try very hard to write with an eye dead on the white market – use modern stereotypes of older stereotypes – big burly Negroes, crim

Everywhere humanity appears to be at war with itself. Yet we spend so much of our time with our mildly pained faces averted. Often we just don't know what to do. That's why creative writing really matters. It takes facts and documents them vividly. But writers also reconstruct life. By speaking out, writers re-invent the world in words. In doing this, they create new zones of possibility for liberation. Historically, the anti-slavery movement was very effective in using the printing press both to document and to imagine the life of a slave. For the critical reader these are often both historical works and timeless aesthetic creations. In most cases there will be limited perspectives and distortions of point of view. Voices stutter and stammer, and cover up, and style eloquently glosses, justifies and glorifies. Language offers enlightenment but also clouds judgments. There is much to be learned from reading a range of pro and anti-slavery texts. There are contradictio

Shakespeare in Love with Puns The second part of my exploration of rudeness in Shakespeare couples Sonnet 135 with a discussion of his work written by Dr Samuel Johnson in 1765 In this poem 'Will' is punned in a variety of senses: (1) willpower; (2) Will Shakespeare; (3) a bequest; (4) the penis; (5) future/s. Sense (4) is the one that you are least likely to encounter in discussions that want to shield readers from the reality of the eroticised encounter with the male genitalia.  Whoever hath her wish, thou hast thy Will, And Will to boot, and Will in overplus; More than enough am I, that vex thee still, To thy sweet will making addition thus. Wilt thou, whose will is large and spacious Not once vouchsafe to hide my will in thine? Shall will in others seem right gracious, And in my will no fair acceptance shine? The sea, all water, yet receives rain still, And in abundance addeth to his store; So thou, being rich in Will, add to thy Will One will of mine, t