"Dynamite Scrupulously Packed": A Revaluation of Henry Blake Fuller’s Bertram Cope’s Year

The essay proposes a reinterpretation and revaluation of Henry Blake Fuller’s 1919 novel Bertram Cope’s Year and argues that it deserves permanent currency within the canon of gay fiction. My reinterpretation and revaluation of it is based on the premise that readings of it over the past 50 years (since Edmund Wilson’s 1970 essay on Henry Blake Fuller’s fiction in the New Yorker) have failed to understand its representation of homo-sexuality. Criticism of the novel has been based on post-Stonewall assumptions of what a 'gay novel’ should be and what cultural work is should perform. The post-Stonewall paradigm of the gay novel is that it is a coming-of-age story, a Bildungsroman, focused on a protagonist who, through a process of self-discovery, arrives at an acceptance and affirmation of his sexual identity. The prototype is Edmund White’s A Boy’s Own Story, with E. M. Forster’s Maurice a precursor. To appreciate Bertram Cope’s Year, we must, I argue, abandon post-Stonewall presuppositions of what we should expect from a gay novel. Bertram Cope’s Year is not a coming-of-age novel. Rather it is a comic novel formed from Fuller’s successful fusion and subversion of the romantic comedy, the comedy of manners, and the campus novel. Bertram Cope is a comic hero who ultimately triumphs over the efforts of a college town, presided over the matchmaking socialite Medora Phillips, to marry him to one of the three young ladies in her circle. He is rescued from this unwanted marriage by his boyfriend, who arrives to save him from the unwanted marriage. Fuller successfully exploits the conventions of the comic novel to tell a story that anticipates one of the aspirations of the gay liberation movement half a century later. As such, it deserves permanent currency.

Pan Arabism 2.0? The Struggle for a New Paradigm in the Middle East

The Abraham Accords, signed in September 2020 have helped shed a light on a new discourse emerging from the Gulf that seeks to challenge some of the old dogmas that have dominated the region in the last few decades. A decade of turmoil that followed what was once dubbed as the “Arab Spring” finds a divided region, full of ethnic and religious conflict, ungoverned territories, and the growing reality of failed states. An “axis of resistance”, led by radical elements from both the Shi’a and the Sunni world, is perceived as a growing challenge to a group of actors led by a number of Gulf countries who identify radicalization as an existential threat. Facing the “axis of resistance”, a new “axis of renaissance” is coming of age with an alternative vision that seeks to change the face of the Middle East. In parallel to the rapid decline of the traditional Arab capitals, the Gulf is emerging as a more significant voice in the region due to its economic, political, and media influence. This article seeks to capture and explain the rise of this new Gulf-led axis and the early formulation of a new agenda of a more tolerant Middle East through a radical reshuffling of the order of priorities in the region.

"You": A Girl amidst Images and Sounds of Adult Violence in Joyce Carol Oates’s Rape: A Love Story

Teena Maguire and her child, Bethie, are brutally attacked and beaten by a mob of violent young men in a park at night. While the mother is gang raped and nearly killed, the daughter is both the witness and the victim of physical and psychological violence. Through its innovative second-person narration, Joyce Carol Oates’s novella Rape: A Love Story (2004) contributes to her sustained interest in family relationships, violence, crime and justice. However, rather than focusing on the victim of the rape, Oates writes a coming-of-age story that explores the daughter’s trauma, posttraumatic stress disorder and fight for survival, a struggle that coincides with the girl’s critical passage from childhood to adulthood. During the months after the assault, Bethie’s innocence is also repeatedly violated by the aggressors’ intrusion into her life and the hostility of the community in the town of Niagara Falls and its social institutions, such as police, school, media, healthcare and the judicial system. Unable to cling to girlhood or to find maternal protection, her forced witnessing of her mother’s gang rape compels Bethie to mature too early while experiencing her first love for a man.

If these stones could speak: War memorials and contested memory

This article explores how war memorials engage with the contested nature of public sculpture and commemoration across historical, political, aesthetic and social contexts. It opens with an analysis of the Australian commemorative landscape and the proliferation of Great War Memorials constructed after 1918 and their ‘war imagining’ that positioned it as a national coming of age. The impact of foundational memorial design is explored through a number of memorials and monuments which have used traditional symbolism synonymous with the conservative ideological and aesthetic framework adopted during the inter-war years. The authors then analyse international developments over the same period, including Great War memorials in Europe, to determine the extent of their impact on Australian memorial and monument design. This analysis is juxtaposed with contemporary memorial design which gradually echoed increasing disillusionment with war and the adoption of abstract designs which moved away from a didactic presentation of information to memorials and monuments which encouraged the viewer’s interpretation. The increase of anti- or counter-war memorials is then examined in the context of voices which were often excluded in mainstream historical documentation and engage with the concept of absence. The selection of memorials also provides an important contribution in relation to the ideological and aesthetic contribution of war memorials and monuments and the extent of their relevance in contemporary society.