Keri Walsh – författare

'That is my fear. That I stand between her and any moments of life that should be hers...'Set against the backdrop of the Home Rule Crisis of 1912, Exiles is James Joyce's only surviving play. It tells the story of writer Richard Rowan and his common-law wife Bertha, characters drawn from Joyce's own life with Nora Barnacle. After a decade of absence from Dublin, Richard and Bertha have returned home from Rome, still unmarried, with their young son Archie. Richard hopes that he will be greeted as a returning genius and rewarded with a comfortable university position. But this aspiration ends up taking a back seat to the erotic crisis that is unleashed by the couple's return to the place where they first met, and their encounters with two old flames and friends.In this play, Joyce revisits his own agonizing feelings of jealousy that were precipitated by similar trips home to Dublin.In the introduction and notes, Keri Walsh provides a comprehensive look issues of gender, sexuality, and performance as well as considering the nationalist and sectarian contexts of Dublin in 1912, the year of the play's setting.

Founder of the Left Bank bookstore Shakespeare and Company and the first publisher of James Joyce's Ulysses, Sylvia Beach had a legendary facility for nurturing literary talent. In this first collection of her letters, we witness Beach's day-to-day dealings as bookseller and publisher to expatriate Paris. Friends and clients include Ernest Hemingway, Gertrude Stein, H. D., Ezra Pound, Janet Flanner, William Carlos Williams, F. Scott Fitzgerald, James Joyce, and Richard Wright. As librarian, publicist, publisher, and translator, Beach carved out a unique space for herself in English and French letters. This collection reveals Beach's charm and resourcefulness, sharing her negotiations with Marianne Moore to place Joyce's work in The Dial; her battle to curb the piracy of Ulysses in the United States; her struggle to keep Shakespeare and Company afloat during the Depression; and her complicated affair with the French bookstore owner Adrienne Monnier. These letters also recount Beach's childhood in New Jersey; her work in Serbia with the American Red Cross; her internment in a German prison camp; and her friendship with a new generation of expatriates in the 1950s and 1960s.Beach was the consummate American in Paris and a tireless champion of the avant-garde. Her warmth and wit made the Rue de l'Odeon the heart of modernist Paris.

Founder of the Left Bank bookstore Shakespeare and Company and the first publisher of James Joyce's Ulysses, Sylvia Beach had a legendary facility for nurturing literary talent. In this first collection of her letters, we witness Beach's day-to-day dealings as bookseller and publisher to expatriate Paris. Friends and clients include Ernest Hemingway, Gertrude Stein, H. D., Ezra Pound, Janet Flanner, William Carlos Williams, F. Scott Fitzgerald, James Joyce, and Richard Wright. As librarian, publicist, publisher, and translator, Beach carved out a unique space for herself in English and French letters. This collection reveals Beach's charm and resourcefulness, sharing her negotiations with Marianne Moore to place Joyce's work in The Dial; her battle to curb the piracy of Ulysses in the United States; her struggle to keep Shakespeare and Company afloat during the Depression; and her complicated affair with the French bookstore owner Adrienne Monnier. These letters also recount Beach's childhood in New Jersey; her work in Serbia with the American Red Cross; her internment in a German prison camp; and her friendship with a new generation of expatriates in the 1950s and 1960s.Beach was the consummate American in Paris and a tireless champion of the avant-garde. Her warmth and wit made the Rue de l'Odeon the heart of modernist Paris.

Women, Method Acting, and the Hollywood Film is the first study dedicated to understanding the work of female Method actors on film.While Method acting on film has typically been associated with the explosive machismo of actors like Marlon Brando and Robert De Niro, this book explores an alternate tradition within the Method—the work that women from the Actors Studio did in Hollywood. Covering the period from the end of the Second World War until the 1970s, this study shows how the women associated with the Actors Studio increasingly used Method acting in ways that were compatible with their burgeoning feminist political commitments and developed a style of feminist Method acting. The book examines the complex intersection of Method acting, sexuality, and gender by analyzing performances such as Kim Hunter’s in A Streetcar Named Desire, Julie Harris’s in The Member of the Wedding, Shelley Winters’s in The Big Knife, Geraldine Page’s in Sweet Bird of Youth, and Jane Fonda’s in Coming Home. Challenging the longstanding assumption that Method acting’s approaches were harmful to women and incompatible with feminism, this book argues that some of Hollywood’s most interesting female actors, and leading feminists, emerged from the Actors Studio in the period between the 1950s and the 1970s.Written for students and scholars of Film Studies, Cultural Studies, Theatre and Performance Studies, and Gender Studies, Women, Method Acting, and the Hollywood Film reshapes the way we think of a central strain in American screen acting, and in doing so, allows women a new stake in that tradition.

Women, Method Acting, and the Hollywood Film is the first study dedicated to understanding the work of female Method actors on film.While Method acting on film has typically been associated with the explosive machismo of actors like Marlon Brando and Robert De Niro, this book explores an alternate tradition within the Method—the work that women from the Actors Studio did in Hollywood. Covering the period from the end of the Second World War until the 1970s, this study shows how the women associated with the Actors Studio increasingly used Method acting in ways that were compatible with their burgeoning feminist political commitments and developed a style of feminist Method acting. The book examines the complex intersection of Method acting, sexuality, and gender by analyzing performances such as Kim Hunter’s in A Streetcar Named Desire, Julie Harris’s in The Member of the Wedding, Shelley Winters’s in The Big Knife, Geraldine Page’s in Sweet Bird of Youth, and Jane Fonda’s in Coming Home. Challenging the longstanding assumption that Method acting’s approaches were harmful to women and incompatible with feminism, this book argues that some of Hollywood’s most interesting female actors, and leading feminists, emerged from the Actors Studio in the period between the 1950s and the 1970s.Written for students and scholars of Film Studies, Cultural Studies, Theatre and Performance Studies, and Gender Studies, Women, Method Acting, and the Hollywood Film reshapes the way we think of a central strain in American screen acting, and in doing so, allows women a new stake in that tradition.