The island and the world: kinship, friendship and living together in selected writings of Sam Selvon

This article argues that the ethical force of Trinidadian Sam Selvon’s creative writings comes from the particular configuration of living together that he is interested in, both in his Trinidadian novels and his London ones. It reads examples of this living together alongside and in difference that emerges through his focus on the relations between neighbours, friends and lovers, rather than the kinship relations of family. It argues that his works thereby map horizontal zones of attachment and possible solidarities across groupings that reconfigure vertically inscribed genealogical paradigms of belonging to place and each other based on models of historical continuity and inheritance.

Toward a scholarly edition of Beckett's critical writings

This essay outlines the case for a new, scholarly edition of Beckett's critical writings, one that would be complete and with critical annotation. For the most part these texts (critical writings, tributes, in memoria and epigraphs) have been published in a range of places. As well as in the magazines, newspapers, books and special-issue publications in which pieces originally appeared, a number were collected in Disjecta (Calder 1983 & Grove 1984). This volume, however, is not exhaustive; it misses out a number of important texts (not least Proust) and contains some textual inaccuracies. Furthermore, Beckett's critical writings are currently not available from the UK publishers Faber and the Grove Press Centenary Edition of Beckett's works, the fourth volume of which contains a section entitled ‘Criticism’, presents only three works of criticism by Beckett (Proust, ‘Dante … Bruno . Vico . . Joyce’ and ‘Three Dialogues’). In this essay, we give a brief (and far from exhaustive) overview of the publication history of Beckett's non-fiction prose texts, before outlining some of the editorial challenges they pose. Although Beckett tended to be dismissive of these works, they form an integral part of his canon.

Driving places - Marc Augé, non-places, and the geographies of England's M1 motorway

In this article I provide a critical account of the 'placing' of England's M1 motor-way. I start by critiquing Marc Auge's anthropological writings on 'non-places' which have provided a common point of reference for academics discussing spaces of travel, consumption and exchange in the contemporary world. I argue that Auge's ethnology of supermodernity results in a rather partial account of these sites, that he overstates the novelty of contemporary experiences of these spaces, and that he fails to acknowledge the heterogeneity and materiality of the social networks bound up with the production of non-places/places. I suggest that, rather than focusing on the presences and absences associated with the polarities of place and non-place, academics should examine the multiple, partial, dynamic and relational 'placings' which arise through the diverse performances and movements associated with travel, consumption and exchange. I then trace the topologies of England's M1 motorway, examining some of the different ways in which the motorway has been assembled, performed and placed over the past 45 years.

"Mad dogs and transnational migrants?" Bajan-Brit second-generation migrants and accusations of madness

Second-generation British-Barbadians ("Bajan-Brits'') returning to the land of their parents are frequently accused by indigenous Barbadian nationals of being mad. Narratives of the migrants reflect four major sets of factors: (1) madness as perceived behavioral and cultural differences; (2) explanations that relate to the historical-clinical circumstances surrounding the incidence of mental ill health among first-generation West Indian migrants to the United Kingdom; (3) madness as a pathology of alienation that is attendant on living in Barbados; and (4) madness as "othering,'' "outing,'' and "fixity.'' British second-generation "returning nationals'' to the Caribbean, living as they do in the plural world of the land of their parents' birth, after having been raised in the colonial "Mother Country,'' exhibit hybridity and in-betweenness. Accusations of madness serve to fix the position of these young migrants outside the mainstream of indigenous Barbadian society. Our analysis invokes recent postcolonial writings dealing with "strange encounters'' to theorize that the madness accusation serves to "other'' the young Bajan-Brit migrants in a strongly postcolonial context.

Neocolonialism and international law, with specific reference to customary counterterrorism obligations and the principle of self-defence

Has international law ever, and, if it has not, can it ever, truly freed itself from the strictures of neocolonialism and the drive by a privileged elite to dominate the world scene? This article begins by inquiring into the nature of neocolonialism and, in so doing, pays particular attention to the writings of former Ghanaian President Kwame Nkrumah. It then proceeds to determine how neocolonialist designs surface in international law today by briefly looking at two aspects of international law in particular, namely customary international law, with specific reference to the counterterrorism context, and the principle of self-defence. In the final analysis, this article argues for a necessary and eternal scepticism of international law and the agendas of its privileged gatekeepers. Like classic State power, it opens itself to, and often operates as, neocolonial overreach, and to quote Nkrumah, “[t]he cajolement, the wheedlings, the seductions and the Trojan horses of neo-colonialism must be stoutly resisted, for neo-colonialism is a latter-day harpy, a monster which entices its victims with sweet music.”

Orde Wingate, 'Guerrilla' Warfare and Long-Range Penetration, 1940-44

Major General Orde Wingate was a highly controversial figure in his time and remains so among historians. However, his eccentric and colourful personality has drawn attention away from the nature of his military ideas, the most important of which was his concept of long-range penetration, which originated from his observations of his operations in Italian-occupied Ethiopia in 1941, and evolved into the model he put into practice in the Chindit operations in Burma in 1943-44. A review of Wingate's own official writings on this subject reveals that long-range penetration combined local guerrilla irregulars, purpose-trained regular troops and airpower into large-scale offensive operations deep in the enemy rear, with the intention of disrupting his planning process and creating situations regular forces could exploit. This evolved organically from Major General Colin Gubbins' doctrine for guerrilla resistance in enemy occupied areas, and bears some resemblance to the operational model applied by US and Allied forces, post September 2001.

Perspex machine VII: The universal perspex machine

The perspex machine arose from the unification of projective geometry with the Turing machine. It uses a total arithmetic, called transreal arithmetic, that contains real arithmetic and allows division by zero. Transreal arithmetic is redefined here. The new arithmetic has both a positive and a negative infinity which lie at the extremes of the number line, and a number nullity that lies off the number line. We prove that nullity, 0/0, is a number. Hence a number may have one of four signs: negative, zero, positive, or nullity. It is, therefore, impossible to encode the sign of a number in one bit, as floating-, point arithmetic attempts to do, resulting in the difficulty of having both positive and negative zeros and NaNs. Transrational arithmetic is consistent with Cantor arithmetic. In an extension to real arithmetic, the product of zero, an infinity, or nullity with its reciprocal is nullity, not unity. This avoids the usual contradictions that follow from allowing division by zero. Transreal arithmetic has a fixed algebraic structure and does not admit options as IEEE, floating-point arithmetic does. Most significantly, nullity has a simple semantics that is related to zero. Zero means "no value" and nullity means "no information." We argue that nullity is as useful to a manufactured computer as zero is to a human computer. The perspex machine is intended to offer one solution to the mind-body problem by showing how the computable aspects of mind and. perhaps, the whole of mind relates to the geometrical aspects of body and, perhaps, the whole of body. We review some of Turing's writings and show that he held the view that his machine has spatial properties. In particular, that it has the property of being a 7D lattice of compact spaces. Thus, we read Turing as believing that his machine relates computation to geometrical bodies. We simplify the perspex machine by substituting an augmented Euclidean geometry for projective geometry. This leads to a general-linear perspex-machine which is very much easier to pro-ram than the original perspex-machine. We then show how to map the whole of perspex space into a unit cube. This allows us to construct a fractal of perspex machines with the cardinality of a real-numbered line or space. This fractal is the universal perspex machine. It can solve, in unit time, the halting problem for itself and for all perspex machines instantiated in real-numbered space, including all Turing machines. We cite an experiment that has been proposed to test the physical reality of the perspex machine's model of time, but we make no claim that the physical universe works this way or that it has the cardinality of the perspex machine. We leave it that the perspex machine provides an upper bound on the computational properties of physical things, including manufactured computers and biological organisms, that have a cardinality no greater than the real-number line.

Counting Her Dresses and other plays

Counting Her Dresses and other plays, devised by Lib Taylor, is a short, mixed-media, promenade performance based on theatre writings by Gertrude Stein. Gertrude Stein was an American writer who lived in Paris for most of her adult life and was a significant figure in the development of early twentieth century modernism. She was an artists’ patron and one of the first collectors of paintings by Picasso, Matisse, Cezanne and others. She wrote novels, short stories, poetry and criticism, as well as a number of very short ‘plays’ and opera libretti. Even though her plays are very rarely performed they have been very influential in the development of avant-garde theatre. The performance juxtaposes a soundcape of voices, live performance, an ‘exhibition’ of paintings and mediated images projected onto and across the space to evoke Stein’s sense of theatre as a place of experience and emotion, not as a place of story and action. The performance comprises five theatre fragments which have been combined in a collage that alludes to the experimental art that Stein promoted.