In 2012, Britain is a country in flux, coping with tough socioeconomic realities, contending with new political alliances and negotiating moving demographics. but it's a state that remains perceived as being sure by means of culture and sophistication buildings. With new fiction, memoir, poetry, images and artwork, Granta's Britain explores panorama, identities and tales of the British Isles. In 'Silt', Robert Macfarlane writes of the wonder and chance of a stretch of beach in Essex. Nobel laureate Mario Vargas Llosa tells the tale of Irish innovative nationalist Roger Casement, finished at Pentonville criminal in 1916. Memoirs via Gary Younge, Andrea Stuart and Nikolai Khalezin and Natalia Kaliada concentrate on the upheavals and migrations that introduced them and their households to (and from) Britain. Rachel Seiffert, Ross Raisin, Cynan Jones and Jim Crace offer extracts in their new novels: Seiffert describes Glasgow and northern eire within the Nineties; Raisin paints a portrait of a tender footballer suffering from his id; Jones follows a boy on a wierd, harmful time out together with his father; Crace exhibits how the lives of English farmers replaced through the Enclosures within the past due 1700s and early 1800s. the problem contains unique brief fiction via Adam Foulds, Mark Haddon, Tania James and Jon McGregor in addition to poems through Simon Armitage, Jamie McKendrick, Don Paterson and Robin Robertson. It additionally introduces a brand new voice, Sam Byers, with an extract from his darkly comedian debut novel, Idiopathy.
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Additional resources for Granta 119: Britain
Garcia’s cultural capital—the most beautiful and sexually faithful woman in the film— reveals the absence of sexuality at the heart of heteromasculinity. He is impotent, not because women’s pathology destroys his sex, but because heteromasculine mutual obsession displaces sexuality. Gere’s mistress, the powerful banker who has negotiated the legal but immoral mortgages, and his current (Latina) wife finally give up Gere, not out of moral duty but because he has jeopardized their economic capital by branching out into murder-for-hire.
37. Traub, V. (1991) ‘The ambiguities of “lesbian” viewing pleasure: the (dis)articulations of Black Widow’, in J. Epstein and K. Straub (eds), Body Guards: The Cultural Politics of Gender Ambiguity, London: Routledge. Weiss, A. (1992) Vampires and Violets: Lesbians in the Cinema, London: Jonathan Cape. Wilton, T. (1993) ‘Queer subjects: lesbians, heterosexual women and the academy’, in M. Kennedy, C. Lubelska and V. Walsh (eds), Making Connections: Women’s Studies, Women’s Movements, Women’s Lives, London: Taylor & Francis.
Traub, V. (1991) ‘The ambiguities of “lesbian” viewing pleasure: the (dis)articulations of Black Widow’, in J. Epstein and K. Straub (eds), Body Guards: The Cultural Politics of Gender Ambiguity, London: Routledge. Weiss, A. (1992) Vampires and Violets: Lesbians in the Cinema, London: Jonathan Cape. Wilton, T. (1993) ‘Queer subjects: lesbians, heterosexual women and the academy’, in M. Kennedy, C. Lubelska and V. Walsh (eds), Making Connections: Women’s Studies, Women’s Movements, Women’s Lives, London: Taylor & Francis.