Journal articles on the topic '(james riddle)'

Critics who disliked Jane Campion's The Portrait of a Lady (1996) suggest she was wasting her talents on a high-budget adaptation in order to reach a mass audience. Yet Campion does not adapt Henry James's novel so much as interpret it. By boldly dramatizing the unconscious sexual desires that riddle James's melodramatic novel, Campion exposes the spaces where traditional gender ideology fails, loosening the gender codes upon which the pleasure of melodrama rests. The result is a feminist narrative that is attractive to the mainstream but also capable of leading the audience to consider social systems in place beyond the theater.

Abstract This article examines the challenge of partisanship to the free and open communication entailed by rich notions of democracy. Exploring the vexing riddle of how democratic citizens can balance openness and assertiveness in their dialogic interactions, I turn to the American pragmatist tradition for two important starting points. Drawing from William James and John Dewey, I highlight how the pragmatist tradition provides a nuanced reading of charity, both towards individuals and to situations. Charity is a choice of disposition, and it has vital implications for pragmatist rhetoric’s drive to instantiate a deep sense of democratic communication.

Long a puzzle to both its admirers and detractors across the world, the United States of America has, in the second decade of the twenty-first century, become more puzzling than ever. A variety of explanations has been proposed for America’s paradoxical combination of apparent “statelessness” and its capability to produce positive policy outcomes. This essay will argue that, properly understood, the structural features of America’s constitutional scheme of governance, largely credited to founder James Madison, provide a necessary but insufficient explanation of the “riddle of America”. The success of America’s “compound republic” (in Madison’s words), was intended to depend not only on the capacities of its basic governing structures – separation of powers, checks and balances, federalism, and pluralism – but, in extremis, on the inherent fairness of “the people”, both of which have been achieved in American history but neither of which can be guaranteed. The source of authority and, of equal importance, the legitimacy of American governing institutions and their outcomes is the faith placed in them by citizens, elected officials, and judges, requiring a sense of responsibility on the part of all to the principles that protect all. That the sense of responsibility on the part of some, as America’s recent political crises demonstrates, can fail, jeopardizes not only domestic liberty and justice but threatens the well being of peoples far distant.

ABSTRACT To an extent unnoticed in previous scholarship, Milton frequently engages passages from Paul’s First Letter to the Corinthians in De Doctrina Christiana and Paradise Lost. This is attested not only in the exegesis that Milton undertakes in both works but also in Milton’s personal King James Bible in which a marginal annotation records his preference to translate Paul’s reference to seeing “through a glass, darkly” as “in a riddle” (1 Cor. 13:12). This essay argues that Milton’s wrestling with Pauline scripture during the composition of De Doctrina Christiana helps to explicate his recurring citation of 1 Corinthians 15:24–28 in Paradise Lost. In the poem’s scenes of heavenly council, God the Father and the Son predict—repeatedly, and without theological consensus—the apocalyptic state that Paul describes. This begets a Miltonic poetic style that conforms to Paul’s concept of divine mystery, or spiritual truth known imperfectly.

Applied Finance and Accounting [AFA] would like to acknowledge the following reviewers for their assistance with peer review of manuscripts for this issue. Many authors, regardless of whether AFA publishes their work, appreciate the helpful feedback provided by the reviewers. Their comments and suggestions were of great help to the authors in improving the quality of their papers. Each of the reviewers listed below returned at least one review for this issue.Reviewers for Volume 4, Number 2Amira Houaneb, University Ibn Khaldoun, TunisiaAnastasia Kopaneli, University of Patras, GreeceAndrey Kudryavtsev, The Max Stern Yezreel Valley Academic College, IsraelAugustine Akhidime, Benson Idahosa University, NigeriaDesti Kannaiah, James Cook University, SingaporeFabio Rizzato, University of Turin, ItalyGheorghe Morosan, Stefan Cel Mare University Suceava Romania, RomaniaIoan Bogdan Robu, Alexandru Ioan Cuza University of Iasi, RomaniaJayendra S. Gokhale, Embry-Riddle Aeronautical University, USALingesiya Kengatharan, University of Jaffna, Sri LankaMarco Muscettola, Independent researcher, ItalyMohammad Sami Ali Al-Dahrawi, Zarqa University, JordanMojeed Idowu John Odumeso-Jimoh, Noble Integrated Resources & Management, NigeriaNikolay Patonov, European Polytechnical University, BulgariaPeibiao Zhao, Nanjing University of Science and Technology, ChinaRui Fernandes, Porto Accounting and Business School, PortugalSawsan Saadi Halbouni, Canadian University Dubai, UAEVolodymyr Vysochansky, Uzhhorod National University, UkraineAngelia EvelynEditorial AssistantOn behalf of,The Editorial Board of Applied Finance and AccountingRedfame Publishing9450 SW Gemini Dr. #99416Beaverton, OR 97008, USAE-mail: afa@redfame.comURL: http://afa.redfame.com

Applied Finance and Accounting [AFA] would like to acknowledge the following reviewers for their assistance with peer review of manuscripts for this issue. Many authors, regardless of whether AFA publishes their work, appreciate the helpful feedback provided by the reviewers. Their comments and suggestions were of great help to the authors in improving the quality of their papers. Each of the reviewers listed below returned at least one review for this issue.Reviewers for Volume 6, Number 1Adina Criste, “Victor Slavescu” Centre for Financial and Monetary Research, Romanian Academy, RomaniaAnastasia Kopaneli, University of Patras, GreeceAndrey Kudryavtsev, The Max Stern Yezreel Valley Academic College, IsraelAnthony Okafor, University of Louisville, USAAugustine Akhidime, Benson Idahosa University, NigeriaDesti Kannaiah, James Cook University, SingaporeFeng Jui Hsu, National Taichung University of Science and Technology, TaiwanGheorghe Morosan, Stefan Cel Mare University Suceava Romania, RomaniaHajar Jahangard , Central Bank of Iran(CBI), IranJayendra S. Gokhale, Embry-Riddle Aeronautical University, USALektore Oltiana Muharremi, University of Vlora, AlbaniaMarco Muscettola, Independent researcher, ItalyMawih Kareem Alani, Dhofar University, OmanMohammad Sami Ali Al-Dahrawi, Zarqa University, JordanNicoleta Radneantu, Romanian – American University, RomanianNikolay Patonov, European Polytechnical University, BulgariaNoriaki Okamoto, Rikkyo University, JapanRui Fernandes, Porto Accounting and Business School, PortugalShahram Fattahi, Razi University,, IranVolodymyr Vysochansky, Uzhhorod National University, UkraineZi-Yi Guo, Wells Fargo Bank, N.A., USA Angelia EvelynEditorial AssistantOn behalf of,The Editorial Board of Applied Finance and AccountingRedfame Publishing9450 SW Gemini Dr. #99416Beaverton, OR 97008, USAURL: http://afa.redfame.com

Abstract The presence of tertiary lymphoid structures (TLS) and associated high endothelial venules (HEV) in the tumor microenvironment strongly correlates with improved prognosis and treatment outcomes across a wide range of solid tumors. These clinical observations, now replicated repeatedly, highlight the therapeutic potential of induction of TLS and/or boosting TLS functions, which include acting as a point of entry and education for immune effector cells locally in the tumor. Lymphotoxin beta receptor (LTBR) signalling is essential for lymphoid structure development and the ectopic expression of its ligands, lymphotoxin αβ and LIGHT, is sufficient for TLS formation in vivo but challenging for therapeutic development. Here we present human bispecific antibodies (bsAbs) which conditionally agonize LTBR on co-engagement of fibroblast activation protein (FAP), a tumor microenvironment specific marker expressed by cancer associated fibroblasts. In vitro characterisation of these therapeutic bsAbs is presented, along with in vivo preclinical evaluation of surrogate bsAbs binding to mouse LTBR and mouse FAP in murine tumor models. Results - Therapeutic bsAbs were identified following an extensive screening campaign combining LTBR and FAP binding arms on an engineered human Fc with minimal FcyR binding. In vitro assays using primary cancer associated fibroblasts and LTBR positive cells demonstrated conditionally active therapeutic bsAbs potently activated LTBR in the presence of FAP expressing cells, whereas in the absence of FAP expressing cells no activity was observed. Surrogate bsAbs demonstrated monotherapy activity and led to tumor regressions in combination with anti-PDL1 therapy in an EMT6 mouse model, a syngeneic orthotopic model of breast cancer. Flow cytometry of endpoint tumors showed robust formation of HEVs and increased infiltration of T cells and B cells. In addition, we demonstrate that LTBR agonism, but not PD-L1 inhibition, leads to the formation of TLS structures containing organized lymphocyte aggregates with the appearance of germinal centres and accumulations of T and B cells in a mouse model of lung cancer. In conclusion, conditionally active FAP-LTBR bispecifics activate LTBR in the tumor microenvironment and induce HEV and TLS formation, leading to potent monotherapy activity in vivo, and to tumor regression in combination with PD-L1. These data support the development of FAP-LTBR bispecifics for the treatment of solid tumors as monotherapy and in combination with standard of care. Citation Format: Marta Lewandowska, Fevzi Demircioglu, Lucy Penfold, Rebecca B. Riddle, Sameer Sirohi, Floriane Laurent, Richard Brown, Sonia Bains, Dara Bevan, Emma Stanley, Jeanine Pignatelli, James W. Legg, Ray Jupp. Conditionally active, therapeutic lymphotoxin beta receptor (LTBR) agonist bispecific antibodies for induction of tertiary lymphoid structures in the treatment of solid tumors [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2024; Part 2 (Late-Breaking, Clinical Trial, and Invited Abstracts); 2024 Apr 5-10; San Diego, CA. Philadelphia (PA): AACR; Cancer Res 2024;84(7_Suppl):Abstract nr LB123.

Riddle’s Court, a former merchant’s house situated off the Royal Mile, Lawnmarket, Edinburgh, underwent major refurbishment and transformation into the Patrick Geddes Centre for Learning from 2015 to 2017. The results from historical research, building survey and architectural watching briefs are as yet unparalleled, as no other building on the Royal Mile has received the level of historical and archaeological research carried out at Riddle’s Court.
 In the late 16th century much of the Royal Mile was a plethora of mainly stone and timber-framed houses. However, Riddle’s Court was an amalgam of predominantly ashlar and rubble construction with tall thatched roofs with dormer windows. Slate was a later addition in the early 18th century. The interior of the complex was furnished with several turnpike staircases of which only one now survives. During the 17th and 18th centuries Riddle’s Court was bedecked with all the fine trappings of a country mansion house and was occupied by major and minor aristocracy until the late 18th century. The status of the building was further elevated by its earlier royal connections that led to its partial remodelling for ceremonial purposes. A legacy of a lavish royal banquet in honour of King James VI of Scotland (James I of England) and his bride Queen Anne of Denmark was a painted ceiling in the so-called ‘King’s Chamber’ which commemorated their royal union. This ornate and historically significant painted beam and board ceiling was discovered in the 1960s during a period of building renovation by Edinburgh City Council. The ceiling was restored and is a focal point among a large collection of ornate plaster and painted ceilings. Subsequent removal of more modern lined ceilings during the present refurbishment led to the discovery of three more painted beam and board ceilings, and a concealed fireplace and bread oven that are rare survivors within not only the Royal Mile but elsewhere in Scotland. The presence of so much hitherto unrecorded artwork has significantly raised the importance of the Court’s North Block.

Abstract This study explores the context for a small monophonic Latin song preserved in an eclectic Italian anthology manuscript produced around the turn of the fifteenth century. The song bears the Italian heading L'antefana di Ser Lorenzo, and is presumably connected to the Florentine composer Lorenzo Masini. “Diligenter advertant chantores” (as the Latin text begins) attracted considerable attention when it was first made widely available in facsimiles of the mid-twentieth century. Scholars of late medieval music, confronted by the song's apparent intellectual virtuosity and the diabolical excess of its so-called musica ficta signs, drew the conclusion that its musical context lay hidden within the history of music theory and perhaps even in its most esoteric corners. But repositioned against a new and still-emerging understanding of the pedagogical practices of the ars grammatica and ars memorativa, L'antefana takes on a different sort of historical significance. Details of its previously neglected text and the evidence of its fantastical notation suggest that it is a simple riddle intended for the youngest singers, likely a learning game of a very rudimentary sort (one of several considered in this article). Such classroom amusements still remain childhood constants, bridging the supposed gap between medieval and modern musical lives.

Abstract Disappointed in the reception of his opera Macbeth and torn between what he considered opposing French and German musical aesthetics, Ernest Bloch, together with his librettist and friend Edmond Fleg, turned to Jewish topics under the influence of another friend, the anti-Semite Robert Godet. Relying on archival documents and musical analysis, this article traces the development of Bloch's assumed Jewish identity from his projected opera Jézabel through his violoncello rhapsody Schelomo. Although both works display similar stylistic characteristics, the change between what is conceived as “Jewish” in the one and the other is significant. In Jézabel Bloch depicted an imaginary pure world of the Jews with diatonic, simple melodies and painted the pagan Jezebel with the lush chromaticism associated with Oriental sensuality; in Schelomo he interpreted the chromatic, augmented-second-ridden style as expressive of Jewishness. Schelomo thus fulfilled the expectations of Bloch's audiences by playing into stereotypes of Jewish music. Ironically then, the anti-Semitism that was a major factor in driving Bloch to find a particularly Jewish voice also inspired the corroboration of a musical style that, like the society around him, marked Jews as others.

AbstractUnder what conditions do states strive to homogenise their populations, rendering them ‘legible’ for state-making projects? Virtually all conditions, according to James Scott's landmark treatise,The Art of Not Being Governed. Whereas Scott sees states’ appetites to standardise their populations for purposes of control and extraction as practically universal, we see this appetite as radically and fascinatingly uneven. Much as Scott sees mobile populations as ‘nonliterate’ due to their disinterest in (and not their ignorance of) the purported fruits of civilisation, we see Leviathans as frequently ‘nonliterate’ in their disinclination (and not simply their incapacity) to actively administer their subjects and territory: even in Southeast Asia, the region that has done more than any other to generate Scott's theories of state power and practice. We thus argue that the world is riddled with standoffish states, not just standardising states. Even in the zones where the potential costs of eschewing the pursuit of legibility appear highest – those containing violent insurgencies – states can prove surprisingly disinterested in pursuing centralised governance in a highly administrative manner. We highlight four alternative strategies – indirect rule, divide and conquer, militarised pacification, and forcible expulsion – that states commonly deploy to fulfil what we see as their most fundamental objective: preventing political challenges to the ruling centre.

Abstract: It is impossible to read much about American poet Anne Sexton before encountering references to her "perverse" imagination. Critics routinely argue that she paints a perverse vision of childhood sexuality, female identity, and adult sexuality in her work, and they often object to her frank discussions of the body, its pleasures, and its dangerous powers. Her depictions of mental illness, initiated in To Bedlam and Part Way Back , also earned the derision of many critics who urged her "not to enquire further." Helen Vendler (1988) argued that "a poem was never better for having a uterus in it," and James Dickey objected to being exposed to so much "naked suffering"; that quote was in Anne's wallet when she killed herself in her garage in 1974. In her interviews and her poetry, Sexton answered these critics as a confessional poet and a cultural critic. But even after her death, accusations of her perversion abound. First, her biographer, Diane Middlebrook, exposed her sexual abuse of her daughter Linda. And then Sexton's sister Blanche referred to the poet's "perverse imagination" in a 1991 letter to the Boston Globe , where she and her daughters objected to how Middlebrook's biography represented Sexton's family as riddled with alcoholism, child neglect and/or abuse, and suicide.

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

Umberto Eco loved analogies, was an artist of the déjà-vu and a great bricoleur in architecting a pastiche of genre and a collage of intertextual anxieties of influences. I begin with his inspiration from one of his favorite and most influential writers, James Joyce, and will close with the influence of his all-time favorite movie, Casablanca. Eco’s remarkable study of Joyce’s works appeared in the first edition of Opera aperta. The influence of this meticulous analysis of puns, riddles, metonymy, and interactive metaphors resurfaces with his encyclopedic knowledge in The Name of the Rose. My argument is that Eco, keeping the famous Irish writer in mind, structured his own novels as dynamic epistemological metaphors. In addition to the skillful use of parodies, irony, puns, metaphors, erudition, semiosis, details, and comic relief, The Name of the Rose reveals many of Eco’s narrative strategies. Socratic dialogues, intertextual frames, citations, palimpsests, and chains of associations are at the center of his possible world of fiction where History and stories intertwine. From the cult movie Casablanca Eco learned how an intertextual collage of clichés was used constructively: “two clichés make us laugh, but a hundred clichés move us because we sense dimly that the clichés are talking among themselves and celebrating a reunion.” In The Rose we encounter clichés, archetypes, and familiar quotations that with Eco’s encyclopedic knowledge contribute to making his first hybrid cognitive narrative an excellent example of docere et delectare.

ABSTRACTIn The Lament of the Dead, James Hillman quotes Foucault as saying there are two ways to escape ‘the box of contemporary thinking’. One path lies through erudition, the other through the indigenous experience. While the history of Jung's ideas has been thoroughly explored, we understand little about his encounters with indigenous people in the American Southwest. For example, the literature on his visit to Taos Pueblo is riddled with misleading information. Part of the problem begins with Jung's own confusion regarding his contact at Taos with Antonio Mirabal. Not only did Jung wrongly believe that Mirabal was an ‘Indian chief’; he misspelled and mistranslated his Tiwa name, Ochwiay Biano. Although the encounter could be described (at one level) as superficial, Jung refers to it as one of the most important experiences of his life. This paper will explore what Jung seems to have encountered in Taos, and the ways his experience were orchestrated by the unseen presence of others (including Mabel Dodge Lujan, D.H. Lawrence, and Jaime de Angulo). Archival records and news accounts from the 1920s show that although Jung imagined he was meeting face to face with a ‘primitive' who still lived in the world of ‘participation mystique’, Mirabal was a gifted Native American impresario who later visited one American president and turned down an invitation to visit a second. I argue that the complex of colonialism surrounding Jung's relationship with Mirabal has infected subsequent encounters between the Jungian tradition and indigenous people.

Abstract It is argued that educational spaces often maintain certain forms of hierarchical cultural patterns to reproduce an unequal civil society. The history and contemporary nature of Indian civil society, ridden with relations of caste and class, often interpellates its agenda of hierarchical order in the cultures of schooling. Children from marginalized communities, particularly from the Adivasi (tribal) cultures, are more vulnerable to these undercurrents, and this often results in their dispirited autonomous participation in schooling. The content and nature of the curriculum and modes of pedagogical interactions are the focal channels of its operationalization. In recent times and earlier, various forms of contestations had emerged against this dominant agenda, particularly from subaltern contexts. These took the form of democratic resistances seeking to establish democratic cultures in classrooms and schools (Apple C James, 2007; Darder et.al, 2009). Creating a sphere of this order would promise to enable children to become transformative human beings and autonomous intellectuals. Viewing the regime of education as both liberatory and oppressive (McLaren, 2009), this paper is an attempt to engage with democratic concerns in the realm of schooling in India within the relations of culture, knowledge and its politics.

For contemporary music in America and Europe, the 1970s were a time in which the old order was changing, giving place to a new avant-garde. In Germany, the Darmstädter Ferienkurse für Neue Musik was stagnating under the inept leadership of Ernst Thomas, savaged by the press and ridden with inner squabbling and politics. For 25 years a bastion of musical innovation and experimentation, Darmstadt now seemed little more than ‘the crumbling edifice of the avant-garde's chief fortress’. The focus was shifting to Paris, where, in 1977, IRCAM opened beneath the Centre Georges Pompidou. Led by Pierre Boulez and staffed by Luciano Berio, Vinko Globokar, Max Mathews, and Jean-Claude Risset, its stated mission was to reunite science and music and create new modes of performance. Across the Channel, the composers of the New Complexity (Brian Ferneyhough, James Dillon, Richard Barrett, and Chris Dench) were also redefining performance practice, focusing not on technology but on notation and its implications for virtuosity. And in America, different schools of musical thought were colliding in the streets and the academy. Leonard Bernstein delivered the Charles Eliot Norton lectures at Harvard, then presented his ‘unanswered question’ to the American public, on television, in 1976. And uptown and downtown were ensconced, with Milton Babbitt and Morton Feldman appointed to the faculties at the Juilliard School and the State University of New York at Buffalo, respectively. On both sides of the Atlantic, seminal artistic statements were being made, heralding the unruly adolescence of a new and disparate avant-garde no longer directly connected to the Second World War.

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Henderson (eds.) - Peter Boomgaard, Tony Whitten, The ecology of Java and Bali. [Singapore]: Periplus Editions, 1996, xxiii + 969 pp. [The Ecology of Indonesia Series 2.], Roehayat Emon Soeriaatmadja, Surya A. Afiff (eds.) - Han Knapen, Kathy MacKinnon, The ecology of Kalimantan. [Singapore]: Periplus Editions, 1996, xxiv + 802 pp., tables, figures, boxes, index. [The Ecology of Indonesia Series 3.], Gusti Hatta, Hakimah Halim (eds.) - Bernice de Jong Boers, Manon Ossewiejer, Kathryn A. Monk, The ecology of Nusa Tenggara and Maluku. [Singapore]: Periplus Editions, Oxford: Oxford University Press, 1997, xvii + 966 pages, tables, figures, boxes, annexes, appendixes, index. [The Ecology of Indonesia Series 5.], Yance de Fretes, Gayatri Reksodiharjo-Lilley (eds.) - Freek Colombijn, Tomas Tomascik, The ecology of the Indonesian seas [2 volumes]. Hong Kong: Periplus, 1997, xiv + vi + 1388 pp., photographs, figures, tables, indexes. 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- Wouter E.A. van Beek, Henri Maurier, Philosophie de L’Afrique Noire (2ème éd.), St. Augustin: Anthropos Institut, 1985. - Wouter E.A. van Beek, A.M. Hocart, Imagination and proof. Selected essays of A.M. Hocart, Edited and with an introduction by Rodney Needham, Tucson: University of Arizona Press, 1987. 130 pp. - Martin van Bruinessen, B.B. Hering, Studies on Indonesian Islam, Occasional Paper no. 19, Centre for Southeast Asian Studies, James Cook University of North Queensland, Townsville (Australia), 1986, 50 pp. - Martin van Bruinessen, B.B. Hering, Studies on Islam, Occasional Paper no. 22, Centre for Southeast Asian Studies, James Cook University of North Queensland, Townsville (Australia), 1987, 94 pp. - Martin van Bruinessen, L.B. Venema, Islam en macht: Een historisch-anthropolische perspectief, Assen/Maastricht: Van Gorcum, 1987. - H.J.M. Claessen, Colin Renfrew, Peer polity interaction and socio-political change, Cambridge: Cambridge University Press, 1986. 179 pp., maps, ills., index, bibl., John F. Cerry (eds.) - H. Dagmar, Fred R. Myers, Pintupi country, Pintupi self; Sentiment, place and politics among Western Desert aborigines, Washington etc.: Smithsonian Institution Press, Australian Institute of Aboriginal Studies. - Mies Grijns, Rosanne Rutten, Women workers of Hacienda Milagros; Wage labor and household subsistence on a Philippine sugar cane plantation. Publikatieserie Zuid- en Zuidoost-Azie no. 30, Amsterdam: Anthropologisch-Sociologisch Centrum, Universiteit van Amsterdam, 1982, x + 187 pp. - Mies Grijns, Ann Laura Stoler, Capitalism and confrontation in Sumatra’s plantation belt, 1870-1979, Newhaven: Yale University Press, 1985, xii + 244 pp. - Nico de Jonge, Rodney Needham, Mamboru. History and structure in a domain of Northwestern Sumba. Oxford: Clarendon Press, 1987, 202 pp. - Anton Ploeg, Kenneth E. Read, Return to the high valley. Coming full circle. Berkeley: University of California Press, 1986. xxi + 269 pp. - Rien Ploeg, Tom R. Zuidema, La Civilisation Inca au Cuzco, Collège de France, Essais et Conférences, Paris: Presses Universitaires de France, 1986. - Harry A. Poeze, E.E. van Delden, Klein repertorium; Index op tijdschriftartikelen met betrekking tot voormalig Nederlands-Indië, samengesteld door E. E. van Delden. Amsterdam: Koninklijk Instituut voor de Tropen. Deel 1, Tijdschrift voor het Binnenlandsch Bestuur 1887-1900, 1986, 79 pp. Deel 2, Tijdschrift voor het Binnenlandsch Bestuur 1900-1909, 1986 80 pp. Deel 3, Tijdschrift voor het Binnenlandsch Bestuur 1910-1917, 1987, 80 pp. - Harry A. Poeze, J.J.P. de Jong, Diplomatie of strijd; Een analyse van het Nederlands beleid tegenover de Indonesische revolutie 1945-1947. Amsterdam: Boom, 531 pp. - Harry A. Poeze, D.C.L. Schoonoord, De Mariniersbrigade 1943-1949; Wording en inzet in Indonesië. ‘s-Gravenhage: Afdeling Maritieme Historie van de Marinestaf. - R. de Ridder, Edmundo Magaña, Myth and the imaginary in the new world, Amsterdam: CEDLA, Latin America Studies no. 34, 1986. 500 pp. 64 ills., Peter Mason (eds.) - P.G. Rivière, Edmundo Magaña, Contribuciones al estudio de la mitología y astronomía de los indios de las Guayanas, Dordrecht-Providence: Foris Publications. 1987. - A. de Ruijter, P.E. de Josselin de Jong, Generalisatie in de culturele antropologie (Afscheidscollege ter gelegenheid van het neerleggen van het ambt van hoogleraar in de sociale wetenschappen aan de Rijksuniversiteit van Leiden op 12 juni 1987), 1987, Leiden: E.K. Brill. - Mary F. Somers Heidhues, Yoe-Sioe Liem, Überseechinesen - eine minderheit: Zur erforschung interethnischer vorurteile in Indonesien, Aachen: Edition Herodot im Rader-Verlag, 1986. - N.J.M. Zorgdrager, H. Beach, Contributions to circumpolar studies. Uppsala Research Reports in Cultural Anthropology no. 7, 1986. 181 pages.

- G.J. Abbink, Serena Nanda, Cultural anthropology, Belmont: Wadsworth Publishing Company (second edition), 1985, 398 pp. - H.J.M. Claessen, Patrick Vinton Kirch, The evolution of the Polynesian Chiefdoms, Cambridge University Press, Cambridge etc. Series: New Studies in Archaeology, edited by Colin Renfrew and Jeremy Sabloff, 1984. 314 pp., index, glossary, bibliography, maps, and figures. - H.J.M. Claessen, Jarich O. Oosten, The war of the gods. The social code in Indo-European myths, London etc.: Routledge and Kegan Paul, 1985. 175 pp., bibl., figs. - H.J. Duller, P.W. Preston, New trends in development theory. Essays in development and social theory, Routledge & Kegan Paul, London 1985, 200 pages. - H.J. Duller, M. Stiefel, Production, equality and participation in rural China, UNRISD, Geneva & Red Press, London, 1983, 172 pp., W.F. Wertheim (eds.) - M. Grijns, Kirsten Hastrup, Basisboek culturele antropologie. Bewerkt door Yme Kuiper & Nellejet Zorgdrager. 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Abstract Multiple myeloma (MM) is a disease of malignant plasma cells that resides in the bone marrow microenvironment (BMM). While advances in therapy have improved patient outcomes, the majority of patients relapse. Clinical trials have shown that BCMA targeted CAR-T therapy induces MM remission in most patients with heavily pretreated relapsed refractory MM; however, the duration of the response has been disappointing. CAR-T cells induce target cell death through two primary mechanisms, granzyme B and FASL. To define the role of FAS-induced cell death in CAR-T therapy in MM, we first evaluated if FAS-induced cell death was important for CAR-T activity in MM. We utilized CRISPR-Cas9 to generate FAS KOs in three MM cell lines: RPMI8226, KMS18, and OCIMY5. These lines were utilized in vitro in cytotoxic CAR-T assays where MM cells were cultured with BMCA CAR-T cells at five effector to target (E:T) ratios (range: 0:1 to 1:1). The loss of FAS protected KMS18 and OCIMY5 from CAR-T induced cell death, changing the E:T ratio needed to induce 50% MM cell death 3.2 and 3.4 fold respectively, but did not protect RPMI8226. We determined the expression of FAS negatively correlated with the EC50 of rFASL, suggesting that FAS expression levels are important for this response. To determine the role of the intrinsic apoptotic pathway in FASL-induced death, we knocked out BAK and BAX in KMS12 PE and OCIMY5. This did not protect KMS12 PE or OCIMY5 from rFASL-induced cell death, suggesting that FAS uses the type I mitochondria-independent pathway in these cell lines. The BMM supports MM progression and promotes drug resistance in part by altering the apoptotic threshold. Therefore, we examined the impact of the BMM on FASL-induced cell death. Coculture of MM cells with the HS5 stromal cell line protected KSM12 PE and KMS18 from rFASL, with the EC50 of rFASL changing 2.72 and 3.1 fold respectively, but did not protect OCIMY5. To determine if the protection observed was cell contact dependent, or only required soluble factors, we utilized HS5 conditioned media (CM). HS5 CM protected KMS12 PE, KMS18, and surprisingly OCIMY5 from rFASL, causing a change in EC50 from control of 1.65 - 2.23 fold. CM lacking IL6 did not protect MM cells from rFASL. Therefore, we tested the effects of IL6 addition IL6(10 ng/ml) and observed protection from rFASL in KMS12 PE and KMS18 cells with a change in EC50 of 2.03 and 3.84 fold respectively; however, we did not see protection in OCIMY5. To identify the mechanism of IL6-induced resistance to rFASL, we cultured BAK/BAX KO cells in HS5 CM and observed protection of these apoptosis-deficient KMS12 PE and OCIMY5 cells from rFASL. This suggests that soluble factors in the BMM can convert cells from type I to type II (mitochondrial-dependent) death receptor signaling and that inhibiting BMM signals such as IL6 may enhance FASL-induced cell death in MM. However, the data also demonstrate that the role of FAS in CAR-T killing is cell context dependent. Citation Format: James C. Ackley, Samuel McCachren, Sagar Lonial, Damien J. Green, Stanley R. Riddell, Geoffrey R. Hill, Madhav V. Dhodapkar, Lawrence H. Boise. Stromal cell derived IL6 inhibits the extrinsic apoptotic pathway in multiple myeloma cell lines [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 2825.

-Timothy P. Barnard, Cynthia Chou, Indonesian sea nomads; Money, magic, and fear of the Orang Suku Laut. London: RoutledgeCurzon, 2003, xii + 159 pp. -R.H. Barnes, Toos van Dijk, Gouden eiland in de Bandazee; Socio-kosmische ideeën op Marsela, Maluku Tenggara, Indonesië. Leiden: Onderzoekschool voor Aziatische, Afrikaanse en Amerindische studies (CNWS), Universiteit Leiden, 2000, 458 pp. [CNWS Publications 94.] -Andrew Beatty, Peter G. Riddell, Islam and the Malay-Indonesian world; Transmission and responses. Honolulu: University of Hawai'i Press, 2001, xvii + 349 pp. -Peter Boomgaard, Richard H. Grove ,El Niño - history and crisis; Studies from the Asia-Pacific region. Cambridge: White Horse Press, 2000, 230 pp., John Chappell (eds) -Bernardita Reyes Churchill, Florentino Rodao, Franco y el imperio japonés; Imágenes y propaganda en tiempos de guerra. Barcelona: Plaza and Janés, 2002, 669 pp. -Matthew Cohen, Stuart Robson, The Kraton; Selected essays on Javanese courts. Translated by Rosemary Robson-McKillop. Leiden: KITLV Press, 2003, xxvi + 397 pp. [Translation series 28.] -Serge Dunis, Ben Finney, Sailing in the wake of the ancestors; Reviving Polynesian voyaging. Honolulu: Bishop Museum Press, 2003, 176 pp. [Legacy of excellence.] -Heleen Gall, Jan A. Somers, De VOC als volkenrechtelijke actor. Deventer: Gouda Quint, Rotterdam: Sanders Instituut, 2001, x + 350 pp. -David Henley, Harold Brookfield, Exploring agrodiversity. New York: Columbia University Press, 2001, xix + 348 pp. -David Hicks, Ernst van Veen ,A guide to the sources of the history of Dutch-Portuguese relations in Asia (1594-1797). With a foreword by Leonard Blussé. Leiden: Institute for the history of European expansion, 2001, iv + 378 pp. [Intercontinenta 24.], Daniël Klijn (eds) -Nico Kaptein, Donald J. Porter, Managing politics and Islam in Indonesia. London: RoutledgeCurzon, 2002, xxi + 264 pp. -Victor T. King, Monica Janowski, The forest, source of life; The Kelabit of Sarawak. London: British Museum Press, 2003, vi + 154 pp. [Occasional paper 143.] -Dick van der Meij, Andrée Jaunay, Exploration dans la presqu île malaise par Jacques de Morgan 1884. Paris: CNRS Éditions, 2003, xiv + 268 pp. Avec les contributions de Christine Lorre, Antonio Guerreiro et Antoine Verney. -Toon van Meijl, Richard Eves, The magical body; Power, fame and meaning in a Melanesian society. Amsterdam: Harwood academic, 1998, xxii + 302 pp. [Studies in Anthropology and History 23.] -Otto van den Muijzenberg, Florentino Rodao ,The Philippine revolution of 1896; Ordinary lives in extraordinary times. Quezon city: Ateneo de Manila University Press, 2001, xx + 303 pp., Felice Noelle Rodriguez (eds) -Frank Okker, Kees Snoek, Manhafte heren en rijke erfdochters; Het voorgeslacht van E. du Perron op Java. Leiden: KITLV Uitgeverij, 2003, 103 pp. [Boekerij 'Oost en West'.] (met medewerking van Tim Timmers) -Oona Thommes Paredes, Greg Bankoff, Cultures of disaster; Society and natural hazard in the Philippines, 2003, xviii + 232 pp. London: RoutledgeCurzon, 2003, xviii + 232 pp. -Angela Pashia, Lake' Baling, The old Kayan religion and the Bungan religious reform. Translated and annotated by Jérôme Rousseau. Kota Samarahan: Unit Penerbitan Universiti Malaysia Sarawak, 2002, xviii + 124 pp. [Dayak studies monographs, Oral literature series 4.] -Anton Ploeg, Susan Meiselas, Encounters with the Dani; Stories from the Baliem Valley. New York: International center of photography, Göttingen: Steidl, 2003, 196 pp. -Nathan Porath, Robert W. Hefner, The politics of multiculturalism; Pluralism and citizenship in Malaysia, Singapore, and Indonesia. Honolulu: University of Hawai'i Press, 2001, ix + 319 pp. -Jan van der Putten, Timothy P. Barnard, Multiple centres of authority; Society and environment in Siak and eastern Sumatra, 1674-1827. Leiden: KITLV Press, 2003, xvi + 206 pp. [Verhandelingen 210.] -Jan Piet Puype, David van Duuren, Krisses; A critical bibliography. Wijk en Aalburg: Pictures Publishers, 2002, 192 pp. -Thomas H. Slone, Gertrudis A.M. Offenberg ,Amoko - in the beginning; Myths and legends of the Asmat and Mimika Papuans. Adelaide: Crawford House, 2002, xxviii + 276 pp., Jan Pouwer (eds) -Fridus Steijlen, Kwa Chong Guan ,Oral history in Southeast Asia; Theory and method. Singapore: Institute of Southeast Asian studies, 2000, xii + 172 pp., James H. Morrison, Patricia Lim Pui Huen (eds) -Fridus Steijlen, P. Lim Pui Huen ,War and memory in Malaysia and Singapore. Singapore: Institute of Southeast Asian studies, 2000, vii + 193 pp., Diana Wong (eds) -Jaap Timmer, Andrew Lattas, Cultures of secrecy; Reinventing race in Bush Kaliai cargo cults. 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Abstract In approximately 1740, Cornelis Douwes presented an algorithmic method to determine the latitude when it is impossible to observe the Sun at the meridian passage. To apply Douwes’ method, it is necessary to know two altitudes of the Sun, the time elapsed between observations, the Sun's declination at the time when the greater altitude was observed and the latitude by account. Douwes’ method, originally written in Dutch, was translated and published in English by Richard Harrison in 1759. This translation made possible the dissemination of this method throughout Europe. In 1821, James Ivory proposed a new method that was independent of the latitude by account. This method was improved by Edward Riddle in 1822. Riddle's proposal was widely disseminated throughout Europe during the 19th century. In this work, our objective is to study the reliability of these two methods. For that purpose, we will apply the algorithmic methods of Douwes and Riddle to determine the latitude using real observations made during the years 2021 and 2022. The results obtained will then be compared with the GPS (Global Positioning System) latitude to assess the reliability of each method.

Abstract It has become an urban legend or internet myth that James Clerk Maxwell created the first colour image and had demonstrated this at the Royal Institution in London in May 1861. He did present something, but what? In ‘The scientific papers of James Clerk Maxwell’ the experiment and resulting colour projection was regarded as a failure and barely mentioned. Thomas Sutton, a well-established and respected photographer, was tasked with carrying out Maxwell’s thought experiment using the latest photographic processes. Sutton, himself author of various books on photography, does not mention the experiment in any of his publications. Move forward to the 1930’s and enter the photo-chemist Douglas Arthur Spencer, who gained access to the original lantern slides and made the first and only physical print of the 1861 tartan ribbon. It is this colour print that we now see everywhere as Maxwell’s first colour photograph. In 1961, the 100th anniversary, Ralph M Evans published a paper in Scientific American trying to solve the riddle of the famous tartan ribbon. The original glass plate photographs were made using the wet-collodion process which has a very narrow spectral sensitivity centred in the blue light wavelength. Sutton could not have recorded in the green and red part of the spectrum. Evans deduced from an experiment with modern materials that Sutton had possibly recorded the ultraviolet reflection present in the red of the tartan ribbon and “accidently” presenting itself as the red slide. The resulting image can be considered a ‘false colour’ image. 160 years since that first experiment, we are exploring and executing some of the material and technical truths about wet-plate collodion and what might have actually been recorded and why is it that both Maxwell and Sutton regarded the experiment such a failure, but the rest of the world did not.

Abstract Background A 6-valent vaccine (VLA15) is being tested in clinical trials for the prevention of Lyme disease caused by Borrelia burgdorferi sensu lato strains expressing OspA serotypes 1-6. Background incidence rates (IRs) of health outcomes in Lyme disease endemic and non-endemic regions of the US may help to contextualize whether the frequencies of events reported during vaccine clinical trials or post-marketing are consistent with expected population level rates. The objective of this study was to estimate and compare IRs of health outcomes in Lyme disease endemic vs. non-endemic regions using US administrative claims data. Methods IQVIA PharMetrics® Plus commercial claims database was used to estimate IRs of 63 outcomes relevant to vaccine safety monitoring in the US during 01/01/2017-12/31/2019. Endemic regions were classified using 3-digit zip codes that overlapped with Lyme disease high incidence counties (10 cases/100,000 persons) according to the CDC. Analyses included all individuals aged ≥ 2 years with ≥ 1 year of enrollment. Outcomes were defined by ICD-10-CM diagnosis codes according to the literature or expert input and required ≥ 1 inpatient or ≥ 2 outpatient claims/codes. Crude IRs and 95% confidence intervals (CIs) were calculated for each outcome and compared between endemic vs. non-endemic regions using IR ratios (IRR). Results The study population included 8.7M in endemic and 27.8M in non-endemic regions. Mean age was slightly higher in endemic (37.7 yrs [SD=18.9]) vs. non-endemic (36.8 yrs [SD=19.5]) cohorts, and 51% in both cohorts were female. Table 1 provides a summary of the IRs and IRRs for the 10 highest and 10 lowest ranking IRRs for health conditions by endemic region status. IRRs (95% CI) ranged from a low of 0.74 (0.71, 0.78) for systemic lupus erythematosus to a high of 2.14 (1.93, 2.37) for meningoencephalitis. Conclusion This study identified potential differences between Lyme endemic and non-endemic regions of the US in background IRs of health conditions in vaccine safety monitoring. Differences in background IRs between endemic and non-endemic regions should be considered when contextualizing possible safety signals in clinical trials and post-marketing. Disclosures Jill Dreyfus, PhD, MPH, Pfizer, Inc.: Employment|Pfizer, Inc.: Stocks/Bonds Swapna Munnangi, PhD, IQVIA: Employment Camilla Bengtsson, PhD, IQVIA: Employment|Pfizer, Inc: Advisor/Consultant Barbara Correia, PhD, IQVIA: Employee|Pfizer, Inc.: Advisor/Consultant Rejane Figueiredo, PhD, IQVIA: Biostatistician Sarah Galvin, BS, Pfizer, Inc.: Employment James H. Stark, PhD, Pfizer: Employee|Pfizer: Stocks/Bonds Michele Zawora, MD, FAAFP, Pfizer: Employment|Pfizer: Stocks/Bonds Mark Riddle, MD, DrPH, Pfizer: Employee salary Jason Maguire, MD, Pfizer, Inc.: Employee|Pfizer, Inc.: Stocks/Bonds Qin Jiang, PhD, Pfizer: Employee|Pfizer: Employee|Pfizer: Stocks/Bonds|Pfizer: Stocks/Bonds Juan Naredo Turrado, MS, IQVIA: Employee Steven Bailey, MD, MPH, MBA, Pfizer, Inc.: Employment

Establishing multiple instances of intertextuality between Vladimir Nabokov's Lolita and James Joyce's Ulysses, this article seeks more significant analogies between the two works than some curious but easily demonstrated instances of gender and ethnic related motivic echoing. Thus it is shown that Nabokov believed himself to be emulating Joyce's example of breaking the narrative frame of his novel to make room for his own authorial self. The essay asks, but declines to answer, whether the authorial hide-and-seek observed in the two novels provides evidence of Joyce and Nabokov having both been proto-postmodernists of sorts, or else the very ease with which their self-referential riddles can be solved locates them in an earlier tradition of the novel.

We summarize the intellectual journey of James R. Crotty in this tribute. We discuss how Crotty’s approach to macroeconomics based on Marxian and Keynesian insights led to a series of flexible models based on realistic assumptions that help us better understand the contradictory evolution of capitalism from the 1970s to the 2010s. The basic building blocks of Crottyian macroeconomics consist of the emphasis on macro foundations, focus on the concrete capitalist processes with their endogenous, dynamic, and conflict-ridden nature, and the centrality of money, credit, and competitive dynamics of the capitalist system. We also discuss how a study of these dynamics led to his final work on “liberal socialism” as the way to end the disruptive cycles of capitalism. We argue that those aiming to construct a solid theoretical foundation to guide the understanding, transformation, and transcending of contemporary capitalist societies would find much inspiration in Crotty’s intellectual legacy. JEL Classification: E11, E12, B51

The discussion in the entire area of "intercultural communication" revolves around the issue of facilitating mutual understanding between members of ethnic and cultural communities. The basic assumption is that once this has been achieved, the fundamental problems have been addressed, thereby removing the obstacles for sympathetic interaction. The conclusion that understanding is a necessary condition for liking, is, however, faulty. Empathy and sympathy are - even though related - not identical. In this contribution I will argue that getting to know the "other" better will not automatically result in liking him/her more. The history of exotism from Marco Polo via Columbus to even such sober characters as James Cooke shows that phenomena which are not understood may create very strong positive feelings whereas in an intracultural setting which is certainly not ridden by difficulties encountered in intercultural exchange, we do find clearly marked antipathies. A further topic to be addressed is the issue of whether the matters in question are intrinsically accessible and capable of being mediated in formal instruction.

“What is the point of stories in such a moment”, asks author and critic James Bradley, writing about climate extinction: Bradley emphasises that “climatologist James Hansen once said being a climate scientist was like screaming at people from behind a soundproof glass wall; being a writer concerned with these questions often feels frighteningly similar” (“Writing”). If the impact of climate change asks humans to think differently, to imagine differently, then surely writing—and reading—must change too? According to writer and geographer Samuel Miller-McDonald, “if you’re a writer, then you have to write about this”. But how are we to do that? Where might it be done already? Perhaps not in traditional (or even post-) Modernist modes. In the era of the Anthropocene I find myself turning to non-traditional, un-real models to write the slow violence and read the deep time that is where we can see our current climate catastrophe.At a “Writing in the Age of Extinction” workshop earlier this year Bradley and Jane Rawson advocated changing the language of “climate change”—rejecting such neutral terms—in the same way that I see the stories discussed here pushing against Modernity’s great narrative of progress.My research—as a reader and writer, is in the fantastic realm of speculative fiction; I have written in The Conversation about how this genre seems to be gaining literary popularity. There is no doubt that our current climate crisis has a part to play. As Margaret Atwood writes: “it’s not climate change, it’s everything change” (“Climate”). This “everything” must include literature. Kim Stanley Robinson is not the only one who sees “the models modern literary fiction has are so depleted, what they’re turning to now is our guys in disguise”. I am interested in two recent examples, which both use the strongly genre-associated time-travel trope, to consider how science-fiction concepts might work to re-imagine our “deranged” world (Ghosh), whether applied by genre writers or “our guys in disguise”. Can stories such as The Heavens by Sandra Newman and “Anxiety is the Dizziness of Freedom” by Ted Chiang—which apply time travel, whether as an expression of fatalism or free will—help us conceive the current collapse: understand how it has come to pass, and imagine ways we might move through it?The Popularity of Time TravelIt seems to me that time as a notion and the narrative device, is key to any idea of writing through climate change. “Through” as in via, if the highly contested “cli-fi” category is considered a theme; and “through” as entering into and coming out the other side of this ecological end-game. Might time travel offer readers more than the realist perspective of sweeping multi-generational sagas? Time-travel books pose puzzles; they are well suited to “wicked” problems. Time-travel tales are designed to analyse the world in a way that it is not usually analysed—in accordance with Tim Parks’s criterion for great novels (Walton), and in keeping with Darko Suvin’s conception of science fiction as a literature of “cognitive estrangement”. To read, and write, a character who travels in “spacetime” asks something more of us than the emotional engagement of many Modernist tales of interiority—whether they belong to the new “literary middlebrow’” (Driscoll), or China Miéville’s Booker Prize–winning realist “litfic” (Crown).Sometimes, it is true, they ask too much, and do not answer enough. But what resolution is possible is realistic, in the context of this literally existential threat?There are many recent and recommended time-travel novels: Kate Atkinson’s 2013 Life after Life and Jenny Erpenbeck’s 2014 End of Days have main characters who are continually “reset”, exploring the idea of righting history—the more literary experiment concluding less optimistically. For Erpenbeck “only the inevitable is possible”. In her New York Times review Francine Prose likens Life after Life to writing itself: “Atkinson sharpens our awareness of the apparently limitless choices and decisions that a novelist must make on every page, and of what is gained and lost when the consequences of these choices are, like life, singular and final”. Andrew Sean Greer’s 2013 The Impossible Lives of Greta Wells also centres on the WorldWar(s), a natural-enough site to imagine divergent timelines, though he draws a different parallel. In Elan Mastai’s 2017 debut All Our Wrong Todays the reality that is remembered—though ultimately not missed, is more dystopic than our own time, as is also the way with Joyce Carol Oates’s 2018 The Hazards of Time Travel. Oates’s rather slight contribution to the subgenre still makes a clear point: “America is founded upon amnesia” (Oates, Hazards). So, too, is our current environment. We are living in a time created by a previous generation; the environmental consequence of our own actions will not be felt until after we are gone. What better way to write such a riddle than through the loop of time travel?The Purpose of Thought ExperimentsThis list is not meant to be comprehensive. It is an indication of the increasing literary application of the “elaborate thought experiment” of time travel (Oates, “Science Fiction”). These fictional explorations, their political and philosophical considerations, are currently popular and potentially productive in a context where action is essential, and yet practically impossible. What can I do? What could possibly be the point? As well as characters that travel backwards, or forwards in time, these titles introduce visionaries who tell of other worlds. They re-present “not-exactly places, which are anywhere but nowhere, and which are both mappable locations and states of mind”: Margaret Atwood’s “Ustopias” (Atwood, “Road”). Incorporating both utopian and dystopian aspects, they (re)present our own time, in all its contradictory (un)reality.The once-novel, now-generic “novum” of time travel has become a metaphor—the best possible metaphor, I believe, for the climatic consequence of our in/action—in line with Joanna Russ’s wonderful conception of “The Wearing out of Genre Materials”. The new marvel first introduced by popular writers has been assimilated, adopted or “stolen” by the dominant mode. In this case, literary fiction. Angela Carter is not the only one to hope “the pressure of the new wine makes the old bottles explode”. This must be what Robinson expects: that Ken Gelder’s “big L” literature will be unable to contain the wine of “our guys”—even if it isn’t new. In the act of re-use, the time-travel cliché is remade anew.Two Cases to ConsiderTwo texts today seem to me to realise—in both senses of that word—the possibilities of the currently popular, but actually ancient, time-travel conceit. At the Melbourne Writers Festival last year Ted Chiang identified the oracle in The Odyssey as the first time traveller: they—the blind prophet Tiresias was transformed into a woman for seven years—have seen the future and report back in the form of prophecy. Chiang’s most recent short story, “Anxiety is the Dizziness of Freedom”, and Newman’s novel The Heavens, both of which came out this year, are original variations on this re-newed theme. Rather than a coherent, consistent, central character who travels and returns to their own time, these stories’ protagonists appear diversified in/between alternate worlds. These texts provide readers not with only one possible alternative but—via their creative application of the idea of temporal divergence—myriad alternatives within the same story. These works use the “characteristic gesture” of science fiction (Le Guin, “Le Guin Talks”), to inspire different, subversive, ways of thinking and seeing our own one-world experiment. The existential speculation of time-travel tropes is, today, more relevant than ever: how should we act when our actions may have no—or no positive, only negative—effect?Time and space travel are classic science fiction concerns. Chiang’s lecture unpacked how the philosophy of time travel speaks uniquely to questions of free will. A number of his stories explore this theme, including “The Alchemist’s Gate” (which the lecture was named after), where he makes his thinking clear: “past and future are the same, and we cannot change either, only know them more fully” (Chiang, Exhalation). In “Story of Your Life”, the novella that the film Arrival is based on, Chiang’s main character-narrator embraces a future that could be seen as dystopic while her partner walks away from it—and her, and his daughter—despite the happiness they will offer. Gary cannot accept the inevitable unhappiness that must accompany them. The suggestion is that if he had had Louise’s foreknowledge he might, like the free-willing protagonist in Looper, have taken steps to ensure that that life—that his daughter’s life itself—never eventuated. Whether he would have been successful is suspect: according to Chiang free will cannot foil fate.If the future cannot be changed, what is the role of free will? Louise wonders: “what if the experience of knowing the future changed a person? What if it evoked a sense of urgency, a sense of obligation to act precisely as she knew she would?” In his “story notes” Chiang says inspiration came from variational principles in physics (Chiang, Stories); I see the influence of climate calamity. Knowing the future must change us—how can it not evoke “a sense of urgency, a sense of obligation”? Even if events play out precisely as we know they will. In his talk Chiang differentiated between time-travel films which favour free will, like Looper, and those that conclude fatalistically, such as Twelve Monkeys. “Story of Your Life” explores the idea that these categories are not mutually exclusive: exercising free will might not change fate; fatalism may not preclude acts of free will.Utopic Free Will vs. Dystopic Fate?Newman’s latest novel is more obviously dystopic: the world in The Heavens is worse each time Kate wakes from her dreams of the past. In the end it has become positively post-apocalyptic. The overwhelming sadness of this book is one of its most unusual aspects, going far beyond that of The Time Traveler’s Wife—2003’s popular tale of love and loss. The Heavens feels fatalistic, even though its future is—unfortunately, in this instance—not set but continually altered by the main character’s attempts to “fix” it (in each sense of the word). Where Twelve Monkeys, Looper, and The Odyssey present every action as a foregone conclusion, The Heavens navigates the nightmare that—against our will—everything we do might have an adverse consequence. As in A Christmas Carol, where the vision of a possible future prompts the protagonist to change his ways and so prevent its coming to pass, it is Kate’s foresight—of our future—which inspires her to act. History doesn’t respond well to Kate’s interventions; she is unable to “correct” events and left more and more isolated by her own unique version of a tortuous Cassandra complex.These largely inexplicable consequences provide a direct connection between Newman’s latest work and James Tiptree Jr.’s 1972 “Forever to a Hudson Bay Blanket”. That tale’s conclusion makes no “real” sense either—when Dovy dies Loolie’s father’s advisers can only say that (time) paradoxes are proliferating—but The Heavens is not the intellectual play of Tiptree’s classic science fiction: the wine of time-travel has been poured into the “depleted” vessel of “big L” literature. The sorrow that seeps through this novel is profound; Newman apologises for it in her acknowledgements, linking it to the death of an ex-partner. I read it as a potent expression of “solastalgia”: nostalgia for a place that once provided solace, but doesn’t any more—a term coined by Australian philosopher Glen Albrecht to express the “psychic or existential distress caused by environmental change” (Albrecht et al.). It is Kate’s grief, for a world (she has) destroyed that drives her mad: “deranged”.The Serious Side of SpeculationIn The Great Derangement Ghosh laments the “smaller shadow” cast by climate change in the landscape of literary fiction. He echoes Miéville: “fiction that deals with climate change is almost by definition not the kind that is taken seriously by serious literary journals; the mere mention of the subject is often enough to relegate a novel or short story to the genre of science fiction” (Ghosh). Time-travel tales that pose the kind of questions handled by theologians before the Enlightenment and “big L” literature after—what does it mean to exist in time? How should we live? Who deserves to be happy?—may be a way for literary fiction to take climate change “seriously”: to write through it. Out-of-time narratives such as Chiang and Newman’s pose existential speculations that, rather than locating us in time, may help us imagine time itself differently. How are we to act if the future has already come to pass?“When we are faced with a world whose problems all seem ‘wicked’ and intractable, what is it that fiction can do?” (Uhlmann). At the very least, should writers not be working with “sombre realism”? Science fiction has a long and established tradition of exposing the background narratives of the political—and ecological—landscapes in which we work: the master narratives of Modernism. What Anthony Uhlmann describes here, as the “distancing technique” of fiction becomes outright “estrangement” in speculative hands. Stories such as Newman and Chiang’s reflect (on) what readers might be avoiding: that even though our future is fixed, we must act. We must behave as though our decisions matter, despite knowing the ways in which they do not.These works challenge Modernist concerns despite—or perhaps via—satisfying genre conventions, in direct contradiction to Roy Scranton’s conviction that “Narrative in the Anthropocene Is the Enemy”. In doing so they fit Miéville’s description of a “literature of estrangement” while also exemplifying a new, Anthropocene “literature of recognition” (Crown). These, then, are the stories of our life.What Is Not ExpectedChiang’s 2018 lecture was actually a PowerPoint presentation on how time travel could or would “really” work. His medium, as much as his message, clearly showed the author’s cross-disciplinary affiliations, which are relevant to this discussion of literary fiction’s “depleted” models. In August this year Xu Xi concluded a lecture on speculative fiction for the Vermont College of Fine Arts by encouraging attendees to read—and write—“other” languages, whether foreign forms or alien disciplines. She cited Chiang as someone who successfully raids the riches of non-literary traditions, to produce a new kind of literature. Writing that deals in physics, as much as characters, in philosophy, as much as narrative, presents new, “post-natural” (Bradley, “End”) retro-speculations that (in un- and super-natural generic traditions) offer a real alternative to Modernism’s narrative of inevitable—and inevitably positive—progress.In “What’s Expected of Us” Chiang imagines the possible consequence of comprehending that our actions, and not just their consequence, are predetermined. In what Oates describes as his distinctive, pared-back, “unironic” style (Oates, “Science Fiction”), Chiang concludes: “reality isn’t important: what’s important is your belief, and believing the lie is the only way to avoid a waking coma. Civilisation now depends on self-deception. Perhaps it always has”. The self-deception we need is not America’s amnesia, but the belief that what we do matters.ConclusionThe visions of her “paraself” that Nat sees in “Anxiety Is the Dizziness of Freedom” encourage her to change her behaviour. The “prism” that enables this perception—a kind of time-tripped iPad that “skypes” alternate temporal realities, activated by people acting in different ways at a crucial moment in their lives—does not always reflect the butterfly effect the protagonist, or reader, might expect. Some actions have dramatic consequences while others have minimal impact. While Nat does not see her future, what she spies inspires her to take the first steps towards becoming a different—read “better”—person. We expect this will lead to more positive outcomes for her self in the story’s “first” world. The device, and Chiang’s tale, illustrates both that our paths are predetermined and that they are not: “our inability to predict the consequences of our own predetermined actions offers a kind of freedom”. The freedom to act, freedom from the coma of inaction.“What’s the use of art on a dying planet? What’s the point, when humanity itself is facing an existential threat?” Alison Croggon asks, and answers herself: “it searches for the complex truth … . It can help us to see the world we have more clearly, and help us to imagine a better one”. In literary thought experiments like Newman and Chiang’s artful time-travel fictions we read complex, metaphoric truths that cannot be put into real(ist) words. In the time-honoured tradition of (speculative) fiction, Chiang and Newman deal in, and with, “what cannot be said in words … in words” (Le Guin, “Introduction”). These most recent time-slip speculations tell unpredictable stories about what is predicted, what is predictable, but what we must (still) believe may not necessarily be—if we are to be free.ReferencesArrival. Dir. Dennis Villeneuve. Paramount Pictures, 2016.Albrecht, Glenn, et al. “Solastalgia: The Distress Caused by Environmental Change.” Australasian Psychiatry (Feb. 2007): 41–55. Atwood, Margaret. “The Road to Ustopia.” The Guardian 15 Oct. 2011 <https://www.theguardian.com/books/2011/oct/14/margaret-atwood-road-to-ustopia>.———. “It’s Not Climate Change, It’s Everything Change.” Medium 27 July 2015. <https://medium.com/matter/it-s-not-climate-change-it-s-everything-change-8fd9aa671804>.Bradley, James. “Writing on the Precipice: On Literature and Change.” City of Tongues. 16 Mar. 2017 <https://cityoftongues.com/2017/03/16/writing-on-the-precipice-on-literature-and-climate-change/>.———. “The End of Nature and Post-Naturalism: Fiction and the Anthropocene.” City of Tongues 30 Dec. 2015 <https://cityoftongues.com/2015/12/30/the-end-of-nature-and-post-naturalism-fiction-and-the-anthropocene/>.Bradley, James, and Jane Rawson. “Writing in the Age of Extinction.” Detached Performance and Project Space, The Old Mercury Building, Hobart. 27 July 2019.Chiang, Ted. Stories of Your Life and Others. New York: Tor, 2002.———. Exhalation: Stories. New York: Knopf, 2019.Carter, Angela. The Bloody Chamber. London: Gollancz, 1983. 69.Croggon, Alison. “On Art.” Overland 235 (2019). 30 Sep. 2019 <https://overland.org.au/previous-issues/issue-235/column-on-art/>.Crown, Sarah. “What the Booker Prize Really Excludes.” The Guardian 17 Oct. 2011 <https://www.theguardian.com/books/booksblog/2011/oct/17/science-fiction-china-mieville>.Driscoll, Beth. The New Literary Middlebrow: Tastemakers and Reading in the Twenty-First Century. Basingstoke: Palgrave Macmillan, 2014.Erpenbeck, Jenny. Trans. Susan Bernofsky. The End of Days. New York: New Directions, 2016.Gelder, Ken. Popular Fiction: The Logics and Practices of a Literary Field. London: Routledge, 2014.Ghosh, Amitav. The Great Derangement: Climate Change and the Unthinkable. India: Penguin Random House, 2018.Le Guin, Ursula K. “Introduction.” The Left Hand of Darkness. New York: Ace Books, 1979. 5.———. “Ursula K. Le Guin Talks to Michael Cunningham about Genres, Gender, and Broadening Fiction.” Electric Literature 1 Apr. 2016. <https://electricliterature.com/ursula-k-le-guin-talks-to-michael- cunningham-about-genres-gender-and-broadening-fiction-57d9c967b9c>.Miller-McDonald, Samuel. “What Must We Do to Live?” The Trouble 14 Oct. 2018. <https://www.the-trouble.com/content/2018/10/14/what-must-we-do-to-live>.Oates, Joyce Carol. Hazards of Time Travel. New York: Ecco Press, 2018.———. "Science Fiction Doesn't Have to be Dystopian." The New Yorker 13 May 2019. <https://www.newyorker.com/magazine/2019/05/13/science-fiction-doesnt-have-to-be-dystopian>.Prose, Francine. “Subject to Revision.” New York Times 26 Apr. 2003. <https://www.nytimes.com/2013/04/28/books/review/life-after-life-by-kate-atkinson.html>.Robinson, Kim Stanley. “Kim Stanley Robinson and the Drowning of New York.” The Coode Street Podcast 305 (2017). <http://www.jonathanstrahan.com.au/wp/the-coode-street-podcast/>.Russ, Joanna. “The Wearing Out of Genre Materials.” College English 33.1 (1971): 46–54.Scranton, Roy. “Narrative in the Anthropocene Is the Enemy.” Lithub.com 18 Sep. 2019. <https://lithub.com/roy-scranton-narrative-in-the-anthropocene-is-the-enemy/>.Suvin, Darko. Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre. New Haven: Yale UP, 1979. Walton, James. “Fascinating, Fearless, and Distinctly Odd.” The New York Review of Books 9 Jan. 2014: 63–64.Uhlmann, Anthony. “The Other Way, the Other Truth, the Other Life: Simpson Returns.” Sydney Review of Books. 2 Sep. 2019 <https://sydneyreviewofbooks.com/macauley-simpson-returns/>. Xu, Xi. “Speculative Fiction.” Presented at the International MFA in Creative Writing and Literary Translation, Vermont College of Fine Arts, Vermont, 15 Aug. 2019.

Photograph by Gonzalo Echeverria (2010)Doubt has been my closest companion for several years as I struggle to make sense of certain hidden events from within my family’s history. The actual nature of such events, although now lost to us, can nevertheless be explored through the distorting lens of memory and academic research. I base such explorations in part on my intuition and sensitivity to emotional experience, which are inevitably riddled with doubt. I write from the position of a psychoanalytic psychologist who is also a creative writer and my doubts increase further when I use the autobiographical impulse as a driving force. I am not alone with such uncertainties. Ross Gibson, an historian and filmmaker, uses his doubts to explore empty spaces in the Australian landscape. He looks to see “what’s gone missing” as he endeavours with a team of colleagues to build up some “systematic comprehension in response to fragments” (Gibson, “Places” 1). How can anyone be certain as to what has transpired with no “facts” to go on? he asks. What can we do with our doubts? To this end, Gibson has collected a series of crime scene photographs, taken in post war Sydney, and created a display – a photographic slide show with a minimalist musical score, mostly of drumming and percussion, coupled with a few tight, poetic words, in the form of haiku, splattered across the screen. The notes accompanying the photographic negatives were lost. The only details “known” include the place, the date and the image. Of some two thousand photos, Gibson selected only fifty for display, by hunch, by nuance, or by whatever it was that stirred in him when he first glimpsed them. He describes each photo as “the imprint of a scream”, a gut reaction riddled with doubt (Gibson and Richards, Wartime). In this type of research, creative imaginative flair is essential, Gibson argues. “We need to propose ‘what if’ scenarios that help us account for what has happened…so that we can better envisage what might happen. We need to apprehend the past” (Gibson, “Places” 2). To do this we need imagination, which involves “a readiness to incorporate the unknown…when one encounters evidence that’s in smithereens”, the evidence of the past that lies rooted in a seedbed of doubt (Gibson, “Places” 2). The sociologist, Avery Gordon, also argues in favour of the imaginative impulse. “Fiction is getting pretty close to sociology,” she suggests as she begins her research into the business of ghosts and haunting (Gordon 38). As we entertain our doubts we tune in with our uncertain imaginations. “The places where our discourse is unauthorised by virtue of its unruliness…take us away from abstract questions of method, from bloodless professionalised questions, toward the materiality of institutionalised storytelling, with all its uncanny repetitions” (Gordon 39). If we are to dig deeper, to understand more about the emotional truth of our “fictional” pasts we must look to “the living traces, the memories of the lost and disappeared” (Gordon ix). According to Janice Radway, Gordon seeks a new way of knowing…a knowing that is more a listening than a seeing, a practice of being attuned to the echoes and murmurs of that which has been lost but which is still present among us in the form of intimations, hints, suggestions and portents … ghostly matters … . To be haunted is to be tied to historical and social effects. (x) And to be tied to such effects is to live constantly in the shadow of doubt. A photograph of my dead baby sister haunts me still. As a child I took this photo to school one day. I had peeled it from its corners in the family album. There were two almost identical pictures, side by side. I hoped no one would notice the space left behind. “She’s dead,” I said. I held the photo out to a group of girls in the playground. My fingers had smeared the photo’s surface. The children peered at the image. They wanted to stare at the picture of a dead baby. Not one had seen a dead body before, and not one had been able to imagine the stillness, a photographic image without life, without breath that I passed around on the asphalt playground one spring morning in 1962 when I was ten years old. I have the photo still—my dead sister who bears the same name as my older sister, still living. The dead one has wispy fine black hair. In the photo there are dark shadows underneath her closed eyes. She looks to be asleep. I do not emphasise grief at the loss of my mother’s first-born daughter. My mother felt it briefly, she told me later. But things like that happened all the time during the war. Babies were born and died regularly. Now, all these years later, these same unmourned babies hover restlessly in the nurseries of generations of survivors. There is no way we can be absolute in our interpretations, Gibson argues, but in the first instance there is some basic knowledge to be generated from viewing the crime scene photographs, as in viewing my death photo (Gibson, "Address"). For example, we can reflect on the décor and how people in those days organised their spaces. We can reflect on the way people stood and walked, got on and off vehicles, as well as examine something of the lives of the investigative police, including those whose job it was to take these photographs. Gibson interviewed some of the now elderly men from the Sydney police force who had photographed the crime scenes he displays. He asked questions to deal with his doubts. He now has a very different appreciation of the life of a “copper”, he says. His detective work probing into these empty spaces, digging into his doubts, has reduced his preconceptions and prejudices (Gibson, "Address"). Preconception and prejudice cannot tolerate doubt. In order to bear witness, Gibson says we need to be speculative, to be loose, but not glib, “narrativising” but not inventive, with an eye to the real world (Gibson, "Address"). Gibson’s interest in an interpretation of life after wartime in Sydney is to gather a sense of the world that led to these pictures. His interpretations derive from his hunches, but hunches, he argues, also need to be tested for plausibility (Gibson, Address). Like Gibson, I hope that the didactic trend from the past—to shut up and listen—has been replaced by one that involves “discovery based learning”, learning that is guided by someone who knows “just a little more”, in a common sense, forensic, investigative mode (Gibson, “Address”). Doubt is central to this heuristic trend. Likewise, my doubts give me permission to explore my family’s past without the paralysis of intentionality and certainty. “What method have you adopted for your research?” Gordon asks, as she considers Luce Irigaray’s thoughts on the same question. It is “a delicate question. For isn’t it the method, the path to knowledge, that has always also led us away, led us astray, by fraud and artifice” (Gordon 38). So what is my methodology? I use storytelling meshed with theory and the autobiographical. But what do you think you’re doing? my critics ask. You call this research? I must therefore look to literary theorists on biography and autobiography for support. Nancy Miller writes about the denigration of the autobiographical, particularly in academic circles, where the tendency has been to see the genre as “self indulgent” in its apparent failure to maintain standards of objectivity, of scrutiny and theoretical distance (Miller 421). However, the autobiographical, Miller argues, rather than separating and dividing us through self-interests can “narrow the degree of separation” by operating as an aid to remembering (425). We recognise ourselves in another’s memoir, however fleetingly, and the recognition makes our “own experience feel more meaningful: not ‘merely’ personal but part of the bigger picture of cultural memory” (Miller 426). I speak with some hesitation about my family of origin yet it frames my story and hence my methodology. For many years I have had a horror of what writers and academics call “structure”. I considered myself lacking any ability to create a structure within my writing. I write intuitively. I have some idea of what I wish to explore and then I wait for ideas to enter my mind. They rise to the surface much like air bubbles from a fish. I wait till the fish joggles my bait. Often I write as I wait for a fish to bite. This writing, which is closely informed by my reading, occurs in an intuitive way, as if by instinct. I follow the associations that erupt in my mind, even as I explore another’s theory, and if it is at all possible, if I can get hold of these associations, what I, too, call hunches, then I follow them, much as Gibson and Gordon advocate. Like Gordon, I take my “distractions” seriously (Gordon, 31-60). Gordon follows ghosts. She looks for the things behind the things, the things that haunt her. I, too, look for what lies beneath, what is unconscious, unclear. This writing does not come easily and it takes many drafts before a pattern can emerge, before I, who have always imagined I could not develop a structure, begin to see one—an outline in bold where the central ideas accrue and onto which other thoughts can attach. This structure is not static. It begins with the spark of desire, the intercourse of opposing feelings, for me the desire to untangle family secrets from the past, to unpack one form, namely the history as presented within my family and then to re-assemble it through a written re-construction that attempts to make sense of the empty spaces left out of the family narrative, where no record, verbal or written, has been provided. This operates against pressure from certain members of my family to leave the family past unexplored. My methodology is subjective. Any objectivity I glean in exploring the work and theories of others comes through my own perspective. I read the works of academics in the literary field, and academics from psychoanalysis interested in infant development and personality theory. They consider these issues in different ways from the way in which I, as a psychotherapist, a doubt-filled researcher, and writer, read and experience them. To my clinician self, these ideas evolve in practice. I do not see them as mere abstractions. To me they are living ideas, they pulse and flow, and yet there are some who would seek to tie them down or throw them out. Recently I asked my mother about the photo of her dead baby, her first-born daughter who had died during the Hongerwinter (Hunger winter) of 1945 in Heilo, Holland. I was curious to know how the photo had come about. My curiosity had been flamed by Jay Ruby’s Secure the Shadow: Death and Photography in America, a transcript on the nature of post-mortem photography, which includes several photos of dead people. The book I found by chance in a second-hand books store. I could not leave these photographs behind. Ruby is concerned to ask questions about why we have become so afraid of death, at least in the western world, that we no longer take photographs of our loved ones after death as mementos, or if we take such photos, they are kept private, not shared with the public, for fear that the owners might be considered ghoulish (Ruby 161). I follow in Gordon’s footsteps. She describes how one day, on her way to a conference to present a paper, she had found herself distracted from her conference topic by thoughts of a woman whose image she had discovered was “missing” from a photo taken in Berlin in 1901. According to Gordon’s research, the woman, Sabina Spielrein, should have been present in this photo, but was not. Spielrein is a little known psychoanalyst, little known despite the fact that she was the first to hypothesise on the nature of the death instinct, an unconscious drive towards death and oblivion (Gordon 40). Gordon’s “search” for this missing woman overtook her initial research. My mother could not remember who took her dead baby’s photograph, but suspected it was a neighbour of her cousin in whose house she had stayed. She told me again the story she has told me many times before, and always at my instigation. When I was little I wondered that my mother could stay dry-eyed in the telling. She seemed so calm, when I had imagined that were I the mother of a dead baby I would find it hard to go on. “It is harder,” my mother said, to lose an older child. “When a child dies so young, you have fewer memories. It takes less time to get over it.” Ruby concludes that after World War Two, postmortem photographs were less likely to be kept in the family album, as they would have been in earlier times. “Those who possess death-related family pictures regard them as very private pictures to be shown only to selected people” (Ruby 161). When I look at the images in Ruby’s book, particularly those of the young, the children and babies, I am struck again at the unspoken. The idea of the dead person, seemingly alive in the photograph, propped up in a chair, on a mother’s lap, or resting on a bed, lifeless. To my contemporary sensibility it seems wrong. To look upon these dead people, their identities often unknown, and to imagine the grief for others in that loss—for grief there must have been such that the people remaining felt it necessary to preserve the memory—becomes almost unbearable. It is tempting to judge the past by present standards. In 1999, while writing her historical novel Year of Wonders, Geraldine Brooks came across a letter Henry James had written ninety eight years earlier to a young Sarah Orne Jewett who had previously sent him a manuscript of her historical novel for comment. In his letter, James condemns the notion of the historical novel as an impossibility: “the invention, the representation of the old consciousness, the soul, the sense of horizon, the vision of individuals in whose minds half the things that make ours, that make the modern world,” are all impossible, he insisted (Brooks 3). Despite Brooks’s initial disquiet at James’s words, she realised later that she had heard similar ideas uttered in different contexts before. Brooks had worked as a journalist in the Middle East and Africa: “They don’t think like us,” white Africans would say of their black neighbours, or Israelis of Arabs or upper class Palestinians about their desperately poor refugee-camp brethren … . “They don’t value life as we do. They don’t care if their kids get killed—they have so many of them”. (Brookes 3) But Brooks argues, “a woman keening for a dead child sounds exactly as raw in an earth-floored hovel as it does in a silk-carpeted drawing room” (3). Brooks is concerned to get beyond the certainties of our pre-conceived ideas: “It is human nature to put yourself in another’s shoes. The past may be another country. But the only passport required is empathy”(3). And empathy again requires the capacity to tolerate doubt. Later I asked my mother yet again about what it was like for her when her baby died, and why she had chosen to have her dead baby photographed. She did not ask for the photograph to be taken, she told me. But she was glad to have it now; otherwise nothing would remain of this baby, buried in an unfamiliar cemetery on the other side of the world. Why am I haunted by this image of my dead baby sister and how does it connect with my family’s secrets? The links are still in doubt. Gibson’s creative flair, Gordon’s ideas on ghostly matters and haunting, the things behind the things, my preoccupation with my mother’s dead baby and a sense that this sister might mean less to me did I not have the image of her photograph planted in my memory from childhood, all come together through parataxis if we can bear our doubts. Certainty is the enemy of introspection of imagination and of creativity. Yet too much doubt can paralyse. Here I write about tolerable levels of doubt tempered with an inquisitive mind that can land on hunches and an imagination that allows the researcher to follow such hunches and then seek evidence that corroborates or disproves them. As Gibson writes elsewhere, I tried to use all these scrappy details to help people think about the absences and silences between all the pinpointed examples that made up the scenarios that I presented in prose that was designed to spur rigorous speculation rather than lock down singular conclusions. (“Extractive” 2) Ours is a positive doubt, one that expects to find something, however “unexpected”, rather than a negative doubt that expects nothing. For doubt in large doses can paralyse a person into inaction. Furthermore, a balanced state of doubt fosters connectivity. As John Patrick Shanley’s character, the parish priest, Father Flynn, in the film Doubt, observes, “there are these times in our life when we feel lost. It happens and it’s a bond” (Shanley). References Brooks, Geraldine. "Timeless Tact Helps Sustain a Literary Time Traveller." New York Times, 2001. 14 Jan. 2011 ‹http://www.nytimes.com/2001/07/02/arts/writers-on-writing-timeless-tact-helps-sustain-a-literary-time-traveler.html?pagewanted=3&src=pm›. Doubt. Shanley, Dir. J. P. Shanley. Miramax Films, 2008. Gibson, Ross, and Kate Richards. “Life after Wartime.” N.d. 25 Feb. 2011. ‹http://www.lifeafterwartime.com/›. Gibson, Ross. “The Art of the Real Conference.” Keynote address. U Newcastle, 2008. Gibson, Ross. “Places past Disappearance.” Transformations 13-1 (2006). 22 Feb. 2007 ‹http://www.transformationsjournal.org/journal/issue_13/article_01.shtml›. ———. “Extractive Realism.” Australian Humanities Review 47 (2009). 25 Feb. 2011 ‹http://www.australianhumanitiesreview.org/archive/Issue-November-2009/gibson.html›. Gordon, Avery F. Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: U Minnesota P, 2008. Miller, Nancy K. “But Enough about Me, What Do You Think of My Memoir?” The Yale Journal of Criticism 13.2 (2000): 421-536. Ruby, Jay. Secure the Shadow: Death and Photography in America. Cambridge, MA: MIT P, 1995.