Fairy Tale Ending Research Articles

The Centers for Medicare & Medicaid Services Tackle Nurse Staffing Rule: Fairy Tale Ending or Endless Litigation?

On April 22, 2024, CMS unveiled the eagerly awaited final rule, titled “Medicare and Medicaid Programs: Minimum Staffing Standards for Long‐Term Care Facilities and Medicaid Institutional Payment Transparency Reporting” (Minimum Staffing Rule), which stirred both anticipation and controversy. The author discusses the highlights and key points to consider regarding this legislation.

:The Afterlife of Enclosure: British Realism, Character, and the Commons

:<i>The Afterlife of Enclosure: British Realism, Character, and the Commons</i>

Breda's Island by Jessie Ann Foley

Reviewed by: Breda's Island by Jessie Ann Foley Elizabeth Bush Foley, Jessie Ann Breda's Island. Quill Tree/HarperCollins, 2022 [256p] Trade ed. ISBN 9780063207721 $16.99 E-book ed. ISBN 9780063207752 $10.99 Reviewed from digital galleys R Gr. 5-8 After Breda Moriarity's latest episode of petty theft, her mother Maura ships her off for the summer to Granda's farm on Ireland's Dingle Peninsula—an unexpected choice, given that a pregnant teenaged Maura fled to Chicago years ago to escape Granda's anger and disappointment. Granda's not especially warm to Breda, either, but the farm is beautiful, and Breda surprises herself as well as her grandfather with her affinity to and skill with the livestock. Granda also reveals an unexpected role in the small community as a seanchaí, the valued transmitter of traditional lore who can hold a pub—and a granddaughter—beguiled. However, his declaration that any relationship with the local Fahey family is forbidden runs afoul of Breda's need to make some friends, and when she joins that clan for Gaelic football matches, the Faheys shed light on closely guarded Moriarity family secrets. The plot outline may be a familiar one, but the specific revelations contextualize middle schooler Breda's immediate trials within her family's history, particularly Maura's struggle [End Page 351] to make an American life as an undocumented small business owner and Granda's distressing, emotionally-crippling childhood. There's more than a touch of the seanchaí in Foley's own silky prose, and readers who witness the Moriarity family's rapprochement will recognize that it may not promise a fairy tale ending, but it does deliver the right ending. Copyright © 2022 The Board of Trustees of the University of Illinois

Challenging the deficit discourse in medical schools through reverse mentoring—using discourse analysis to explore staff perceptions of under-represented medical students

IntroductionDespite the increasing diversity of UK medical students, students from low-socioeconomic backgrounds, some minority groups and members of communities with protected identities remain under-represented in medicine. In trying to ascertain...

&amp; Juliet

Reviewed by: & Juliet Gemma Kate Allred & JulietPresented by Max Martin and Tim Headington at Shaftesbury Theatre, London. From 11 2, 2019. Music and lyrics by Max Martin and Friends. Book by David West Read. Directed by Luke Shephard. Music supervision, orchestration and arrangement by Bill Sherman. Choreography by Jennifer Weber. Set by Soutra Gilmour. Lighting by Howard Hudson. Costumes by Paloma Young. With Miriam-Teak Lee (Juliet), Cassidy Janson (Anne Hathaway), Oliver Tompsett (Shakespeare), David Bedella (Lance), Arun Blair-Mangat (May), Jordan Luke Gage (Romeo), Melanie La Barrie (Nurse), Tim Mahendran (Francois), and others. In 2018, Emiliahit the stage of Shakespeare's Globe. Morgan Lloyd Malcolm's protagonist became every woman, embodying their collective anger, and social media responded. Emiliawas established as essential viewing, working as a manifesto for a feminist revolution. The act of writing back across textual boundaries functioned as historical recuperation, placing the textual memories of the real Emilia Bassano into the [End Page 278]bodies of modern women. The West End show & Juliet—neon pink, glitter-accented, and set to a soundtrack of teen-pop classics—might seem to be an unlikely counterpart to Emilia. However, David West Read's jukebox musical, based on the chart-topping back catalogue of Max Martin, is just that. Asking "What if Juliet's famous ending was really just her beginning? What if she decided to choose her own fate?" & Julietraises questions about whose stories get told and by whom, and about who controls the narrative. Shakespeare's Juliet, with the assistance of a historically fictionalized Anne Hathaway, has the chance to rewrite her future without Romeo. Like Emilia, & Julietplaces early modern women in conversation with both a modern audience and Shakespeare himself. & Juliet's links to Baz Lurhmann's Romeo + Juliet(1996) cannot be ignored, with clear nods to 1990s pop culture throughout. Juliet's soundtrack was predominately Britney Spears-based. She entered, slumped against Romeo's tomb, singing a mournful version of Britney's 1998 debut "… Baby One More Time," arranged by Tony Award-winner Bill Sherman. Francois de Bois, her new love interest—a replacement Romeo, if you will—entered playing a Nintendo Game Boy and shared a duet with Juliet, Britney's "Overprotected." The musical's marketing also draws heavily on 1990s nostalgia: a special edition Smash Hitsmagazine handed out at London underground stations marked the production's premiere. The clear target audience is women now in their mid-thirties who grew up reading the magazine, listening to Britney's early hits, and watching Lurhmann's Romeo + Juliet, willing Leonardo DiCaprio's Romeo to notice when Claire Danes's Juliet wakes and craving the fairy-tale ending Shakespeare denied us. & Julietoffers the target market a remix: a second chance at "happily ever after," this time centered not on the Hollywood heartthrob but, as West Read notes in the theater program, "the independent, empowered" Juliet. Inherently meta-theatrical, & Julietis as much a love letter to theater itself as it is to Romeo and Juliet. From the opening moments, I was aware that Juliet's story was a play within a play. Soutra Gilmour's set design was self-consciously based on Elizabethan theater (specifically, Shoreditch's Curtain). Gilmour took the idea of a disused theater space to frame her design. She created a clear timeline between Shakespeare's London and modern-day Shoreditch, taking inspiration from East London's street art tradition. Artist Vic Lee's text and maps provided backdrops that plotted the musical's journey from the theater in London (both Shakespeare's Curtain and today's Shaftsbury Theatre) to the play's settings of Verona and Paris. The musical's pre-set drew inspiration from the modern-day [End Page 279]Shakespeare's Globe. The Players entered gradually, interacting with the audience as they settled. Costume designer Paloma Young took her lead from actors warming up before a performance: the players wore dancewear with a hint of Elizabethan period costuming, and t-shirts and jackets referencing earlier Shakespearean performances. A spot-lit jukebox placed stage right provided warm-up music and kept & Juliet'sidentity as a jukebox musical at the fore. Shakespeare entered in rock...

No Fairy Tale Ending: The Future of Water and the American Southwest

It's an early September day in Phoenix, Arizona, and rain is in the forecast. After months of bone-dry conditions, precipitation is expected from the remnants of a tropical storm moving inland from...

'Racialized Beauty': The Ugly Duckling in Toni Morrison's "God Help the Child"

In God Help the Child, Toni Morrison’s latest novel, set in our contemporary times, her oeuvre seems to have come full circle when she revisits the main themes she dealt with in The Bluest Eye, child abuse and aesthetics relativism. Like her prime novel, her latest narrative is a modern-day fairy tale, a re-interpretation of Hans Christian Andersen’s story “The Ugly Duckling”. Morrison shows how destructive hegemonic female beauty standards and materialistic values are for black females. Lula Ann, like Pecola, their protagonists, illustrate racialized beauty and how African Americans have been colonized by white cultural definitions of beauty, even when the notion “black is beautiful” is commodified. In God Help the Child, Morrison devaluates the myth of racialized beauty and materialism, stressing the need to find your own definitions and self-worth. Like “The Ugly Duckling”, Morrison’s latest novel is a powerful and inspirational metaphor about transformation and self-discovery. At the end of God Help the Child, the signs of hope in The Bluest Eye become an almost fairy-tale ending in Lula Ann’s cathartic journey, her love story and pregnancy.

Everything Is Wiped Away: Queer Temporality in Queers in Love at the End of the World

Amid the ongoing popularity of hundred-hour, epic-length stories or never-ending, procedurally generated games, where is the place for short games with defined endings? Anna Anthropy's Queers in Love at the End of the World (2013) rejects the importance of having a lengthy game and flips the usual flow of information between the player and their player-character. In this text-based Twine game, players assume the role of an unnamed, unknown “you” as you spend a final moment with your lover. Made for the prompt “Ten Seconds,” its most notable feature is an omnipresent ten-second timer. When the ten seconds are over, the game ends regardless of how far the player has progressed. The tension between player, character, and the ever-present countdown in the game constitutes the queer mechanic at the heart of the game. It also provides a way of evincing queerness in a game without relying upon on-screen representation. Engaging analyses of queer temporality and slow cinema, as well as José Esteban Muñoz's call toward queer futurity and the yearning to be lost, Queers in Love at the End of the World provides an excellent opportunity to look at the anxiety of seeking success and the joy of accepting loss in contrast to the search for a fairy-tale ending.

Greetings from the Editor

Greetings from the Editor Deborah A. Logan Victorians Journal of Culture and Literature #132, Winter 2017, opens with two impressive contributions to Victorian scholarship: one advancing our understanding of the era’s religious debates and one adding fresh insights to a perennial literary favorite, Charlotte Brontë’s Jane Eyre. Studies of Harriet Martineau and her work have proliferated, especially over the last quarter-century, addressing her writing about politics, history, sociology, and a range of social-reform issues. But one striking absence is an extended treatment of Martineau’s contributions to theological thought, contributions that are consistent throughout her career. Susanne Calhoun’s “Interpreting Divine Unity: Harriet Martineau’s Interreligious Essays” addresses that absence by analyzing Martineau’s prize-winning Unitarian Association essays. These early essays, effectually her first professional success, marked her as a thinker and writer whose intellectual authority extended to theological discourse. According to Calhoun, Martineau’s “Unitarian theology established the framework of her thought”; central to her thesis is this provocative claim: “To understand the secular Martineau, one must understand the religious Martineau. … Her early interreligious writings awakened her curiosity and compassion toward different faith traditions and cultures.” Professor Calhoun here performs significant recuperative work by treating Martineau’s Unitarian essays with the serious scholarly analyses they deserve. A striking contrast to those little-known essays is Charlotte Brontë’s Jane Eyre, one of the most analyzed novels in Victorian literary studies. Trish Bredar, in “The Possibility of Taking a Walk: Jane Eyre’s Persistent Mobility,” offers refreshing insight through a distinctive perspective that aligns Jane’s travels with her personal growth. But Bredar’s analysis considers this dynamic as more than just metaphorical bildungsroman: “Those who investigate Jane’s progress often gloss over her material movement, taking a broad approach to her travels and thus eliding the core of the protagonist’s development—her shorter excursions on foot”—her “perambulations,” their “theoretical implications,” and their “formative role in Jane’s development.” Bredar’s analysis casts Jane as a character who, far from a victim of circumstance, moves unerringly and inevitably toward autonomy. In this iteration, the novel’s fairy-tale ending—for many, a disappointment—represents the culmination of Jane’s progress, the ultimate expression of individualism. This number shifts to our special section on women journalists of the fin de siècle, introduced by guest editor, Alyson Hunt. It has truly been a pleasure working with Alyson on this volume. My best thanks go to all the contributors to this number for their fine work. I am grateful to Western Kentucky University for its enduring support of Victorians Journal, and particularly to Potter College Dean, Larry Snyder, and to English Department Head, Rob Hale. [End Page 100] Copyright © 2017 The Ohio State University

Reel Royal Diversity? The Glass Ceiling in Disney’s Mulan and Princess and the Frog

Both in Mulan and Princess and the Frog, Disney eschews a traditional fairytale ending involving palatial opulence by substituting an alternative narrative for women of color. Mulan disguises herself as a male soldier in order to serve in her father’s place. After sharing victory with male companions, she willingly returns home to domesticity and the confines imposed by her gender. Tiana spends two thirds of the movie as a frog, substantially limiting her on-screen time as an African American female. Like Mulan, she is driven to please her father. She fulfills his dream of owning a high-end restaurant, ironically named Tiana’s Palace, the closest she comes to a royal lifestyle. Although protagonists with more realistic lives could potentially enhance viewers’ connection with them and model a work ethic or commitment to home life, the standard and more financially successful Disney narrative immerses viewers in a fantasy world of endless prospects including a life of royalty. These nonwhite heroines instead display a willingness to settle for more modest aspirations in stories replete with stereotypical gender and race-bound tropes. This divergent narrative suggests that protagonists of color are not entitled to a life of leisure and privilege that white Disney princesses enjoy.

An evaluation of the effectiveness of business incubation programs: a user satisfaction approach

Business incubators were designed to sustain the deep-rooted image of entrepreneurs being self-reliant and by offering a broad spectrum of tailored services; it seeks to raise the success rate of small and medium size enterprises (SMEs) significantly. BIs have the characteristics to be completely dedicated to the success of a small business in its initial stages but, followed through, it puts in place the tools to achieve long-term success: space, funding, legal, accounting, computer services and other prerequisites to running a business, make BIs a one-stop shop for SMEs. This study has been conducted to establish if there has been a fairytale ending to the symbiotic relationship or whether the business incubator, like the SME, has had to traverse its own set of challenges towards achieving a happy union. The paper adopted a quantitative research approach in which the questionnaire was utilized as the relevant data collection tool. The Statistical Package for the Social Sciences (SPSS) software was used to analyze the data, with descriptive statistics at the end. As much as limited funding was reported to be a significant challenge that incubatees faced prior to joining the incubation programs, the results point to the fact that the need for multiple skills was the central force that seduced/lured the incubatees into the programs, but the majority of the participating respondents declare a complete lack of regret. Instead, they fully endorse the merits of the union, stating that BIs exists to effectively meet the objectives of SMEs

After the Fairytale Ending: Functional Impairment After Pediatric Critical Illness.

After the Fairytale Ending: Functional Impairment After Pediatric Critical Illness.

Bringing Sexy Back: To What Extent Do Online Television Audiences Contest Fat-Shaming?

Bringing Sexy Back: To What Extent Do Online Television Audiences Contest Fat-Shaming?

Review

Reviewed by: Im Reich der Wünsche by Shawn C. Jarvis Julie Koehler (bio) Im Reich der Wünsche. Edited by Shawn C. Jarvis. Munich: C. H. Beck, 2012. 366pp. More than 400 German women writers published fairy tales in the nineteenth century, but today nearly all of their works are out of print and unavailable in most libraries. In Im Reich der Wünsche, Shawn C. Jarvis gives these stories new life, bringing them back into print. As she says in the afterword, playing off the common German fairy-tale ending, “Damit sie nicht sterben, sollen sie weiterleben in diesem Band” (“in order for them not to die, they must live on in this volume,” 319). Im Reich der Wünsche cannot possibly include all the fairy tales that German women wrote in the nineteenth century, but Jarvis has provided a carefully curated selection of twenty-one stories that demonstrate the wide variety of women who were writing in the period and the significance of their contribution. Of course it is difficult to talk about Im Reich der Wünsche without mentioning The Queen’s Mirror, a collection of translations of these rare stories that Jarvis published together with Jeannine Blackwell in 2001. The Queen’s Mirror was a much needed volume of new translations of women’s fairy tales, but because the original German stories remained in inaccessible out-of-print sources, many readers were left wishing for a similar collection in German. Even though Im Reich der Wünsche is that collection, it is not simply a German version of The Queen’s Mirror. A third of the collection is made up of new stories, and its structure is significantly different. Unlike The Queen’s Mirror, it has no introduction or preface and the stories are not individually introduced; rather, the biographical and historical information has been shifted to appendixes. This allows one to read tale after tale uninterrupted by secondary information. Lovely illustrations throughout by Isabel Große Holtforth help to bind the diverse stories together into a unified whole. And this is a worthy task, for the authors and tales vary widely. If these stories were left to die, as Jarvis phrased it, in the few archives that still held them, with them would die the unique perspectives of their authors and their important contributions to fairy-tale history. For instance, Elisabeth Ebeling’s “Schwarz und Weiß” (“Black and White,” 1869) takes on race relations and comes to a surprising conclusion for the nineteenth century: “Dass die Farbe der Haut Nebensache ist und dass nichts darauf ankommt, ob man weiß oder schwarz aussieht, wenn man nur weise ist” (“The color of skin is secondary, and it does not matter if one is white or black, if one is only wise,” 262). One of the new stories in the collection, Friederike Helene Unger’s “Prinzessin Gracula” (1804), is a kind of Bildungsmärchen, in which a princess must pass through a magical world of metaphoric trials. Another new tale in this collection is Charlotte von Ahlefeld’s “Die Nymphe des Rheins” (1812), in which an [End Page 150] Undine recounts “den kurzen Traum des meines vergangenen Glücks” (“the short dream of my long-lost joy,” 63) in her own words just a year after Friedrich de la Motte Fouqué’s Undine was published. Jarvis also includes several of the Grimms’ informants’ stories that were deemed unfit for Kinder- und Hausmärchen. Take Ludovica Brentano Jordis des Bordes’s “Der Löwe und der Frosch” (“The Lion and the Frog,” 1814), which tells of a young woman who saves her brother in an active and transgressive manner by cutting off her master the lion’s head. When it turns out that her brother was in fact the lion himself, enchanted until “eine Mädchenhand aus Liebe zu mir dem Löwen den Kopf abhauen würde” (“a girl’s hand would cut off the head of the lion out of love for me,” 89), it is clear that she released both her brother from the role of oppressor and herself from his rule. “Der Löwe und der Frosch” originally appeared in the second volume of...

Perspective: Which of the Seven Dwarfs Is Your Manager?

Perspective: Which of the Seven Dwarfs Is Your Manager?

Pieces Of The Past: The Holocaust Diary Of Rose Rabinowitz by C. Matas

Matas, Carol. Pieces Of The Past: The Holocaust Diary Of Rose Rabinowitz. Toronto: Scholastic Canada, 2013. Print. Dear Canada.The “Dear Canada” series from Scholastic recently celebrated its tenth anniversary with now more than 30 titles. It includes fictional diaries written from the point of view of a child or teenager during a time of historical significance. Pieces of the Past opens with Rose in her third Winnipeg foster home having been given the diary by her “not-father” Saul. Her guardian and a psychologist by trade, Saul suggests she write in it to help remember the past. At first she is reluctant to delve into her memories of such a dark and brutal time: “this little book seems far too small to write down ‘what happened’. How will I ever fit what is stuffed into my head into these tiny pages, all the wild waking nightmares tamed onto these straight lines…” However she progressively reveals more with each entry, interspersing her present-day teenage hardships of trying to fit in at school and in someone else’s home, with the atrocities she and her family endured during the Holocaust.The entries are intimate and immediately gripping. Alternating between her teenage and more child-like voice from the past heightens the emotional connection readers will feel with Rose, whose name was changed from “Rozia” when she arrived in Canada from her native Poland. She describes the gradual and confusing process of losing all of their possessions, their home and finding shelter with various other families in cramped apartments and eventually ending up in a lice-ridden underground dug out. Although in our present day, media-driven society we have become somewhat desensitized to the atrocities of the Holocaust and war in general, Rose’s story re-personalizes the tragedy in a very powerful way. As she begins to piece together the circumstances of the deaths and disappearances of her family members, we mourn with her. Some of the subplots and underlying themes will also resonate with youth of any generation. Her only friend, Susan, is the victim of bullying. Issues associated with foster care and blended families are also explored. Although at the conclusion of the diary, Rose’s circumstances are much improved it is by no means a fairy-tale ending. The author provides a subtle moral conclusion with no utopian delusions: “So diary, no storybook life for me. I know I can never really be safe. And I know that people who think they can be are just kidding themselves. But I know I can try to be good. And I will.” The book contains a lot of useful material for the classroom. There is a historical section that provides a summary of the major events recounted in the diary. There is also a timeline of the Warsaw Ghetto, a selection of black and white photographs, and some reproductions of primary source material from the war such as a young Polish emigrant’s identification document and newspaper articles about the arrival of Jewish orphans in Canada. This book is recommended for children Grades 4-6 and higher. It is an excellent addition to the series, and like another famous diary, Rose’s story will be forever etched in the reader’s psyche.Highly recommended: 4 out of 4 starsReviewer: Kim Frail Kim is a Public Services Librarian at the H.T. Coutts Education Library at the University of Alberta. Children’s literature is a big part of her world at work and at home. She also enjoys gardening, renovating and keeping up with her kids.

The “Old Wheelwork” and Its Revolutions: Precarious Authority in Gisela and Bettine von Arnim's Das Leben der Hochgräfin Gritta von Rattenzuhausbeiuns

This article investigates tropes of sovereignty and revolution in Das Leben der Hochgräfin Gritta von Rattenzuhausbeiuns, a novel-length Kunstmärchen written in 1840 by Gisela von Arnim with her mother Bettine. In its renditions of authority and resistance, the Gritta tale contains both an archive of the political frictions of the Vormärz period and an object-lesson in the ambiguous status of female authorship at the time. This reading calls attention to the proliferation of sites of precarious authority in the tale, from the eccentric Count's gimcrack Rettungsmachine (rescue machine)—a throne with an ejector seat that flings off anyone who sits in it—to the not-quite-satisfying fairy-tale ending, which raises Gritta herself to the role of sovereign even as it excludes her from the story's true locus amoenus: a “nature convent” in line with Schillerian ideals. I am grateful to the anonymous reviewers for their very helpful comments. I would also like to thank the students in my Reed College seminar, “Law and Outlaw in German Literature.” Our lively conversations about the Gritta story planted the seed that became this article.

“Nothing Like Pretend”: Difference, Disorder, and Dystopia in The Multiple World Spaces of Philip Pullman’s His Dark Materials

This article examines the multiple worlds in Philip Pullman’s His Dark Materials trilogy in light Pierre Bourdieu’s “space of possibles” and the combination of chance and choice that impact Lyra and Will’s decisions. Rather than viewing chance or destiny as disempowering, this article considers how the protagonists’ choices also encourage readers to confront their own notions of space in the world outside the narrative. As Lyra and Will work to escape and restore the dystopic multiverses through which they travel, Pullman’s text challenges readers to recognize and repair the dystopias in their own worlds and to accept the Keatsian “negative capabilities” of ambiguity and mystery in place of facile escape. Given this pedagogical imperative, Pullman’s enclosure of Lyra and Will in their separate worlds lies at the heart of his resistance to escapist tendencies of fairy-tale endings. Fantasy must be grounded in reality because Pullman’s readers must also continue the struggle for wisdom in their own worlds no less than Lyra and Will.

“It Wasn’t God Who Made Honky-Tonk Angels”: Musical Salvation in Dorothy Allison’s Bastard Out of Carolina

The thing that did keep me safe, that gave me a feeling of comfort growing up, was music. Music took me somewhere safe--a place where I was happy and free and comfortable being myself. I knew from a very young age that was something I wanted to be a part of. It was something that made me feel good and helped me escape to a place where life was how I always dreamed it should be. Where life was like the movies. Fairy-tale endings and unconditional love. --Melissa Etheridge I believe in a higher power. I believe we all need to be connected spiritually ... Music is a very supernatural thing. --Mark Collie Melissa Etheridge and country singer Mark Collie endow with an almost mystical power. For Etheridge becomes a place where she finds love and happiness, and for Collie represents a spiritual where human beings come together. For these singers (as for many musicians, scholars, and avid listeners), holds a saving power, even if it is only imaginary, like Etheridge's fairy-tale endings. In her novel Bastard Out of Carolina, Dorothy Allison interrogates the notion of musical salvation offered to Ruth Anne Boatwright in the gospel and country communities of the American in the 1950s and 1960s. A mature narrator recalling the childhood trauma of sexual, physical, and emotional abuse inflicted by her stepfather Glen, Bone tells a story enveloped in that grants her a safe, spiritual not unlike Etheridge and Collie's descriptions of musical power. Allison's fervent depictions of gospel revival tents and country radio stars invite readers to recover a musical portion of southern history where acts not only as a to reflect on the trauma of childhood abuse but also as a site to criticize and revise the exclusivity of an imagined southern community dependent on the hierarchies of race, class, and gender. Through these musical tropes, Allison unfolds Bone's developing realization that (as Kitty Wells's song suggests) it isn't God who constructs roles for men and women, but instead patriarchal southern social structures. (1) Since the novel's publication in 1992, scholars have effectively discussed Bone's white trash status and its history in the South, the shame it brings to Bone in particular, and the different ways Bone challenges her assigned place in the community through her masturbatory fantasies, story-telling, and visual re-makings. (2) Few of these critics consider the musical elements in the novel, though James R. Giles intimates that these are aspects worthy of exploration in his mention of southern Christian fundamentalism as an inoperative escape from trauma: one of the most fascinating aspects of Bastard Out of Catalina is its exploration of the gospel subculture and especially of the close connections between gospel and 'popular' in the South (91). Giles' quick parenthetical reference to Allison's use of echoes Deborah Horvitz, who recognizes how Bone infuses her passion for with her extreme self-loathing when she awakens to the pleasure of art in the form of live gospel music and how this artistic passion represents transcendence from physical trauma (5). Also incorporating music, Ann Cvetkovich explores the intersections of Bone's sadomasochistic masturbatory fantasies, incest, sexual trauma, and queerness, beginning with an analysis of the lesbian band Tribe 8 and their openness in performing sexually deviant tendencies on stage. While Giles and Horvitz connect story-telling and in the novel, Cvetkovich (on a more general level) recognizes the ways and story-telling create a safe space for queer women to express themselves. While these scholars note such connections in passing, I turn further attention to Allison's use of as more than a site of escape from physical trauma. While Allison employs gospel and country as a safe space for an expression of personal trauma, she also asks readers to recover the history of southern (of which Giles hints in his chapter) to subvert the patriarchal narrative of the South. …

Reader, I Memorialized Him: A. S. Byatt's Representation of Alfred Lord Tennyson in “The Conjugial Angel”

In “True Stories and the Facts in Fiction,” A. S. Byatt contends that her fictive rereading of In Memoriam in the novella “The Conjugial Angel” is actually a celebration of Tennyson's poetic achiev...