To celebrate the English Department’s acquisition of Val Wilmer’s portrait of Ronald Moody, Luke Roberts reflects on the life and work of the Jamaican sculptor and KCL alumnus.
For us history was the carrier of no absolutes and conformed to no overarching scriptural commandments. Nothing was ever codified as having its correct place and time. In a suitably paradoxical formulation, displacement moved to the centre.
– Stuart Hall
In Val Wilmer’s portrait of Ronald Moody the artist sits framed by two sculptures: the carved wooden head Tacet (1938) and the concrete and fibreglass figure The Man (1958). He holds a pipe in his left hand, gently resting on his right. His eyes are fixed on something out of shot. Although nothing in this picture returns our gaze, everything holds it. It’s a study of texture and material, balance and weight: the heavy fabric of his sweater, the flesh of the hands and the human face, the greying beard, the exposed brickwork of the studio wall, the concrete phallus, the dome of the skull, triangles of newspaper and just-visible handkerchief, light moving in and out of darkness. Moody himself is the centre of gravity, but it’s a restless centre.
by Max Saunders, Professor of English; Fellow of the English Association; and Director of the Centre for Life Writing and Research.
Almost a century ago a young geneticist, J. B. S. Haldane, made a series of startling predictions in a little book called Daedalus; or, Science and the Future. Genetic modification. Wind power. The gestation of children in artificial wombs, which he called “ectogenesis.” Haldane’s ingenious book did so well that the publishers, Kegan Paul, based a whole series on the idea. They called it To-Day and To-Morrow, and between 1923 and 1931 published over 100 volumes, byrising stars like Haldane, and leading thinkers like Bertrand Russell, who answered Daedalus with a much gloomier warning about the future of science, called Icarus.Continue reading To-Day and To-Morrow; the rediscovered series that shows how to imagine the future→
by Gordon McMullan, Professor of English at King’s College London and Director of the London Shakespeare Centre
A little over a century ago, King’s English professor Israel (later Sir Israel) Gollancz –medievalist, Shakespearean and founding member of the British Academy – published a substantive commemorative volume to mark the Shakespeare Tercentenary of 1916. Grandly titled A Book of Homage to Shakespeare, it contains a hundred and sixty-six contributions – poems, essays, encomia – reflecting the pre-eminence of Shakespeare’s works in global culture: a poem by Thomas Hardy, a eulogy by John Galsworthy, a humorous ‘vision’ by Rudyard Kipling, a poem by a former New Zealand High Commissioner entitled ‘The Dream Imperial’, along with enthusiastic pieces by Shakespeare scholars and politicians from across the world.
Certain contributions stand out as expressing less normative world views – two in particular. One is a poem in Gaelic by future Irish president Douglas Hyde, in which (in a passage mysteriously omitted from the English translation…) he describes ‘Albion’ as ‘deceitful sinful guileful / Hypocritical destructive lying slippery’. The other is a piece entitled ‘A South African’s Homage’ by an unnamed writer who writes in Tswana, a language spoken mainly in contemporary South Africa and Botswana, also in Namibia and Zimbabwe – in other words, someone very different from what you might, in light of the array of overwhelmingly white establishment figures named in the table of contents, have expected.
In early October, Queer@King’s announced their first ever Activist-in-Residence, Daniel Lul from ParaPride. In this interview, PhD student Katie Arthur speaks to ParaPride Co-Founder, Daniel Lul, and Queer@King’s Director, Sebastian Matzner, about the scheme and their work.
The discipline of archaeology was born in the museum. In the words of Andrew Christenson, “museums were really the first professional homes for archaeology.” Indeed, museums in the mid-nineteenth century played an important role in the institutionalisation of archaeology, forming an essential stepping stone to the discipline we know today. The historical and contemporary intersections between archaeology, museums and collections provide ample scope for research and debate, as the relationship between archaeology and museums has been much altered over time through changing displays, practices, and museum politics.
by Kate Owen Kate Owen has recently completed her MA in the English department at King’s College London. She has an interest in the medical humanities, the transmission of scientific knowledge in the early modern period, and is currently a volunteer at St Bartholomew’s Hospital Museum and Archive.
In the second semester of my master’s programme, Early Modern English Literature: Text and Transmission, I took a module called ‘professing writing’. This module looks at a large range of literary and non-literary genres, such as poetry, devotional texts, travel writing and scientific writing. Through guest lecturers and trips to professional libraries, the module also introduced different approaches to academic research. It was on one of these trips to the Wellcome Library, that I first came across early modern women’s recipe books.
by Harriet Thompson, PhD candidate in the English department at King’s College London.
William John Johnston’s Lightning Flashes and Electric Dashes is a volume of late nineteenth-century American fiction comprised of ‘contributions from the pens of all the prominent writers in the ranks of telegraphic literature’. Johnston was himself a telegraph operator, as well as a publisher, and editor of the profession’s leading trade journal ‘The Operator’. He published a number of notable works of telegraphic literature by women telegraphers, including Ella Cheever Thayer’s novel Wired Love and short fictional works by Lida Churchill and Josie Schofield.
Configurations of Empire is an interdisciplinary reading group for researchers and postgraduate students that explores the conditions of life, labour, and belonging under contemporary formations of capitalism. It runs in parallel from two sites: University of North Carolina at Chapel Hill and through the London Arts and Humanities Partnership at King’s College London. We meet regularly to discuss readings from the latest scholarship in critical race, feminist, queer, postcolonial, Marxist, disability, and decolonial theory. These parallel reading groups have culminated in a yearly conference in which both groups come together to share how our mutual readings have informed our research.
‘The Early Modern Inns of Court and the Circulation of Text’ was one of the events supported by the King’s English Department and two of its research groups (the Text Histories and Politics Research Cluster and the Collaborative Seed Fund Partnership) in the academic year 2018-19. This ambitious two-day conference took place in Bush House on 14-15 June 2019. What began as a conference expanded to include a talk at Middle Temple by the former Lord Chief Justice of England and Wales, (and Middle Templar) Lord Igor Judge, an event at Temple Church held in conjunction with the Inner Temple Historical Society and the Inner Temple Drama society, a Middle Temple Library exhibition of materials curated especially for the conference, and a professional revival of The Misfortunes of Arthur (1587) by the Dolphin’s Back theatre company in Gray’s Inn Chapel on 14 June 2019.
Emily Moore is a Master’s student at King’s College London, taking the ‘Modern Literature and Culture’ course. Interested in rhythm in modernist literature, she is currently working on a dissertation that compares the works of Virginia Woolf and Gertrude Stein.
On Friday 21st June, Kings’ Gilbert Scott Chapel rang with fragments of modernist culture. Forming part of the British Association for Modernist Studies’ 2019 Conference ‘Troublesome Modernisms’, ‘The Modernist Revue’, organised by Anna Snaith, Clara Jones, and Natasha Periyan, saw an evening of music, dance, and poetry performances inspired by, or seeking to evoke, the character of the era. This it did, calling to mind a watchword of modernist studies that is constantly being reanimated and reinterpreted: fragmentation.