The Channel Posts

In Milton’s Paradise Lost Adam and Eve are not free; they are actors atop God’s woodie theatre, Paradise.

In Monkey Beach, Robinson reshapes Spam into a food of rebellion: it is a food which speaks of difference, whether it be between parent and child, colonial legacy and Indigenous culture, or past and present. 

Through the lenses of Mrs Dalloway, her 1926 essay “On Being Ill,” and her 1923 short story “Mrs Dalloway in Bond Street,” Woolf interrogates the archive of traumas deemed worthy of heroization and remembrance within the cultural imaginary and acknowledges the unspoken traumas survivors were forced to bear alone.

Through the young girl’s departure and return to her home in Foster, Claire Keegan presents an ironic retelling of the parable of the Prodigal Son, critiquing the traditional authority afforded to the father of the Irish family. 

Cunningham’s simultaneous evocation and minimization of political specificity acts as an exploration of Obama’s cultural iconization, while at the same time producing the conditions for Great Expectations’ success within the literary field.

“Guests of the Nation” distorts boundaries between guest, hostage, and host, as the “guests” of the story are, ultimately, colonial powers, and their ejection comes with the sacrifice of Irish hospitality.

As an externalization of Catherine’s postpartum depression and the emotional struggles she must confront, her symphony issues the cathartic scream Catherine needs to let out in order to escape the cycle of abuse she has been trapped in for years.

The relationship between the titular characters of The Two Gentlemen of Verona perfectly displays the nascent homosocial bond which recurs in Shakespeare’s work.

By weaponizing her abjection, Sethe successfully protects her children and reclaims her humanity, as she radically embodies her freedom through the violence she enacts.