The rise of militant jihadist organizations in the Middle East is often thought of in simplistic and blanketed terms. Unfortunately, diverse and distinct groups, such as Hezbollah and Hayat Tahrir al-Sham, are grouped into a single category, and are often explained in broad terms.
Angela Carter’s “The Bloody Chamber” is a touchstone of postmodern fairy tale revisions, deftly marrying the latent content of Charles Perrault’s “Bluebeard” with her entrancing and opulent prose. She boldly addresses the sexuality, gender relations, and biblical comparisons inherent in Perrault’s tale in her prose, particularly by blending allusions to Judeo-Christian figures with sadomasochistic practices. Carter expands upon these elements present in “Bluebeard,” while keeping her focus on the representation of villainous Bluebeard and his abuses towards the innocent bride.
Modernity is a concept, period, idea, etc., that has been explored ad nauseam. Defining it seems to be an impossible task; scholars have been debating when it began and when it ended (if it even ended at all) for at least 100 years.
Langston Hughes chronicled the spirit, fervor, and intensity of the Harlem Renaissance as only an artist can. In his short story collection, The Ways of White Folks, Hughes concerns himself with the downtrodden, the poor and lonely, the black and oppressed. The transcendent insight into the human condition that crafts this anthology is unique to an author of genius.