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This article contains complete transcriptions of five articles with a focus on women's ministry published in Tongues of Fire, the monthly periodical of a late nineteenth-century British holiness organization, known as the Pentecostal League of Prayer, or the League. Richard Reader Harris (1847–1909), founder of the League, wrote three of the five articles, including his most declarative statement in support of women, titled ‘Female Ministry’. Women authors penned the remaining two transcribed articles: Ms Rains, ‘A Word to Women: Zechariah v. 9’, and Dr Katherine Bushnell, ‘Women Preachers: Why Obscure the True Reading?’ While the League welcomed more than one hundred women into all of its organizational positions, these articles represent the extent of written affirmations for women in ministry.

[...]we present a pair of articles which think through the politics and potentialities of Caribbean and black-diasporic sound. [...]Kezia Page reviews Leone Ross's collection Come Let Us Sing Anyway and Other Stories: twenty-three pieces of short fiction which focus on the lives of girls and women, offer an expansive mapping of the territory of the Caribbean and its diaspora, and constitute \"complete, heady meals that the reader will gobble up.\" [...]we thank Tessa Mars for permission to use her remarkable artwork, \"Conversation avec Hector H.,\" for our cover.

[...]readers will get things wrong. Because Norrell has hoarded most of the books of English magic in his own library, the first magical book Strange acquires from his fiancée is Lord Portishead's A Child's History of the Raven King which he later calls \"one of the most perfect things of its kind\" which \"conveys to the reader a vivid sense of the eeriness and wonder\" of the Raven King's magic (412). Unable to read them, the sailor makes a deal with Childermass to exchange the latter's ability to read the cards with the opportunity to copy the cards, for Norrell's servant cannot afford to buy them outright. Because the sailor departs sooner than planned, \"half are done from memory\" he explains. The time is February 1817 and not summery, but very wintery: the gentleman stares at \"a distant line of white hills\" presumably snow-covered (738), and later Childermass lays out the apparently dead body of Vinculus \"on a barren, winter moor\" (752). [...]there is an element of playfulness in Clarke's reference to the tree.

[...]as Sawyer went on to argue, it was E.C. Tubb who first gave readers the idea of space travel as a living economy within a mundane environment, contrasting sharply with Clarke's 'stoic utopianism' and Heinlein's persistent argument for commercial space activity. [...]Thomas Connolly, who had passed his PhD viva only the day before, looked at the relationship between Isaac Asimov and Arthur C. Clarke, arguing that Asimov's view of humanity was a largely mechanistic vision, marked by determinist sociohistorical forces such as psychohistory. [...]Patrick Parrinder suggested that belatedness is the key to reading Clarke's Action, and went on to note how his characters are often interested in archaeology, in a professional or amateur capacity. Parrinder argued that the Monoliths, Rama and the artificial moon labelled Jupiter 5 should all be considered as time capsules, and proposed that all Clarke's characters live in a future where they have a strong sense of their own belatedness.

For many years now, electronic audio and audio-visual media platforms have helped disseminate literature to diverse audiences and in various forms such as the radio drama, the literary radio program, etc. In turn, literature as printed text has long provided substantive broadcast content for these various electronic media, extending and enhancing their perception as modern and post-modern disseminators of mass-market literate and literary culture. In \"Toward A Remediated Anglophone Caribbean Aesthetic,\"Jarrel De Matas references Bolter and Grusin's concept of remediation to argue that in Kamau Brathwaite's later poetry and in Robert Antoni's novel,ffs Flies To Whatless Boys, the reader experiences multimodal discursive platforms that enhance the comprehension of Anglo-Creole culture, history, and subjectivity.

A straightforward pedagogical goal is generally understood by critics to inform the series of fifteen prequels to fourteen of Shakespeare's plays that Cowden Clarke published between 1850 and 1852. In one of the earliest critical essays on The Girlhood, George C. Gross asserts that these tales clearly intend the inculcation of various moral lessons through exhortation, precept, and example. While concerns beyond this object of authorial intention certainly arise in The Girlhood, Cowden Clarke clearly announces character as the idea that most prominently occupied her attention in designing the tales -- and as a term that apparently needs no definition. In the context of this preface, character appears to mean something equivalent to personality or identity. The heroines' characters are preordained by Shakespeare's plays, but this preordination could be inferred as the disposition of character in general: nature, not nurture; fate, not free will, determines who people are.

[...]Atwood's focus on the very near future in The Handmaid's Tale has stayed with me throughout my fiction writing to date, and I remain wedded to the idea of science fiction as a form of political writing. Whereas Atwood's novel is labelled as a dystopia, I constructed Dreams Before the Start of Time within familiar, everyday settings to reveal how each generation might navigate their way to starting a family, given that new opportunities will arise thanks to advances in biomechanics and genetic engineering. Will employers oblige their female staff to 'outsource' their pregnancies to gestation clinics and so avoid the disruption of ante-natal and post-natal medical appointments, not to mention the possibility of long-term health issues related to conventional childbirth? I did sense while writing this novel, that the artificial womb will be a game-changer in terms of our future path as a species.

When Amazon Studios paid roughly $12m for US and select territories on comedy The Big Sick, and Fox Searchlight forked out $10.5m for the world on Patti Cake$, there was a collective intake of breath in Park City. The coming months will tell if the financial outlay was worth it as all eyes turn to the films' box office - or in the case of the Netflix titles, the company's stock price. NOVITIATE Not long after the Friday premiere, Sony Pictures Classics pounced on Maggie Betts' US Dramatic Competition entry about a trainee nun in the 1960s, paying mid-seven figures for the world. Sony Pictures Classics boarded Luca Guadagnino's drama at script stage, eager to be in play with an admired director and appealing cast that features Armie Hammer and a superb turn by Timothée Chalamet. The distributor paid around $4m for the world on Amanda Lipitz's US Documentary Competition...