Marcus Gardley’s play The Road Weeps, the Well Runs Dry (2013) traces the development of a Black Seminole community in the Indian Territory from 1850 to 1866, with occasional flashbacks to the days of the Seminoles’ removal from Florida. Rather than positing a unified ethnicity, the action reveals a complex web of Othernesses, including characters identified as “black”, others as “full-blood Seminole”, and still others as “black and Seminole”. Given the lack of ethnic unity, the new community constructs an identity in its distinction from and enmity with the neighboring Creeks, pointing to an underlying irony since the Creeks actually represent a main component in the ethnogenesis of the Seminoles in the 18th century. By calling attention to this simulacrum of Otherness, the play questions identity formation based on difference from an Other. Finally, Christian and pagan beliefs and customs live side by side in the community and compete for dominance over it. The multiple frictions caused by inner-group disputes, external conflicts with a constructed Other and religious discord lead to outbursts of violence that threaten to tear the community apart. Only a re-integration of its component parts can save it.

The Revista Alicantina de Estudios Ingleses is published yearly by the Department of English at the University of Alicante in volumes of approximately 250 pages. The journal aims to provide a forum for debate and an outlet for research involving all aspects of English Studies. NATURE AND FORMAT OF THE ARTICLES:The Revista would welcome ar ticles of the following kinds: (1) Articles on linguistics and ELT, literature, literary theory and criticism, history and other aspects of the culture of the English-speaking nations. Articles should not exceed nine thous and words in length.(2) Bibliogra phies of studies on very specifi c topics, providing a brief in troduction and a list of basic publications. A concise index of contents may optionally be included. Manuscripts should include an abstract in English of about one hundred words in length. In normal circumstances, the editors will only consider for publication those contributions written in English and recorded on disk. Two print-outs of the contribution should also be included. Articles will only be returned at the authors' express wish, if so requested at the time of submission. All correspondence should be addressed to:Revista Alicantina de Es tudios Ingleses, Departamen to de Filología Inglesa, Universidad de Alican te, P. O. Box 99, E-03080 ALICANTE (Spain)• ADVERTISING: The journal will be pleased to carry ad vertise ments in either full-page (17 x 24 cms. approx.) or half-page (17 x 12 cms. ap prox.) format. Prices and informa tion are available on request at the above address• EX CHANGES: The Revis ta Alicantina de Estudios Ingleses will be happy to make exchange arrangements with similar journals in the same fi eld. All such proposals should be made in writing to the above ad dress• SUB SCRIP TIONS: The price of subscriptions for FOUR issues of the Revista Alican tina de Estudios Ingleses is as follows: (1) Consciousness as Creative Force and Prison Cell in Nabokov's "Mademoiselle O"Claus-Peter Neumann University of Zaragoza cpneumann@posta.unizar.es Abstract Published in fi ve essentially different versions, on some occasions as short story, on others as part of his autobiography, Nabokov's "Mademoiselle O" challenges the boundaries between the two genres. An analysis of how plot, titular character and narrative voice relate to each other in the 1947 version, published in identical form both as independent short story and as chapter of the memoir Conclusive Evidence, yields insights into Nabokov's conception of the interrelation between memory and imagination. In this conception human consciousness reveals itself as a conditioning force acting on memory, suggesting the ontological impossibility of all autobiography. However, tensions created by textual passages that provide a contrast to the narrator's version of events insinuate that consciousness has its limits, thus showing a Consciousness as Creative Force and Prison Cell inNabokov's "Mademoiselle O" Claus-Peter Neumann 7 CONTENTS way of saving memory from fi ction, albeit on a subliminal level tha...

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