Roger J. Porter – författare

Eating Words gathers food writing of literary distinction and historical sweep into one splendid volume. Beginning with the taboos of the Old Testament and the tastes of ancient Rome, and including travel essays, polemics, memoirs and poems, the book is divided into sections such as “Kitchen Practices”; “Food Memory: Identity, Family, Ethnicity”; “Eating: Delight, Disgust, Hunger, Horror” and “Food Politics”. Selections by Julia Child, Anthony Bourdain, Bill Buford, Michael Pollan, Molly O’Neill, Calvin Trillin and Adam Gopnik, along with authors not usually associated with gastronomy—Maxine Hong Kingston, Henry Louis Gates Jr, Hemingway, Chekhov and David Foster Wallace—enliven and enrich this comprehensive anthology.

The evaluation of the efficacy and safety of a clinical tool, be it a diagnostic technique, a preventive methodology, or a therapeutic intervention, is an im­ portant responsibility of physicians. The history of medicine is characterized by the authoritarianisms of teachers and of organizations giving way to the clinical experience of physicians; authoritarian dictum was replaced by case report and then by case series. As physicians learned to substitute the analysis of data for the inconsistencies of dictums and anecdotes, the problems of the case series as an investigative tool became more evident: patient selection criteria, measurements of outcome, significance of results, and extrapolation of conclusions to the community of patients. In response to these issues, the methodology of the controlled clinical trial has evolved and with it the instru­ ments of study design and of biostatistics as aids to study design and data analysis. The medical - surgical armamentarium has evolved from being dependent solely upon the observations and conclusions of a skilled clinician to being constructed upon the systematic collection and evaluation of data by a team of skilled clinicians and their statistical colleagues: this is the controlled clinical trial. During the past two decades, the evaluation of clinical approaches to pre­ vention and therapy has become particularly important to clinicians concerned with nervous system dysfunction. There has been and continues to be an explosion of information from the basic neurosciences and from the applica­ tion of biotechnology to the nervous system.

A devoted reader of autobiographies and memoirs, Roger J. Porter has observed in recent years a surprising number of memoirs by adult children whose fathers have led secret lives. Some of the fathers had second families; some had secret religious lives; others have been criminals, liars, or con men. Struck by the intensely human drama of secrecy and deception played out for all to see, Porter explores the phenomenon in great depth. In Bureau of Missing Persons he examines a large number of these works—eighteen in all—placing them in a wide literary and cultural context and considering the ethical quandaries writers face when they reveal secrets so long and closely held. Among the books Porter treats are Paul Auster's The Invention of Solitude, Alison Bechdel's graphic memoir Fun Home, Essie Mae Washington-Williams's Dear Senator (on her father, Strom Thurmond), Bliss Broyard's One Drop, Mary Gordon's The Shadow Man, and Geoffrey Wolff's The Duke of Deception. He also discusses Nathaniel Kahn's documentary film, My Architect. These narratives inevitably look inward to the writer as well as outward to the parent. The autobiographical children are compelled, if not consumed, by a desire to know. They become detectives, piecing together clues to fill memory voids, assembling material and archival evidence, public and private documents, letters, photographs, and iconic physical objects to track down the parent.

Self-Same Songs constitutes a major contribution to the growing literary study of autobiography. Using a range of authors, including Homer, Edward Gibbon, Benjamin Franklin, Somerset Maugham, Franz Kafka, and Eugène Delacroix, Roger J. Porter offers a broad-based examination of the autobiography and the varied techniques used by its practitioners over time. In a style that is both graceful and erudite, Porter focuses on the diverse motivations and rhetorical functions that the act of self-writing serves for particular writers. He reflects on the texts not only as an exploration of self-identity but also as the writers' attempts to modify the life in the act of writing about it. Then, stepping out of his critical role, Porter ends each chapter with an autobiographical discussion of his professional and personal engagement with the autobiographer under discussion, creating an intriguing and absorbing literary autobiography within the critical text.