Life Writing – serie

A watershed moment of the twentieth century, the end of empire saw upheavals to global power structures and national identities. However, decolonisation profoundly affected individual subjectivities too. Life Writing After Empire examines how people around the globe have made sense of the post-imperial condition through the practice of life writing in its multifarious expressions, from auto/biography through travel writing to oral history and photography. Through interdisciplinary approaches that draw on literature and history alike, the contributors explore how we might approach these genres differently in order to understand how individual life writing reflects broader societal changes. From far-flung corners of the former British Empire, people have turned to life writing to manage painful or nostalgic memories, as well as to think about the past and future of the nation anew through the personal experience. In a range of innovative and insightful contributions, some of the foremost scholars of the field challenge the way we think about narrative, memory and identity after empire. This book was originally published as a special issue of Life Writing.

In this volume, scholars from a number of academic disciplines illuminate how a range of philosophers and other thoughtful individuals addressed the complex issues surrounding philosophy and life writing.The contributors interrogate the writings of Teresa of Avila, Jean-Jacques Rousseau, John Stuart Mill, Wilhelm Dilthey, Walter Benjamin, Albert Camus, Bryan Magee, Mikhail Bakhtin, Maurice Merleau-Ponty, and Judith Butler, who range in time from the sixteenth to the twenty-first centuries.As this volume demonstrates, the relationship between philosophy and life writing has become an issue of urgent interdisciplinary concern. This book was originally published as a special issue of Life Writing.

A diary entry, begun by a wife and finished by a husband; a map of London, its streets bearing the names of forgotten lives; biographies of siblings, and of spouses; a poem which gives life to long-dead voices from the archives. All these feature in this volume as examples of ‘writing lives together’: British life writing which has been collaboratively authored and/or joins together the lives of multiple subjects. The contributions to this book range over published and unpublished material from the late eighteenth to the late nineteenth centuries, including biography, auto/biographical memoirs, letters, diaries, sermons, maps and directories. The book closes with essays by contemporary, practising biographers, Daisy Hay and Laurel Brake, who explain their decisions to move away from the single subject in writing the lives of figures from the Romantic and Victorian periods. We conclude with the reflections and work of a contemporary poet, Kathleen Bell, writing on James Watt (1736–1819) and his family, in a ghostly collaboration with the archives. Taken as a whole, the collection offers distinctive new readings of collaboration in theory and practice, reflecting on the many ways in which lives might be written together: across gender boundaries, across time, across genre. This book was originally published as a special issue of Life Writing.

This book examines the relationship between life writing and celebrity in English-language and comparative literary and cultural contexts, focusing on historical as well as contemporary auto/biographical subjects.With contributions on the 18th-century actress Peg Woffington, Charles Dickens, Mary Pickford, Sergei Eisenstein, W.H. Auden, Marilyn Monroe, and Michael Jackson, amongst others, the book encompasses a wide range of disciplines and approaches. It explores the representation of famous lives in genres as varied as TV documentary, biopic, biofiction, journalism, (authorized) biography, and painting. The contributors address broad themes including authenticity, self-fashioning, identity politics, and ethics; and reflect on the ways in which these affect the reading and writing of celebrity lives.This volume is the first to bring together life writing and celebrity studies—two vibrant and innovative areas of research which are closely connected through their shared concerns with authenticity and intimacy, public and private selves, myth-making and revelation. As such it will be of interest to a wide range of scholars from across the humanities. This book was originally published as a special issue of Life Writing.

This volume applies the insight and methods of career construction theory to explore how autobiographical writing is used in different professional careers, from fiction and journalism to education and medicine. It draws attention to the fact that a career is a particular kind of artefact with distinctive properties and features that can be analysed and compared, and puts forward a new theory of the relationship between narrative methodology and the vocation of writing.Career construction theory emerged in the late twentieth century, when changes to the patterns of our working lives caused large numbers of people to seek new forms of vocational guidance to navigate those changes. It employs a narrative paradigm in which periods of uncertainty are treated as experiences akin to ‘writer’s block’, experiences which can be overcome first by imagining new character arcs, then by narrating them and finally by performing them. By encouraging clients to see their careers as stories of which they are both the metaphorical authors and the main protagonists, career construction counsellors enable them to envisage the next chapter in those stories. But despite the authorial metaphor, career construction theory has not been widely applied to analysis of professional careers in writing. The chapters in this volume remedy that gap and in various ways apply the insights of career construction theory to analyse the relationship between writing and professional life in diverse careers where writing is used.The chapters in this book were originally published in the journal Life Writing.

This volume applies the insight and methods of career construction theory to explore how autobiographical writing is used in different professional careers, from fiction and journalism to education and medicine. It draws attention to the fact that a career is a particular kind of artefact with distinctive properties and features that can be analysed and compared, and puts forward a new theory of the relationship between narrative methodology and the vocation of writing.Career construction theory emerged in the late twentieth century, when changes to the patterns of our working lives caused large numbers of people to seek new forms of vocational guidance to navigate those changes. It employs a narrative paradigm in which periods of uncertainty are treated as experiences akin to ‘writer’s block’, experiences which can be overcome first by imagining new character arcs, then by narrating them and finally by performing them. By encouraging clients to see their careers as stories of which they are both the metaphorical authors and the main protagonists, career construction counsellors enable them to envisage the next chapter in those stories. But despite the authorial metaphor, career construction theory has not been widely applied to analysis of professional careers in writing. The chapters in this volume remedy that gap and in various ways apply the insights of career construction theory to analyse the relationship between writing and professional life in diverse careers where writing is used.The chapters in this book were originally published in the journal Life Writing.

This edited collection considers the ways older women’s life narratives redefine culturally imposed conceptions of what it means to grow older. Drawing on research from age studies as well as social and cultural gerontology, the contributors explore the subjective accounts and diverse voices of older women. In doing so, they examine the tensions between older women’s social identities versus their individual narratives.In their chapters, the contributors acknowledge, explore and contextualise women’s experiences of growing older, thus counterbalancing the often one-sided, negative representations of ageing perpetuated by dominant cultural discourse. They focus on diverse forms of life writing including memoirs and (auto)biography, digital and visual forms of life narrative as well as autoethnographic accounts. As the chapters in this collection demonstrate, life writing by and about older women often necessitates opening out literary forms and modes of critique, searching for narrative and performative strategies, and creating spaces in which to inscribe subjective experiences. Relationships, intergenerational connections, and visual and material cues are often integral to these analyses, which assert the richness of older women’s life narratives.The chapters in this book were originally published as a special issue of Life Writing.

This edited collection considers the ways older women’s life narratives redefine culturally imposed conceptions of what it means to grow older. Drawing on research from age studies as well as social and cultural gerontology, the contributors explore the subjective accounts and diverse voices of older women. In doing so, they examine the tensions between older women’s social identities versus their individual narratives.In their chapters, the contributors acknowledge, explore and contextualise women’s experiences of growing older, thus counterbalancing the often one-sided, negative representations of ageing perpetuated by dominant cultural discourse. They focus on diverse forms of life writing including memoirs and (auto)biography, digital and visual forms of life narrative as well as autoethnographic accounts. As the chapters in this collection demonstrate, life writing by and about older women often necessitates opening out literary forms and modes of critique, searching for narrative and performative strategies, and creating spaces in which to inscribe subjective experiences. Relationships, intergenerational connections, and visual and material cues are often integral to these analyses, which assert the richness of older women’s life narratives.The chapters in this book were originally published as a special issue of Life Writing.

The border between intimate memory and historical revelation is explored in this wide-ranging collection, which features original contributions from leading figures in the life-writing field from Australia, Canada, Europe, the UK, and the USA.The transmission and preservation of personal knowledge and stories from generation to generation frequently requires crossing into the private, contested spaces of memory. The most secret accounts or guarded remnants of information can sometimes lead to the most profound insights. In this context, there is a delicate balance between life writing’s role in revealing lives and the desire to be respectful towards them. As the essays in this book attest, exposing secrets, even if humiliating, can be a way of honouring lives. Throughout runs the framing theme of memory as the source of all intergenerational transmission of culture and history—whether relating to family, community, nation, ancestry, or political allegiance—and the importance of the intimate and personal in that process of handing on.This book was originally published as a special issue of Life Writing.

In the age of social media, life writing is ubiquitous. But if life writing is now almost universal—engaged with on our phones; reported in our news; the generator of capital, no less—then what are the limits of life writing? Where does it begin and end? Do we live in a culture of life writing that has no limits? Life writing—as both a practice and a scholarly discipline—is itself markedly concerned with limits: the limits of literature, of genres, of history, of social protocols, of personal experience and forms of identity, and of memory. By attending to limits, border cases, hybridity, generic complexities, formal ambiguities, and extra-literary expressions of life writing, The Limits of Life Writing offers new insights into the nature of auto/biographical writing in contemporary culture. The contributions to this book deal with subjects and forms of life writing that test the limits of identity and the tradition of life writing. The liminal case studies explored include magical-realist fiction, graphic memoir, confessional poetry, and personal blogs. They also explore the ethical limits of representation found in Holocaust life writing, the importance of ficto-critical memoir as a form of resistance for trans writers, and the use of ‘postmemoir’ to navigate the traumas of diasporic experience. In addition, The Limits of Life Writing goes beyond the conventional limits of life writing scholarship to consider how writers themselves experience limits in the creation of life writing, offering a work of life writing that is itself concerned with charting the limits of auto/biographical expression. This book was originally published as a special issue of Life Writing.

In this volume, scholars from a number of academic disciplines illuminate how a range of philosophers and other thoughtful individuals addressed the complex issues surrounding philosophy and life writing.The contributors interrogate the writings of Teresa of Avila, Jean-Jacques Rousseau, John Stuart Mill, Wilhelm Dilthey, Walter Benjamin, Albert Camus, Bryan Magee, Mikhail Bakhtin, Maurice Merleau-Ponty, and Judith Butler, who range in time from the sixteenth to the twenty-first centuries.As this volume demonstrates, the relationship between philosophy and life writing has become an issue of urgent interdisciplinary concern. This book was originally published as a special issue of Life Writing.

The essays collected in The Selfless Ego propose an innovative approach to one of the most fascinating aspects of Tibetan literature: life writing. Departing from past schemes of interpretation, this book addresses issues of literary theory and identity construction, eluding the strictures imposed by the adoption of the hagiographical master narrative as synonymous with the genre.The book is divided into two parts. Ideally conceived as an 'introduction' to traditional forms of life writing as expressed in Buddhist milieus, Part I. Memory and Imagination in Tibetan Hagiographical Writing centres on the inner tensions between literary convention and self-expression that permeate indigenous hagiographies, mystical songs, records of teachings, and autobiographies. Part II: Conjuring Tibetan Lives explores the most unconventional traits of the genre, sifting through the narrative configuration of Tibetan biographical writings as 'liberation stories' to unearth those fragments of life that compose an individual’s multifaceted existence.This volume is the first to approach Tibetan life writing from a literary and narratological perspective, encompassing a wide range of disciplines, themes, media, and historical periods, and thus opening new and vibrant areas of research to future scholarship across the Humanities.The chapters in this book were originally published as two special issues of Life Writing.

The essays collected in The Selfless Ego propose an innovative approach to one of the most fascinating aspects of Tibetan literature: life writing. Departing from past schemes of interpretation, this book addresses issues of literary theory and identity construction, eluding the strictures imposed by the adoption of the hagiographical master narrative as synonymous with the genre.The book is divided into two parts. Ideally conceived as an 'introduction' to traditional forms of life writing as expressed in Buddhist milieus, Part I. Memory and Imagination in Tibetan Hagiographical Writing centres on the inner tensions between literary convention and self-expression that permeate indigenous hagiographies, mystical songs, records of teachings, and autobiographies. Part II: Conjuring Tibetan Lives explores the most unconventional traits of the genre, sifting through the narrative configuration of Tibetan biographical writings as 'liberation stories' to unearth those fragments of life that compose an individual’s multifaceted existence.This volume is the first to approach Tibetan life writing from a literary and narratological perspective, encompassing a wide range of disciplines, themes, media, and historical periods, and thus opening new and vibrant areas of research to future scholarship across the Humanities.The chapters in this book were originally published as two special issues of Life Writing.

As much as we may like to evade them, illness and disability inescapably attend human embodiment – we are all vulnerable subjects. So it might seem natural and inevitable that the most universal, most democratic, form of literature – autobiography – should address these common features of human experience. Yet for the most part, autobiographical writing expressive of illness and disability remained quite uncommon until the second half of the twentieth century, when it flourished concurrently with successive civil rights movements. Women’s liberation, with its signature manifesto Our Bodies Ourselves, supported the breast cancer narrative; the gay rights movement encouraged AIDS narrative in response to a deadly epidemic; and the disability rights movement stimulated a surge in narratives of various disabilities. Conversely, the narratives helped to advance the respective rights movements. Such writing, then, has been representative in two senses of the term: aesthetic (mimetic) and political (acting on behalf of). It has done, and continues to do, important cultural work. This volume explores this phenomenon using the latest critical theories and from the perspectives of patients and creative writers as well as academics. It attends to the problematic intersection of trauma and disability; it encompasses graphic narratives, essays, and diaries, as well as full-length memoirs; and it examines the ethical as well as the aesthetic dimensions of narrative. This book was originally published as a special issue of Life Writing.

These chapters gathered from two special issues of the journal Life Writing take up a major theme of recent work in the Humanities: Trauma. Autobiography has had a major role to play in this ‘age of trauma’, and these essays turn to diverse contexts that have received little attention to date: partition narratives in India, Cambodian and Iranian rap, refugee letters from Nauru, graffiti in Tanzania, and the silent spaces of trauma in Chile and Guantanamo. The contexts and media of these autobiographical trauma texts are diverse, yet they are linked by attention to questions of who gets to speak/write/inscribe autobiographically and how and where and why, and how can silences in the wake of traumatic experiences be read. These essays deliberately set out to establish some new fields for research in trauma studies by reaching out to a broader global context, into various texts, media and artifacts, representing diverse histories with specific attention to different voices, bodies, memories and subjectivities. This collection addresses the contemporary circuits of trauma story, and the media and icons and narratives that carry trauma story to political effect and emotional affect.This book was previously published as two special issues of Life Writing.

These chapters gathered from two special issues of the journal Life Writing take up a major theme of recent work in the Humanities: Trauma. Autobiography has had a major role to play in this ‘age of trauma’, and these essays turn to diverse contexts that have received little attention to date: partition narratives in India, Cambodian and Iranian rap, refugee letters from Nauru, graffiti in Tanzania, and the silent spaces of trauma in Chile and Guantanamo. The contexts and media of these autobiographical trauma texts are diverse, yet they are linked by attention to questions of who gets to speak/write/inscribe autobiographically and how and where and why, and how can silences in the wake of traumatic experiences be read. These essays deliberately set out to establish some new fields for research in trauma studies by reaching out to a broader global context, into various texts, media and artifacts, representing diverse histories with specific attention to different voices, bodies, memories and subjectivities. This collection addresses the contemporary circuits of trauma story, and the media and icons and narratives that carry trauma story to political effect and emotional affect.This book was previously published as two special issues of Life Writing.

In the age of social media, life writing is ubiquitous. But if life writing is now almost universal—engaged with on our phones; reported in our news; the generator of capital, no less—then what are the limits of life writing? Where does it begin and end? Do we live in a culture of life writing that has no limits? Life writing—as both a practice and a scholarly discipline—is itself markedly concerned with limits: the limits of literature, of genres, of history, of social protocols, of personal experience and forms of identity, and of memory. By attending to limits, border cases, hybridity, generic complexities, formal ambiguities, and extra-literary expressions of life writing, The Limits of Life Writing offers new insights into the nature of auto/biographical writing in contemporary culture. The contributions to this book deal with subjects and forms of life writing that test the limits of identity and the tradition of life writing. The liminal case studies explored include magical-realist fiction, graphic memoir, confessional poetry, and personal blogs. They also explore the ethical limits of representation found in Holocaust life writing, the importance of ficto-critical memoir as a form of resistance for trans writers, and the use of ‘postmemoir’ to navigate the traumas of diasporic experience. In addition, The Limits of Life Writing goes beyond the conventional limits of life writing scholarship to consider how writers themselves experience limits in the creation of life writing, offering a work of life writing that is itself concerned with charting the limits of auto/biographical expression. This book was originally published as a special issue of Life Writing.

""Ruby wrote letters home almost every week....She wrote anything that came into her head: about her children and Fred, her housekeeping, food, clothes, her friends, activities, schemes for making money, her dreams for the future....Her letters, nave, intimate and lively, were always optimistic or poignant. We'd read them to each other on the phone or pass them around. Often we saved them."" So writes Edna Staebler in her introduction to this edited collection of her sister Ruby's letters from the fifties. In 1957 when Edna first began to collect and edit these letters she did so simply because she was sure that others would enjoy reading them as much as her own family did. Over fifty years later, the letters remain a joy to read and reclaim the ordinary voice of a housewife. Remarkably, these letters echo themes academics want to isolate in order to analyze women's roles in the modern world - drifting (""life just happened to me"") and contingency (""women's lives depend on relationships""), for example, as well as the balance between family and work. As a fine example of women's life writing they also illustrate the literary patterns of overt and covert stories and of textual and subtextual meaning. Haven't Any News: Ruby's Letters from the Fifties includes an Afterword by Marlene Kadar, Associate Professor of Humanities at York University and a leading expert on women's life writing. All those concerned with women's studies and with the social history of twentieth-century Canada will find this book of enormous interest and it will delight Edna Staebler fans everywhere.

Henry Schogt met his wife, Corrie, in 1954 in Amsterdam. Each knew the other had grown up in the Netherlands during World War II, but for years they barely spoke of their experiences. This was true for many people - the memories were just too painful. Years later, Henry and Corrie began to piece their memories together, to untangle reality from dreams. Their intent was to help others understand what had happened then, and how it influenced and affected not only their lives but those of all who survived. The seven stories in The Curtain reveal how two families - one Jewish, one non-Jewish - fared in the Netherlands during the German occupation in World War II. Each vignette highlights a specific aspect of life; all show how life changed for everyone, and forever. Four stories are based on the author's memories of his own non-Jewish family: Henry's friendship with a Jewish teenager; the conflict of personal antipathy with the realization that help must be provided; the Schogt parents' determination to do the right thing; the difficulties of coping with an aunt with Nazi sympathies. These are stories about the randomness of survival and the elusive nature of memory. For the Jewish family, three stories drawn from the memories of the author's wife and family demonstrate the bewildering situation of trying to make impossible life-determining decisions when faced with confusing and deceitful decrees. The family must struggle with the luck - or absence thereof - of finding refuge when forced from their homes, and with the perplexing inconsistencies of the collaboration of Dutch authorities and police with the Nazis. The Curtain emphasizes the difference between the options that were open to non-Jews and Jews in the Netherlands. Non-Jews could freely choose whether to actively resist the Germans, collaborate with the Nazis, or just to do nothing, and try to live a normal life in spite of wartime restrictions. Dutch Jews, on the other hand, did not have a choice - whatever they did, whatever decisions they made, they were doomed, and it often seemed, when someone survived, just simple luck. A short introduction about the war years and an appendix with a chronology of decrees, events, and statistics, provide background information for this haunting memoir of those disturbing years during the German Occupation in the Netherlands.

""Dour Scot"" is the wrong description for David Caldow, who leads readers on a romp from the early twentieth century to the present, from an insular Scottish village to modern-day, multicultural British Columbia, from boyhood to old age. Throughout the tour he shares decades of laughter, tears, fears, and growth. In 1910, the certain path of David's life in Scotland is disrupted by the visit of an awe-inspiring comet. This brilliant visitor inspires the boy to dream of circling the world, like the comet, even though his life's goal is to become a farm manager, like his father. As a young man seeking to fulfill his dreams, he travels to Canada and works his way from Quebec to British Columbia, guided by the lessons of his father and his memories of Scotland. During his travels he grows in his understanding of himself, of the nature of love, of the ways of the world and its peoples, and of the poetry of Robert Burns. As a worker for the Farmer's Institute and as farm manager for Colony Farm and Tranquille, two extensive BC government-owned farms, David contributes to raising the standards of Canadian agriculture. At seventy years old, he broadens the scope of his world even further, accepting a two-year Canadian federal-government position teaching farming in Tanzania. Chasing the Comet is a true story that reads like fiction. David's candour and his Scottish humour help him survive and thrive. In the book's epilogue, David ponders the meaning of all his years of living, addressing questions such as: What is love? What is success? And how does one achieve them? David Caldow lived an active life in Surrey, British Columbia until his death at the age of ninety-six.

Why does it seem as if everyone is writing memoirs, and particularly women? The current popularity of memoir verifies the common belief that we each have a story to tell. And we do...especially women. Memoirs are not only representations of women's personal lives but also of their desire to repossess important parts of our culture, in which women's stories have not mattered. Beginning with her own motivations for writing memoirs, Helen M. Buss examines the many kinds of memoir written by contemporary women: memoirs about growing up, memoirs about traumatic events, about relationships, about work. In writing memoirs, these women publicly assert that their lives have mattered. They reshape the memoir, a form as old as the middle ages and as young as today, into a social discourse that blends the personal with the political, the self with the significant other, literature with history, and fiction with autobiography and essay. Buss urges readers to use their reading experience to help themselves understand and write the significance of their own lives. Repossessing the World is the first book-length critical inquiry into women's use of a form that has often been dismissed as less important than autobiography, less professional than the novel, and less intellectual than the formal essay. Buss demonstrates that the memoir makes its own art, not only through selective borrowing from these genres but also through the unique way that the tripartite narrative voice of the memoir constructs the personal and public experience of the memorist as significant to our cultural moment.

What is memory, and where is it stored in the body? Can a room be symbolic of a lifetime? Memories are like layers of your skin or layers of paint on a canvas. In The Queen of Peace Room, Magie Dominic peels away these layers as she explores her life, that of a Newfoundlander turned New Yorker, an artist and a writer - and frees herself from the memories of her violent past. On an eight-day retreat with Catholic nuns in a remote location safe from the outside world, she exposes, and captures, fifty years of violent memories and weaves them into a tapestry of unforgettable images. The room she inhabits while there is called The Queen of Peace Room; it becomes, for her, a room of sanctuary. She examines Newfoundland in the 1940s and 1950s and New York in the 1960s; her confrontations with violence, incest, and rape; the devastating loss of friends to AIDS; and the relationship between life and art. These memories she finds stored alongside memories of nature's images of trees pulling themselves up from their roots and fleeing the forest; storms and ley lines, and skies bursting with star-like eyes. In The Queen of Peace Room, from a very personal perspective, Magie Dominic explores violence against women in the second half of the twentieth century, and in doing so unearths the memory of a generation. In eight days, she captures half a century.

Laurence Wilmot's Second World War memoir is a rare thing: a first-hand account of front-line battle by an army officer who is a resolute non-combatant. And it is paradoxes such as this that also make Wilmot's book a unique and compelling document. Wilmot, as an Anglican chaplain, is a priest dressed as a warrior, a man of peace in battle fatigues. He is an incongruous figure in a theatre of war, always vigilant for opportunities to partake of silent meditation and prayer, never failing to lose sight of the larger moral issues of the war. His compassion is boundless, his sensitivity acute, and one senses his mounting emotional and spiritual enervation as the death toll of his fellow serving men steadily mounts. At the centre of the book is Wilmot's witness of the murderous battle at the Arielli. Wilmot's compassion for the fighting men compels him to leave the safety of his ministry and join them at the front, at great personal risk. There, as an unarmed stretcher-bearer, he is kept busy transporting the wounded under enemy fire. In this crucible of battle we see the qualities that attest to Wilmot's character and contribute to his memoir's importance: an indefatigable devotion to his duty to save and comfort the wounded, and a resolve to resist despair in spite of the terrible carnage all around. In short, a singular triumph of the decency of one man in the midst of total war.

In the 1950s, Anne Innis Dagg was a young zoologist with a lifelong love of giraffe and a dream to study them in Africa. Based on extensive journals and letters home, Pursuing Giraffe vividly chronicles the realization of that dream and the year that she spent studying and documenting giraffe behaviour. Dagg was one of the first zoologists to study wild animals in Africa (before Jane Goodall and Dian Fossey); her memoir captures her youthful enthusiasm for her journey, as well as her näiveté about the complex social and political issues in Africa. Once in the field, she recorded the complexities of giraffe social relationships but also learned about human relationships in the context of apartheid in South Africa and colonialism in Tanganyika (Tanzania) and Kenya. Hospitality and friendship were readily extended to her as a white woman, but she was shocked by the racism of the colonial whites in Africa. Reflecting the twenty-three-year-old author's response to an ""exotic"" world far removed from the Toronto where she grew up, the book records her visits to Zanzibar and Victoria Falls and her climb of Mount Kilimanjaro. Pursuing Giraffe is a fascinating account that has much to say about the status of women in the mid-twentieth century. The book's foreword by South African novelist Mark Behr (author of The Smell of Apples and Embrace) provides further context for and insights into Dagg's narrative.

In the 1960s, Edna Staebler moved in with an Old Order Mennonite family to absorb their oral history and learn about Mennonite culture and cooking. From this fieldwork came the cookbook Food That Really Schmecks. Originally published in 1968, Schmecks instantly became a classic, selling tens of thousands of copies. Interspersed with practical and memorable recipes are Staebler's stories and anecdotes about cooking, Mennonites, her family, and Waterloo Region. Described by Edith Fowke as folklore literature, Staebler's cookbooks have earned her national acclaim.Including this long-anticipated reprint of Food That Really Schmecks in our Life Writing series recognizes the cultural value of its narratives, positing it as a groundbreaking book in the food writing genre. This edition includes a foreword by award-winning author Wayson Choy and a new introduction by the well-known food writer Rose Murray.

This book examines the relationship between life writing and celebrity in English-language and comparative literary and cultural contexts, focusing on historical as well as contemporary auto/biographical subjects.With contributions on the 18th-century actress Peg Woffington, Charles Dickens, Mary Pickford, Sergei Eisenstein, W.H. Auden, Marilyn Monroe, and Michael Jackson, amongst others, the book encompasses a wide range of disciplines and approaches. It explores the representation of famous lives in genres as varied as TV documentary, biopic, biofiction, journalism, (authorized) biography, and painting. The contributors address broad themes including authenticity, self-fashioning, identity politics, and ethics; and reflect on the ways in which these affect the reading and writing of celebrity lives.This volume is the first to bring together life writing and celebrity studies—two vibrant and innovative areas of research which are closely connected through their shared concerns with authenticity and intimacy, public and private selves, myth-making and revelation. As such it will be of interest to a wide range of scholars from across the humanities. This book was originally published as a special issue of Life Writing.

This book showcases a unique, innovative form for contemporary life narrative scholarship. Life Narrative is a dynamic and interdisciplinary field defined through attention to diverse styles of personal and auto/biographical narration and to subjectivity and ethics in acts of self-representation. The essay is a uniquely sympathetic mode for such scholarship, responsive to diverse methods, genres, and concepts and enabling a flexible, hybrid critical and creative approach. Many of the essays curated for this volume are by the authors of creative works of life writing who are seeking to reflect critically on disciplinary issues connected to practice, ethics, audience, or genre. Others show academics from a variety of disciplinary backgrounds engaged in creative critical self-reflection, using methods of cultural analysis, ethnography, or embodied scholarship to address foundational and emerging issues and concepts in relation to identity, experience, or subjectivity. Essays in Life Writing positions the essay as a unique nexus of creative and critical practice, available to academics publishing peer-reviewed scholarly work from a variety of disciplinary backgrounds, and a form of scholarship that is contributing in exciting and vigorous ways to the development of new knowledge in Life Narrative as a field. The chapters in this book were originally published as a special issue of the journal Life Writing.

This book showcases a unique, innovative form for contemporary life narrative scholarship. Life Narrative is a dynamic and interdisciplinary field defined through attention to diverse styles of personal and auto/biographical narration and to subjectivity and ethics in acts of self-representation. The essay is a uniquely sympathetic mode for such scholarship, responsive to diverse methods, genres, and concepts and enabling a flexible, hybrid critical and creative approach. Many of the essays curated for this volume are by the authors of creative works of life writing who are seeking to reflect critically on disciplinary issues connected to practice, ethics, audience, or genre. Others show academics from a variety of disciplinary backgrounds engaged in creative critical self-reflection, using methods of cultural analysis, ethnography, or embodied scholarship to address foundational and emerging issues and concepts in relation to identity, experience, or subjectivity. Essays in Life Writing positions the essay as a unique nexus of creative and critical practice, available to academics publishing peer-reviewed scholarly work from a variety of disciplinary backgrounds, and a form of scholarship that is contributing in exciting and vigorous ways to the development of new knowledge in Life Narrative as a field. The chapters in this book were originally published as a special issue of the journal Life Writing.

Autofiction is often associated with humour, irony, and play. Moreover, authors of autofictional texts are frequently criticised for a lack of seriousness or for failing to straightforwardly and in their own voice engage with a given topic. Yet very few autofictional texts are exclusively, or even primarily, playful. Many employ humour and irony to address very serious subject matter. This volume explores how these seemingly opposed characteristics of autofictional texts in fact work together. The contributions in this volume show that autofictional texts often make use of humour and play in a productive and meaningful way, tackling issues such as human rights violations, historical and collective as well as personal trauma, and struggle with psychological or physical illness and abuse. On the basis of geographically wide-ranging case studies, including texts from South America, South Africa, the United States, and Europe, this book explores how, in which contexts, and to which effects autofictional texts reveal their authors’ complex and often painful psychological experiences and engage the emotions of their readers.This book was originally published as a special issue of the journal Life Writing.